Egmont: A Tragedy

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HARVARD
COLLEGE
LIBRARY

€(a»ntron ^nss Sitxm

GERMAN CLASSICS

GOETHE

EGMONT, A TRAGEDY

.1
4

BUCHHEIM

HENRY FROWOE, M.A.

PUHI.ISHER TO THE UNIVBRSITV OP OXFORD

LONDON, EDINBURGH, AND NEW YORK

Clawniron ^«ss Swws

GERMAN CLASSICS

EDITED

WITH ENGLISH NOTES, ETC.

BY

C. A. BUCHHEIM, HON. M.A., Ph.D., F.C.P.

Professor o^" German Literature in King's College, London

Examiner in German to the University of New Zealand

The College of Preceptors, the Society of Arts

Sometime Examiner to the University qf Londcn

VOLUME I
E^monty a Tragedy by Goethe

FOURTH EDITION

©;pfot>

AT THE CLARENDON PRESS

1898

V, I, ■ ;

K »•/' I 1

PRINTED AT THE CLARENDON PRESS

BY HORACE HART. M.A.

PRINTER TO THE UNIVERSITY

PREFACE TO THE FIRST EDITION.

In the year 1825 Goethe had, as we are told by Ecke^;;-
mann, the gratification of hearing from an Englishman * that
the interest felt by his countrymen in the German language
was already considerable, and was growing daily, so that
there was no young Englishman of good family who' did not
leam German/ How much more rejoiced would Goethe,
who had a great admiration for everything English, have
been, could he have lived to see the vast progress which the
study of German has made in this country since that time ;
could he have lived to witness the general acknowledgment of
German as an essential element of a liberal education for the
merchant, the scholar, and the man of science ; the warm ap-
preciation of German poetry by all well-educated English-
men ; and the official recognition of the German language and
literature in the great seats of learning in this country. The
last-mentioned circumstance, in particular, has greatly con-
tributed to raise the standard of the study of German. It is
now generally admitted that German must be studied as
a classical language, and that the great authors of Germany
require, and fully deserve, more scholarly interpretation than
they received in former times. I have, therefore, in annotat-
ing German Classics, adopted the principle to edit them — to
the best. of my ability — in the -manner in which Greek and
Latin Classics have been edited by learned commentators.

As to this volume, which forms the first part of the series of
German Classics confided to my editorship by the Delegates
of the Clarendon Press, I will be brief. My commentary to
Egmont is the result of several years' study and labour. This
drama is replete with historical allusions, far more so than is
generally supposed. On account of this fact, I have carefully
studied all the original sources, and have accordingly ex-
plained almost every passage which has an historical bearing.

VI PREFACE,

In doing so I have thought it right to quote verbatim those
passages from Strada's work on the * Belgian War/ upon
which nearly all the historical allusions in the drama are
founded. I have given these passages both in the Latin
original — using the i2mo edition printed at Rome, 1648, in
two volumes — and in an English translation ; thinking that
the former will be of interest to classical students, and the
latter desirable for those who may not be acquainted with
Latin. Goethe required for his purpose the first volume only,
the title of which runs, * Famiani Stradae Romani E Societate
Jesu de Bello Belgico Decas Prima. Ab Excessu Caroli V.
Imp. etc. ^ *

In point of language this drama is (particularly in the con-
versations between the citizens) perhaps more difficult than
any other German classical work ; and therefore, well know-
ing as I do from practical experience, how necessary it is to
remove all unusual difficulties from the path of the student
of German, I have given such explanations and renderings of
idiomatic phrases as seemed to me needful for the generality
of readers. In this task I have found considerable help in
the two excellent translations of Egmont which this country
is fortunate enough to possess. I refer to the English version
by Miss Swanwick, and to the more recent translation by
Mr. A. D. Coleridge.

The Notes will also be found to contain a number of gram-
matical and etymological remarks, and various philological
comparisons, referring to ancient and modern languages.

The Arguments, prefixed to the Acts, will greatly facilitate
the understanding of the drama as a whole.

The chxti modem sources which I have used for the His-
torical Introduction are, besides the well-known works of

* The well-known and learned commentator, Heinrich Duntzcr,
was the first to accumulate a mass of historical and other informatioti
with reference to Goethe's Egmont, in his valuable running Com-
mentary, published in 1854, and his minute researches have con-
siilerably lightened my task in collecting the necessary materials.

PREFACE. Vll

Schiller, Prescott, and Motley on the history of the Nether-
lands, the elaborate introduction to the Correspandance de
Fhilippe 11^ by the learned Belgian archivist, L. P. Gachard,
and the late T. Juste's excellent vindication of Egmont and
Horn, bearing the title • of Le Comte (^Egmont et le Comte
d'Horne.

In the Critical Analysis I have given the history of the
composition of the drama, in accordance with the data
gathered from Goethe's own writings ; and I have also
availed myself of his own opinions on his production, which
give us the right clue to the standpoint from which the
critic ought to view his drama. I have further given nearly
all the salient points of Schiller's criticism on Egmont.

It is to be hoped that the Life of Goethe — brief and incom-
plete as it is — will be useful to those to whom the subject
is new, and will lead them on to peruse some of the more
complete Biographies of the poet. The appended Biblio-
graphical Tables — arranged according to subjects — will show
at a glance the principal works of Goethe, with the date of
their composition, and the existing English translations.

In conclusion I have to render my thanks to the Very Rev.
G. W. Kitchen, M.A., Dean of Winchester, who has given
me much assistance in my task, and to whom I should like
to be able to express my gratitude as warmly as I feel it.

About two decades have elapsed since the above was written,
and during that period great progress has been made in this
country in the study of German, which is now more than
ever recognised as a powerful discipline of the mind, and
as an essential ingredient of modern education, in the best
sense of the word. The inveterate prejudice that ancient
classical works only are fully worthy of a learned editorial
apparatus has also lost more and more ground. Owing to
these circumstances my annotated edition of Goethe's Egmont
has met with general approval, both in the literary and the
educational world, so much so, that it was deemed advisable to

Vin PREFACE,

let that first, or * pioneer volume,* be followed by a series of
similarly edited German classical works, the fenth volume of
which is now in the press. This success is so much the
more gratifying, because of late years the prejudice, based
on an entirely erroneous conception, has sprung up that for
the acquisition of a practical knowledge of modem languages,
commonplace conversational books are more suitable than
classical works. It is not the place here fully to discuss
this subject, but this much I may maintain —that those
le^ners of German who have carefully studied the dramas of
Lessing, Goethe, and Schiller, will possess a larger vocabulary,
even for * practical purposes,' than those who have read
through all the plays and farces of contemporary German
playwrights, not to speak of the mind-elevating influence
which the reading of classical productions exercises on young
and old. Let the learners of German by all means use
modem German plays for cursory readings, but let them not
make a * study ' of shallow conversations and farcical plots.

In issuing the present /our^k edition of this volume, I have
most carefully revised the Text, chiefly according to Dr.
Strehlke's edition (Berlin, Hempel), which is based on the
best authorities. I have, besides, given the Text in a form
which will probaby be found far more acceptable by teachers
and learners than the Text given in other current editions.
The editorial matter has been thoroughly revised, more
especially the Notes, in which I have given a number of new,
but necessary explanations. Some of the Notes have been
condensed without detracting anything from their substance.
It is, therefore, to be hoped that the present edition will still
more contribute to increase, in this country as well as in
America, the popularity of one of the finest productions of
German dramatic literature.

C A. BUCHHEIM.
King's College, London,
/an. 1889.

i

CONTENTS.

PAGE

Life of Goethe xi

Critical Analysis . . . . * , xxviii

Historical Introduction xxxix

Egmont:—

Text and Arguments i

Notes 123

Bibliographical Tables of Goethe's Works 201

/

LIFE OF GOETHE.

The quaint saying of the astrologer Seni, in Schiller's
Wallenstein, —

Metn Sohn ! Nichts in der Welt ist unbedeutend.

Das erste aber und hauptsdchlichste

Bei allem ird^scken Ding ist Ort und Stunde^

finds ks special application in the lives of great men. It is
by no means a matter of indifference with regard to a man of
genius, in what period he lived, and in what particular place
he was bom. We all know the trite saying that * genius will
under all circumstances make its way.' To a certain extent
this saying is true ; but only to a certain extent. We only
hear of those men of genius who did gloriously overcome all
the obstacles in their path ; but the number of possible great
men who perished in obscurity, because they were not bom
at the right time and in the right place, who can reckon ?
Literary history abounds, besides, in instances of powerful
intellects who have failed to impress their stamp upon their
age, solely because they lacked the favourable influences of
time and place ; they were born too early or too late, or their
native country was not congenial to them, or the early
associations of their life rested like a permanent blight upon
their character, and thus prevented the full growth of their
genius.

But of Goethe, it must be admitted, that he was bom at the
right time and in the right place, as is seen in the happy
development of his individual character and in the universal
influence he exercised over contemporary literature. Had
Goethe's literary career begun early in the eighteenth century,
men would have been too much perplexed by the brilliancy
of his genius. He would not have found a ready echo in

XI 1 LIFE OF GOETHE.

their hearts, and would thus have lacked that encouragement
of public appreciation which is to the poet what sunshine is
to the plant. Even in the latter half of the eighteenth century,
the world was not a little startled by Goethe's appearance ;
but the German public had then already been inspired by the
lofty strains of Klopstock*s muse, enlightened by the acute
criticism of Lessing, and, in some respects, refined by the
elegant writings of Wieland ; not to speak of other literary and
philosophical influences, both native and foreign, which helped
to pave the way for a new era in German literature.

Johann Wolfgang Goethe was bom at Frankfort-on-the-
Main, on August 28, 1749. The advantages which are gene-
rally enumerated by Goethe's biographers as having accrued
to him from his birthplace are simply these : that Frankfort
was a large and busy town, which gave him ample opportuni-
ties of seeing, at an early age, life in all its manifold varieties —
for he could witness there the animated scenes of the annual
Afessen, or Universal Fairs; that he saw the imposing spec-
tacle of the Imperial Coronation in 1764; and that he fre-
quented the French theatre, established temporarily by the
French garrison, in 1 759. Of far greater importance, however,
is the circumstance that Goethe was bom in the free city of
Frankfort. Civic life was there perfectly unrestrained, and the
citizens could move freely, unmolested by any petty despotism ;
and this it was which gave to Goethe that consciousness of
the dignity of man which formed a marked feature of his
character, and never left him even in the presence of kings
and emperors. He was bom free and remained so, otherwise
he could never have become the poet of humanity.

Goethe was the son of wealthy parents. His father, who
was an Imperial Councillor and Doctor of Law, was a well-
educated and experienced man, full of earnestness of purpose,
though of a somewhat pedantic bent. His mother was the
daughter of Johann Wolfgang Textor, the chief magistrate
of Frankfort ; she was an excellent woman, possessing great
good-nature, mother-wit, and remarkable self-command. All

LIFE OF GOETHE, XUl

the good qualities of the parents descended upon the son,
in whom they were both refined and expanded. Thus the
pedantry of the father manifested itself in the son as an
earnestness of purpose and love of order, which were the
prevailing features of his character.

Young Goethe received a very careful education, and as he
had an invincible craving after knowledge, he soon became
his own teacher. His poetical genius showed itself very early.
One of his first poems is dated 1765. It is a religious piece,
entitled Dte Hollenfahrt Chris ti. In that year he repaired to
the University of Leipzig, to devote himself, according to
the desire of his father, to the study of jurisprudence ; but art,
science, and poetry absorbed his attention almost exclusively.
The plays Die Laune des Verliebten and Die Mitschuldigen
were composed in 1767 or 1768. The former is founded on
an incident in his own life, and derives special importance
from the fact that it was the first of that great series of
poetical works, which express the growth and movement
of his inner life. The plot of the second play is taken from
the * gloomy side * of life in great cities, such as he had wit-
nessed in the busy town of Frankfort.

In 1768 Goethe returned to his native city in bad health.
After his recovery under the tender care of his mother, he
went, in the spring of 1770, to the University of Strasburg,
which, although the town had already been for almost a cen-
tury under French dominion, was still the seat of German
learning. Here he graduated, and gladdened the heart of his
father by bringing home in 1 77 1 the diploma of Doctor of Law.
Another acquisition he made at Strasburg was, however, of
far greater importance to him. It was there that he began
to study Shakespeare, and came into contact with Herder
(b. 1744; d. 1803), who exercised a most beneficial influence
on the development of his poetical genius. He also conceived
during his sojourn in the Alsatian capital the idea of Faust —
the poem of his life — and of Gotz von Berlichingen, the pro-
duction which maybe considered as the foundation-stone of his

Xiv LIFE OF OOETHE.

literary fame. The first version of the latter piece was written
at Frankfort in 1771 ; but he was too great a man to rush at
once into print, and so he took the manuscript with him to
Wetxlar, whither he went to get a practical schooling in the
legal profession at the Reichskammergericht^ox Imperial Court
of Justice. Goethe's sojourn at that place is principally note-
worthy on account of his having made there the acquaintance
of Charlotte Buff, at a time wl)en she was already betrothed to
his friend Kestner—which circumstance gave rise to the compo-
sition of his novel Werthery of which Charlotte is the heroine.
In the autumn of 1772 we find the young poet again under
his paternal roof, occupying himself with various studies, and
re- writing G^m vim Beriichingtn. This second version of his
drama was published in 1773* anonymously, and at the joint
expense of the author and his friend Merck, who greatly
infiuenced him by his critical judgment. Goethe bad dra-
matited the histor>* of that * noblest of Germans, in order to
rescue the memory of a bra\^ man.* G6tx is an aniniated
and« in general, faithful picture of the sixteenth centur>% with
its wild life and its mingled deeds of \nolence and generosity ;
but it is sketched in such bold and grand outlines that it took
the world by surprise* and called forth a host of imitations.
The chief e^fi^ct of the play* firom a literary point of view, was
the final destruction of the French and the substitutioii of
the En^ish inl^uence in dramatic literature in Germany.
In the y^^ar tn'4» Goethe startled the wvntKI by another work«
ditlervnt in ex-erv respect from G^tt» except that it also bears
the stmn\p of >\mthful genius^ This was the oMMrated iK»vd.
LMtm^/mii^m\V*rtJUrs^ The impression whkh this book
-written in about four weeks -prvxiucevi w;4s uiuxefsaL and
tbe yvKin^ authctr became at once a literary celebr^ at borne
4U!ui abroadv Wenher b a inuthnil picture of the morbki sen>
tittiefiitatity of tbocse tunes. Itshowstbebelpie:$sstateofaiBaii
wbo lacks that moral strength w^tkh alooe can :sustam ies ua
wori^ilv mjbsenr. Much that is la Wcrther hiad bee& iek by
CHKtbe himself wbtle ac Wec:^ : but be passed brav^

LIFE OF OOETHE, XV

through that morbid state and came forth purified. Whilst
describing, however, in general his own feelings, he chose as
a prototype for the unenergetic hero of his -novel, the young
Karl Wilhelm Jerusalem, son of the celebrated Protestant
divine, J. F. W. Jerusalem of Braunschweig, who had, from
disappointment in love, put an end to his life at Wetzlar, in
1772. After having written the novel with its tragic ending,
Goethe felt himself quite cured, and peace was restored to his
agitated mind. It had the same beneficial effect upon other
healthy natures ; and if some sickly creatures, who did not
rightly read its warning lessons, suffered, it was surely not the
fault of the author, who had addressed to them the admonition :

^ Sieh! Dir winkt sein Geist aus der Hohle
Set ein Mann und folge tnir nicht naM

Goethe^s Werther was at once translated into the chief
European languages ; about twenty-five times into French
alone. It is a well-knawn fact that Napoleon had the novel
with him during his campaign in Egypt, and that he
personally made some remarks on it to Goethe in later years.

Several minor works closely preceded or followed the publi-
cation of Werther, The most noteworthy of them is Clavigo,
a tragedy, principally based on certain incidents which
occurred to a sister of Beaumarchais at Madrid. The year
oi the publication of Werther is, however, more memorable
from the fact that it marks the actual beginning of Faust,
Ip the following year (1775) Goethe began the tragedy of
Egmonty which he took with him in an incomplete state to
Weimar. Karl August, Duke of Sachsen- Weimar, had made
the acquaintance of the poet, through Major von Knebel, in
the year 1774, and had been attracted by him. The liking
was mutual, and soon ripened into a lasting friendship. After
a repeated invitation on the part of the Duke on his assum-
ing the reign of his modest dominions, Goethe repaired to
Weimar, where he arrived on the 7th November, 1775. The
young Duke had inherited a decided taste for art and

XVI LIFE OF OOETHE.

literature from his mother, the Duchess-Dowager Amalie,
who assembled round her in her little capital a select circle
of poets and artists. Thus Goethe came into a congenial
atmosphere, and assisted the Duke in enlarging his literary
and artistic circle to such a degree, that the name of * The
German Athens * was justly bestowed upon Weimar. Goethe
soon was all in all to the Duke ; he became his most intimate
friend and tutor ; not his official servant, but the first citizen
of his Duchy. The Duke bestowed upon the poet all the
outward marks of distinction in his power. In 1776 he made
him Legationsrath J in 1779 Wirklicher Geheimrath; and in
1782 he was appointed by him Kammerprdsidenty or President
of the Exchequer, and ennobled by the Emperor Joseph II.
The office was not a mere sinecure with Goethe. He worked
hard for the welfare of the Duchy with, and sometimes even
against, the Duke, who was not unfrequently inclined to
exceed the limits of his modest income.

During his first sojourn at Weimar, which lasted from 1775
to 1786, Goethe was, however, not only active as a states-
man ; nor did he waste his time in court pleasures. A number
of his minor poetical productions date from those years, in
which he also composed some of his finest ballads and
* hymns,* and wrote his Brief e aus der SchweiZy which
contain unrivalled descriptions of scenery. But, above all,
he completed the first six books of Wilhelm Meister's
Lehrjahre ; he sketched, in poetical prose, the first drafts of
his Iphigenie and of part of his Tasso ; and Egmont was
taken up in happy moments of poetical inspiration. And,
beside all this, he worked hard at science and art, and also
carried on an extensive literary correspondence.

With the year 1786 the life of Goethe entered a new phase,
which he designates himself as his * new intellectual birth *
{geistige Wiedergeburt), In that year he carried out his long-
cherished desire, and visited Italy, where nature and art alike
instilled into his mind that harmony of feeling of which he
stood so much in need. There were no discordant elements

LIFE OF GOETHE, Xvil

to ruffle the even flow of the poetical current.. • The North
had given him the intellectual basis — the Thought : the
South imparted to him, or rather ripened in him, the divine
gift of artistic Form, And now the poet was complete.

The first fruit of this poetical pilgrimage was the transfor-
mation of the prose version of Iphigenie into iambics, the
purest that the German language can boast of. The task
was easy enough, the prose being actually written in lan-
guage so rhythmical, that in many cases it only required the
mechanical division into iambics of five feet ; in other in-
stances only a few slight alterations were all that was
required, as may be verified by a comparison of the prose
version, which is still extant, with the poetical version.
Goethe's dramatic poem, of which Schiller said that it was
* a marvellous production, which must for ever remain the
delight and wonderment of the world,' excels in many re-
spects the drama of Euripides on the same subject. But
the most characteristic feature of the poem is the happy
fusion of the antique with the modem ; the characters of
ancient Greece being reproduced in the light of the ethics of
our own times. Considered from this point of view, Goethe's
Iphigenie may, in fact, be regarded as a representation of
the triumph of civilization over barbarism ^

Goethe had completed his Iphigenie — which is as noble in
conception as it is pure in language and classical in form —
at Rome. That he likewise completed there the tragedy of
Egntonf, will be seen from the Analysis of that drama in this
volume. He also occupied himself with new versions of his
comic operas, Claudine von Villa Bella, and Erwin und
Elmire, besides writing several poems, and some scenes of
Faust, and transforming his Tasso into verse. The last-
mentioned dramatic poem, which was not finished till the
year 1789, at Weimar, is based on a melancholy episode in

* For a fuller analysis of Goethe's Iphigenie auf Tauris, compare
the * Critical Introduction ' to my Edition of that Drama, issaed in
the present series of German Classics,

b

Xviii LIFE OF GOETHE.

the life of the poet of * Jerusalem Delivered/ who, according
to a tradition, had conceived an unhappy passion for the
sister of Alphonso, the reigning Duke of Ferrara. There is
not much action in this drama ; nevertheless it exercises great
charm over the mind of thoughtful readers. It abounds
in poetical sentiments and noble thoughts, and shows the
necessity of self-control. Another remarkable work which
owes its origin to Goethe's sojourn at Rome are his Rdmisch^
E/e^ien—^ RomsLXi Elegies,* — which he wrote in 1788. In
these poetical reminiscences the author expresses the grati-
fication he derived from Rome, which afforded him so many
means of enlightening his mind and gladdening his heart ;
and he looks back with regret upon days now passed for
ever. Southern passion is blended in these poems with
Northern depth of feeling.

The year 1788 saw Goethe again in the ducal capital on
the Ilm; it was in this year that he first met Schiller, at
Rudolstadt. The two poets were not drawn to each other
at their first interview. Schiller expressed his personal
dislike for Goethe, in rather strong terms, to his friend
Komer. Nor was Goethe's impression of Schiller more
favourable ; it was reserved to the all-adjusting course of
time to bring together the two greatest poets of the nation.

After the completion of Tasso, in 1789, the outbreak of the
French Revolution led Goethe to turn his thoughts to works
of a political complexion. Most of these are very inferior
to his purely poetical compositions, and, as they are very
similar to one another in tendency, it may be as well to
mention them here all at once. The play, the Groszcophta
(1789), is based on the famous Diamond Necklace mystery,
and gives a picture of the depravity of the French court.
The Venetianische Epigramme, which are the product of his
short visit to Venice in 1790, contain many allusions to the
Great Revolution, and reveal the state of disappointment
into which those troubled times had thrown his mind. The
Burgergeneral, a little comedy based on the panic inspired

LIFE OF GOETHE, XIX

by the Jacobins, was written in 1793, in which year Goethe
also began his Unterhaltungen Deutscher Ausgewanderten^
finished in 1795, which bring before us, in the form of the
Decamerone, the conflicting opinions with reference to the
French Revolution. In the dramatic fragment called Die
Aufgeregten (1794), the author ridicules the two extremes:
the overweening pride of the aristocrats, and the revolu-
tionary mania of the people. But by far the most important
production, in some respects belonging to the class of litera-
ture just named, is his masterly version, in hexameters, of the
old and universally known German epic Reineke Fucks.

During the period in which Goethe devoted himself to
these works, he also engaged heartily in scientific pursuits.
From his botanical studies sprang his Metamorphose der
Pflanzen (1790), by which treatise he rendered great service
to the scientific world ; but he was less successful with
his optical researches, the results of which he laid down
in his Beitrdge zur Optik (1791-1792). It was fortunate for
both Goethe and the world that he came again into contact
with Schiller, by whose animating influence he was brought
back to his proper sphere. Goethe himself designates the
time of his union in intimate friendship with Schiller as a
new spring, and as his * second youth.* The latter invited
Goethe to send him contributions for his periodical. Die
Horen, which was intended to counteract the bad taste then
dominant in Germany ; and this, together with several
personal interviews, brought about a friendship between the
two great poets, which has no parallel in the history of
literature. Besides chastising, conjointly with Schiller, the
idol- worshippers of bad taste, in the epigrammatic Xenien^
Goethe was now in a sufficiently poetical mood to complete
Wilhelm Meister's Lehrjahre (1796), and to begin his ex-
quisite idyll, Hermann und Dorothea^ which was finished
in 1797. This poem, which Schiller calls *the topmost
pinnacle of Goethe's and all our modem art,* is founded on
certain incidents which occurred during the Protestant emi-

b2

XX . LIFE OF GOETHE.

gration from Salzburg in 1731 ; but Goethe adopted a
political background by transferring the time of action to
the period of the French invasion of Germany. Genuine
patriotic feeling is interwoven with the romantic incidents of
the tale, and Hermann und Dorothea may, therefore, be
called a truly national poem. It is written in * Homeric
hexameters, with Homeric simplicity' ; and its beauties are
so great and touching that we cannot help repeating the
words which fell from Goethe's lips as he looked on a
beautiful landscape in the Tyrol : Hier hilft kein Beschreiben !
In giving a full analysis of this poem in his *Life of Goethe,'
the late Mr. G. H. Lewes remarks, that the charm of the
poem cannot be caught from his analysis, * for,' — as he well
says, — * the perfume of a violet is not to be found in the
description of the violet.'

Between the years 1798 and 1806, Goethe was in constant
and varied literary activity. Besides producing his Geschichte
dcr Farbenlehre, the least successful of his scientific produc-
tions, he edited the Propylaen, a periodical devoted to art
and science ; wrote several poems ; adapted Voltaire's
Mahomet and Tancred for the German stage ; translated
Diderot's Essay on Painting (Diderot Uber Malerei), and
the Memoirs of Benvenuto Cellini. He also composed the
drama. Die natiirliche Tochter^ which is the first part of a
tragedy designed to present a dramatic picture of the
French Revolution, and finally he wrote his essays on
Winckelmann and Philipp Hackert. In 1805 Goethe suf-
fered a calamity which affected him perhaps more deeply
than any other misfortune which had ever befallen him.
Schiller died, and Goethe wrote to his friend Zelter, * The
half of my existence is gone from me.'

The year 1806 saw the publication oi Faust j the greatest
poem of the age. It has been said above that, when a
student at Straszburg, Goethe conceived the idea of dra-
matizing the legend of Faust. The composition of this
poem may, therefore, be said to have extended over nearly

LIFE OF OOETHE. XXi

the whole of the poet's life ; fer it was not till 1831 that the
second part of the work was finished. The well-known
legend relating to Faust, the student, who, after having
squandered his uncle's fortune, made a compact with the
Devil for twenty-four years, was first published towards the
end of the sixteenth century. This subject, which proved
so attractive to various poets, was employed by Goethe to
represent a man who, after having acquired all possible
knowledge, yearns to penetrate into the mysteries of nature
and to unravel the riddle of life itself Foiled in this daring
attempt, he despairs of life ; but a reminiscence of earlier
happy days, awakened in him by the chiming of Easter bells
and the distant singing of the choir, allays for a moment
his inward struggle, and saves him from self-destruction.
His despair is lightened, but his thirst for knowledge is not
quelled, and he next is tempted to make a compact with
Mephistopheles. The pleasures of this world are to afford
him the sought-for gratification ; but the futility of this is
shown by the unspeakable misery which Faust inflicts upon
Gretchen. The conflict in Faust's heart grows more tumul-
tuous, and he seeks an escape in practical activity. This is
the subject of the second part of Faust, which was written
during the last years .of Goethe's life, and is a kind of
poetical allegory.

It is beyond our present scope to give a full critical analysis
of this wonderful production. Suffice it to say that there
exists no secular work which is so universally popular, and
so much studied by thoughtful readers. The Faust-Uteratur
forms almost a library by itself.

Next after Faust in point of time came Die Wahlver-
wandtschaften^ which work was begun in 1808, and finished
in 1809. This novel, which we venture to pronounce far
* better than its reputation,' shows by its tragic end that the
great and sacred laws of morality cannot be violated with
impunity. In the following year Goethe sketched the plan
of his great autobiographical work, Aus meinem Leben ;

XXll LIFE OF GOETHE,

Wahrheit und Dichtung^ of which the first volume appeared
in 1811, and the last in the year 1831. This work is, both
from a biographical and artistic point of view, of the highest
value. Let not the expression Dichtung mislead the reader ;
it here signifies * poetry ' rather than * fiction.' The facts
narrated are essentially true : the author only casts a
poetical halo around them. His Autobiography extends
only to the year 1775 ; but fortunately he has left us, besides
a most extensive correspondence, several other works which
relate to his life, as the Annalen, oder Tag- und Jdhreshefte
(1749- 1 822) ; his Brief e aus der Schweiz, which refer to his
three different journeys in Switzerland ; his Italienische Reise
(1786- 1 7 88) ; and his Campagne in Frankreich^ which relates
to the invasion of France (1792), undertaken at the instigation
of the French emigres , by the Duke of Brunswick and King
Friedrich Wilhelm II. Duke Karl August had the command
of a regiment, and was followed from pure affection by the
poet. Finally we must mention here his Reise am Rhein
und Main (1814-1815).

In the memorable year 181 4, Goethe wrote his allegorical
poem Des Epimenides Erwacheny in which he celebrated
the liberation of Germany ; and in the same year he also
began the Westostliche Divan^ which consists of poetical
versions from the Persian and Arabic, and of original poems
moulded in an Eastern form. His poetical tendency now
evidently inclined more and more to symbolical representa-
tion, until it reached a climax in the second part of Faust,
In his prose writings, however, no such marked change was
visible, and we actually find him in his seventy-first year
engaged in writing a sequel to Wilhelm Meister's Lehrjahre
under the title of Wilhelm Meister's Wanderjahre, Goethe's
first object in writing the Lehrjahre was to give a full repre-
sentation of the theatrical world ; but the subject expanded
under his hands, and he introduced into the novel a picture
of the aristocracy of those times, and of other classes of
society. It is full of deep refiection on education, art, and

LIFE OF GOETHE, XXlll

poetry ; and the delicate delineation of the female characters
in the narrative part has not been surpassed by any poet.
This novel, which has a deeper moral import than people are
usually inclined to admit, derives additional importance from
the fact that it contains the famous Bekenntnisse einer
sckonen Seele (Book vi), which are reminiscences of the
sentimentally pious Fraulein von Klettenberg, who had
great religious influence on Goethe in his youth. The
author's celebrated criticism on Hamlet is likewise skilfully
interwoven into the novel. The principal characters of the
Lehrjahre are introduced into the Wanderjahre, which con-
sists of a series of sketches and tales artistically strung
together. This work is by no means equal to the Lehrjahre,
a fact which may be accounted for by the age of the author
when he undertook it. It was begun when he was seventy-
one, and he recast the whole at the age of eighty.

We see, then, that Goethe worked : Ohne Rast und Ruh !
He actually wrote several critical essays, chiefly relating to
science, in 1832, when he had reached the age of eighty-two
years and six months. On the i6th of March in that year
he . fell ill. On the following day he was still able to dictate
a long letter addressed to W. von Humboldt; but his life
was now ebbing fast, and after a few days more of illness
the earthly career of Johann Wolfgang von Goethe was closed,
on the 22nd of March, 1832.

An incidental remark made by Goethe in his dying hour
shows that the memory of Schiller floated before his mind's
eye to the last. Nothing can be more touching than this
circumstance, and nothing casts a more favourable light on
Goethe's character than his friendship for his early critic and
later * rival.' Schiller's severe criticism on Egmont (see the
following Analysis) must have produced upon him a painful
impression. Still, it is well known that he materially assisted
the poor, though popular, poet, and that without his influence
Schiller would not have been able to devote himself exclu-
sively to the exercise of his poetical genius. The tragedy

XXIV LIFE OF GOETHE,

of Egmont was, in later years, destined to give a still more
striking proof of Goethe's disinterested friendship for Schiller.
The latter had, in the year 1796, undertaken the arrangement
of that Drama for the stage, an arrangement which Goethe
justly called eine grausame Redaction. Schiller proceeded in
a most arbitrary manner in his re-cast, which was in reality
a mutilation of the drama ; but nevertheless Goethe — who in
his capacity of Theater- Director was the theatrical autocrat —
allowed the piece to be performed in its mutilated form, and
his friendship for Schiller continued as warm and genuine as
ever.

There is another fact which would, under ordinary cir-
cumstances, have contributed to cause a breach between
the two friends. Goethe had, as the more fortunate man,
the greater number of enemies ; and these naturally set up
Schiller as a rival to him — as his superior, both as a poet
and a character. Goethe's detractors were aided in their
ignoble proceedings by two circumstances. Schiller was the
more popular poet. His muse appealed more to the ordinary
passions of mankind, and he did not take his characters from
actual life, but from his own imagination, from his ideal vforMi*
Goethe, on the other hand, represented more real characters ;
he saw the world as it is, and described it so. For this reason
Goethe has been called a Realist, and Schiller an Idealist.
The distinction just pointed out has also been marked by
critics by t>\o other terms with which most readers of literary
history are, or at least ought to be, sufficiently acquainted.
Because Goethe derived his poetical conceptions from with-
out, as it were, and considered things and persons as they
actually are, he is called an Objective poet ; whilst Schiller,
whose creations sprang from within, from his own internal
conception, is characterized as a Subjective poet. To give a
more detailed or popular definition of these characteristics is
beyond our present limits. Suffice it to state that the result
was that Schiller became universally popular. Almost every-
body admired his pathos, even those who did not understand

LIFE OF GOETHE. XXV

him ; while Goethe can only be fully appreciated by those
who understand him. That the number of such readers was,
at that time, not very great can easily be imagined.

We certainly do not mean to underrate the genius of
Schiller ; and we think it singularly fortunate for Germany
that she had, at one and the same time, a first-rate realist
poet and a first-rate idealist poet, more particularly because
each of them had a considerable admixture of the peculiar
genius of the other. We gladly follow in this the advice of
Goethe himself to the Germans, that instead of arguing which
of them was greater, they should be content to have had * two
such fellows *.'

The other circumstance which caused Schiller to be ex-
tolled above Goethe is, that the former is generally charac-
terized as a friend of freedom, whilst the latter is set down as
a haughty aristocrat, void of all patriotic feelings or sympathy
for the people. This is a vexed topic, the more so because
it seems to be upheld by many Germans with all the tenacity
of a superstition. I have often heard the same reproach
uttered against Goethe in this country ; but here it is a mere
echo of opinions held in Germany. It would occupy too
much space to prove the groundlessness of this charge ;
I will therefore confine myself to a brief explanation of the
cause of the accusation, and by doing so I hope also to free
my own countrymen from the charge of wilful detraction.
The accusation alluded to arose out of Goethe's greatness.
He was the greatest poet and the greatest German of the
age. Even his antagonists must allow that his was an extra-

* The following epigram, by Schiller, shows that he too depre-
ciated all rivalry between himself and his poetical compeer :

' Wahrheit suchen wir Beide, du aufsen im Leben, ich innen

In dem Herzetiy und so findet sie jeder gewifs.
1st das Auge gesund, so begegnet es aufsen dem Schbpfer ;
1st es das Herz, dann gewifs spiegelt es innen die Welt.*

Some excellent remarks on the subject of the depreciation of Goethe
in favour of Schiller will be found in Heine s Prosa (C.P.S.), p. 169,
1. 9, etc.

XXVI LIFE OF GOETHE.

ordinary genius; hence the Germans expected everything
from him. He had liberated them intellectually, why should
he not liberate them also politically ? He was the monarch
of literature, why should he not throw down the gauntlet to
the greatest general of the age ? Such seem to have been the
vague expectations of his contemporaries, who forgot that
Goethe was a man of peace, and that even the greatest
genius can achieve great things in his own sphere only. It
is very probable that, had Germany possessed a general who
was a full match for Napoleon, nobody would have expected
of Goethe an active participation in the events of the time.
And it is also probable that Goethe's own enthusiasm would
then have been roused. Indeed, it may be assumed that no
one felt more keenly than he did the national misery, but he
also felt that it was beyond his power to remove it ; and so he
bore it with the same calm resignation with which he bore
his own personal misfortunes — the death of his dearest
friends, of his wife, and of his son. And how could it be
possible that a man of his benevolent disposition should feel
sympathy with the individual only, and not with his own
nation ?

Goethe's benevolence is shown by facts too numerous to be
enumerated here. For proof of this I must refer the reader
to a work which I cannot sufficiently recommend to all who
wish to obtain a clearer insight into Goethe's character and
a proper understanding of his works— the Lt/e of Goethe
by Mr. G. H. Lewes. The author deserves the thanks of
every German—in spite of some trifling errors into which he
fell — for having done so much to remove many still pre-
valent prejudices. In Germany his admirable work has
become extremely popular.

I cannot conclude this brief sketch without mentioning
another name, intimately connected with the study of Goethe
in this country. It is that of Thomas Carlyle. Fortunately
his works have been now so long before the public, and are
so generally acknowledged, that it is almost superfluous to

LIFE OF GOETHE. XXVU

state what that eminent writer has done for the right ap-
preciation of Goethe, by his erudite criticisms and masterly
translations. Carlyle's labours in this field have greatly
contributed, not only to enlighten the English public as to
the genius of Goethe, but also to remove several erroneous
impressions with reference to his character.

An exhaustive biography of Goethe, fully worthy of the
great subject, has not yet been written. Ample materials for
the story of his life are to be found in his autobiographical
works and his extensive correspondence, comprising several
thousand letters ^ His Gesprdche ?nit Eckermann also furnish
highly interesting and most valuable materials for the poet's
life, besides showing his noble character in its true light. Of
late years new biographical materials have been discovered
in the Archives of Weimar, and the formation of the Goethe-
Gesellschaft has given a new impulse — admirably sustained
by the Goethe-Jahrbuchy edited by Dr. L. Geiger — to the
study of Goethe's works in and out of Germany.

In conclusion, I may point out from the great mass of
critical and biographical works on Goethe^ the following
productions : Schafer's Goethe's Leben (1877) ; ViehofTs
Goethe's Leben (1876) ; Goedeke's Goethe s Leben und
Schriften (1874) ; Goethe und Schiller by Hettner (1876) ;
Hermann Grimm's Vorlesungen iiber Goethe (1877) ; the
monograph on Goethe by Mich. Bemays (1880); Goethe* s
Leben, by Heinrich Diintzer (1880), who has done so much
to popularise the life and works of the poet ; and finally
the biographical and critical essays by Gervinus, Hillebrand,
R. Gottschall, Koberstein, and Wilhelm Scherer^ in their
respective histories of German Literature.

^ Cp. Appendix I. p. 199, in the present volume.

' Scherer's criticisms on Goethe will be found in Vol. II. of Mrs.
F. C. Conybeare's excellent translation of his History of German
Literature, published at the Clarendon Press.

CRITICAL ANALYSIS.

The tragedy of Egmont was begun by Goethe in 1775, but
not finished till 1787, a period exceeding by three years the
nine-years' term prescribed by Horace to poets for the
polishing of their works. He tells us in his Autobiography,
Wahrheit und Dichtung, that, after having drawn, in Gotz
von Berlichingetiy one important historical catastrophe, he
felt himself impelled to dramatize another subject, also re-
presenting a great historical crisis. The Revolt of the
Netherlands had attracted his particular attention. He
carefully studied the sources relating to the period, and as
he endeavoured to obtain a clear conception of persons and
things, he discovered the highly dramatic bearing of the
situations in which Count Egmont stood forth as the prin-
cipal figure. The character of the Count was, on account of
his humane and chivalrous disposition, most congenial to
him. He saw in him * the representative of firmly established
institutions, which cannot hold their own against deliberate
despotism,' and he resolved to dramatize his fate. This was
in 1775, when Goethe was twenty-six years of age.

The young poet was encouraged by his father to proceed
with the execution of his projected drama, and at once wrote,
as he tells us, the * principal scene.* Which scene this may
have been must be left to conjecture. An invitation he
received to the court of Weimar threatened, however, to
interrupt, perhaps for ever, the composition of the drama.
Goethe had already taken formal leave of his friends at
Frankfort, and was expecting hourly the arrival of the
nobleman who was to convey him in a state carriage to
the residence of the Grand-Duke Karl August. But neither

CRITICAL ANALYSIS. XXIX

nobleman nor carriage arrived, and the disappointed poet,
unwilling to expose himself to the taunts of his friends, shut
himself up in his house for several days, and wrote during
this beneficial solitude the chief part of the drama. The
misunderstanding (for such it was) about his journey to
Weimar being cleared up, he repaired to that town with the
unfinished manuscript of his Egmont,

After three years, Goethe again took up the drama ; but it
was only at long intervals that he worked at its composition.
On December 12, 1781, he tells Frau von Stein that his
Egmont will soon be ready ; and if it were not for the
awkward fourth Act, which he detests* and is obliged to
re- write, he could finish It by the end of the year. Egmont
was finished in 1782 ; finished, but not ready for the public.
The composition did not satisfy the author, and he would not
consent to have the drama performed.

In the meantime other subjects occupied Goethe's mind,
and the very existence of the drama seems to have escaped
his memory. At last he reverted to it, in 1786, and took it
with him to Italy, intending to revise it during his stay there.
He began this irksome task during his second sojourn at
Rome, in the summer of 1787. By a strange coincidence, in-
surrectionary movements took place at that time in Brussels,
so that Goethe apprehended that the scenes which he had
written twelve years before, would now be regarded as an
allusion to passing events. But it was not until the 5th of
September, 1787, that Goethe was able to write from Rome,
* I must write this on a morning which is a feast-day for me ;
for it is only to-day that I have really finished my Egmont^

Goethe's joy at being freed from the burden which had
weighed so long and so heavily upon his mind was un-
bounded ; and he sent the drama in hopeful expectation to
Weimar. It was first read there in the literary circle which
played so important a part in the history of German literature,
and the reception was favourable, though not unmixed with
censure on certain details in the execution of the piece.

XXX CRITICAL ANALYSIS.

* The reception of my Egmont^ Goethe wrote, on November
3, 1787, 'makes me quite happy ; and I hope the piece will
lose nothing at a second reading, for I know what amount of
labour I have put into the work («/^w ich hineingearbeitet
habe)y and that all this cannot be discovered at once.* And
again, on November 10, he writes : * That my Egmont is
favourably received rejoices my heart ; for I have composed
no work with greater freedom of mind, and with greater
conscien tiousness/

That such was really the fact seems to have been little
known in those times. Goethe made himself so fully ac-
quainted with his subject, that almost every line — as will be
seen from the Notes appended to this volume — contains an
historical allusion. But because he managed this in so easy
and natural a manner that the ordinary reader scarcely be-
comes aware of the historical basis, and because he differed
from history, as regards Egmont himself, in one material
point, the poet's literary friends did not regard his production
as a real historical tragedy. Goethe's principal source was
the celebrated history of the war in the Netherlands by the
Roman Jesuit, Famiano Strada, written in elegant Latin,
which gives such masterly descriptions of men and things
that it probably helped to induce Goethe to compose the
tragedy. But Strada, although in his biographical sketches
he generally does justice to the antagonists of the Spanish
rule, was too partial a judge to be implicitly relied upon, and
Goethe had therefore also recourse to other historians, who
have described the revolt of the Netherlands from a national
or Protestant point of view, more particularly to the Dutch
historian Meteren.

Yet the public did not seem, as we said above, to have the
slightest notion of the fact that Goethe's tragedy was satu-
rated with historical reminiscences and allusions ; and people
were struck only with the fact that the author, in drawing
Egmont as unmarried, deviated in one essential point from
history. Schiller was the first to point out this departure

CRITICAL ANALYSIS. XXXi

from historical truth in his well-known and unfair criticism
entitled Ueber Egmont, Trauerspiel von Goethe, The drama
was first published in 1788, at a time when Schiller had just
completed the first part of his Abfall der Niederlande, It is,
therefore, quite natural that Goethe's dramatic conception of
Egmont was repugnant to Schiller's historical conscience.
The stern facts of history were still so deeply impressed upon
his mind, that he could not accept without a protest the
poetical romance with which Goethe invested the figure of
the historical Egmont. * The real Egmont,' Schiller avers,
*was more worthy of our compassion than the imaginary;
for he really sacrificed himself for the good of his family in
exposing himself to the vengeance of his implacable enemies.
Had he emigrated with his family, want, to which they were
so little accustomed, would unavoidably have stared them in
the face.' Several writers have, as has been mentioned in
our Historical Introduction, suggested this charitable ex-
planation of Egmont's strange carelessness and self-delusion.
It would be beyond our present purpose to show how un-
tenable the apology is before the tribunal of history ; and we
will therefore merely confine ourselves to quoting Goethe's
own indirect reply to Schiller's objection ; a reply which
first Appeared more than twenty years after the publication
of Schiller's criticism.

* For my purpose,* says Goethe in Wahrheit und Dichtung^
* it was necessary to transform him (Egmont) into a character
possessing such qualities as are more becoming a youth than
a man in years ; an unmarried man better than the father
of a family ; and an independent man better than one who is
restrained by the various relations of life.

* Having then, in my mind, invested him with youth and
freed him from all restraints, I attributed to him an ex-
uberant love of life, a boundless confidence in himself, the
gift of attaching to himself all men and thus of winning the
favour of the people, the silent affection of a princess, and
the avowed passion of a child of nature ; the sympathy of

XXXll CRITICAL ANALYSIS.

a profound statesman, — nay, even the friendship of the son
of his greatest adversary.'

Still more explicit and significant is Goethe's private utter-
ance to Eckermann, the chronicler of his opinions : * The
poet must know what effects he wishes to produce, and
arrange accordingly the nature of his characters. If I had
represented Egmont, in accordance with history, as the
father of a dozen children, his thoughtless conduct would
have appeared quite absurd. I wanted, therefore, another
Egmont, one whose character would be more, in harmony
with his actions and my own poetical views ; and this is, as
Clarchen says, my Egmont.' (EckermantCs Gesprdche mit
Goethe y i. 225.)

Goethe's principal object was to represent in Egmont, not
so much a hero in the conventional sense of the term, as
one who interests us, in spite of his foibles, by his humane
and amiable disposition. That the poet fully attained his
object was first pointed out by Komer in one of his letters to
Schiller (Briefwechsel^ i. 293). The latter implicitly allowed
this plea, but he expressed at the same time his opinion, that
Goethe had weakened our interest in Egmont by depriving us
of * the touching spectacle of a father, and a loving husband.'
Had Schiller's sense of artistic criticism been at that time
more mature, he would have felt that Goethe's object was to
write a poetical, and not a family drama.

But Schiller was then in the historical and philosophical
period of his literary career ; hence his inartistic matter-of-
fact criticism. At any rate the Egmont of the drama, Goethe's
Egmont, excites our lively interest ; when we see him pursue
his dangerous path we tremble for him, and when we see him
marching to the scaffold we deplore his fate.

Next to Egmont, the character of Clarchen interests us
most. It is, however, so poetically conceived, that we do not
wonder at its being frequently and thoroughly misunderstood.
Here, too, we can have recourse to Goethe's own comment,
who says, in the above-mentioned letter from Rome, *In

CRITICAL ANALYSIS. XXXlli

order to understand Clarchen*s character rightly it should be
remembered, that her affection for Egmont is by no means
based on any low feeling, but on the idea she entertains of
his perfection; that her happiness consisted in the incon-
ceivable delight of calling such a man her own ; that she also
comes forward in the character of a heroine, and that finally
a halo of glory is shed around her in Egmont's mind by his
vision.' Indeed, one may say that Clarchen's character was
superior to Egmont's conception of it, for she would not sur-
vive him, and j>receded him in death.

*Clarchen,* says Schiller, *is sketched with inimitable
beauty. In the highest and noblest stage of her innocence,
she still is the simple maiflen — the Flemish maiden— en-
nobled by nothing but her love, lovely in her calmness,
charming and grand in her passion.'

In a word, Clarchen is the personification of woman's love
and admiration for all that is heroic, noble, and brilliant. The
heroic nature of her own character is fully displayed in the
first scene of the fifth act, where her impulsive readiness to
step forth to the open rescue of Egmont contrasts strikingly
with the timid conduct of the citizens ; and her utter prostra-
tion, when every hope is lost, symbolises the helpless state of
the country. * I do riot think,' says Mr. Lewes, in his Life of
Goethe (p. 301), * Shakespeare would have surpassed Egmont
and Clarchen.' And further : * These are the figures which
remain in the memory : bright, genial, glorious creations,
comparable to any to be found in the long galleries
of art.'

The dramatic economy of the piece seemed to make the
introduction of another female character necessary. Goethe
therefore added that of the Regent, by whose conversations
with her secretary, as Eckermann observes {Gesprdche^ ii.
52), we are initiated into the political state of the country and
its relations to the Spanish court. * And then,' says Goethe
(ibidv)) * Egmont's character gains in importance by the halo
which the affection of the Regent sheds around him, and

c

%

XXXI V CRITICAL ANALYSIS, ,

Clarchen too rises in our estimation when we see her victory
over the princely rival/

The Regent appears in only two scenes. Her character is
rather idealized, and the manly tenor of her whole bearing has
been, as Schiller remarks, * considerably softened by womanly
traits, which impart to her stem political character light and
warmth and a certain individuality and vivacity.' Her secre-
tary, Machiavel, represents in his statesmanlike counsels the
voice of moderation and tolerance, and the importance of the
scenes in which these two characters appear cannot be over-
rated. They form an essential part of the whole drama, and
could as littte be dispensed with as the scene between Egmont
and Orange. The chaj*acter of the latter, cautious and pru-
dent, straightforward and immovable in his consistency, is
faithfully drawn in that single scene. Truly touching is the
manifestation of feeling on the part of that stern man towards
Egmont, whom he considers as lost. He is not ashamed of
his tears, for * Einen Verlorenen beweinen ist auch mdnnlich,^
When Orange disappears from the drama, we cannot with-
hold our admiration for him any more than we can our fear
and anxiety for Egmont's safety. This feeling arises in us
as Orange pronounces the words : Alba ist unterwegSy and
abides with us to the end of the drama. The character of
Alva has been drawn by Goethe with firm outlines. * Before
his Alva,* says Schiller justly,.* we tremble,* and * his charac-
ter is reflected, as is the case with Egmont, in the persons
who surround him.* The harshness of his nature makes the
deeper impression upon us, because it is set in glaring con-
trast with the warm-hearted character of his son Ferdinand.

* The scene between Egmont and young Alva,* says Schiller,

* has been invented and executed in a masterly manner, and
it is entirely the poet's own creation. What can be more
touching than the avowal of the son of his murderer, that he
had long felt deep respect for him in his heart ! ' We think
that for poetical beauty this scene has never been surpassed,
and very rarely, or perhaps never, equalled. It is the lyrical

CRITICAL ANALYSIS. XXXV

effusion of two noble souls, and reads throughout like an
elegy in prose.

But if Egmont's character appears to us the more loveable
on account of the warm admiration which the son of his
* greatest enemy ' entertains for him, we must deplore his
fate the more deeply, when we witness the sympathy which
even his unhappy rival cannot help feeling. The character of
Brackenburg, who is a sort of irresolute Werther, is quite an
original creation. We participate in his sorrow, more parti-
cularly in the last scene between him and Clarchen, when
his generous nature is fully brought to light, and his last
soliloquy, which Schiller designates as schrecklich sch'dn^
excites in us such a high degree of sympathy that, for a
moment, we forget even the tragic fate of Egmont. Bracken-
burg is also of great importance in the structure of the
drama, insomuch as he tends to elevate in our eyes the
character of Clarchen. That she is wooed by a young
citizen of Brackenburg*s social position casts a favourable
light on her own character, poor and humble though she
was.

The other personages of the drama are acknowledged as
master-sketches of character; and the popular scenes bear
a local colouring such as is rarely found, even in the very
best dramatic productions. * The few scenes,' says Schiller,
*in which the citizens of Brussels appear in conversation,
seem to be the result of a deep study of those times and of
the nation, and it would be difficult to find a more beautiful
historical monument of the events to which they refer given
in so few words.'

Some critics have censured the popular scenes as wanting
in animation. We cannot join in this censure. They pre-
sent to us with the minuteness of Dutch painters a most
faithful picture of the life and character of the Nether-
landers, and the impression they make upon us is the best
proof that the poet has fully succeeded in attaining the
object he had in view. A detailed characterization of the

c %

XXXVi CRITICAL ANALYSIS.

popular scenes and of the marked individualities of the
citizens would be beyond our present purpose, but we cannot
help pointing out that the character of Vansen, the eloquent
demagogue, the political firebrand by profession, is quite a
unique specimen of his class, and we must the more admire
the imaginative power of Goethe in representing such a
character in so life-like a form.

Egmont*s vision, in which the goddess of freedom, bearing
the features of Clarchen, appears to the sleeping hero, has
been censured by Schiller, who thought that the apparition
* smacked too much of the opera.' Some critics met this
reproach by the retort, that the last scene in Schiller's Maid
of Orleans was far more * operatic * than the end of Eg^ont.
But a counter-charge is no exculpation. If Schiller's re-
proach were well-founded, it would be a poor excuse for
Goethe, that his critic saw the mote in his eye, whilst he did
not perceive the beam in his own. We think, however, that
Goethe's justification lies in the groundlessness of the charge.
He has himself given us, as we stated before, an interpreta-
tion of the poetical vision. His intention was to ennoble the
character of Clarchen in our eyes by showing us, that the
hero himself thought of her in no mean or worldly manner.
And we think that the poet has fully justified the apparition
by the words which he put in Egmont's mouth : Ja^ ste
waren^s, sie waren vereint^ die beiden siiszesten Freuden
meines Lebens . , . . In einem ems ten Augenblick erscheinen
sie vereinigt, ernster als lieblich. Besides, the poetical vision
seems to be a fitting close to a drama the hero of which has
passed his whole life in a poetical dream.

Goethe was so fully convinced of the necessity of the appa-
rition, as a dramatic agency, that he insisted that it should
be retained in Schiller's * merciless adaptation ' of Egmont
for the stage. As we have mentioned above, the drama had
been performed in 1791 at Weimar in its complete form, and
was re-arranged by Schiller for the stage in 1796. The
characters of the Regent and her secretary were— to the

CRITICAL ANALYSIS. XXXVil

regret of the public — omitted, the succession of the scenes
considerably altered, and several additions made by Schiller
himself. The drama gained somewhat in movement, but
certainly lost in dignity. Schiller's adaptation is, indeed, a
total failure. It labqured, besides, under the disadvantage
that the exquisite music which Beethoven has composed to
Egmont does not fit the arrangement of the acts by Schiller.

Goethe had, however, the satisfaction that the complete
Egmont — his Egmont — was subsequently performed on
various stages with great success ; and since then the drama
has become an universal favourite in Germany.

There are two more points on which we must add a few
words— the language and the tendency of the drama.

The language in the popular scenes is fully in keeping with
the character of the speakers; it is terse, idiomatic, and
natural, whilst in the other scenes it is elegant, classical, and
* saturated with verse.' The rhythmical movement is so
prevalent in the latter that it would have given the poet
almost as little trouble to turn Egmont into blank verse as
it did to change his Iphigenie from prose into the purest
iambics. We may also mention, as a curious fact, that
Schiller, in quoting in his review Brackenburg's last soli-
loquy, divided his pathetic speech — it would seem almost
instinctively— into iambic lines.

As regards the tendency of the drama, it scarcely needs
to be pointed out that it is written in a spirit of indulgence
and tolerance. Nay, Egmont may even be called, with its
religious background, a thoroughly Protestant drama. The
citizens manifest an evident yearning after the *new creed.*
That Brackenburg and Clarchen belong to the same creed we
can infer from their Biblical allusions (cp. pp. 105, 1. 2, etc. ;
106, 1. 22, etc.), and from the circumstance that they seemed
to visit the church chiefly on Sundays (cp. p. 100, 1. 24, etc.),
whilst the Roman Catholic Gretchen in Faust is represented
by the poet as going to church daily.

The drama has, besides, a marked political tendency. We

XXXVlll CRITICAL ANALYSIS,

see before us not only a people loving, above all, national
freedom and free religious exercise, but we also listen ia
Egmont*s conversation with Alva to words worthy of any
champion of constitutional liberty ; to views and sentiments
which, even in our own days, have not entirely lost theii*
political significance, and which might have cost the poet his
freedom for life, had he uttered them as the subject of one of
the then petty despotic governments of Germany. We there-
fore fully agree with Eckermann who, in assenting to Goethe's
assertion that he is a * friend of freedom,' said : Man braucht
nur den Egmont zu lesen^ um zu erfahren^ wie Sie denken.
Ich kenne kein deutsches Stuck, wo der Freiheit des Volks
mehr das Wort geredet wiirde, als in diesem. (Gesprache,
in. 32.)

Such is Goethe's brilliant tragedy of Egmont, of the origin
and composition of which we have given only a general crit-
ical analysis. To discuss the question, whether it entirely
fulfils the exigencies of the drama, would have led us into a
critical investigation far too abstract for our present object.
Anyhow, this much is certain : Goethe's Egmont is one of
the poet's master- works, and deserves to be carefully studied
by the reader, to whom we would address, with Herder, the
simple words * Leges et senties !'^

* It may be of interest for the readers of the present volume to
learn that Schiller had such a high opinion of Goethe's Egmont^ as
a whole, that he considered it desirable to write a complete, though
brief, biography of the hero of the drama, * because,' as he says in
the introductory lines to his biographical sketch, * the memory of
the first important victim of Alba's bloody administration had re-
cently again been revived through a Tragedy bearing his name.*
That Biography, bearing the title of Des Grafen Lamorcd von
Egmont Leben und Tod has been issued by me — for the first time
in its complete form — together with the Belagerung von Antwerpen^
in SchilUr*s Historische Skizzen (C. P. S.) with an Historical
Introduction, giving a concise account of the Revolt of the Nether-
lands, and Notes. A number of references to this work wiU be
found in the Commentary to the present drama.

HISTORICAL INTRODUCTION.

Two names shine forth before all others in the history of
the heroes and martyrs of the Netherlands. Both were
Teutons, but the one was a genuine Fleming, and the other
by birth a German. Both were popular favourites, but the
one was cherished by the people with the affection of an
indulgent father, and to the other they looked up with filial
veneration. Upon both nature had lavished her choicest
gifts, but upon the one she bestowed those brilliant attributes
which dazzle the eye, and upon the other the moral qualities
which excite the admiration of mature minds. The end of
both was tragic, but the death of the one was the final signal
for an inextinguishable revolt against a foreign domination,
and the death of the other the seal upon the deed of separa-
tion from the same. The one was a popular Cavalier, and
the other an aristocratic Puritan. The name of the one was
Lamoral, Count of Egmont, and that of the other William,
Prince of Orange.

Count Egmont, or Egmond, Prince of Gaveren, was the
scion of a very ancient noble family, whose hereditary seat
stood on the dunes of the German Ocean, not far from Alck-
maar, in North Holland. He was bom Nov. i8, 1522, in the
castle of Hamayde, in Hainault. At the date mentioned
this province had already descended, together with most
other Netherland provinces, to the House of Habsburg. This
momentous event was brought about, as is often the case
with great historical resuits, partly through commonplace, and
partly through unusual, occurrences. The various provinces
which constituted the Netherlands were originally separate
independent states, enjoying the privilege of being constitu-
tionally governed by their own dukes, counts, etc. Gradually
several of these provinces came under the dominion of one
ruler, and in 1437, Holland, Zeeland, and Hainault fell, by
usurpation, into the hands of Philip, Duke of Burgundy.
Philip became, or rather made himself by the same high-

Xl HISTORICAL INTRODUCTION.

handed means, titular master of Friesland, and a few years
later absolute master of Luxemburg. He was thus in a
position to leave a considerable realm to his son Charles,
who was with more justice surnamed the * Bold ' than his
father the * Good.* That daring and luckless prince lost his
life in his struggle against the Helvetic Commonwealth in
1477, and his vast and incoherent domains passed into the
hands of his daughter, the Lady Mary, who married the
Archduke Maximilian of Austria. The wedded hfe of that
princess lasted but a few years. She died by a fall from her
horse, and her son Philip, theii a child of four years of age,
was recognised as her successor ; while the Archduke Maxi-
milian was appointed guardian during his son's minority,
and governor of the provinces. In 1493 Philip, surnamed
the * Fair,* assumed, at the age of seventeen, the reins of the
government of the Netherlands, and in 1496 married Joanna,
daughter of Ferdinand and Isabella of Castile. The issue of
this union was, in 1500, Charles, afterwards Charles V,
Emperor of Germany, whose title, as a ruler of the Nether-
lands, was simply Count Charles II of Holland ; but he soon
rtiade the Flemings feel that they were in the hands of the
possessor of an almost universal empire. He chastised most
severely the inhabitants of his native town, Ghent, for having
dared to assert what they deemed their constitutional right ;
he destroyed the liberal institutions of the provinces, and he
introduced the Inquisition. Nevertheless he was popular
with the Flemings, both in consequence of his personal bear-
ing towards them, and on account of the circumstance that
the greatest monarch of Christianity was a bom Fleming.

Thus much, however, is certain. If the Netherlanders had,
as a nation, not much reason to be pleased with their treat-
ment by Charles V, there was at all events one Netherlander
who enjoyed in a very high degree the favour of his Imperial
master. This Netherlander was Lamoral, Count Eg^ont.
From the complimentary office of page he rose, at the age of
nineteen, to that of commander of a light troop of horse ; and
having begun his brilliant military career in Barbary under
the eyes of the Emperor, the latter took henceforward special

HISTORICAL INTRODUCTION. xli

notice of him. In the year 1544, when Egmont celebrated
his wedding at Spiers with the Countess Palatine, Sabina of
Bavaria, he had already risen to the rank of Imperial Coun-
cillor and Chamberlain ; and two years later the Emperor
himself invested him with the Order of the Golden Fleece,
on the very day when he bestowed the same distinction on
the Duke of Alva. Having been, in 1549, the companion of
Philip, then Prince of Spain, during his tour through Holland
and Zeeland, Egmont was, in 1554, entrusted with the con-
fidential and rather hazardous task of bringing about the
final settlement of Philip's marriage with Mary Tudor. He
came twice to London in that year, and was present at the
royal wedding at Winchester.

Egmont's real sphere of action was, however, not the
smooth and slippery arena of diplomacy, but the perilous
field of battle. The wars between France and Spain, which
Charles V bequeathed to his son Philip II, together with
his vast dominions, soon gave Egmont ample opportunities
for displaying his brilliant military genius. In 1557 he won,
in his capacity of Captain-General of the Light Infantry,
the great victory of St. Quentin over the French under the
Conn^table de Montmorency. Egmont inflicted on this occa-
sion such a thorough defeat on the enemy that people com-
pared the battle to the world-renowned combats of Creqy
and Agincourt. Philip II, who appeared on the field the day
after the battle, complimented the victor on his great military
achievement. Even more brilliant was the victory which
Egmont gained at Gravelines over the French under Marshal
de Thermes. These two victories endeared the Flemish
Bayard to both people and army beyond measure. Egmont
became, in a word, the idol of his country, but not so much
on account of the real advantages which the people derived
from his victories, as on account of his shedding unusual
military glory around his countrymen. Their estimation in
the eyes of the world had now been raised, and, what was of
greater importance to them, they were enabled to hold their
own in the presence of the overweening Spaniard. The very
circumstance that the Spaniards grudged Egmont the victory

xHi HISTORICAL INTRODUCTION.

of Gravelines so much that they, with Alva at their head,
.publicly criticised it, * because it might have turned out other-
wise,* doubtless enhanced in their eyes the merits of their
national hero. And this is the reason why the Netherlanders
loved and adored Egmont more than other prominent leaders,
who were more consistently and sincerely attached to the
cause of the people.

Count Egmont possessed, besides, all the qualifies generally
considered as necessary attributes of a popular hero. He
was of noble birth, and connected by marriage with a princely
house ; a valiant soldier and handsome. His popularity was
so great that even the King, who harboured some secret sus-
picion, founded perhaps on international jealousy, against the
victor of St. Quentin, could not help honouring him publicly,
and appointed him Governor and Captain-General of Flan-
ders and Artois, and State Councillor. Under these circum-
stances it was natural, that the people should direct their eyes
towards Egmont when a new Regent was to be appointed by
the King, before his leaving the country. Philip II, however,
had no intention whatever to place the government of the
provinces in the hands of the people's favourite, and ap-
pointed, in 1559, as Regent of the Netherlands his half-
sister, Margaret of Austria, Duchess of Parma.

The task of the new Regent was to crush the religious
movement, the seeds of which had been wafted to the Nether-
lands from Calvinistic France and Switzerland, and from
Lutheran Germany. The first measure of the Government
was the addition of thirteen new bishoprics to the four which
were already in existence. The whole odium of this measure
was, rightly or wrongly, cast on Cardinal Granvelle, chief of
the Consulta, or Secret Council of Three, which directed the
Regent in her government. Granvelle was, however, detested
not only by the people but also by the nobles, and more
particularly by Egmont and Orange, who conjointly with
Count Horn, addressed a letter to the King, warning him of the
risk of leaving unlimited power in the hands of that Cardinal.
Soon after, it fell to the lot of Egmont to devise new liveries
for the retainers of the nobles. He adopted a simple livery

HISTORICAL INTRODUCTION. xliii

— in opposition to the gaudy dresses of the Gfanvelle-re-
tainers — upon the sleeves of which was embroidered an
emblem resembling a monk's cowl or a fool's cap. This
livery was intended as a taunt against the Cardinal himself,
who, later, took his cruel revenge on the unfortunate inventor.
Granvelle grew'at last so unpopular that he was compelled
to withdraw from the Netherlands (on March 13, 1564), but
his vindictive and intolerant spirit continued to prevail in the
councils of Philip II, on whom he exercised a most baneful
influence. That such was the case became manifest only a
few months after the Cardinal's departure from Brussels, when
the King despatched orders to the Regent, that the decrees
of the Council of Trent should be published and enforced
throughout the Netherlands. Now those decrees — to which
most rigorous regulations were added — were of such a nature
that the Regent could not venture to promulgate them, and
in her embarrassment she resolved, with the consent of the
State Council, to send Count Egmont on a special mission to
Spain. In 1 563 he had declined Philip's invitation to come to
Madrid, but now, the welfare of his country being at stake,
he accepted the mission to induce his Majesty * to mitigate
the edicts and to extend some mercy to his suffering people.'
Egmont set forth at the beginning of 1565, in great state,
and was accompanied for some distance by several of his
friends. As a characteristic sign of their distrust of the
enemies of Egmont, and of the great affection in which he was
held by them, we quote the following incident in the words of
Motley : — * He (Egmont) was escorted as far as Cambery by
several nobles of his acquaintance. . . Before they parted with
the envoy they drew up a paper which they signed with their
blood, and afterwards placed in the hands of his Countess.
In this document they promised, on account of " their inex-
pressible and very singular affection " for Egmont, that if,
during his mission to Spain, any evil should befall him, they
would, on their faith as gentlemen and cavaliers of honour,
take vengeance therefore upon the Cardinal Granvelle, or
upon all who should be instigators thereof. ' ^

* Rise of the Dutch Republic^ vol. i. p. 458.

Xliv HISTORICAL INTRODUCTION.

His reception at Madrid was so brilliant and flattering,
and the King manifested towards him such warm feelings of
personal friendship, expressing at the same time his fervent
wishes for the welfare of the Netherlands, that Egmont, him-
self incapable of dissimulation, fully believed in the benign
intentions of the King, and, although the instructions he
received on his return to the Netherlands were in themselves
not encouraging, still he described the disposition of the
monarch in such vivid colours that some hopes of a milder
government were entertained.

Had Egmont possessed the shrewdness of a diplomatist, or
the stem and consistent character and scrutinizing judgment
of William of Orange, neither the flattering attentions of his
royal master, nor the liberal gifts and distinctions actually
bestowed upon him, and the still more liberal promises held
out as a bait, would have biassed his mind ; but his careless,
impulsive character was easily dazzled and deceived by the
monarch's arts.

The Count had not long returned home, when fresh de-
spatches from Spain destroyed every illusion as to the con-
ciliatory disposition of the King. Egmont was most indignant
at the duplicity of Philip ; nevertheless, he acted during the
subsequent tumultuous outbreaks in the Netherlands, for some
time, with such severity against the rebels, as could not but
prove him to be a most loyal subject of the King. In vain
did Orange endeavour to win him entirely for the cause of
the people, and to persuade him to leave the Netherlands.
Egmont declared at a memorable meeting, where the two
friends met for the last time, that he would on no account
whatever take up arms against his Sovereign. Orange went
to Germany, but Egmont, blinded by his firm belief in the
clemency of the King, remained behind, a doomed man. In
palliation of his careless and too confiding conduct it has been,
more charitably than logically, averred that it was easy enough
for Orange to retire to Germany ; he was also a German
prince and most of his possessions were in that country ;
Egmont, on the contrary, was in embarrassed circumstances,
and being encumbered by a large family— his wife had borne

HISTORICAL INTRODUCTION. xlv

him eleven children — he saw, in a foreign country, nothing
but want before him.

In the meantime, the King, who had resolved to reduce
the Netherlands to a desert rather than allow any but staunch
Roman Catholics to live there, sent to that unhappy country the
Duke of Alva, with a veteran Spanish army, investing that iron-
hearted man with full powers to act according to his own dis-
cretion. Egmont, accompanied by forty noblemen, awaited the
arrival of his mortal enemy (who never could pardon him his
military triumphs) at Tirlemont, a small fortified town situated
about twenty-five miles from Brussels. His reception by the
Duke was gloomy and almost rigid. The Spanish soldiers
actually made a demonstration against him by closing their
ranks to prevent his passing through them, and uttered the
ominous words, * Lutheran, traitor to God and his King !' Some
Flemish historians even report that Alva himself exclaimed in
the hearing of Egmont, * Behold the greatest of all heretics ! '

Egmont was taken aback by this chilling reception, but
two of the principal Spanish officers in Alva's retinue gave
him such a friendly welcome, that he soon returned to his
delusion. The Duke, on his part, strove to efface the un-
favourable impression produced by his cold welcome of
Egmont, and loaded him with outward signs of friendliness
and esteem. What strengthened the fatal confidence of
Egmont was his friendship with Alva's natural son, Don
Fernando, who felt for him sincere affection and admiration.
Warnings now reached the Count from every quarter, but he
turned to them a deaf ear, and went even so far as to call
back his Secretary Beckerzeel from Germany, and to per-
suade Count Horn, who could not overcome his suspicions,
to repair to Brussels in full reliance on the King's justice
and clemency. Orange was too cautious and prudent to fall
into the trap of Alva, who now saw himself compelled to
be content with the destruction of those victims, who were
credulous enough to rely on his and the King's good faith.

On the 9th of September, 1567, Egmont was present at
a banquet given by Alva's son, Don Fernando de Toledo.
He found assembled there^ among other noble guests, Count

Xlvi HISTORICAL INTRODUCTION.

Horn, the Viscount of Ghent, the notorious Noircarmes, and
Don Fadrique de Toledo, another son of the Duke of Alva.
The latter sent some of his own military musicians ta en-
liven the feast, which was of a most joyous kind. By three
o'clock he despatched a messenger to the Counts Egmont
and Horn, requesting them to repair to the Hotel Jassy,
where he lodged at that time, to examine some plans of forti-
fication. Other messengers followed, urgently repeating the
invitation, and Don Fernando at last whispered to Egmont :
* Rise, Sir Count, take the fleetest horse in your stable and
make your escape at once.' Egmont, who could not suppress
his alarm, retired into an adjoining room, where Noircarmes
and two other noblemen followed him*. There he was per-
suaded by one of them not to trust to the warnings of the
Spaniard, and so he confidingly went, with Count Horn, to
Alva*s residence. The discussion on the proposed forti-
fications lasted several hours, and when Alva was informed
that his orders had been executed — which meant that the
secretaries of Egmont and Horn had been arrested, together
with Antony van Straalen, the burgomaster of Antwerp — he
broke up the council, after having given orders that Egmont
and Horn should be let out by two different doors.

Meanwhile, five hundred Spanish arquebusiers had silently
encircled the palace, and, when Egmont crossed the garden
in order to leave the house, his sword was demanded by
Captain Sancho d'Avila in the name of the Duke of Alva.
In vain did he appeal to his rank of Knight of the Golden
Fleece. Several Spanish soldiers were already there to give
effect to the Duke*s command. Egmont, yielding to brute
force, surrendered his sword, but could not help uttering the
just complaint *that he had vanquished many a time the
enemies of his Spanish Majesty with that sword, and that his
services were worthy of a better reward.* Whilst he was
being led to- a high room, with barricaded windows, and all
hung with black, his unfortunate friend Horn was taken
prisoner by Captain Salinas.

Philip de Montmorency, Count Horn (also spelt Hoome,
or Homes), was a descendant of the ancient House of

HISTORICAL INTRODUCTION. xlvii

Montmorency of France. He filled the post of Admiral of
the Netherlands, was Governor of the provinces of Guelders
and Zutphen, and Councillor of State. Like Egmont, he had
been created Knight of the GoMen Fleece by Charles V.
Several incidents have been preserved which show that bis
was a generous, manly, and humanely-disposed character.

The noble prisoners were transferred to Ghent on the
22nd of September, under slu escort of several- hundred men,
a precaution which Alva considered necessary ; * there being,'
as he said, *n(5 other king recognised in the Netherlands but
Egmont.'

The consternation of the Nethertanders was general, and
the sympathy with the two nobles universal throughout the
civiUzed world. King Philip- II, however, expressed his
unbounded satisfaction, and Granvelle was only sorry that
Orange had not been captured at the same time. The friendly
intercession of several German princes, and even of the Em-
peror Maximilian II, and the solicitations and strenuous efforts
of the wife of Egmont, and of the mother of Horn, were all in
vain. After a mock trial, which lasted nine months, and during
which the two Counts were kept in strict confinement, shut out
from light and air, and separated from their friends, they were
brought on the 3rd of June, 1568, to Brussels, and lodged in*
the Maison Du Rot. On the next day the Duke read at the
'Blood Council,' which was nothing but a most arbitrary court-
martial, the sentence of death pronounced against Egmont
and Horn in accordance with the supreme will of Philip II.
The charge was that of high treason, but we need scarcely
add that i! was founded on the merest shadow of evidence.

During the night which followed the 4th of June, Count
Egmont was aroused from his sleep. The Bishop of Ypres,
Martin Bithove, had come to announce to him his approach-
ing doom, whilst the curate of La Chappelle, Gisbes de
Vroede, was sent with the same melancholy mission to Count
Horn, who exclaimed that this was *a poor requital for eight-
and-twenty years of faithful services to his Sovereign.*

The execution of the two noble martyrs took place on the
following day, the 5th of June, about noon, on the Great

xlviii HISTORICAL INTRODUCTION.

Square at Brussels. That both died, like men accustomed
to look death in the face, without trembling, need scarcely be
added. Egmont died first. By a single blow of the sword
his head was severed from the body. * A cry of horror,' says
Prescott, in his Lt/e of Philip II (vol. ii, p. 259), *rose from
the multitude ; and some, frantic with grief, broke through
the ranks of the soldiers, and wildly dipped their handker-
chiefs in the blood that streamed from the scaffold, treasuring
them up, says the chronicler (Strada), as precious memorials
of love and incitements to vengeance.'

The vengeance came in due time. The judicial murder of
these two illustrious martyrs produced such profound indig-
nation throughout Germany, that the designs of the Prince of
Orange were wonderfully served by it, as Philip was informed
by Maximilian's ambassador at Madrid. The impression
produced in the Netherlands was indescribable ; and it was
this intense feeling of indignation at home and abroad which
enabled William of Orange, to wage, for sixteen years, a suc-
cessful war with the most powerful monarch of the world ;
until he, one of the noblest human beings that ever breathed,
fell by the hands of an assassin. But before his death a con-
siderable portion of the Netherlands had, in 1581, formally
abjured their obedience to the King, and laid the foundations
of the coming Republic. After the death of William of Orange
the warfare against Spain was continued until, finally, the un-
happy union between the two countries was broken for ever.

The victims who fell during the great national struggle
are numberless. Many a martyr died nameless ; but those
whose names have been preserved are still held in Veneration
by the Netherlanders. In 1864 the Belgians erected a grand
double-monument to the Counts Egmont and Horn, on the
Grande Place — the place of their execution — which has, some
years ago, been transferred to the Place du Petit Sablon,
And thus tardy justice has been done to the latter, of
whom Strada remarks : — * Defleri profecto baud modice
potuisset hujus viri mors, si non Egmontius omnium lacrymas
consumpsisset.' — The death of this man might also have been
much deplored had not all men^s tears been shed for Egmont. ^

IBgmont

in fitnf Slufjftgcn

B

SJerfoncn.

fD^argarete von $atma, Xodittx StaxU bed Sunften,

{Regeutin bet 9lieber(aube.
®raf ^gmont, $ring ))on ©auic
SSJiCl^elm von Dranien.
Jpergog von SlCbo.
Serbinanb, fetn naturUc^er @o^n.
SOtac^iaveU, im ^ienj^e bet (Regentin.
(Ric^arb, (Egmontd ©e^eimfci^tetber.

^ ' \ nnter 5l(ba bienenb.
®omeg, /

^idr(^en, (Egmontd ©eliebte.

3^re abutter.

^racfenburg, ein ^utger^fo^n.

@oe(l, Cramer,

4

Setter, ®«neib«, . ^gataer »oa SruffeL

©eifenfieber,

^u^cf, ©olbat nnter ^gmont

€lu9fum, Snvalibe nnb taub.

S3 an fen, ein (Sc^veiber.

S3oif, ©efolge, Sa(^en u. f- to.

IDer (Sc^au)>la( ift in ^rujfel.

ARGUMENT.
ACT I.

The ^rj/ act opens with a scene at Brussels representing
soldiers and citizens engaged in the popular pastime of
cross-bow shooting. Buyck, a soldier under Egmont, is, on
account of his masterly shot, declared king of the cross-
bow men for the year. The health of * his Majesty' is drunk,
and the mention of this title gives rise to a comparison
between the affable monarch Charles V, and his stem and
reserved successor Philip II. The unpopularity of the latter is
still more strikingly contrasted with the affection and admira-
tion which the citizens profess towards Egmont. Buyck pro-
poses the health of the latter, and, after a passing mention of
the battle of St. Quintin by Ruysum, gives a vivid description
of the battle of Gravelines, in which Egmont gained, as in the
former battle, a great victory. Jetter expresses the wish that
Egmont might have been appointed Stadtholder, instead of
Margaret of Parma, but the citizens will not acquiesce in the
indirect blame of the Regent Jetter, whilst acknowledging her
moderation and prudence, complains of her staunch adherence
to the priests, and gives vent to his discontent — shared by the
others — about the religious intolerance of the Spanish rule ;
whilst the *new preachers' who came from Germany are
praised by him and his friends. Jetter proposes, on the
admonition of Buyck, the health of William of Orange, and
Ruysum pledges those present to drink to the honour of war
and warriors, which circumstance calls forth, however, from
Jetter an impressive denunciation of war. The latter gives,
on the challenge cf Buyck, a 'civic toast,' and the scene
ends with a general, joyous cry of 'Safety and Peace I
Order and Freedom!'

The next scene passes in the palace of the Regent*

B 2

4 ARGUMENT.

Margaret of Parma appears and countermands the hunt to
which she had prepared to go, on account of the cares, caused
by the * religious riots' in the country which she is at a loss
how to quench. Machiavell appears at her command, and,
by his report of the stirring events passing in the country,
increases her grief. He urgently recommends the full recog-
nition of the *new faith,* but the Regent apprehends the
peremptory refusal of her brother, Philip the Second, to yield
to the demands of the Netherlanders. She also expresses
her dissatisfaction with Egmont and William of Orange. The
former has offended her by his apparent indifference to passing
events, and by his declaration, * that if the Netherlanders were
but satisfied as to their Constitution, peace and quiet would
soon be established;* whilst the latter shows by his reserved
demeanour that he is plotting mischief. The Regent finally
determines to summon the Council of State, and to challenge
those two noblemen to co-operate with her strenuously in
quelling the spreading tumults, or declare themselves openly
rebels.

In the last scene, which passes in a humble citizen's
house, we find Clarchen with her mother, who is knitting
in an arm-chair, whilst the former sings a spirited song with
Brackenburg. The noise caused by the marching of soldiers
in the streets attracts the attention of the mother, and
Clarchen asks Brackenburg to learn the cause of the un-
usually numerous assemblage of troops in the town. During
his absence Clarchen is reproved by her mother on account
of her devotion to Egmont and her refusal to link her fate
to that of honest Brackenburg. The latter brings, on his
return, the news that a revolt is said to have broken out in
Flanders, and that there is great agitation in the town.
Clarchen retires with her mother, and Brackenburg reveals
in a soliloquy that he is at variance with himself. He
keenly feels how wrong is his inaction admidst the general
commotion of the country — an inaction caused by the
wretched state of his personal feelings*

©rjicr Slufjug.

SlrmkuPfd^lc^cn.

@olbaten unb S3iirget mit ^InnBruflen.

Setter, ©urget »on ©tfiffel, ©d^neibcr, tritt \>cx unb fpannt bie
fKrmBrujl. @oejl, fflurger t)on fflviiffel, Jhdmer. 5

®oeji. 9lnn (deleft nur l^in, ba^ eS aUe wirb! 3^t
ite^mt mir'S bod^ ni^tl ©rei (Hinge ©d^irarj, bie l^aBt
3^t ffiure ^age tiid^t gefd^ofjen. Unb fo war' id^ fiir bieS
Sa^r SKeifler.

Setter. SWeifler unb StbwxQ bagu. 3Ber mifgonnt'S 10
Gu^.? 3]^t fottt bafiir ou(3& bie 3^^^ bo^^elt Begal^Ien;
3^t fotlt (Sure ©efd^itflic^feit Beja^len, wie'S red^t ijl.

fBut^df, etn ^oKanber, @o(bat unter @gmont

as u 19 d. Setter, ben ©d^u^ l^anbr id^ Sud^ ab, tl^eile ben
©enjinnfl, tractire bie «&enen; id^ Bin fo fd^on lange l^ieris
unb fur J)iele »&5pi^feit ©c^ulbner. Se^l' i^, fo \^% aU
ttjenn 3^r gefd^offen l^dttet.

© e p. 3d^ fottte breinreben ; benn eigentlid^ Jjerlier' xdi
baM- Sod^, SBui^tf, nur immer^in!

SB u ^ tf (fc^ieflt). 0lun, $ritf(^meifler, ffletjereng I — 6ing ! 20
Bwei! S)reil SSier!

©oeft. SSier minge? ©S feil

St lie* Siiiiatf <&err Jtonig^ l^od^I Unb aBermal l^od^I

6 @gmont.

SBuijd. ®an!e, 3^t «&emn. SBdre STOeifter gu Jjiel!
5)anfe fur bie ®^re.
Setter. Sie l^aBt S^r (Suti^ felBji gu ban!em

diu^^futit; ein Sne^tdnber, 3nt>aUbe unb tauB.

5 91 u 19 f urn. ©a§ i(^ (5u(^ fagel
©oeji. SBle ifi'8, Qtlter?

giu^fum. Sa^ id^ ®u(^ fage! — Sr fc^ieft njfe fein
'gen, er fti^le^t wie ©gmont.

SBuJjtf. ©egen l^n Bin id^ nur ein amter ©c^^lutfer.
10 Wlit ber SBu^fe trifft er erfl n?ie Jleiner in ber SQBelt. ffli^t
etwa, wenn er ©lutf ober gute Saune f)at; nein, njie er
anlegt, immer rein ©c^njarg gefd^offen. ©elernt fjobt i^
t)on i:()m. S)a8 wdre aud^ ein Jlerl, ber tel i^m biente unb
nid^tS t)on i^m lernte* — 0lid^t gu Sjergeffen, meine «&erren !
15 ©in Jl5nig nai)xt feine itutt*, unb fo, ouf bed Jt5ni0«
9le(^nung, SQBein ^erl

Setter. (58 Iji unter un8 auSgemad^t, ba^ Seber —
SBul^dt. 3d^ Bin fremb unb Jl5nig, unb ad^tt Cure
©efe^e unb '&er!ommen nid^t*
20 Setter, ©u Biji {a drger aU ber ®))anier; ber l^at fie
unS bod^ Bister laffen nmffen.
(RuJjfum. SQBaS?

© e ji (taut). (5r n?iH unS gafliren ; er ttjiO nid^t l^aBen,
ba^ wir gufammenlegen unb ber Jl5nig nur bad 5)o^))elte
25 ga^tt.

giuijfum. Sa^t i^n, bod^ o^ne $rdiubig! S)a« ifl
a\\^ feineS Ȥerrn 2trt, f^jlenbib gu fein unb e8 laufen gu
laffen, njo e8 gebei^t.

(@ie Bringen ffietn.)
30 21 He. S^ro ^^aieflfit ffio^U »&od^!

I. 8lufaug. 7

Setter (ju ©u^tf). SSerfiel^t f!(^, Cure !Wa{eftdt

93 u i) d. ®ott!e i?ott »§etgen, wenn^S bo(^ fo fein fott*

©oeji. SBol^I! Senn unferer f))anif(^en g^ajefiat ®e-
funbl^eit trinft nfc^t leid^t ein 0lieberIdnber i?on «&ergen.

aiu^fum. ffier? 5

© e p (taut). ^^iliiJ^jg be§ Bweiten, Jl5n!g§ in ©^janien.

{Ruijfum. Unfer aHetgnabigfler Jlonig unb »§en: ! ®ott
geB' il^m langed SeBenI

©oefl. ^gattet l^r fefiten ^enn 3Jatet, Jlarl ben fjftrtften,
ni^t Ifeier? lo

Olui^fum. ®ott tt5jiM]^n! 2)aS war ein »§ert! (5r
^atte ble »§anb iiBer ben ganjen (Srb^oben, «nb war ®u^
90le8 in 20lem; unb wenn er ®u(^ tegegnete, fo gruff er
(Su^ ttjfe ein 9ta^6ar ben anbern -, unb n?enn 3l^r erfid^rotfen
njart, wuft' er ntit fo guter SKanier — 3a, sjer^e^t mid) — 15
@r ging an^, ritt au8, njle*S i^m einfam, gar mit wenig
Seuten. «gaBen voir bo(^ 2ine geweint, wie er feinem ©ol^n
ba§ Sleglment l^ier atoat — fagt* i^, ijerjlei^t mic]^ — ber iji
fid^ott anberS, ber Iji ma{ejldtifd^er*

Setter. @r fief ffti^ nid^t fe^en, ba er l^ier n?ar, al8 ao
in $runf unb fSniglid^em ©taate* ^ \)px\(i)t wenig, fagen
bie Seute.

©oeji. ®8 iji feln «&err fur un§ ^tieberldnber. Unfre
Surflen ntikjfen frol^ unb frel fein n?ie n?ir, Men unb leSen
lajfen. SQBir njotlen ni^t i?erad^tet noti^ gebriitft fein, fo 25
gutl^ergige 0larren wir auc^ jlnb.

Setter. 3)er Jl5nig, benf id}, wdre njol^I ein gnfibiger
^nt, wenn er nur Bejfere Slat^geber ^atte.

©oeji. 9tein, neini dx 1)at fein ©emiktl^ gegen unS
Sflieberlfinber, fein Ȥerg iji bem SSolfe ni^t geneigt, er liett 30
un8 ni^t; njie fonnen wir i^n n?ieber lieBen? SBarum iji
atte SBelt bem ©rafen ^gmont fo l^olb? SQBarum triigen

^ (Sgmont.

n?ir ii)n Wit auf ben <@dnben ? Sell man i1)m an\lt% ba§

er m^ voo^ njltt, tt?eil il^m bU 8fr5]^Ii(]^feit, baS freie SeBen,

bie gute 9)^etnung aud ben ^ugen fle^t ; »eil er ni^td Befl^t,

baS er bem SDiirftigen niti^t mittl^eilte, au^ bem, ber*8 niti^t

5 iebarf. Sa^t ben ©rafen (ggmont leBen ! SBu^d, an (Suti^

ifl'8, bie erfle ©efuub^elt gu BringenI Sringt CureS t&erm

©efunb^eit aud!

S u )9 tf • 9Son ganjer ©eele benn : ®raf ffigmont ]^o^ I

(Rul^fum. Ueberroiuber Bei ©t. Ciuintin!

io SSuijtf. 2)em «&elben i?on @rat)elingen I
gille. *od^!

(Ru^funu St. duintin war meine le^te ©d^lacS^t. 3^
fonnte faum me^r fort, faum bie fc^roere Su(]^fe me^r
f^le))))en. «&ab' \6) bo^ ben Sranjofen no(]^ @in§ auf ben

15 $elg geBrennt, unb ba friegt' id^; gum 9tbfd^;ieb nod^ einen
©treiffd^/u^ anS re^te SSein.

Sul^tf. ©ratjelingen! Sreunbe, ba ging*§ frifc^I 5) en
©ieg ^aBen »ir alletn. Srannten unb fengten bie »&If(]^en
«&unbe ni(^t bur(i^ ganj Slanbern? Slber id) mein^ tt?ir

20 trafen fie I 3^re alten, l^anbfeflen Jlerle ^ielten lange wiber,
unb wir brfingten unb f(i^o|fen unb l^ieten, ba§ fie bie S^duler
J?erjenten unb il^re Sinien jutften. ©a warb @gmont bag
jpferb unter bem SeiBe niebergefd^offen, unb mx Written lange
l^inuBer l^eruBer, SKann fCir 2)knn, jpferb gegen JPferb, «&aufe

25 mit «6«ufe, auf bem Breiten, pac^en ©anb an ber ©ee l^in.
9luf einmal fam'S wie tjom »&immel l^erunter, i?on ber
a^unbung bed {^luffed, Bat?! Bau! immer mit Jtanonen in
bie Srangofen brein. (£g waren ©ngldnber, bie unter bem
2lbmiral SKalin t)on ungefd^r Don Sunfird^en l^er J)orBei«

30 ful^ren. S^ar Joiel l^alfen fie unS nid^/t ; fie !onnten nur
mit ben fleinflen ©d^ifen l^erBei, unb bag nic^t nal^ genug;
fd^offen aud^ »o^I unter und — ^d t^at bod^ gut I Sd

1. Slufjug. 9

hta6) bic SBdlf^en unb l^o6 unfern SKutl^. ©a glng'Sl
{Ritfl tacfl l^erufcer, ^imUxl 5iae8 tobt gefd^Iagcn, 5ltte8
ing aBaffer gef^rengt! Unb bic Jterle erfoffen, trie fie bag
SBaffer fd^metften; unb njaS njir Ǥottanber njaren, gerab
l^intenbrcin. Un8, bic njir BeiblcBig flnb, njarb erji njol^l im 5
aBaffer wic ben Srofd^en; unb immer bie ffeinbe im Slufi
jufammengel^auen, treggef(^ofyen tt?ie bic ^nten. SBaS nun
no^ burd^Brad^, fd^Iugen ©ud^ auf ber fflud^t bie SBauernjciBcr
mit ^adm unb S^ijlgaBeln tobt. Wlu^k bod^ bie n?dl[d^e
SKaieftdt gteid^ bag ^fotd^en teid^en unb Sriebe madden, xo
Unb ben Srieben feib 3l^r u n fd^ulbig, bcm gropen ^gmont
fd^ulbig.

91 1 U. «&od^l Sem grogen ©gmont l^od^ ! Unb aBermal
l^od^! Unb aBermal f)o6)\

Setter^ «6dttc man unS ben fiatt ber STOargrete ^on 15
fponna jum Slegenten gefe|t!

® e fl* mi^i fo ! SBa^r Wxbt xtaf)x I 3d& taffe mir
SKargareten nid^t fd^elten. 0lun ijI'S an mir, (£S lefce unfre
gndb'gc {^aul

Sine, ©ic leBe! ao

®ocjl. SBal^rlid^, trefflid^c SBeifcer finb in bem «&au[e.
S)ie (Regentin leBe !

Setter, Jtlug ijl fie, unb mfigig in atteni; traS fie tl^ut ;
l^ielte fle^g nur nid^t fo fteif unb fefl mit ben ?Jfaffen ! @ie
i^ bod^ oud^ mit fd^ulb, bap njir bie ^ierje^n neuen 93ifd^ofS* 25
mu^en im Sanbe l^aBen. SBogu bie nur [otten? 0lid^t njal^r,
boj man JJrembe in bie guten ©tetlen einfd^ieBen fann, wo
fonfi 9tebtc ouS ben Jta^iteln genjd^It njurben! Unb wir
foUen glauBen, eS fei um ber Oleligion njitten. Sa, e8 l^at
fld^. 9(n brei 9Bifd^5fen l^atten ttjir genug : ba ging'S el^rlid^ 30
unb otbentlid^ ju. 0lun mug bod^ aud^ Seber tl^un, als ob
rr nfitl^ig ware; unb ba fefet'S atten 5lugenbtidt a3erbru§ uiit^

lo (Sgmont.

^dnbet. Unb le mel^r il^r ba8 ©ing rftttelt ttnb Wftttett,
bejlo trft^r trirb'S* (@ie trinfen.)

®oejl. ©a8 war nun be8 Jl6mg0 SBiHe; fie tann
nid^tS baijon, no^ baju tl^un.
5 Setter^ ©a fotten tuir nun ble neuen fPfalmcn nf(3^t
flngcn; (le flnb ttjal^rlid^ gar \^bn in fflelmcn gefe^t, unb
l^oBen reci^t erBauUd^e SBeifen, ©ie foUen njlr nld^t jlngen,
oBer ©^elmenlieber, fo Uiel ttjir ttJoOen. Unb n^arum? ®8
feien Jle^ereien brin, fagen fie, unb ®a(5^en, ®ott njelfi. 3^

lofjaV H)xtx bod^ oud^ gefungen; e0 ifl ie^t ttja0 SfleueS, i(^
^aV nl^tS brin gcfel^en.

SBu^d. ^^ njoUte fie fragenl 3n unfrer fProHng
flngen njir, ttjaS njir njoHen, ©a8 ma^t, ba^ ®raf (Sgmont
unfer ©tattl&alter ifl; ber firagt na^ fo etnja0 nl^t. — 3n

15 ®ent, g)^)ern, burd^ ganj fflanbern flngt fie, njcr SBelieBen
l^at (Saut.) (S0 Iji ia wo^l nid^t0 unfd^ulbiger, ol0 ein
geijilid^ Sieb? 0«d^t njal^r, SSater?

aiu^fum. (Si ttjol^ll (50 ip fa ein ©otteSblenfi, eine
©r'Bauung^

ao 3etter» ®ie fagen ater, e0 fei nid^t auf ble reiS^te 2trt,
-nid^t auf il^re 9lrt; unb gef%lid^ ifl'0 bod^ immer, ba Id^t
man'0 liefcer fein. ©ie SnauifltionSbiener fd^Ieid^en l^erum
unb ^)affen auf; manci^er el^rlid^e SWann *ft fd^on ungliitflid^
gettjorben, ©er ©enjifp^nSgwang fel^Ite nod^ ! ©a i(i) nid^t

25 tl^un barf, ttja0 idf mb<i)U, !6nnen jle mid^ bod^ benfen unb
flngen laffen, ttja0 i^ witt.

©oefi* ©ie Snquifltion fommt nid^t auf. SBir jlnb
nid^t gemad^t ttjie bie ®^)anier, unfer ©ewiffen t^ranniflren
ju laffen. Unb ber 9lbel mug a\x(^ M QtiUn fud^en, ll^r

30 bie fftugel gu Befd^neiben.

3etter. @0 iji fel^r fatal. SBenn'S ben lieBen 8eu ten
einfdttt, in mein ^a\x^ ju jiiirmen, unb id^ fl^' an meiner

I. 8Iufaufl. i%,

SlrWt, uttb fummc iuji elnm frangSflfifi^ett fPfatm, unb benfc
nid^t0 batel, treber @ute8 no^ SBSfeS, i^ fumme i^n aitt,
well et mlr in ber Jtel^le ifi — gleid^ Bin i^ ein Jle^er, unb
irerbe eingejiedt. Dber i^ gel^e fiBer Sanb unb BleiBc Bei
einem «&aufen SJolfS fiel^en, bag einem neuen fPreblgcr ju* 5
1^5rt, einem bon benen, ble au8 ©eutf^lanb gefowmen flnb —
ouf ber ®teOe l^elg' Id^ eln flfteBeH, unb fomme in Oefa^r,
tnelnen Stopf gu berlleten* ^abt ^i)x Je einen ))reblgen
1^5ren ?

® oefi. SBatfre Seute. 01eull^ ijbxV i(^ elnen auf bem 10
Selbe bor taufenb unb taufenb 2Wenf^en f^^re^en. S)a8 war
ein anber ®ef6^', aU wenn unfre ouf ber Jtanjel l^erum*
trommein unb ble Seute mit latelnlf^en SBroden erwfirgen.
5)er \pxa(i) bon ber fieBer weg; fagte, wle fie un8 Blfil^er
l^dtten Bel ber 01afe l^erumgefii^rt, unS In ber 2)umml^elt 15
erl^alten, unb wle wlr mel^r ©tleu^tung l^aBen fonnten* —
Unb bag BewleS er <Sud^ ^llleS a\i^ ber SlBeL

Setter* Da wag bo^ audi waS bran feln. 3^ fagt'0
immer felBfi, unb gruBelte fo uBer ble ©aci^e na^. SWlr lfi'8
lang' Im Jlo^)f l^erumgegangen* 30

SBu^tf* (S8 ttuft ll^nen ou^ aOeS 9SoI! na^.

®Defl« S)ad glauB' \^, wo man wad @ute0 1^5ren fann
unb wad 01eued*

Setter* Unb wad Ijl'S benn nun? 2Wan tann }a elnen
Seben l)reblgen laffen nad^ felner SBelfe. 25

SB u ij d* Srlfd^, ll^r «&erren ! Ueber bem ©d^wd^cn ber*
geft S^r ben SBein unb Dranlen.

Setter* ©en nld^t ju ijergeffen! 5Dad Iji eln red^ter
9Ba(L SBenn man nur an \f)n benft, melnt man gleid^, man
Knne fld^ l^lnter ll^n tjerfleden, unb ber 3;eufel Brdd^te @inen 30
nld^t l^erbor* ^0^ ! SBil^elm bon Dranlen, l^od^ !

3(Ue* ^o^\ ^o(i)l

12 (Sgmont.

®oeji. Sim, filter, Bring' au^ ©elite Oefunbl^eit!

(Ruijfum. 5lUe ©olbaten! Sttte ©olbaten! CS leBe bet
Jtrieg !

SSu^a. f&xa^o, 5llter! Sltte ©olbaten! ffiS Ie6e ber
5 Jtrleg !

3 e 1 1 e r • «rleg ! «rieg ! SBigt 3^r ou^, wag Sl^r tuft ?
©a§ eg (Su^ leid^t ^om SWunbe ge^t, ifl njol^l naturli^ ; wie
lum^jig abn unfer ©inem baBei gu Wl\iif)t i% fann id^ nid^t
fagen. S)aS gange Sal^r baS ©ettommel gu l^Sren, unb nid^tS
10 gu l^Sren, aU n?ie ba tin «&aufen gegogen fommt unb bort
ein onbret; njie fie u6er elnen «&uget famen unb Bet einer
a^ul^Ie l^ielten, ttjieijiel ba geBtieBen flnb, ttjieijiel bort, unb
ttjie fie fld^ brangeu, uitb (Siner genjinnt, ber Slnbere Uerliert,
ol^ne ba^ ntan [ein 5!age Begreift, wer njaS gewinnt ober
J5 Uerllert ; njie eine ©tabt eingenommen njirb, bie SBiirger
emtorbet njerben, unb tt?ie'S ben armen SBeiBern, ben un*
fd^ulbigen Jtinbern ergel^t. S)aS ift eine 0lot]^ unb Stngjl,
man benft ieben 5tugen6ti(I: „Sa Jommen flel (£S gel^t un8
oud^ fo."
to @oeft. Drum mufi au(i) ein SBfirger immer in SBaffen
geCiBt [ein.

Setter. 3a, e8 iiBt flc^, njer ffrau unb Jtinberl^at!
Unb bod^ ^bf i^ nod^ lieBer i?on ©olbaten, olS i^ fie fel^e.

SBuijcI. ©as fotlt' i^ fiM ne^men.
25 Setter* 9tuf (Sud^ iji'S ni^t gefagt, Sanbfimanm ffiie
tt?ir bie fpanlfd^en SSefa^ungen loS njaren, l^otten n?ir njieber
Qltl^em.
©oefl. ®elt! ©ie lagen ©ir am fd^njerjien auf?
Setter* QSerir' (Sr fid^.
30 ©oefl. ©ie l^atten fd^arfe ©inquartierung Bet ©ir.
Setter. »6alt' ©ein 2«aul.

I- aiufjufl. 13

®ocji. ®fe l^atten il^n ucttrleBen au0 ber Stix^t, bem
Jtetler, ber ®tu6e — bem aSette.

(@{e tad^ctt.)

Setter, ©u Biji ein 3:ro^f.

SBu^a. griebe, i^x «&errett! 2^ug ber ©olbat ffriebes
rufen ? — Sinn, ba 3l^r i)on un8 ni^tS l&5ren wotlt, nun
Bringt au^ ®ure ©efunbl^eit au8, eine 6urgerli^e ©efunbl^eit I

Setter. 2)agu flnb mx Bereit. ©ici^erl^eit unb Sflu^e !

©oeji. Drbnung unb Sreil^eitl

Su!9(I. aSrai)! baS flnb aud^ n?ir jufrieben. 10

((Sie flofen an unb toiebet'^oten fro'^Ud^ bie SBorte, bocife fo, bag Seber
cin anbcvcd au^ruft, unb c« cine 5lrt ^ancn wix'o. 2)er 5llte l^or^t

unb fi&Ut enbl^ mdi mit ein.)

21 1 1 e. ©Ic^er^eit unb Sflu^e ! Drbnung unb grei^eit !

5PaTaji ber Slegentitu 15

STOargarete »on ^arnta in Sagbfteibern. Jfofteute.

$agen. ^ebtente.

fflegentin* Sl^r jietlt baS Sagen ab, Id^ njerbe l^eut
nit^t reiten. ®agt STOoi^iaijetten, er fott ju wir fomnten.

(SlKe ge^en ab.) 20

®er ©ebanfe an biefe f^recfli^en aBegeBenl^eiten Id§t mir
feine Sinf)t\ 01i^tg faun mi^ erge|en, nic^tS m\(^ jer*
jhreuen; Immer flnb biefe SBilber, biefe ©orgen s?or mir.
Sflun ttjirb ber Jl5nig fagen, bieS fei'n bie golgen meiner
®iite, meiner 0lad&fl(^t ; unb bo^ fagt mir mein ©enjiffen ss
ieben augenBIid, bag Siat^i^^t, baS SBefle getl^an ju l^aBen.
Sottte i^ fritter mit bem ®turme beg ©rimmeS biefe jjlammeti

14 (Sgmont.

onfa^en unb um^ertrelBen ? 3d^ Ijfoffte jle ju umfielfett, fie
in fl^ felbji gu ^erfd^utten. 3a, njaS iti^ mir felbji fage^
traS id^ wol^I vod^, entfti^ulblgt mld^ uor mir felBji; aBer
ttjic njirb eS mcin ©ruber aufhe^men? 5)eun, iji ed gu

sleugnen? iDer UeBermutl^ ber fremben Sel^rer i)at fld^ tag*
lid} er^61^t ; fie l^aBen unfer »&eiligt]^um geldfiert, bie pumi)fett
©inne M $56elS gerruttet unb ben ©t^njinbelgeifl unter fie
geBannt. Unreine ©eifler l^afcen fld^ unter bie Slufriil^rer
gemifd^t, unb fd^redlid^e 5!^aten flnb gefd^el^en, bie gu benfen

10 fd^auberl^aft ift, unb bie i^ nun eingein nad^ «&ofe gu Be*
rid^ten ^abt, fd^nett unb eingein, bamit mir ber aUgemeine
diuf nic^t gu^or fomme, bamit ber «ft5nig nid^t benfe, man
vooUt nod^ mel^r ijerl^eimlid^en^ 3d^ fe^e !ein SWittel, weber
firenged nod^ gelinbeg, bem UeBel gu fleuern. O n?ad flnb

15 njir ©ropen auf ber SBoge ber SlWenfd^l^eit? SBir glauBen
fie gu Be^errfd^en, unb fie treiBt un8 ouf unb nieber, l^in
unb l^er. ^

affad^ia))en tcitt auf.

ategentin. ®inb bie S3riefe an ben Jt5nig aufgefe^t?
20 SD^ac^ia^elU 3n einer @tunbe iverbet 3^r fte unter*
fd^reiBen fonnen*

Sflegentin* ^ait ^^x ben ©eric^t audfiil^rnd^ genug
gemad^t ?

2)Jad^iaJ[)eIU SluSful^rlld^ unb umjianblic^, n?ie eg ber
: S JlSnig lieBt. 3d^ ergd^Ie, njie guerfl gu ©t. Dmer bie Bilber*
ftiirmerifd^e SBut^ fld^ geigt — n?ie eine rafenbe S^enge mit
©tdBen, SSeilen, »&dmmern, fieitern, Stridden J[)erfe^en, »on
wenig aSen?affheten Begleitet, er|t Sta)pMtn, Jtird^en unb Eloper
anfatten, bie 5lnbdd^tigen tjerjagen, bie ^erfd^loffenen $forten
30 aufBred^en, 9ttteS umfe^ren, bie 5Utdre nieberreipen, bie ©tatuen
ber «&eiligen gerfd^Iagen, aOe ©emdlbe ^erberBen, ^Qed voa^ fie

I. siufaufl. 15

mtr ®mtii)M, ©el^eiligted antreffen, gerfid^mettern^ jerrei^ett;
jertretm — njlc fld^ ber »6aufe untewegS »crme^rt, bic (Sin*
wol^tter i>on ^pixn il^nen bic 5]^ore erfiffhen — njic flc ben
SDom mit unglau61id^er ©dinette t^ertoiiflen, bie Stdiotl^ef
be0 Sifd^ofS tJctBrennen — voit einc grofic avenge fSolU, »on 5
gleiti^em Unflnn crgriffen, fid^ iiBer 2Wenin, KomineS, aSewiti^,
Side ^erfoeitet, nirgenb. SBiberftanb ftnbet, nnb n^ie fap bur^
ganj i^Ianbern in (Sinem ^ugenBIicfe bie ungel^eure $er«
fd^n^orung fid^ erflart nnb auggeful^rt ifl.

91 e e n t i n« 9t^, njie ergreift mici^ aufS 0leue ber ©ti^merj 10
Bet S)einet 9Bieberl(|oIund ! Unb bie ijurc^t gefedt {Id^ baju,
bad UeBel werbe nur grower unb grower n?erben. ©agt mir
(Sure ®eban!en, ^aCi^ia^tUl

SKad^iaJjell. aSerjeil^en (Sure ^o^tit, meine ©ebanfen
fel^en (SriHen fo dl^nli^ ; unb n?enn ^^x anclf) immer mit 15
meinen ©ienflen gufrieben njart, ^abt 3^r boci^ felten meinem
Siatf) folgen m5gen. Sl^r fagtet oft im ©d^erje : „Su flel^fl
gu weit, aWa^iaijett ! ^u fotttefl ©efi^i^tfd^reiBer fein. SBer
^anbelt, muj furS Slati^fie forgen," Unb bo^, ^aU idi biefe
©efti^id^te nic^t »orauS ergd^It ? »6a6' id) nic^^t ^ItteS iJorauS 20
gefel^en ?

Stegentin* 3^ fel^e auc^ ^iel boraud, o'^ne ed anbern
gu fonnen*

a» a ti^ i b e I !• (Sin ® ort fiir taufenb : 3^r unterbrucf t
bie neue Sel^re niti^t. 8agt fie gelten, fonbert fie bon ben 35
8le(3^tgldu6igen, geBt il^nen Jtird^en, fapt fie in bie Burger**
li^e Drbnung, f^rdnft fie ein; unb fo l^aBt Sl^r bie 9tuf*
tul^rer ouf einmal gur Sflul^e gefcra^t, 3ebe anbern S^ittel
flnb loergeBIi^, unb 3^r ^ert;eert baS Sanb.

Slegentin. «6afl ©u \jergeffen, mit welc^em StBfd^euso
meitt ©ruber felBfi bie JJrage berwarf, oB man bie neue
Sel^re bulben fonne? SBei^t !Du nid^t, n?ie er mir in iebem

i6 (Sgmont.

SBnefe We ffirl^altung beS ttjal^rett ©lautenS auf« eififigjie
emvfie^It, bag er fflul^e unb @inig!cit auf Jtoften bcr ffleligion
nid^t l^ergcftettt njiffcii witt? «&dlt er nld^t felBfl in ben
^Jroijln^en S^ione, bie voir nlci^t fennen; um ju erfal^ren,
5 votx fld^ ju ber neiien SKeinung l^inu6er neigt? ^at er nld^t
ju unfrer SSertriinberung unfi 2)iefen unb Senen genannt, ber
fl(]^ in unfrer SRdl^e l^eimlid^ ber Jte^erei f^ulblg ma^te?
SBepel^It er ni^t ®trenge unb ®(^drfe? Unb id) foil gelinb
fein? 3^ fott SSorfc^ldge tl^un, bag er naci^fe^e, ba§ er

lobulbe? SBiirbe i^ nid^t otteS SSertrauen, aUtn ©lauBen M
il^m ijerlieren?

SD^ac^iaijetl, 5^ n?elg wol^I; ber StbnxQ Ufitf)ltf er
Idgt ^ud^ (cine ^tBfic^ten njijfen. S^r fottt Sflul^e unb Sriebe
njieber l^erjletten burd^ ein SWittel, bag bie ©emiit^er no(5^

15 mel^r erBittert, baS ben Jtrieg unijermeiblid) on alien @nben
anHafcn n;irb» SBebenft, n?a8 3^r tf)nt Die grSgten Jtouf*
leute finb angejlecft, ber 5lbel, baS 93oIf, bie ®olbatem
SBaS l^ilft eS auf feinen ©ebanfen Bel^arren, ttjenn fld^ um
un8 ?iaeS dnbert? SKo^te bod^ ein guter ©eip fp]^ili|)))ett

20 einge6en, bag eS einem Jtonige anjldnbiger ifl, SSiirger
gtreierlei ©laufcenS ju regieren, olS fie burd^ einanber auf*
jurei6en.

giegentin. @old^ ein Sort nie wieber! 3d^ weig
wo^l, bag ^Joliti! felten 3;reu unb ©lauBen l^alten fann, bag

«5 fie Dffenl^eit; ©utl^erjigfeit, 0lad&gieBigfeit au8 unfern 'gergen
au^fd^Iiegt. 3n njeltlid^en ©efd^dften ifl baS leiber nur gu
tpal^r; follen ttjir aBer aud^ mit ©ott f^ielen wie unter
einanber? ©ollen njir gleid^gultig gegen unfre ^njfi^rte
!i^e^re fein, fiir bie fo SSiele il^r SeBen aufgeo^fert l^aBen?

3o2)ie follten njir l^ingeBen an l^ergelaufne^ ungeroiffe, jlc^ felBjl
. wiKrfpred^enbe 3Reuerungen ?

3^ a d^ i a ^ e I L ^en!t nur be3n}fgen nic^t itder ^on mir !

1. aufjug. 17

Stegentin* 3d^ fenne S)i^ unb S)eine ilreue, unb mi^^
bag (Siner etn el^rlic^er unb berjtdnbtger fSflann fein Unn,
votnn n gleid^ ben n&c^ften (eflen SBeg jum «&eil fetner
@eele ))erfe^lt ^at Sd flnb no^ ^nbere, S^ac^iaoeU, Scanner,
bte i(^ f(^a(en unb tabein mug. 5

S^ad^iaoelL SBen (ejeMnet Sl^r mir?

ate gen tin. 3c^ !ann ed geflel^en, bag mir Sgmont
^ute etnen red^t innerlt^en, tiefen Serbrug erregte.

S^a^iaoelU ^urci^ n?elci^ed SBetragen?

3J eg en tin. 3)ur^ fein geico^nlici^eS, burc^ ©lei^gfiltig* 10
feit unD gel^tflnn. 3^ er^ielt bie fd^rerflidje aSotWaft, eben
aid i^ 9on SSielen unb i](;m 6egleitet, and ber Jtird^e ging.
3(^ l^ielt meinen S^merg ni^t an, ic^ 6eflagte mic^ laut
unb rief, inbem i^ mid^ ju-il^m n?enbete: M@e](;t^ n^ad in
(Surer ^Jrooinj ent|le](;t ! 2)a8 bulbet 3^r, @raf, oon bem 15
brr StbnxQ fl^ ^Ued t?erf))ra^?'*

S^ad^iaoelL Unb voa^ antroortete er?

(Regentin. ^U n^enn ed nici^ta, aid votnn ed eine
9lebenfa^e n^&re, ))erfe(te er: SBdren nur erfi bie 9lieber«>
Idnber itBer i^re aSerfaffung Beru^igt I S)ad Uefoige n?urbe 30
fic^ lei^t geien.

atta^iaoell. fSUMd^t ijat er n^al^rer, aid flug unb

ftomm gef:|)ro^en. 3Bie fott Swtrauen entjie^en unb bleiben,

loenn ber 9lieberldnber fle^t, bag ed mel^r urn feine ^Befl^

t^mer aid um fein fE&o% urn feiner ©eele »&eil ^u t^)un 25

tp? ^aUn bie neuen SBifti^5fe me^r ®eelen gerettet, aid

fette ^JfrCinben gef(^maufl, unb jlnb ed ni^t meift Srembe?

iRoc^ werben aUe ©tatt^alterf^aften mit 01ieberldnbern befe^t ;

laffen {i(^ ed bie @panter ni^t ju beutli^ merfen^ bag fie

bte grdgte, unn}iberfle]()ltd?{ie SBegierbe nac^ biefen ©teHen^o

em|)finben? SBill ein Sol! nid^t lieber nad? feiner ^rt ))on

ben Setnigen regiert iverben, aid bon ^remben, bie er^ im

c

i8 (Sgmont.

Sanbe fld^ tuleber Sefl^tl^fimer auf Unfoflen filler ju ernjerben
fui^en^ bie einen fremben SD'^a^flalJ mitfcringen, unb unfreunb*
li(!f) unb ol^nc 5!^eilne]^mung l^errfd^en?
aiegctttin. Sii fiettii Did^ auf blc (SdU ber ®cgner»

5 SW a ^ I a ij e 1 1. 2Wit bem ^getjen genjig ni^t, unb icottte,
i^ fSnntc mit bem QSerjlanbe ganj auf ber unfrigen fein.

81 e g e n t i n . SBenn 2)u fo njittjl, fo tl^dt' eS notl^, ic^

trdte il^nen meine 0legent[^aft ab ; benn ®gmont unb Oranien

mad^ten jid^ grof e »&offnung biefen ^Jla^ elnjunel^men. ®a*

10 male waren |le ©egner; iegt fmb |le ^egen ini^ J?ertunben,

flnb ffreunbe, unjertrennll^e Sreunbe genjorben.

Wla^ia^tll. (Sin gefdljrll^eS ^Jaar*

Siege n tin. <SoU ic^ aufric^tig reben, idi furd^te Ora*

nlen unb id^ furd^te fiir @gmont. Dranien (Innt nid^td

15 ®uteS, feine ©ebanfen reid^en in bie Seme, er iji l^eimlid^,

fd^eint 5ttteS an^une^men, njlberf^rid^t nie, unb in tiefjier

e^rfurd^t, mit gropter SSorfid^t tl^ut er, njaS il^m SetieBt.

^a^ia^tlU Ole^t im ©egentl^eU gel^t ©gmont einen
freien ©ci^ritt, als wenn bie SBelt il^m ge^orte.
30 JHegentin. ®r trdgt bag «&au^t fo l^od^, aU njenn bie
»&anb ber SWajefldt nic!;t iiBer il^m fd^njebte.

fEHa6)ia^tU. ©ie 5tugen beg QSotfg j!nb atte nad^ i^m
gerid^tet, unb bie «&erjen l^dngen an il^m.

Wegentin. 0lie l^at er einen ©d^ein Jjermiebeu; aid
25 njenn 0liemanb Slec^enfd^aft i)on i^m ju forbern l^dtte ! 0lo(^
trdgt er ben 0lamen (Sgmont. ®raf @gmont freut i^n
fld^ nennen ju 1^6ren, alg tvottte er nid^t ijergeffen, bap
feine SSorfal^ren 93ejl{er 'oon ©elbern njaren. SBarum nennt
er {Id^ nic^t ^rinj ^on ©aure, n^ie eg i^m jufommt?
30 SBarum tl^ut er bad ? SBitt er erlofc^ne dled^te n?ieber geU
tenb madben?

I. 8lufjug. 19

Vla6)ia^tll. 3^ l^altc i^n fur einen treuen ©ieuer
bed <ft5mdd/

0iegentin. SBenn er vooUU, trie Joerblent !6nnte er fl^
urn bie flftcgierung ma^en, anjlatt bag er unfi fc^on, ol^ne
(Id^ ju nufeen, unfdglic^en SSerbrug gemaci^t l^at ! ©eine 5
©efettfd^aften, ©ajimal^Ie unb ©elage l^aten ben 5tbel mcl^r
tjerfiunben unb \>txtnii)pft, aU bie gefcil^rli^jlen l^elmlic^en
3ufammenfunfte. aWit feinen ©efunbl^eiten 'fjaitn bie ®djie
einen bauernben SRaufd^, einen nie flc^ bergiel^enben ©d^ttjinbel
Qt\^bpft. 5Bie oft fefet er burd^ [eine ©d^ergreben bie ®e* 10
mutl^er beS SSoItS in 9Ben?egung, unb njie (lu^te ber ^bUl
hUx bie neuen Siijreen, iiBer bie tl^Srici^ten ^Ifcjeid^en ber
39ebienten !

aj^ac^iabell. 3^ 6ln uBergeugt, eS war ol^ne 5t6fid^t.

flUegentln, ©^limm genug. 2Bie id^ [age: er f^abet 15
und, unb nu^t fld^ nid^t. (Sr nimmt bag (Srnjilit^e f^erg*
^aft; unb wir, urn ni^t uiiigig unb na^Idffig ju fd^einen,
miiffett bag ©d^erjl^afte ernfllid^ nel^men. ®o \)ti^t @in8 baS
5tnbre ; unb waS man aBguweftben fud^t, baS mac^t fid^ erfl
red^t. ®r ifl gefdfirlid^er al8 ein entfd^iebneS «§au^3t einer 20
aJerfd^tvdrung ; unb id^ mupte mid^ fe^r irren, tcenn man
il^m 6ei «&ofe nid^t ?l(leg gebenft, 3d^ !ann nid^t leugnen,
ed \>erge^t wenig 3^it, bap er mid^ nid^t emjjfinblid^, fe^r
empfin^nd^ mad^t.

aj^od^ia^ell. (Sr fd^eint mir in 5t(lem nad^ feinem 35
®en?ijfen gu l^anbeln.

9legentin« ®ein ©ewiffen f)at einen gefdttigen Spiegel.

©ein aSetragen ifl oft 6eleibigenb. ®r flel^t oft an^, aU

n?enn er in ber \jo(ligen Ue6erjeugung Ie6e, er fei «&err, unb

nroQe ed und nur and ©efddigfeit nid^t fiil^len laffen, itode 30

und fo gerabe nid^t gum Sanbe l^inau^iagen ; ed n?erbe flc^

f^on ge6em

c 2

20 Sgmont.

^a(i)ia\>tlU 3c^ 6itte d^n^, legt feine Offen^it, fein
glitdli^ed S3lut, bad aUed 3Bid^tige leic^t 6e^anbelt, nic^t }u
Qt^at)xli6) audi ^i)x fc^abet nuc il^m unb (Suc^.
Stegentin* 3c6 lege ni^td aud* 3c^ fpre^e nuc ^oou

5 ben unoermei^U^en ijolgen, unb i^ fenne \f)n. @ein nieber«
Idn^ifd^er ^Del unb fein golben SSlie^ )9or bee SrufI {Idrfeu
fein ^ertrauen, feine <ftu^n](;ett. SBetbed fann i]()n )ooi: eineui
fc^neden^ n^idfurlic^en Unmut^ bed Jlonigd fc^u^m Unter«>
fu^' ed genau ; an bem gan^en Unglud, bad iJIanbecn trtfft^

to ifi er boc^ nut adein fc^ulb. Sr f)ai juerfi ben fremben
Se^rern na^gefe^n, l^at'd fo genau nic^t genommen, unb
t^ieUeic^t fic^ l^eimlic^ gefreut, bafi n?ir fUna& ju fc^affeu
l^atten. £a^ mtd^ nur 1 SBad id} auf bem «&eqen l^aBe, fed
bei biefer ©elegenl^eit ba))on. UuD id^ n^id bie $feUe nic^t

15 umfonfi oerfc^ie^cn ; id; n?eip; mo er empfinbUc^ ifl. Sr i^
auc^ eui^finblid^.

aDUc^iaoell* «&abt if)x ben 9lat]^ gufammen 6erufeu
laffen? Jlommt Oranien auc^?
91 e g e n t i n« 3c^ ^aU na^ ^ntn^eril^en urn il^n gefc^tdt

ao 3c^ icid il^nen bie fiafi ber Serantn^ovtung nal^e genug
guiodljien; {le foden {t^ mit mtr bem Uebel ern^li^ tnU
gegenfe^n ober fic^ auc^ aid 9ie6eden etfldrem d^iU, ba$
bie aBriefe fertig njerben unb 6ringe mtr fie gur Unterfc^rift.
S)ann fenbe fc^ned ben (en?d^rten fSa^ta nac^ S^abrib — er ifi

>5 unermubet unb treu — ba$ mein S3ruber juer ji burci^ ii)n bie
9lac^rtc^t erfa^re, bafi ber 9luf il^n nic^t Cibereile 1 3^ t9id
\\)n fe(6fl nod^ ft)rec^en, e^' er obge^t

SDUc^iaoelK Sure SBefe^le foden fc^ned unb genau
Bcfolgt n}erben.

1. afufjug. 21

«

99(irgerl^aii8.
Stlatt. Stlaxtni ^ntftx. IBra^enBurg.

St I ax ^. ffioUt 3l^r mir nid^t bag ©am l^alten, 33ra(fen*

5Bradett*urg. 5^ titf (gu(5^, tjerfd^ont m\^, Jlldrd^en. 5

Jtlare. 3Ba8 ^ait ^^x njlcber? ffiarum s^erfagt 3^t
mir btefen flclnen SicbeSblenji ?

SBradenBurg. 5l^r tannt mld^ mit bent S^ltn fo fcj!
t>0T @u(^ l^in, i(i^ fann @uern ilxiQtn n\(i)t audrteic^en.

Jllare. ©riHen! fommt unb l^altetl lo

9» u 1 1 e r {im ©cffet flrttfenb). ©incjt bo^ ®in8 ! Sraden*
Surg fecunblrt fo l^ftBf(^. ©onfl rrart i](;r luflig, unb i^
l^otte immer traS gu Tad^cn.

SradcttBurg. ©onji!

Stlaxt. 5Bir woUen flngen. 15

SradenBurg* 5Ba8 3^r rrotlt

JUare. fflnx l^Mfi^ munter iinb frif(^ treg! ®§ ifl
fill ©oTbatenlleb^en, mein SeiBflud.

(®ie toicfelt ©arn itnb flngt mit SBrarfenhtrg.)

©le Srommel (jeru^ret, 20

®a« qJfelWen gefricltl
fTOein SieBftcr getuaffhet
Dnn J&aufcn Befle^lt,
Die Sange l^oc^ fh^xd,

Die Seutc regieret 95

3Ble flo^ft mir ba8 ^crge,
8Bie rrairt mir bag «8Iut !
O, ^&tV i(!^ eitt 5B5mm8lcin
Unb «&ofen ttnb «&nt!

I

22 @gmont.

3c^ folgt' ll^m jum ^ox 'nauS
Wit mutl^igem ©^ritt,

®ing' nhnaU mit.
5 Sie Selnbe fc^on ttjeici^en,

SBir f^ie§en bareln.
mid) ®lnd fonber ©lelci^en;
©in spjanngeilb ju fcin !

(SBrorfenburj f)at imter bem (Singen JJ(ar(!^en oft angcjc^en ; gutej*
o bleibt il^m bte ©timme florfcn, bie X^rdnen fommen i^m in bic Slucjen,
(t (d^t ben (Strang fallen unt> ael^t and S^nfter. Jtt&rd^en fingt bad
8ieb aflein au«, bie SWutter tt)inft il^r i^alb unwil% fie jlel^t auf, ge^t
eintge (B6)xxt\t m(i) il^nt l^in, fei^rt Balb nnfd^tufUd toteber um, unb

fejt fii)

15 2» u 1 1 e r. SBaS gieBt'g auf ber ©affc, SratfenBurg ? 3(^
1^6re marfd^iren.

SB r a den Burg. @8 iji bie SeiBwad^c ber Wegentln.

Jllare. Urn biefe ©tunbe? ?Ba8 foil bag Bebeuten?
(<Sie jlel^t auf unb ge:^t an bad genjler gu Sradenburg.) ®a8 ifl
ao nid^t bie tfigUc^e SBad^e, bag flnb treit mel^r ! {Jafl otte il^re
»&aufen. D SBradenBurg, gel^t! 1^6rt einmal, ttjaS e0 gleBt.
@g muj etn?a8 SBefonbereS fein. ©el^t, guter SBradenBurg,
t^ut mir ben ©efaden.

SSradenBurg. 3(^ ge^e! 3d^ Bin gteld^ wleber ba.
35 (Or rei^t i^r abge^enb bie ^nb ; {te gtebt i:^m bie i^rige.)
SD^utter. S)u ft^tdjl i^n fc^on ttieber n?eg!
Jtlare. 3^ Bin neugierig; unb aud^^ ))crbenft mir '6
nld^t, feine ®egenn?art t^ut mir rcii), 3^ wei^ immer nid^t,
wit i^ mi(^ gegen l^n Betragen foil. 3ti^ l^aBe Unrec^t
30 gegen i^n, unb mi(^ nagt'd am <&ergen, baf tx ed fo (eBenbtg
fu^^tt. — Aann 1(^*0 bod? nicS^t finberu!
la^utter. dd tfl ein fo treuer SBurf^K-

Jllare. 3d^ fann^S mdj ni^t laflen, (^ muf i^m
frcunblid^ Begegnen. SD^einc »&anb briicft fid^ oft unijerfel^enS
gu, ttjenn ble fcine mid^ fo leife, fo lieBetJott anfapt. 3c^
ntad^c mir SSonrutfc, bap ic^ il^n Betruge, bap ici^ In feinem
•Serpen cine JoergeBIi^e «&offhung nd^re. 3(^ Bin liBel bran, s
9Bei§ ®ott, ic^ Betriig' i^n ni^t. 3d^ witt ni^t, bap er
l^offen fott, unb i^ fonn il^n bo^ nit^t Joer^njeifeln laffen.

abutter. Sag ifl nici^t gut.

Jtlare* 3c^ l^attc i^n gem, unb n?iO if)m avi(i) no^
njol^l in ber ©eele. 3^ l^atte il^n ^eiratl^en fonnen unb 10
gtouBe, x^ xtax nie in i^n tjerlieBt.

SKutter* ©liicflid^ njdrfl Du immer wit i^m genjefen.
Stlaxt. SBore Derforgt unb l^otte ein ru^igeS Seten.
2»utter. Unb ba8 if! titles burci^ Seine ®^ulb ber*
Werjt^ 15

Jtlate. 3(^ Bin in einer ttjunberlid^en Cage. 3Benn idj
fo nod^benfe, njie eS gegangen ijl, tt?eip i(^'8 n?ol§I unb njeip
ed niti^t. Unb bann, barf id^ @gmont nur n?ieber anfel^en,
ttjirb mir 5ltle8 fel^r fcegreiflic^, j[a n?ore mir weit mel^r
begreifli^* 51^, njaS ift*8 ein SWann ! 5l(le fProbingen Beten 20
tfctt an, unb i^ in feinem 9trm fottte nid^t baS gliidflid^fle
®efd^5^f bon ber ?BcIt fein ?

SKutter* SBie tt?irV8 In ber Su^unft werben?

Jtlare. 5ld^, xdi froge nur, oB er mid^ lieBt; unb oB
er mic^ lieBt, ifl baS eine Srage? 25

abutter. SWan l^at nid^tS aU ǤerjenSangfi mit feinen
Jtinbem. SBie bag auSgel^en njirb! Smmer ®orge unb
Summer 1 ^a gel^t nid)t gut au@ ! S)u l^aft bid^ unglitcf lid^
gemad^t, mid^ ungludEIid^ gemad^t!

Jllare (getajfen). 3l§r liepet eS bod^ im 5lnfonge. 30

iKutter. fieiber war id^ ju gut, Bin immer ju gut.

24 @gmont.

Stiaxt. ffienn ©gmont tjortcirltt, tmb td^ anS ffenfter

lief, fc^altet S^r mid; ba ? ^Tratet 3^r nid^t fclbfl nnS Senfler?

SBenii cr ^crauf \af), Id^elte, nitfte, mit^ Qtu^te, \mx t9

(Sut^ juwiber ? jjanbet 3^r (Sut^ nid^t fclSji in (Surer SocS&ter

5 qeel^rt ?

!Wutter. !Wa(6e mir nod^ SSorwftrfe!

,ftlare (gerfi^rt). ?Bcnn er nun 5fter We ©trafle fam,
nnt> mx voof)i fu^lten, Da§ er urn meinetnjiHen ben 3Befl
ma^tt, bemerftet 3^r'3 nic^t felbfl mit l^eimlid^er JJreube?
>o aflieft 5^r mtd^ ab, wenn it^ l^inter ben S^eiben flanb unb
il^n ern?artete?
3K utter. Dad^te id^, bag e8 fo njeit fommen fodte?
St I ax t (tttit flotfenber <Stimme unb guriicfgebattenen X^ranen).
Unb n?ie er und Qtbeubd, in ben Mantel einge^iiat, bei ber
"5 iampt fiberrafc^te — wer war gefc^aftig, il^n gu em^jfangen,
^ idl auf meinem @tu^l voit angefettet unb flaunenb {I^n
blieb?

Gutter. Unb fonnte it^ furd^ten, bag biefe unglftdlic^e
!Siebe bad !(uge Stlaxd)tn fo ba(b l^inreigen wiirbe? i^ mug
ao ed nun tragen, bag meine 5toc^ter —

Jt I a r e (mit ouabred^mben X^rfinen). !Wutter ! ^f)x tt?oBt'3
nun ! 3l^r l^abt @ure Sreube, mit^ ju angfligem

!!^utter (loeinenb). SQeine no^ gar! Jl^^ati^e mid^ nix^

elenber burd^ Deine Setrubnig! 3ft mir'd nidjt ,ftummer

35 genug, bag meine einjige Softer ein loenrorfened ®e«

Jtlare (oufHei^nb unb fait). 93ern?orfen ! @gmont« ®e«

liebte oerworfen? — SBelc^e ffurflin neibete nic^^t bad arme

Jtlarc^en \im ben ^la^ an feinem ^^erjen ! O ©Gutter —

30 meine 9Jiutter, fo rebetet 3^r fonfl nic^t, - ikbt Wlntttx, feib

gutl — ^ad QSol!, n?ad bad benft, bie 9la(!)barinnen, nnid

1. Slitfjitg. 25

b f e ntittmeln — ®f efe StwU, blefe 8 flefne ^a\\^ ifi tin
J&immc(, feit ©gmontS iitbt tx'm xt6f)}\t,

mntttx. fSftan mu^ (l^m l^olb fein! S)a« (fl njal^r.
(Sr iji immer fo fireunblid^, fret imb offen,

St I art. @8 (fl feine fnlfd^c 9lber an il^m. ©el^t, SWutter, 5
imb er ifl bo^ ber groge ©gmont. Unb njenu cr ju tnir
fommt, n?ie er fo lieb ifl, fo gut ! njlc er mlr feinen ©tanb,
feine ZapftxUit geme berBfirge ! njte er urn mid^ Beforgt ifl !
fo nur Wltn^df, nur Sreunb, Siebfler!

flutter, Jtommt er wo^l l^ente? 10

St I art. ^a^t 3l^r mid^ nid^t oft anS Senjler ge^en fel^en?
«&abt 3^r ni^t Bemerft, njie i^ ^orc^e, n?enn'd an Der ^^iire
raufd^t? — D6 id) f^on n?ei$, bag er »or ^a6:}t nic^t fommt,
»ermiit^' it^ i!^n boc^ {ebeu Qtugenblii, »on Slf^orgend an,
wenn i^ auf^el^e, $Bar' i^ nur ein SBuk unb !5nnte immer 15
mit il^m gel^en, gu «&ofe unb fibtxaU ^in! StbnnV if)m bie
^al^ne na^tragen in ber S^la^W —

STOutter, Du n?arfl immer fo ein ©^ringinSfetb, aU
tin fleineS Jtinb f^on, 6alb toll, balb na^benflic^. Siel^fl
®u Dit^ ni^t ein wenig beffer an? 20

Jtlare, gjieHeid^t, Wlntttxl ffienn id; Sangenjeite l^abe,
— ©eflern, benft, gingen bon feinen li^euten borbei unb
fangen 8o6Iiebt^en auf ii^n. SBenigflend war fein ^lame in
ben Siebem. S)a8 Uebrige fount' idi nid)t berfle^n. ^ag

.getj f^Iug mir 6iS an ben »&al8. 3^ l^dtte fie gem 25

jurucfgerufen, n?enn i^ mi^ nid^t gefd;amt l^dtte.

abutter. SRimm S)id) in 5(d)t! ^ein l^eftigeg SBefen
berbirbt nod^ 9lUe3; bu bcrrdt^fl Dic^ offenbar bor ben
Seuten* SBie neu(id) bei bem QSetter, irie 2)u ben «&oIjfd?nitt
unb bie 3Befd)rei6ung fanbfl unb mit einem S^rei rieffl : 30
®raf (Sgmont ! — 3c^ warb feuerrotl^.

«Iare. *att' id) nic^t f^reien foden? ff3 war bie

26 Sgmont.

(S^la^t Ui ©ra^oellngen, unb i^ pnbc oten Im Silbc ben
SBud^flaBen S. uub fuc^e wnten in bcr Sefd^reiBimg K. ©tel^t
ba: „®raf (Scjmont, bent bag 53f^t^b unter bem 8ei6c tobt
gefd^offen njirb." Wli^ fitjcrlief 8 — unb f)nna^ mu^t' idi
5 tad^cn uBcr ben l^otjgefc^ni^ten (Sgmont, ber fo grop war ate
ber ^^urm tjon ©ratjelingen gleic^ ba^el unb bic cngtifd^en
©c^iffe an ber ®eite. — SBenn ic^ mid^ mand^mal erinnerc,
wle Id^ mlr fonp eine <S^la^t tjorgeflettt, unb wad icS^ mir
ate SWdbd^en fur ein SBilb tjom ©rafcn ^gmont mac^te, wcnn
lofle tjon i^m erjdl^lten, unb tjon atlen Orafen unb S&rjlen —
unb wle mir'g iefet ipl

SBracfenburg fommt.

^lare. SBle peat's?

S3racfenBurg. 3Wan weip nid^tS ©ewiffeS 3n JJIan*
15 bem fott neucrblngS cin 3!umult entjlanben fein; bic Sle*
gentin fott ^eforgen, er moc^te fi(^ l^ierl^er JJcrBrciten. S)a5
©d^Iop ijl ftarf ^efc^t, bie SBurger flnb gal^Ireid^ an ben
^^oren, baS aSoIf fummt in ben ©affen. — 3cS^ witt nur
fd^netl ju mcincm alten SSater.

ao (Site iroKt* er gel^en.)

;JtIare. ©iel^t man ®ud^ morgen? Sd^ wid mld^ ein

wenig angie'^en. S)er Setter fommt, unb id^ fe^e gar gu

liebcrlid^ anL »&elft mir einen 2lugenWicf, SU^utter. —

0lcl^mt baS fBn^ mit, SBratfenOurg, unb bringt mir wieber

35 fo eine ^gijlorie.

abutter. Mt wo^I!

S3ratfen6urg (feine ^anb reid^enb). Sure »&anb !

^lare (i^re ^anb verfagenb). SCBenn 3^r wieber fommt.
(SKutter unb Xod^ter ab.)
30 aSracfenburg (atiein). 3c^ l^atte mir tjorgenommen
grabe wieber fort gu ge^n; unb ba fie ed baffir aufnimmt

I. STufaug. 27

unb mid^ ge^en Idgt, ni5c^t' i^ rafenb wcrben. — Ungtui*
liefer! Unb biti^ rfi^rt beined 93atcrlanbe8 ©efti^itf nid^t,
ber wa^fenbe S^umult ni^t ? — Unb gleid^ iji blr Sanb^mann
ober ©^anier, unb wer regiert, unb n;er 9le^t ^at ? — SBar
it^ bot^ ein anbrcr Sunge al§ ®^ulf nate ! — SBenn ba ein 5
(Sjccrcitlum aufgegeten roax — „SSrutu8' Sflebc fur bie ffreil^cit,
gur UeBung ber 9lebe!unfl" — ba n?ar boc^ immer ffri^ bcr
(Srjie, unb ber 9lector fagte: SBenn'g nur orbentliti^er ttjare,
nur ni^t 2tffe3 fo u6er elnanbcr geftol^jert. — S)amal8 foc^t'
ed unb trlc6 ! — 3e^t fc^Ie))^)' i^ mid^ an ben 2lugen bed lo
SWdb^enS fo l^in. ^ann id^ j!e bo^ ni^t lajfen I Jtann fie
ml^ bo^ ni^t tieten ! — 21^ — 0lein — ®ie — ®ie fann

midi ni^t ganj i?ernjorfen l^aBen SRic^t gang — unb f)a\h

unb nld^tg ! — 3c^ bulb' eS nid^t Iditger ! ©oDlte ed

n?al^r fein, wa8 mir ein ffreunb neulid^ inS Dl^r fagte, ba^ t5
fie SRadbte elnen SUJann l^eimKcf; gu fl(]& einldgt, ba fie mi*
giid^tig immer t?or Stbenb au§ bem ^aufe treiBt? 0lein, eg
ifl nid^t nja^r, e8 iji eine fiiige, eine fd^dnblid^e, i?erleumberifc^e
Sfige! Jtldrc^en i^ fo unfd^ulbig, atS ic^ unglutfli* Bin. —
®ie ^at mi^ Joerworfen, ^at midb tjon i^rem Bergen ge^ 20

flojen. Unb idj foU fo fort leBen? Set; bulb', i^ bulb'

e3 nid^t. <S^on wirb mein SSaterlanb tjon innerm

Swifle lieftiger Benjegt, unb i^ jterBe unter bem ©etiimmel
ttur ail 3d^ bulb' e8 nid^tl — SBcnn bie ^xi>n\)ptU flingt,
ein .©d^uj fdUt, mir fd^rt'g burd^ ^axt unb 93ein ! 5td^, 25
ed reigt mid^ nid^t ! @d forbert mid^ nid^t, aud^ mit eingu^
greifen, mit gu rettcn, gu ujagen. — (Slenber, fd^impflid^er
Suflanb ! (S« ifl Bejfer, id^ enb' auf einmal. 0leulid^ fiurgt'
id^ mid^ InS SBajfer, id^ fanf — aBer bie gedngjiete 0latur
war ^tdrfer ; id^ ftt^lte, ba^ id^ fd^wimmcn fonnte, unb rettete 30

mid^ ttjiber SBillen ! Jt5nnt' i* ber Beit »ergeffen, ba

fie mid^ lieBte, mid^ gu lieBen fd^ien ! — ®arum l^at mix'^

28 Sgmont.

SWarf tmb 3Be!n burdbbnmgen, baS ©Ifti? ffiarum l^aBen
mir biefc «&offhungett aUcn ©enuj beg Seben8 aufgejcl^rt, inbem
(Ic mir ein 55«tabie8 Don fficitcm geigten ? — Unb {cncr erjlc
jtuj ! 3ener eingfge ! — ^in, (bie ^anb «if ben ICifd^ legenb)

5 ^ier TOaren njir ndein — fie n?ar immer gut unb freunbUd^
gegen ml^ gewefcn — ba f^ien jle flc^ ju etweid^en — (le
^af) ntid^ an — atle ®inne gingen mir um, unb id^ fftl^Ite
il^re Si^^en auf ben meinigen. — Unb — unb nun? — @tir6
2lrmer I SBaS jauberji S)u ? ((5r gtei^t ein gt&fd^d^en au« ber

IC llafc^e.) 3^ njitt Did^ nid^t umfonft au8 meined gSruberS
5)o!torfaftti^en gefto^Ien ^abtn, l^eilfamed ®ift! 2)u foUft
mir biefeS aSangen, biefe ©d^winbel, biefe SobedfcS^njeipe auf
einmal loerf^Iingen unb I5fen.

ARGUMENT.
ACT 11.

The scene of the first part of the second act is laid in a
public square at Brussels. Jetter, the tailor, and a master
Carpenter enter, conversing on the riotous conduct of the
Iconoclasts in the provinces. The two speakers are joined
by Soest, the shopkeeper, who brings the information that the
Regent has, on account of the growing tumults, lost all self-
possession, and that it is even rumoured that she means to fly
from the town. A Soap-boiler makes his appearance, and
admonishes the assembled citizens to keep the peace, lest
they should be treated as riotei-s.

By degrees a crowd assembles, and Vansen^ a lawyer's
clerk, joins them. He explains to the people their con-
stitutional rights and privileges, upbraids them for their
passive conduct, and adroitly endeavours to incite them to
imitate the example set by their Mconoclastic brethren' in
Flanders; this ill-advised utterance brings down upon him
a chastisement from the hands of the peaceable Soap-boiler,
who is, in his turn, severely handled by the people for ill-
treating a 'respectable 'citizen' and a 'learned man.' A dis-
turbance ensues, which ends in a most riotous and tumultuous
scenCj admidst shouts of ' Freedom and Privileges ! Privileges
and Freedom 1'

Suddenly Egmont enters with his followers. His ap-
pearance soon calms the uproar. He is greeted as an
'angel from heaven,' and the people quietly gather round
him. He urges them not to provoke the king still farther,
and not to imagine that privileges are secured by sedition.
The crowd for the most part disperses, and Egmont retires

30 ARGUMENT.

with his followers. Jetter, the tailor, and the master Car-
penter express their regret that the king did not appoint
Egmont their Regent, and the former utters the ominous
remark that Egmont's fine neck would be a dainty morsel
for the headsman.

The scene now changes to Egmont's residence. His Secre-
tary expects him with impatience, and informs him on his
appearance that the letters which have arrived contain much,
but little that is cheering. After having reported the topics
referring to public business, the Secretary reminds Egmont
of his filial duty towards Count Oliva, who Moves him as
a father,' and who expects an answer to his affectionate and
admonitory letter. Egmont demurs to the stem tone of the
Count's constantly recurring moralizings, and defends his
light-heartedness, which makes him take life easy. The
Secretary raises his warning voice ai;ainst the exuberant
heedlessness of Egmont, who dismisses him, however, on
account of the expected arrival of the Prince of Orange.

The Secretary retires, and William of Orange enters. The
two friends speak of the conference which they had with the
Regent, and of the probability of her departure. Egmont will
not believe it, but Orange has his misgivings. He knows that
the Duke of Alva is on his way to the Netherlands with an
army, and knowing as he does his * blood-thirsty mind,' he
fears that despotic measures will be resorted to. Orange
therefore advises his friend to withdraw with him into the
provinces, * where they might strengthen themselves.' Egmont,
however, has implicit confidence in Ch-rles's son, who is
< incapable of meanness.' All the earnest entreaties, and even
the tears of Orange, who 'does not consider it unmanly to
weep for a lost man,' prove futile. Egmont's noble nature is
incapable of suspicion or anxiety, and he will — renaiiL

3n>eiter Slufjug.

maii in aBrfiffet.
Setter unt ein 3immermei]|ler trcten gufamnten.

3 i m m c r m e i P e r* ®agt' id^'0 nid^t »orau8 ? 0lo^ Joor
ac^t 3Iagctt auf ber Sunft fagt' i^, eg icurbe f^irere «&dnbel 5
ge6en.

Setter* 3^*8 benn wal^r, ba§ fie bie Jtitij^en in
S'lonbern gepliinbert ^aUn ?

Sinimermeifier. ©anj imb gar gu ©rwnbe gerid^tet
l^aben fie Jtir^en unb Jtapeden. dli^td al§ bie t^ier nacften lo
SBdnbe l^aBen fie fic^en (ajfen. Sauter gum^engcflubcl ! Unb
bad ma^t unfre gute ®ad^e fd^Iimm. SBir l^dtten e^er, in
bet Drbnung unb fianbl^aft, unfere Oercd^tfame ber atcgentin
j?ortragen unb brauf l^alten fotten. Slebeu wir je^t, t>crfam*
mein n?ir und ie^t, fo l^eipt eg, n?ir gefeden und ju ben 15
Qtufwieglern,

Setter. 3a, fo benft 3cbcr guerp: njaS fotlfl ®u mit
Seiner 0lafe ijoran? Ȥdngt bo^ ber ^aU gar na^ bamit
jufamnten.

3immermeifler. Wix ifl'8 Bange, wenn'8 einmal 20
unter bent ^^ad gu (drmen anfdngt, unter bcm SSoIf, bad
nic^td }U loerlieren l^at. Sie Brau^en bad $um ^ornianbe,
woraitf wir und au(^ berufen mufjen, unb 6riugen bad Sanb
in Ungluct

3^ @9in^^t*

Soefl ttitt bagu.
@oe{l. ®uten ilag, 3^r<&emnl SOad gieBt'd Sfleued?
3{i'd wa^r, bap bU SSilbeifiurmer geiabe ]()ierl^er i](|ren 2auf
nel^mcn ?
5 Stntmermeiflet. <&ier fotlen fl^ niti^td anritl^retu
@ e fl. @a trat etn @oIbat Ui mir ein, Sioba! ju faufen ;
ben fragt' i^ au8. Die flfJegentin, fo eine voadxt fluge JJrou
fie Bleibt, bie^mal i{) fie auper ^affung. (£0 mufi fe^t arg
fcin, bap fie flt^ fo geraDeju l^inter l^re SBac^e tjerjiecft.
lo £)ie SButg if^ fci^arf Befe^t, Wlan meint fogar, {le n?o(le aud
ber <Stabt fluc^ten.

3 i m m e r m e i ft e r. «&inaud fod fie nt^t ! S^re ®egen«

wart befd;u^t und, unb irir n)oUen i!^r me^r @i^erl^eit )oer«

f^affen^ aid il^re @tu^Bdrte. Unb ivenn fie und unfre 9tec^te

15 unb Srei^eiten aufreci^t er^dlt, fo n?oUen xoix fie auf ben

«&dnben ttagen.

©eifenfieber ttitt baju.

®eifenfieber. ©atflige <&dnbel ! Ue6Ie <6dnbel 1 (Sd
ttjirb unru^ig unb ge^t f^ief au« ! — »§iitet Cuti^, bap 3^
ao fliUe HeiSt^ bap man du^ nic^t au(^ fur ^ufwiegler l^dlu
@oefl. S)a fommen bie fleien SBeifen aud ®rie(^en«
lanb.

@eifenfieber. 3d^ n^etp^ ba flnb fSitlt, bie ed ^eim«
li^ mit ben Jlaltjinipen fatten, bie auf bie Sif^5fe Idjlern,
35 bie ben Jldnig niti^t fd^euen. 2lber ein treuer Untert^an,
ein aufrict;tiger Jlat^olifel —

((Sd gefeUt tl(^ nad^ unb na(^ atterlei $olf gu il^nen unb ^or^t.)

tBanfen tritt baju.

03 an fen. ®ott grup' (^n^, «&errnl SBad SReued?
30 Btuimermeifier. ®ebt (^ucb mit bem nid^t ab, ^a^
ift ein fd^led^ter Aerl.

2. Slufaug. 33

Setter. 3ft ed nic^t bet S^relBer beim S)octor SQietd ?

Simmermeifter. Crl^at fc^on t)iele <&erreti ge^abt.
(Srft tt)ar er @(i)xtiUt, unb tote i^ti eiti patron nati^ bem
anbern fortjagte, @^elm{ireid^e l^alber, ))fufc^t er {e^t 9los
taxtn unb 2tot)ocaten ind <&anbwerf, unb ift ein S3rannt«5

{di Ummt mtffc S3o(! gufammen unb ^e^t tnt^ptoeife.)

' aSanfen. ^^x feib au(^ berfammelt, fledt bie Jtdpfe
jufammetu & ijl immer reben^wert^.

@oeft* 3(^ benf au(^. lo

as an fen. SBenn ie^t <£iner obet bet Slnbere <&er} ^Atte,
unb Siner ober bet ^nbere ben Aopf baju, vote fdnnten bie
{)mnif(^en Aetten auf einmal f))rengen.

@oe{l* <&erre! ®o mitpt t]()r nt(^t reben. 9Bir l^aBen
bem JUnig gef(^tt}oren. 15

aSanfen. Unb bet Jtdnig und. S^erft bad!

Setter. S)ad Idpt fi^ ]^5ren! Sagt Cure a^einungl

ClnlgeStnbere. «&or^ ! 5)er berfte^t'3. Der ^at $flfe.

aSanfen. 3(^ ||atte einen alten $atron, ber 6efaf $er«
gomente unb Sriefe bon uralten @ttftungen^ Aontraften unb ao
®ere(^tig!eiten ; er l^ielt auf bie rar^en SBuc^er. 3n einem
^b unfere ganje QSerfaffung: text und SRieberldnber juerfi
einjelne ^iirfien regierten, aU^^ na(^ l^ergeSrac^ten Stec^ten;
$rioiIegien unb ©ewo^n^eiten — n?ie unfre aSorfa^ren aOe
(&ftfnx6)t fhx i^ren ^itrflen gel^abt, votnn er fie regiert, voit er 25
follte; unb mit fie fl(^ glei(^ botfa^en, wenn er fiber bie
@<^nur l^auen tooftte. S)ie ®taaten maxtn glei(^ l^interbrein ;
benn iebe $robin{, fo flein fie n?ar, ^atte i^re @taaten, ifjxt
Sanbfidnbe.

Sintmermeifler. <0altet (Suer S^aul ! S)ad voti^ man 30

D

34 (S g m n t.

lange ! @in {eber ted^tfti^affnc SSurger Ijl, fo »iel er Braud^t,
»on ber SScrfajfung unteni^tct

Setter, ia^t i^n reben; man erf%t Immer ttvoai
mtt)x.
5 ©oefl, Qx f)at gang 9leti^t, -

SD^e^rere. @rjd^U, erjdl^U! So wa8 ]^5rt man ni^t
atte ^age.

as an fen. So felb 3^r SfirgcrSteute ! 3^r Ie6t nut (o
in ben XaQ f)in ; wnb wie 3l^r ffiuer ©ewert' t)on Suern @(tern
lo uBerfommen l^aBt, fo laflt 3^r anCi) baS Sleglmcnt (iBer (Suc^
fd^alten unb walten, njie e8 fann wnb mag* 3^r fragt nid^t
nad^ bem ^^erfommen, nad^ ber «&ifiorie; nac^ bcm flled^t eineg
9legentcn ; unb uBer baS aSerfdumnip l^aben ffiuti^ ble ®pan\n
baS 0le^ uBer bie D^ren gejogen.
15 ©oejl. SBer benft ba bran? SBenn @iner nur bog tdg^
li^e ©rob l^at!

Setter. Serflu^t ! aSarum tritt au^ Jlelner In Seiten
auf, unb fagt @inem fo etmaS?

as an fen. 3^ fag' eS (5u(^ {efet. S)er Jt5nig in ®^a*

ao nien, ber bie ^rotjiujen 'burc^ gut ®lhd gufammen Seflftt,

barf bod^ nic^t brin fd^alten unb walten anberS aid bie

Heinen ffCtrpen, bie fie e^emalS einjein Befafen. fflegreift

3^r bad?

Setter, ^rfldrt'd unS!
35 as an fen. (g« ip fo flar aid ble ©onne. SKiift 3^r
nt^t na^ @uern Sanbre^ten geric!^tet n?erben? SBol^er fdme
bad?

©in aSixrger. SBa^rli^!

as an fen. ^at ber ©riiffeler niti^t ein anber (Red^t old
sober Slntwer^jer, ber Slntwer^jer aid ber ©enter? SBo^r
{dme benn bad?

Stnberer aSiirger. aSei ®ott!

a. Slufaug. 35

SSonfen. StBer, vomn 3^r'8 fo forttaufen la^t, luirb
mott'8 (gu(^ Balb anbere weifem $fui! SBaS Jtarl bcr
Xuf)nt, ffriebrid^ bet Jlricgcr, Jtarl ber Siinfte nic!^t fonnten,
bag t^ut nun $^illw ^"i^^ cin SBeiB*

® c ji, 3a, ia ! bie alten Surflen l^aten'S aud^ f^on 5

93 a n f e n. ffreificS^ ! — Unfere SSorfa^ren pa^itn auf.
3Bie fic einem Ȥenn gram n?urbcn, ffngen fic il^m ettva
fcinen @oi)n unb ©rten njeg, ]()iclten il^n 6el fi^, unb QaUw
il^tt nut auf ble Bepen Sebingungen l^erouS. Unfere 23dter lo
waren Seutel S)ie n?u^ten, n:ad tl^nen nu^ n^ar! S)te
TOU^ten etnjaS ju faffen unb fcpjufe^em Sflec^te SWdnner!
S)afur finb a6er au^ unfere ^ritjilegien fo beutlii^, unfere
grei^eiten fo i?erfl^ert

©elfenfleber. SBaS fprecS^t 3^r »ott Srei^elten? is

2) a 3 93olf. aSon unfern Srei^citen, i^on unfern $rU
oilegien! (Srjdl^It no^ n)ad iDon unfern $rbilegten !

aSanfen. SBir Srabanter fcefonberS, obgleic^ atte $ro*
»ingett ll^re SJortl^eile l^aben, voix flnb am Ij^errlic^fieu per*
fe^en. 3^ i)aU Wit^ gelefen* 20

©o^efl, ©agt an I

Setter. 2aflt ]^5ren!

(Sin aSftrger. 3e^ 6itt' du^.

aSottfen. Srfllid^ fiel^t gefd^rieBen: Der 'Serjog i^on
Sra6ant foU und etn guter unb getreuer <&err fein* 25

@oe{l« @ut! @te^t bad fo?

Setter, ©etreu? 3ft bag wa^r?

gjanfen. SBie ic^ (guc^ fage. (gr Ifl unS i?er))|Ilti^tet,
wie n>ir ll^nu SttJeitenS: (Sr fott feine 3Wa^t ober eignen
®itlen an und beweifen, merfen lajfen ober gebenfeu gu 30
gejiatten, ouf feinerlei SBeife.

Setter. S^Sn ! @^bn ! ffli6^t Beweifen.

D 2

3^ Sgmont.

Soeji* Slid^t merfen laffen.

ein Stnbcrer^ Unb ni(J^t gefeenfen gu gcflattm ! ®o3
ifl ber <&au)}t)}un{t. 9lteutanbem geflatten, auf. felnerlei

5 03 an fen* S^it audbr&dlt^en SBorten*
Setter* ©c^afft und bad Su(^I
(Sin ©fit get. 3a, wlr muffcn'3 l^afien.
SInbere* S)ad S3u^, bad S3u^I
(Sin Qlnberer* SBir n^ollen gu ber {Regentin ge^en
10 mit bem SSuti^e.

(Sin Slnberer. S^r fottt bad SBort ful^ren, $err
©oftor*
©elfenflebet, D, bU 3:r5))fel
Qlnbere. 9lod^ ttxva^ aud bem Su^e!
15 ©elfenfleber. 3^ fc^Iage lljim ble Q&f)nt in ben
<6ald, n?enn er no^ ein SBort fagt.

2)a« as oil, SEBlr wotten fel^en, n?er ll^m ttvoai tf)nt
@agt itnd n^ad ^on ben $ri9ilegten I <&aBen tioix no(^ me]()r
^JrUjileglen ?
ao 93 an fen. STOan^ertel, unb fcl^r gute, fcl^r ^ellfame.
S)a flel^t au(^: S)er Sanbdl^err fotl ben geiflli^en ®tanb
niti^t bertcfftrn ober mcl^ren, ol^ne SJerwiHigung bed Stbeld
unb ber ©tdnbe I WUxtt bad 1 ^u(^ ben ®taat bed Sanbed
ni^t t)erdnbern.
?5 ©oejl* Sji bad fo?

93anfen« 3^ willed dn^ gef^rie(en geigen, i9on gn^eU
breil^unbert Sal^ren l^er«

SBfirger* Unb njlr lelben ble neuen Slf(^5fe? 5Der
Qlbel ntu§ und f^u^en, n^lr fangen «&dnbel an !
30 ^nbere. Unb n?lr laffen nn^ t)on ber Snqulfltlpn tnd
SBotfdl^orn {agen?
a3anfen. S)ad ifl (Sure S^ulb*

2. afufjug. 37

5) a « 93 1 f • 5Blr l^aBen itodfi Sgmont, nod^ Oranien !
Die forgctt fiir unfer SSepeg.

95onfen. Sure SSrfiber in Slanbern f)abtn bad gute
SBerf angefangen*

SeifenfUber. 5)u ^unbl 5

{(Sx fd^ffiftt i^n.)

^nbere (totbevfe^ fid^ unb rufen). Sift 2)u au^ ein
®))anter?
(Sin 21 tt be re jr. 2Ba8? Den ®^renmannt
Citt Slnberet. Den ©etal^rten? lo

(®ie fatten ben ©eifenfiebet an.)

Simmermeijler. Um'8 'gimmete njitlen, rnf)t\ (Slnbetf
wif*ett fld^ in ben ©treit.) SSurger, njaS foil ba8 ?

(^uBen Jjfeifen, wetfen mit ^teinen, ^e^en J^unbe an, Sfirger jle^n
unb 0afen, 93o(! (duft jm, Slnbere gel^n getafjen auf unb ab, ^nbere 15
treiben aKerlei @d^alf«voffen, f^reien unb lubiUren.)

21 n bete* jjreil^elt unb $rit)itegien I 55tit?ilegien unb
greil^eit I

(S g m n t tritt auf mit Segleitung.

©gmont. flflu^ig, Sflu^ig, Seute I fflaSgiett'd? (Ru^elao
Sringt fie au^ einanber!

Simmermeiper. ©nSbiger ^m, 5|r fommt njie ein
Cngel be3 ^immete, ©titte! ©el^t 3^r nid^tS? ®raf ^gmont !
Dent ®rafen (Sgmont Otet^erensl

Cgmottt. 9tuc^ l^ier? SBag fangt Sl^t an? Sftrger 25
gegen SSiirger! '§dlt fogat bie dla^t unfret Knigli^en
aiegentin biefen Unjinn nid^t gutiitf? ®e^t auSeinanber,
gel^t an Qcntx ©enjerte, @S ifl ein fiblcS S^id^en, wenn 3^r
. an SBetftagen feiert SBaS njar'3?

(!Der Xuntult ^ifit fld^ nad^ unb nad^, unb Mt jlel^en unt il^n ^erum.) 30

38 (Sgmont.

3immermelj!cr. ®ic fd^tagen ^^ urn ll^rc fPrli)U
tegien.

@ g m n t. ©le j!e nod^ mut^wifflg gettrftmmern ttjerbeni
— Unb ttjer felb i^r ? 3^r [^elnt mir reti^tlid^c Scute*
5 3initti^tmeij!cr. S)a8 Ifl unfer SBejlreBem

^gntont. @ure8 Sei^enS?

Simmetmcifier, Sinuuermann unb Sunftmelper,

egmont. Unb 3l^r?

©oefl. Jtramer.
10 (Sgmont. 3^r?

Setter, ©c^neibcr.

(Sgmont. 3(5^ erinnere mld^, {^r f)aU mtt an ben
fiiJoreen fur mcine fieute gearteitet, ®uer 0lame ift Setter.

Setter. ®nabe, ba^ S^r ®u^ beffen erinnert.
IS ©gmont. Sd^ i?crgef[e 0liemanben leid^t, ben id^ elnntal
gefel^en unb gcfprod^en f)abt. — 9Ba3 an @uc^ Ifl, (Ru^e gu
erl^alten, Seute, bag t^ut ! S^r feib Wei genug angefd^rieten.
9leigt ben Jtdnig nlti^t mel^r ! ©r l^at gute^t bod^ bie ©ewatt
in 'ganben. @in orbentlic^er Surger, ber j!c^ el^rtl^ unb
20 flei^ig n%t, l^at Meratt fo i?iel ffrei^eit, aU er traud^t.

Sitttmermeifler. 9l(^ njol^I! S)a8 Ifl eten unfre
0lot^! Die 3!agbie6e, bie ©offer, bie ffautenger, mit (Suer
©naben 93crlauB, bie fldnfern au8 Sangerweile, unb fi^anen
auS «&unger na^ 5|}rii?ilegien, unb tiigen ben 0ieugierigen unb
25 fieiti^tglduBigen njaS tjor, unb urn eine ,ffanne SSier Begal^tt
gu friegen, fangen fie »&finbel an, bie tjici taufcnb Sl^enfid^en
unglutflic^ madden. S)a8 ift il^nen eben red^t, 3Bir l^atten
unfre 'gdufcr unb ,ffaflen gu gut ijerwa'^rt; ba n\b(S)Un fit
gem un8 mit ffeuertrdnben batjon treiBen.
30 (Sgmont. 2Wen SBeiflanb fotlt S^r ffnben; ti flnb
SWaprcgeIn genommen, bem Uebel frdftig gu Begegnen. ®tel^t
fefl gegen bie fremb Se^re, unb glau6t nic!^t bur(^ ^ufru^r

a. Slufgug. 39

Scfefli^c man 5Jni)iIegien I SBIciH gti «&aufc! Seibet nit^t,
baf fie f!d^ auf ben ©tragcn rotten! SSernunftlge Seute
!5nnen )7tel tl(|un*

(Snbeffen l^ot jtd^ bet grcgte §aufe ttertaufen.)
Simmetmeijtet. 2)anfen @uer ©rcetlenj, banfen f&r s
bie gute iKeinung ! 9llleS waS an unS liegt. ((SQmont ab.)
ein gndbiget «6err ! S)er ecS^te 0liebertanber I ®ar fo nid^tS
@^anif(^e8.

Setter, ^gatten tt3ir i^n nur gum Slegenten ! SKan folgt
i^m geme. lo

@oejt. S)a8 Idgt ber ^onig ujo^I feim S)en $Ia^ 6efe^t
er immer mlt ben ©einigen.

Setter, ^gafl bu ba§ ^leib gefe^en? Sa8 war naCb
ber neujten 9lrt, nac^ fijanifc^ent ©d^nitt.

3immermeifler. @in fd^5ner »gerr! 15

Setter. ®ein ^alS njor' ein re(3^teS jjreffen fur einen
©^arfrlc^ter.

©oefl. aSifl 2)u tott? SBa8 fommt S)ir ein I
Setter. S)umm genug, ba^ @inem fo njaS einfdllt. — ©8
ifl mir nun fo. SBenn i^ einen f^5nen langen «&aIS fel^e, 20
muf i^ gleid^ wiber SBitten benfen: ber ifl gut !5j)fen. —
S)ie ijerfluc^ten SrefutionenI man friegt fie nid^t au8 bem
®lnne. SBenn bie SBurfd^e fd^wimmen, unb ic^ fel^' einen
natften SButfel, glei^ fatten f!e mir gu Sujenben ein, bie ic^
l)aU mlt (Rut^en jheic^en fel^en. ^egegnet mir ein retJ^ter 25
fflBanfl, mein' Ic^, ben fel^' Ic^ fc^on am (Pfa^I Braten. 2)e8
fflad^ti im ^[raume gwirft mice's an aUtn ©liebern ; man
njirb eBen felne ©tunbe fro^. Sebe SuflBarfeit, jieben ©pa^
^aV l^ Balb Jjergeffen; bie fiird^terlid^en ©eflalten f!nb mir
njle »or bie ©time gekannt. 30

40 Sgmont.

©ef ret fir an einem Xij^d^ mit ^apitxtn; er flel^t ttnru% aiif.

@e!rctfir» dx fommt Immer nld^t! Unb i^ voaxtt
f^on jtrel ©tunben, bie ffeber In ber »&anb, ble ^apitxt ijor

5 mir ; unb e6en ^cute nt5(!^t' i^ gem fo geitfg fort* S3
6rennt mir unter ben ©ol^Iem 3(^ fanu »or Ungebulb
faum BleiBen. „®el auf bie ©tunbe ba/' Befall er mfr. noc^,
elfee er roegging; nun fommt er nic^t. @8 ifl fo »iel ju
tl^un, {(^ werbe »or 2Kitterna(]^t nld^t fertig. Sxtili(!i) flel^t

10 er Sinem an^ einmal bur^ ble ffinger* ©o^ l^ielt ic^'3
6ejfer, roenn er jlrenge njfire, unb liege (Sinen au^ njleber jur
6eflimmten QdU fEflan f5nnte flc^ einrid^tem QSon ber
Olegentin ifl er nun fd^on jroei ©tunben nsegj ujer xx>tif,
wen er untcrwegS angefagt ^at.

15 (Sgntottt tritt auf.

Cgmont. ffiie fle^t'8 au8?

©efretfir. 3^ Bin 6ereit, unb brel ffloten wartem

ffigmont, 3c^ 6in ©ir njo^I gu lang ge6Iie6en; 5)ii
mad^fl ein berbriegtic^ ©efld^t.
JO ©efretfir. (Surem aSefel^I ju ge^ord^en, warfid^ fc^on
lange. «&ier flnb bie 5Jaj)iere!

Sgmont, S)onna ©Ibira n3irb Mfe auf mld^ njerben^
romn fie ^5rt, bag id) ©i^ aBgel^alten f)abt.

©efretfir, 3^r f^erjt.
35 Sgmont. S^lein, nein. ©d^fime bid^ nic^t. ©u ^eigfl
einen guten ©ef^matf. ®ie ifl l^CiBf^ ; unb eg ifl mir gang
rec^t, bag ©u auf bem ©d^Ioffe eine ffreunbin ^aft SOBad
fagen ble aSriefe?

©efretfir, SKandfterlei unb wenig 6tfreuli(!^e8.
30 © g m n t. ©a Ifl gut, bag n?ir ble JJreube ju «&aufe ^ofen

a. Slufjug. 41

unb fie nt(]^t au8n?drtd l^et gtt enrarten Brau(]^en. 3fl t)iel
gef ommen ?

©eftetdr. ®cnug, unb brel Soten warten.

(Egmont. ©ng an! S)ad 9l5t]^tg{le!

©cfrctdt, ©8 Ifl aacg n5t^ig» 5

(Egmont. (5in8 nad^ bem 2lnbettt, nur gef(^n?fnb!

@cftetfir« «&au^tmann aSrcba fc^idt bic 0lclation, waS
wcitcr In (Sent unb bcr umlicgenben ©egenb ijorgefatlcm 2)er
3!umult f)at flc]^ mcijIcnS gelegt. —

(Egmont* ffir fd^rciBt wol^I nod^ ijon clnjelnen Unge* 10
}ogen^etten unb XoUtfif)n^tittn^

©efrctdr. 3a! ffid fommt nod^' SKand^eS »ot.

®gmont. 93erf(^one mx(f) bamit!

©efret^t. S^oc^ fecJ^S flnb cingegogen worben, bic 6ei
ajcmjlc^ bad iKarien6iIb umgeriffen l^aBem @r fragt an, 06 15
er fte auci^ wle ble 5lnbem foil ^fingen laffen?

(Sgmont^ 3^ 6in bed »&5ngcn3 ntfibe, iWan foil ffe
burd^jjeltfd^ett, unb fie m5gen ge^n.

©eftetfir^ ^8 flnb jn:ei aBciBcr baBel; fofl er ble a\x(^
bur(]^j)eitf(!^en ? 30

(Sgmont* 2)ie mag et bemjarnen unb laufen laffen.

©efretdr. ©met »on ben frcmben Sel^rern Ifl ^eimlic]^
burc^ SomlneS gegangen unb entbetft tt3orben. @r \(f)Vibxt, er
fei Im fflegrlff nac^ ffranfreic^ ju gel^en. S^a^ bem Sefel^I
foil er entl^aujjtet werben. 25

©gmottt. ®le fotlcn i^n in ber ©title an bie ©renge
Sringen, unb l^m berfld^em, ba^ er bag groeitemal nid^t fo
wegfommt

©e fret dr. Gin SBrief »on Gurem ©nnel^mer. (5r
f^reiBt, eg fomme wenig ®elb ein, er f5nne auf bie SBod&e 30
ble berlangte ©umme fd^n:erlid^ fd^iden; ber Sumult l^at»e
in 9l(le8 bie gr6§te JTonfuflbn geBrad^t.

42 (Sgm out.

©gmont. 2)aS ©elb mu^ i)txM\ Cr mag fcl^cn, trie
er cS gufammenBringt,

Sttxtiax. ^r fagt, cr irerbe fein SKoglid^fle? i^nn, unb
ttjode enblic^ ben 0laijmonb, ber @ud^ fo lange fc^ulbig i%
5 Derflagen unb in 93er^aft nel&men laffen.

^gmont, S)er l^at {a t>erft5ro(^en ju Be^ial^ten.

©efretfit. Sa8 le^temal fe^te et |l^ feI6P Jjietje^n
3!age.

Ggmont. ©o geBe man l^m nod^ »ierje^n Xage, unb
lobann mag er gegen i^n ijerfa^ren.

©efretdr. 3^r t^ut wol^I, (£8 i(i nie^t Untjermogen,
eS ifl Bofer SBitle. (5r mad^t gen:i§ @rn(l, wenn er fle^t,
3^r f^a§t nictt. — fferner fagt ber ^inne^mer, er vooUt ben
atten ©olbaten, ben SBittraen unb einigen Qlnbern, benen
15 36r ©nabengel^alte geBt, bie ®e6u^r elnen l^alben Wlonat
gururf^alten ; man fonne inbeffen QiaH) fc^afen ; fie m5d^ten
f!d^ einrid^ten.

@ g m n t, 2Ba§ ift ba ein^urid^ten ? Sie Seute Broud^en
bag ®elb notl^igcr aU i(f). 2)a§ fott er 6Ieikn laffen!
20 ©efretfir. SBoT^er 6efc^(t 3^r benn, ba^ er bad ©elb
nel^men foil?

@gmont. Sarauf mag er benfen; e8 ifl il^m im
i?origen SBriefe fd^on gefagt.

©efretar. SeSraegen t^ut er bie 93orfc^Ifige«
25 ©gmont. ©ie taugen nic^t. @r foil auf wad anber«
ftnnen. dx foil QSorfd^lage tT^un, bie anne^mlid^ flnb, unb
i?or 5lllem foil er bag ©elb fd^affcn,

® e f r e t d r, 3d^ ^aU ben SBrief beS ©rafen Dlii?a wleber

l^ier^er gelegt. QSerjeiT^t, ba§ ic^ euc^ baran erinnerel 3)er

30 alte ^txx Derbient t)or alien 5lubern eine auSfu^rlic^e 5lntn>orL

3^r ttjolltet il^m felbfl fd^reiien. ©enji^, er liebt (£ud^; wie

ein 93ater.

a. Slufjug. 43

(Sgmont^ 3(^ !ontmc nic^t bagiu Unb tinter ijielcm
SScrl^agten ifl mir baS ©d^relBen baS SJevl^n^tefle. S)u mnc^fl
mcinc «&anb ja fo gut nat^ ; fd^rei6 in meinem 01amen, 3c^
emjortc Draniem 3(^ fommc nid^t baju; unb njfinf^tc
fclBfl, ba§ ll^m auf feinc SBeben!ll(3^!elten wa^ te(3^t ©crul^i* 5
gcnbed gefd^ricBen wurbe.

©cfrctfir^ ©agt ntlr ungcfdl^r Gure SP'^einungl 3(^
wiU bic 9lnttoort fd^on auffe^en unb f!c @uc^ borlegem
®cf(^rie6en foil fie werbcn, ba^ fie Jjor ©erid^t ffir ^ure
«6anb gelten fann. lo

6 g m n t ♦ ®ieB mir ben SSrief. (Sflac^bem er i^ineingcfetjen.)
®uter, tf)xlx(f)n 2llterl SBarfl ©u in beiner 3ugenb aii^
wol^I fo Bebad^tig? ©rfiiegfl ©u nie einen SBatt? SBIieBji
Su In ber ©c^Iad^t, wo e8 bie Jtlug^eit anxati), ^inten? —
Set treue ©orglic^el @r njiti mein SeBcn unb mein ®\M, 15
unb fii^It nid^t, bag ber fd^on tobt ifl, ber urn fciner <BiCi)tx^tit
voiUtn Ie6t. — ©d^reib' iT^m, er nioge unBcforgt fein ; id^
l^anble njie i^ foil, ic^ werbe ntic^ fc^on warren ; fein 5tnfe^n
Bel 'Sofe fon er ju meinen ©unpen 6rau(3^en, unb meineS
DoOTomntnen S)an!eS gewig fein. 20

©efretfir. Sli^ti n:eiter? D, er ernjartet mel^r.

(Sgmont. ffiBaS foil id^ mel^r fagen? ffiBittfl ©u me^r
SBorte madden, fo fiel^t'8 6ei Sir. @§ bre^t fld^ immer urn
ben Sinen $un!t: 3d^ foil leSen, tt?ie id^ nid^t leBen ntag.
©a^ Id^ frol^Iid^ 6in, bie ®a^m Icid^t ncl^me, rafd^ UU, baS 25
ift mein ®Iutf ; unb i(b bertaufdb' eS nid^t gegen bie ©id^er^
l^elt elneg 5!obtengen:6ItJe8. 3d^ t)abt nun ju ber f^anifd^en
2e6en8art nid^t einen SBIutStrojjfen in meinen 9lbern ; nid^t
Sufi, meine ©d^ritte nad^ ber neucn, 6ebdd^tigen «6of*6aben;5
}U muflern. Set' idft nur, um aufS SeBen ju benfen ? ©oil 30
i(^ ben gegenn^drtigen ^ugenUicE nid^t geniegen, bamit i6\

44 (Sqmont.

M folgenbfit gnrij fel, unb biefcn wleber rait ©orgcn uitb
©riaen Jjerge^ren?

©efrctdr. 3^ Ktt' Cuc^, ^crr, fc(b nl(i^t fo l^arf^

unb tau^ ^t^m ben guten a^ann« 31^r feib ja fonfi gegen

5 Wit freunblid^. ®agt mir ein gefiStlig 9Bort, bad ben ebein

ffteunb beru^fge! ©e^t, wle forflfditfg er i% tcit lelf er

(ggm ont. Unb boc^ Berfil^rt et fmmer blefe ©a(te. (5r
ttjeif Jjon 5tltet8 l^et, n?ie »er^a{it mir biefe (Smial^nungen '

loftnb; fie ma^en nur Irre, fie l^elfen nx^ti. Unb njenn l^
ein S^ac^tn^anbler voUxt, ttnb auf bent gefdl^rli(!^en ®i))fel eined
'gaufeS ftjagiette — ifl eS freunbfd^aftli^, mid^ beim Stamen gu
tufen unb mid^ ju nrarnen, ju n^edCen unb gu t5bten? Sapt
Seben feineS 5Jfnbe8 gel&n, er mag fidi voaf)xtn.

15 @e!retdr* @d giemt @ud^ nic^t gu forgen; aber n>er
Cu^ !ennt unb liebt —

(g g m n t (in ben SBrief fe^enb), ©a brlngt er ttjf eber bie
atten ^^x^tn anf, n?ad n^ir an einem ^benb in leic^^tem
Uebermut^ ber ©efetligfeit unb bed SBeind getrieben unb ge«

ao ftjro^en, unb njaS man barauS filir ffolgen unb aSenjeife burd^d
gauge ^5nigreid^ gejogen unb gefd^le^jjt l^abe. — 0lun gut!
SBir ijaitn ®c^etlenfaj)^)en, Starrenfutten auf unfrer ©iener
5termel flitfen laffen, unb l^aben biefe totle Qkx\)^ x\a(fjif)tt In
ein ffliinbet 5JfeiIe »ertt?anbelt — ein no^ gefdl^rlid^er ©jjmbol

n ffir Wit, bie beuten njotlen, wo ni^tg gu beuten Ift. SBlr
f)af>tn bie unb iene Jl^orl^eit in einem lujiigen 9lugenBIltf
em^fangen unb geboren; flnb fd^ulb, ba^ eine gauge eble
Sd)aax mit SBettelfdrfen unb mit einem felbflgerofil^Iten Un^
namen bem ^5nige feine ^Jflid^t mit fjjottenber S)emut^ InS

30 ©ebfic^tnif rief; flnb fd^utb — tt?a« Iji'd nun njeiter? SP
ein ffafhtad^tSf^jiel gleid^ »&od^berrat^ ? ©inb un8 bie furgen
bunten Sum))en gu mifg5nnen, bie ein {ugenbtit^er S^^ut^, eine

2. aufaug. 45

angefrifi^te $l^anta{ic urn unferd Se6end arnu SI5^e ^dngen
mag ? SBenn 3^r bad Se(en gar ju crnft^aft nel^mt, ivad ifl
benn bran? SBenn un9 ber S^orgen nid^t ju neuen {^reuben
tt^edt, am ^(enb und feine Sufi ju f)o\\tn itirig Het(t, ifl'd
1901^1 bed ^n^ unb ^udjiel^end irert)^ ? ®d^eint mir bie 5
Sonne l^eut, um bad ju iiBerlegen, toad geftern n^ar^ unb urn ju
ratten, ju )}er(tnben, toad ni^t gu erratl^en, ni^t gu )}er(inben
i^ — bad ®^tdfal eined fommenben Staged? @^en!e mir
btefe Setrad^tungen I SBir n^oden fie @^ulern unb <&5fitngen
ik(ertaffen* S) i e m5gen flnnen unb audflnnen, n^anbeln unb lo
fi^Ieid^en, gelangen voofjin fte !5nnen, erfd^Ietd^en n^ad {le
fdnnen. — Jtannft bu )?on atlem S)tefem etioad (rau^en, ba^
belne (g^jiflel lein Su^ njirb, fo Ifl mir'd red^t* S)em guten
%lUn f^eint ^Qed biel gu n^tdt^ttg. ®o brudt ein {^reunb,
ber lang unfre <&anb ge^alten, fte fldrfer nod^ einmal, tvenn 15
er fie laffen tolIL

©efretdr. SSergeil^t mir! @S n?irb bem Su^gfinger
f(!^winblig/ ber einen Slann mit rafjelnber @tle ba^er fal^ren
fle^t.

(Sgmont* <Rinb! Jtinb! 0lid^t n^eiter ! SBie Oon unfld^U ao
baren ©eiflern ge:peitfc^t, gel{|en bie Sonnen^ferbe ber 3cit
mit unferd ®d^icEfaId leic^tem SBagen burd^^ unb m\^ bleiSt
nic^td aid, mutl^ig gefagt^ bie QhQtl fefljul^alten, unb 6alb
red^td iaib linfd, bom @teine l^ier, bom Sturje ba, bie Stdber
loeggulenfen. SBol^in ed ge^t, n^er tvei^ ed ? Grinnert er 25
fk^ bod^ faum, votHftx er fam!

@e!ret&r« <&err! <&err!

Ggmont. 3d^ fiel^e 1)o^, unb fann unb muf noc^ ]^5^er
Peigen ; id) \vLf)U in mir «&offhung, ^Inif) unb Jtraft* 0lod^
]^V i^ meined SBad^dtl^umd ©i^fel nid^t erreid^t ; unb fte!^' 30
i(^ broken einfl, fo toitt id^ fe|l^ nid^t dngfllic^ flel^n« Sod id^
faUen, fo mag ein S)onnerf^Iag, ein @turmtoinb, ia ein felb|l

46 Sgmont.

»erfe^Itcr <S^xxit miti^ aBtcdttS In ble Xitft flutjen ; ba Ilefl'
ic^ mit t)icl 3!aufenbcn. 3^ l^aSc nie Jjcrf^md^t, mit meinen
guten Jtriegdcjefetlen urn fleinen ®en?tnn{l bad (luttge Sood ju
ttjcrfen; unb fottt' i^ fnicEern, wenn'S um ben ganjen frcicn
5 aSert^ beS £e6en8 ge^t ?

©efretar. D «&err! 3^r wlft ntti^t, ttjaS pit SBortc
3^r fprc^t ! ®ott cr^alt' Suc^ I

@gmo nt» 0limm 3)cinc ^ajjiere gufammen! Dranicn
fommt. jjcrtige auS, njaS am nStl^lgflcn i% ba§ bie SBoten

10 fortfommen, el^' bie 3!^orc gef^Iojfen njcrben* 3)a8 Stnbcte
^at Qtit S)en fflricf an ben ©rafen lo^ Big morgen ! SSer*
fdiime nic^t ^toiren gu Befuc^en, unb grille fie »ort mir! —
«6ord^e, wie flc^ bie Sftegentin Beflnbetl ©ie foU nic^t xco^
fein, o6 jle'S gleid^ Joerbirgt.

IS . (©efretdr db.)

D ran ten fcmmt

@gmont. SBiKfommen, Dranien! 3^r fd^eint mir
nics^t ganj frei.

O r a n i e n. SBad fagt 3l^r ju unfrer Unterl^altung mit
ao ber {Regentin ?

Sg m n t, 3(^ fanb in i^xtx 5trt un8 aufjune^men nid^tfi
9lu^erorbeutlid^e8. 3^ ^abt (le f(^on Sfter fo gefe^en* ©ie
fid^ien mir ni(^t ganj n^o^t*

Dranien. WttxtUt ^i)x nid^t, baf fie jurfitf^attenber
25 war ? ^rfl rooKte fie unfer SBetragen t»ei bem neuen 9tuf*
rul^r beS $5bel8 gelaffen Bittigen ; nad^l^er merf te fie an, voa^
flc^ bod^ aud^ fiir ein falfc^eS Sid^t barauf njerfen lajfe, xti^
bann mit bem ©efrrdd^e ju il^rem alten genjfil^nlic^en Sid*
!ur8, ba§ man il^re lie6et)otle gute 5lrt, il^re SJreunbfd^aft ju
3oun8 01ieberldnbern nie genug erfannt, ju leic^t Bel^anbett
^a6e, ba^ nid^td einen ern?iinfd^ten Slu^gang ne^men tcotU,

a. 8tufau9. 47

bafi flc am (^nbe iro^^I mi^be n^erben^ ber <R5ntg fl^ ju anbern
SKa^regeln cntfd^Iie^en muffc. ^ait 3^r ba§ gc^ort?

(Sgmont. intent titled; i(f) bac^te unterbeffen an ivad
3(nberd. ®ie ifl ein SBeiS, guter Dranien^ unb bie m5d^ten
Immer gem, bap fl^ 2ttle8 unter il^r fanfteS 3o^ gelajfen 5
f(3^miegtc, bap {cber «6ercule8 blc ibmn^ant aWegte unb il^rcn
Jlunfcl^of bermel^rte ; bap, njeit (le fricblid^ geflnnt flnb, bie
(Sd^rung, bie ein 93otf ergreift, ber ©turm, ben mad^tige
9leBenBul^Ier gegen einanber erregen, fld^ burc^ din freunblid^
aBort beilegen liepe, unb bie njibrigjlen Slemente jld^ ju il^ren lo
Siipen in fanfter Sintrad^t t)ereiuigten« S)a8 ifl xf)x ffatt;
unb ba fie e§ bal^in ni(3^t 6ringen fann, fo ^at fie feinen
®eg aU launifij^ ju werben, fld^ uBer Unbanfbarfeit, UnroeiS*
]j)eit ju Beflagen, mit fd^recEUd^en 2tu8fld^ten in bie Sufunft
gu broken, unb ju brol^en, bap fie — fortgel{|en will. 15

Or an ten. @Iau6t 3l^r badmal ni^t, bap fie il^re
©rol^ung erfiittt?

Cgniont. iRimmerme^r I SBie oft ^aU id) fie fc^on
teifefertig gefel^n ! SBo njid fie benn l^in? «&ier ©tattl^alterin,
Jl5nigin ; glauifl Su, bap fie e§ unterl^alten njirb, am 'Sofe 20
i^red SBruber§ un6ebeutenbe ^age aijul^afpeln, ober na^
Stalien ju gel^en unb flc^ in alten Samilient^erl^dltniffen
:^erumgufd^Ie:p:pen ?

Dranien. Wtan f)alt fie biefer (Sntfd^Iiepung ni^t
fd^ig^ njeil 3^r fie i)abt gaubern, weil Sl^r fie fjaU juriitf^ 25
treten fel^n; benno^ Iiegt'8 njo^I in i^r; neue Umfldnbe
treiien fie ju bem lang »erj5gerten ^ntfc^^Iup. SBenn fte
ginge, unb ber Jtonig fc^icEte einen 9lnbern?

(Sgmont^ 0lutt, ber wurbe fommen, unb njfirbe tUn
ouc^ gu tl^un flnben. Wtit gropen $Ianen, ^rojeften unb 30
©ebanfen wiirbe er fommen, n?ie er QltteS gured^trficfen/
untenoerfen unb gufammenlialten n^ode, unb ivitrbe ^eut

48 @ g m n t.

mit biefer StUiniQhit, morgen mit einer anbern ju t^un
^aUtif itSermorgen jene «&inbernip flnben, einen S^onat mit
CntTOdrfcn, eincn anbern mit SSerbrug u6cr fel^Igcfd^Iagne
Unterncl^men, tin f)alh ia^v in ©orgcn iifeer cine einjige
5 9Jro»inj juBringen. 9tud^ ll^m njirb bl< Sett Ux^t^tn, ber
Jto:pf f^winbcln, unb bie Dingc voit guoor i^ren Oang l^altcn,
ba^ er, flatt iveite SU^eere nad) etner ^orgejogenen Sinie gu
burci^fcgcln, ®ott banfcn mag, wenn er fein @^iff in bicfem
©turme »om Sclfcn l()dU»

10 Dranien* SBenn man nun a6er bem Jtontg ju einem
23erM tiet^e?
egmont. S)er ujfire?

Or an ten* Qu fe|)en, n)ad bet Stuntpf oi)nt ^aupt
anflngc^

15 @gmont. SBie?

Dtanlen* Sgmont, Id^ trage ijlcle Sal^re l^cr o(fe unfre
aSerl^filtniffe am Ȥeqen, Id^ pel^c Immer n?le fiter cinem
®d^a(j^fptele unb l^alte feinen 3^9 ^ed ©egnerd ji^r unBe«
beutcnb ; unb role miigige iWenfd^en mit ber grft^ten ©orgfalt

ao fl^ urn bie ©el^eimnijfe ber 0latur ief ftmmern, fo l^alt' i^
ed fiir 5Pjiid(;t, fur SBeruf tint^ ffiirjien, bie ©eflnnungen^
bie (Rat^fti^lfige atler (Parteien ju fennen. 3(^ l^aBe Urfa^,
einen 3lud6ru(!^ ju (efitrd^ten* S)er «ft5ntg l^at lange na^
genjijfen ©runbffi^en ge^anbelt; er flei^t, ba^ er bamit ni^t

25 audfommt ; road ifl roai^rf^einlt^er, aid ba^ er ed auf . einem
anbern SBege berfud^t?

@gmont. 3(^ glauCd nid^t. SBenn man alt roirb unb
l^at fo biel Jjerfuc^t, unb eg roitt in ber SBelt nie jur Drbnung
fommen, mu^ man ed enblic^ rooi^I genug l^aBen.

30 Oranien. @tnd l^at er noc^ nic^t berfud(;t.
(£gmont* 91un?

a. Slufjug. 49

Oranlen. Sad SBoR s^^ f<^onen unb bie {yurjxen ju
t>crbertcn.

Cgmont* 3Bie SSiele ^abcn baS fd^on lange gcfurd^tet!
(Sg ifl Icittc ©orge.

D r d n i c tt» ©onfl war's ©orcjc ; md) unb na^ Ifi mlt'8 5
fSkxmuifyun^, julelt ©eivi^l^ett oeirorben.

(Sgmont* Unb l^at bet ^5nig treuere Wiener aid ttnd?

Dranicn* SBir bicncn il^m auf unfre 9ttt; unb nnter
einanber Wnnen voir gepcl^en, ba^ njir bed JtdnigS Stt^tt unb
bie unfrigen voof)l oBjunjdgen tt3iffen, lo

(S^monU ffier tl{|ut'8 nid^t? SBir flnb il^m untcrt^an
unb gcwdrtig in bcm, njaS i^m jufommt.

Or an ten. 8Benn er fld^ nun abn mt^x gufd^rieBc,
unb 5£rcuIojlgfelt nennte, ujad voix l^ei^cn, auf unfre Sit^U
Ifolttn ? 15

Cgmont* ^ir n^erben und )7ertl^eibigen !5nnem @r
rufe bie Stitter bed SSItef ed {ufammen I SBtt njotlen und tic^ten
laffen.

Oranien* Unb n^ad wHxt tin Uxtfjdl ^ox bet Unter^
fu^ung, eine ©trafe Uor bem Urtl^eil? 90

Sgmont. (Sine Ungere^tigfeit, ber fld^ ^i)ili^p nie
f(^ulbig maiden n)irb, unb tint S^orl^eit, bie i^ il^m unb
feinen St&tl^en nid^t jutraue.

Dtanien* Unb n?enn {!e nun ungere^t unb tl^5rid^t
n?dren? 25

(Egmont. 9lein, Oranien, ed ifi ni^t mdglic^. SBer
fottte wagett; <&anb an und ju legen ? — Und gefangen ju
nel^men, wfir' ein ijerlorned unb fru^tlofcd Untemel^men.
Snein, fie ivagen ni^t, bad $anier ber ^^^rannei fo l^o^ auf^
jufleden* S)er SBinbl^aud^, ber biefe Sla^xi^t u(erd Sanbao
^&6iU, witrbe ein ungel^eured S'euer gufammentrei6en. Unb
ttodtnaud woQten {{e? Slici^ten unb )7erbammen fann nit^t

B

50 (Sgmont.

ber <ft5nig aOein ; unb iroKten {te mot^Trndtberifi^ on imfer
ieUn^ — ®ic fSnneti itic^t njodnu (Sin f(^re(f(i(!^er SBunb
irCiTbe in einem ^ugenBItcf bad Siolf ))ereinigetu <Safl unb
ttv'iQt Xxtnnun^ t^om ®))anifd^en 9lamen n^urbe {Id^ gepaltfom
5 etfldrcn.

O r a n i e n. S)ie Stamme n^ittfiete bonn i^Ber unferm ®raH
unb bad Slut unfrer Seinbe fldffe gum leeren @it^no))fer*
Sap und ben!en, (Sgmont!

(ggmont. SBie fotltcn fie aBer?
10 Dtanlen. 2l(6a Ifl untcrwcgg.

(Sgmont, 3^ gIau6'S ni^t

Oranlcn. 3^ njeip ed,

ffigmont. Sie 0legentin tt3onte ni(]^t8 njijfcm

Dranlcn. Urn beflo me^r Wn i^ fiBcrjcugt ©le
IS 0lcgentin wlrb ll^m (pia^ madden, ©cinen STOorbfinn fenn*
i^, unb cln «&cer Brlngt cr mit

(S 9 m n t . 2tuf§ S^leuc bie $rot)lnjen gu BeldjHgen ? S>a«
SSoIf ttjlrb ^5d^fl fid^tricrig njcrbcn^

Oranlcn* SD^an wlrb jl^ ber '&dui)ter Jjerfld^em.
ao (Sgmont* 0lelnl 0lein!

Oronlen* Saf unS ge^en, 3eber in feine 53roJ)inj.
Sort ttjotten njlr und »erfldrfen; mit ofner ®en>alt fdngt
er nl^t an.

egniont. SWuffen njir il^n ni(3^t Begriipen, wenn er
as f ontmt ?

Oronien* SSir |;5gern.

®gmont« Unb n?enn er und im iHlamen bed JUnigd
Bti feiner Qlnfunft forbert?

Dranien. Sudden n?ir SluSfluc^te.
30 ^gmont. Hub wenn er bringt?

O rani en. Qfntfdjultigen wir und.

G g m n t* Unb n?enn er brauf Bejte^t ?

a. Slufjufl. 51

O rani en* <Rommcn voix um fo n?emger*

69m out, Unb ber ^rleg Ifl crfldrt, unb njir flnb bic
8le6effcn» Dranicn, lag S)ld^ tti(3^t bur^ ^luQ^tit Jjcrfu^rcn I
3ti^ ttjeig, bag SutiS^t S)id^ niti^t njelti^cn mad)U SBcbenfe ben
(Sdfxitt 5

Dtanien^ 3^ ^aV if)n Beba^t

(Sgmont. Sebenfe, ttjenn Su Si(3^ irrji, woran S)u
fd^ulb 6lfl — an bem JjerberHid^flen Jtriege, ber je ein Sanb
ijerwiiflet ^at. Seln ffielgcrn Ifl bad Signal, baS bie 5Pro*
t)injen mit elnem STOate |;ii ben SBafen ruft, ba§ {ebe ©rau* 10
famfett red^tfertlgt, njoju ®v«wien bon Jel^er nur gem ben
SSomjanb gel^afcJ^t i)at SBaS voir lange mul^felig gejiillt fjaUn^
tt)irfl Su mlt (Einem SBinfe gur f^retflid^flen QSerwirrung
auf^efeen. Denf' an bie ©tabte, bie Sbein, bag 93oIf, an bie
»&anblung, ben Selbtau, bie ®enjer6el Unb benfe bie SSerwii^ 15
fhing, ben SWorb ! — JHu^ig fle^t ber ©olbat voo\)l im ffelbe
felnen ^ameraben ne'Ben ftd^ ^infallen ; ater ben Slug l^erunter
werben S)ir bie iti^tn ber SBiirger, ber ^inber, ber Sungfrauen
entgegenf^n^immen, bag S)u mit (Entfe^en baflel^fl nnb ni(^t
mel^r weigt, njeffen <Sa^t ©u ijertl^eibigfl, ba bie ju ©runbe ao
gel^n, f&r beren JJreil^eit Su bie SBafen ergreiffl. Unb wie
wirb S)ir'8 fein, njenn S)u Sir jiill fagen mugt : gur meine
©Id^erl^eit ergriff l^ fie !

Dranlen. SBir flnb ni^t einjelne iWenf^en, Sgmont.
Siemt eg flc^, und fiir 3!aufenbe l^injuge6en, fo jiemt e8 fid^ 25
QVLdi), und fur S!dufenbe ju fc^onen.

e g m n t SBer flti^ fti(;ont, mug flc^ felBfl tjerbd^tig
njerben.

D rani en. SBer fl(5^ lennt, Unn fi(3^er Jjor^ unb rutf**
tt)drt8 gel^em 30

(E g m tt t Sag UeW, baS Su pird^tefi, wlrb geroig Wx(f)
Seine 5^|at

E 2

52 Sgmont.

O r a n { e n. @d ifl Hug unb fi^^it; bem unidermetbli^en
UeM entgcgeiijugel^n.

ffigmont, aSci fo grower ®tfaf)x fommt We Ui^teflc
«&offhung in Stnfc^Iag,
5 Dranien* 3Bir \)aUn nu^t fur ben leifejicn ffufitdtt
$rn| ntc^r; ber SlBcjrunb liegt i)axt i?or unS.

®gmont» 3fl be§ ^onigS ©unfi cin fo fd^maler
©runb ?

Dtanien. ®o fd^mal nl^t, aicr fd^Iu^frig.
10 @ g m n t. SSel ®ott, man tfjut il^m Unrest. 3(% wag
m(i)t leibcn, ba^ man unwiirbig Jjon i^m benft Cr Ijl
^arlS SoT^n unb feiner 0liebrig!eit fd^ig.

D rani en. Sie ^5nige tl^un md^t§ 0liebrigeS.

Ggmont SKan fotlte il^n fennen lernen.
15 D r a n i e n. @6en biefe ^enntnip x&t^ un^, eine gefd^r*
Uc^e $robe nic^t oBjunjarten.

@gmont <Reine $roBe ifl gefd'^rtii^, ju ber man

Dranlem ©u njtrfi aufgeBra(^t, ©gmont
ao Ggmont. 3(^ mu^ mit meinen 5lugen fel^em

O r a n i e n. O fdl^'fl S)u biedmal nur mit ben meinigen !
Sreunb, ujeil S)u fie offen fiaft. fllau6fl Su, S>u flel^fl. 3(i^
ge^e I ©arte 2)u 5lIk'S Qlnfunft aB, unb ®ott fei 6ei ©ir !
93ietleid^t rettet ©id^ mein SBeigern. ffiietlei^t, ba^ ber ©ra^e
85 nid^tS gu fangen glauBt, wenn er un8 nid^t SSeibe auf elnmal
jjerfd^Iingt* SJielleic^t g5gert er, urn feinen 2lnfd^Iag flcJ^erer
auSjufu^ren ; unb bietleid^t fle^efl ©u inbef bie <Sa^t in il^rer
njal^ren ©eftalt. 5IBer bann [(^nett, f^nett ! alette, rette ©i(i^ !
— SeV wol^I! — Sa§ ©einer ?[ufmer!famfeit nidfttg entge^en
30 — ttjie Jjiel iKannfd^aft er mit6ringt, wie er bie Stabt Befe|t,
wag fCir Tta^t bie (Regentin 6e^dlt, n?ie ©eine Sreunbe gefaf t
flnb» ®ie6 mir 3la6)x\^t (Sgmont —

«. 8lufau8. 53

e^mont. ffiBaS triafl S)u?

D r a n I e n (ii^n Bel ber J&anb fajfenb). 8a^ S)i(5^ iit»crreben !
®tf) mit 1
(ggmont* SBlc? 3:^rfincn, DranUn?
Dtanlctt* Kitten SJerlornett gu 6eweinen, ifl auS) $

(S m tt t. S)u ttjfi^nfl mid^ i?erIorett ?

D r a n I e tt, Su U^% SBebenfe ! Sir Weitt nur eine
furge ffrifl* 8eB' iro^I ! (m)

(Sgmottt (aUein). S)a§ anbrer STOenf^ett ®ebatt!ett fol* lo
e^en (Sinflu^ auf unS l^aBen ! Wlix trdf e8 nie einge!ommen ;
unb biefer SKann trdgt feine ©orgtiti^feit in mid^ l^erWer. —
ffieg! — S)o8 ifl ein frember ^ro^fen in meinem SBlute^
®ute Slatnx, voivf i^n wieber ^erauS ! Unb »on meiner ©time
bie jlnnenben (Runjeln wegguiaben, gleBt e8 la wol^I nod} ein 15
freunbli* mtUl

ARGUMENT.
ACT III.

The third act begins with a short soliloquy by Margaret
of Parma, who complains that her brother, King PhiUp II,
does not fully appreciate the well-meant services which she
has rendered to the State. When Machiavell appears in
the background, the Regent bids him approach, and com-
municates to him the contents of the letter which her royal
brother has addressed to her on the affairs of the State.
That letter is couched in polite terms, breathing his fullest
satisfaction at the measures taken to pacify the malcontents
of the Netherlands — but the drift of it is, that without an
army, the Regent will always cut a poor figure in the country,
and, for this reason, he sends the Duke of Alva with a power-
ful force. Machiavell intimates that the Regent will have
an experienced warrior in her service, but she foresees that
Alva is sent to replace her. She sketches in vivid colours the
Members of the State Council, who have advised the king to
take this extreme step, and she describes the manner in which
Alva will probably carry out his mission, and thus frustrate
her most cherished endeavours to effect a reconciliation.
Machiavell avows that he is unable to contradict her fore-
bodings, and the Regent resolves to lay down the sceptre of
her own free will rather than be dislodged by the Duke.

The next scene passes in Clarchen*s dwelling. Her
mother reproves her again for her romantic attachment to
Egmont, but she ominously declares that her life is indis-
solubly bound up with his. Egmont appears, dressed in a
trooper's cloak, his hat drawn over his face. The mother
retires to prepare the evening repast for the noble guest,

ARGUMENT. 55

and Egmont throws off his cloak and appears in a splendid
dress. He had promised to show himself one day to Clarchen
* dressed as a Spaniard/ and has now done so to gratify her
childish wish.

Clarchen admires the dazzling dress, and above all the
Order of the Golden Fleece which, Egmont tells her, confers
upon him the noblest privileges. He * need recognise on earth
no judge over his actions except the Grand Master of his
order, with the assembled Chapter of knights.*

Their conversation then turns upon the Regent and
William of Orange, whose characters Egmont delineates
with a few happy traits, and finally he gives a description
of huoaself— of the double part he is playing in the world —
as a public character and a private individual.

2)r{tter Slufaug.

$alaft ber Slegentim
SD^atgarcte t)on $arma:

3d^ l^dtte mir'8 ijennutl^en foffen. «5a! ffiBenn man in

5 a^ui^e unb Strteit tjor fld^ l^inlett, benft man immer, man

tl^ue bad Wlbg!ii(i)^t, unb ber bon n^eitem juflel^t unb Be^

flel^lt, glautt, er bcrlange nur baS STOSglid^c. — D bic StbniQt I

— 3(3^ l^attc ni(3^t geglautt, baj e8 mid^ fo berbric^cn

. UmU. (58 ifl fo f^5n, gu l^enfd^en ! — Unb aJjubanf en ?

10 — 3^ n?ei^ ni(!^t, n^ie metn fBatn e0 fonnte; aBev i^

voiU ed au(^.

9?^a^ia))e(I etf^emt im ©runbe.

91 e g e n t i n* ^retet nci^er, S^a^iabeQ 1 iS^ benf e l^tet
liBer ben SBrief meineS SBrubetrS.

IS 2^ a ^ i a b e n* 3c^ barf wlffen, waS er entl^dlt ?

{Regent In* ®o blel gartli^e Stufmerffamfeit ptr ml^
alS ©orgfalt pir feine ©taaten. (5r rul^mt bie ©tanbl^aftig*
felt, ben Slei^ unb bie Sreue, womit id^ BiS^er fiir bie
aied^te feiner STOaiefldt in blefen ganben gewaci^t f)abt. ©r

aoBebauert mid^; ba^ mir bad unBdnbige fBolt fo biel gu
fd^afen mad^e. (5r Ifl bon ber 3:iefe meiner ©nfld^ten fo
boUfommen iiBergeugt, mit ber Jllugl^eit meined SBetragend

3- Slufjufl. 57

fo auperorbentlid^ jufrteben, ba^ id^ fafi fagen mvi% bet
SBricf i{i fur elnen Jldnlg gu fci^5tt flcfd^ricben, fur einen
SBruber gcnjlfi.

a^ad^ia^elL @d ifl nid^t bad erflemal; ba§ et @u^
feinc gerc(3^tc 3uf^i«^nl^«lt Bcjeigt 5

W c g e n 1 1 n. 9lBet ba8 erflemal, bap c8 rebnerlfd^e Sfigur
ifi.

fDlai^ia^tU. 3^ »crflc]j>' @ud^ nid^t.

81 eg en tin. 3^r werbet. — SDenn er nielnt nod^ blefem
(Singange, ol^ne 2^annf(3^aft^ o^ne eine fleine Slrmee werbe lo
i^ immer f)\tx eine itBIe. {^igur fptelen. 3Bir l^dtten, fagt
er, unrec^t getl^an, auf bie Jtlagen ber ^'mvooi)mx unfre
@oIbaten aud ben $rot)injen gu giel^en. @ine S3efa|ung;
meint tx, bie bem SBurger auf bent 9laim lafiet, ^erBiete tl^m
burd^ i^re ©c^^were, grope ©prunge gu niacJ^en. 15

Wta(i)\ai)tll. 6d n^urbe bie ©emixtl^er duperfi auf«
tringen.

aiegentln. Ser Jt5nig meint a^er — ^x\t 5)u? — er
meint, bap ein tiid^tiger ©eneral, fo einer, ber gar feine
9iaifon annimmt, gar Balb mit 93ol! unb 3lbel^ SBitrgern unb 20
Sauern fertig werben fonne; — unD f(3^icft beSwegen mit
einem flarfen «&eere — ben »&frgog tjon 5ll6a.

SJ^ac^iaJjeU. 9tI6a?

aiegentln. S)u wunberfl Diti^?

^a(i)ia^tU. ^x fagt, er fd^iit* Cr fragt vot>%i5
oB er ff^icfen fott ?

{R e g e n t i n. ©er Jlonig firagt nid^t ; er f^itft.

fBt a (i)ia^> til. ®o n^erbet 3^r einen erfal^rnen Jtrieger
in Curen S)ienjien t)aBen.

(R e g e n t i n. 3n meinen 5)ienflen ? Webe gerab* l^erauS, 30

SKad(|iai)en. 3^ m5c!^t' (gu^ ni^t ijorgreifem

58 (Sflmottt.

31 e g e n 1 1 tt. Unb i(f) mb(f)U mlti^ ^erfletlem C« Ifi mix
em))flnblid^, fel^t em^jflnblid^* 3^ wottte licSer, mcin SBrubcr
fagte, wie cr'8 benft, aU ba^ er f5nuli(3^c (5))iftcltt untcu
f(3^ret6t, bie ein ©taatSfefretdr auffe|t»

5 STOad^laijclL ©offte man nl(3^t einfel^en — ?

Slegenttn. Unb i(^ fenne fie tntt)enbtg unb audn^enbig.
®ic mod^ten'S gevn gefduBcrt unb gefel^rt f)abtn; unb tt?eil
fie felbfi nid^t jugreifen, fo flnbet ein Seber SSertrauen, ber
mit bent 93efen in ber «&anb fommt. D, mir ifl'8, ol8 tcenn

lo ic^ ben Jtonig unb fein (Sonfeil auf biefer 3!(ipete gewirft fal^e.

2»a^iat?en. @o let^aft? .

at e g e n t i n . @8 fel^lt fein 3«g. ®8 f^nb gute STOenfd^en

brunter. S)er tf)xli(i)t 8lobri(3^, ber fo erfal^ren unb mfijig ijt,

ni(^t gu l^od^ n?i(l, unb bod^ nid^td faOen Ici^t; ber gerabe

15 5llongo, ber flei^ige Sreneba, ber fefle 8a8 SSargaS, unb ncd^
Cinige, bie mitgel^en, wenn bie gute $artei mdd^tig njirb.
S)a flgt ater ber l^o^Idugige 5!olebaner mit ber el^ernen ©time
unb bem tiefen Seuertlitf, murmelt jwifd^en ben S^^nen ijon
?Bei6ergiite, unjeitigem 0lad^ge6en, unb ba§ jjrauen njol^I ijon

20 gugerittenen $ferben fid^ tragen laffen, felbfi a^er fd^led^te
©tatlmcifter flnb, unb fold^e ®))d^e, bie id^ el^maU ijon ben
^olitifdljen «&enen ^cAt mit burd^l^oren miiffen.

2)iadl?ia»ell. 3^r f)aht gu bem ©emdlDe einen guten
jJarBentopf genjdl^It^

25 91 e g e n t i n . ® epel^t nur, STOad^iaijett : 3n meiner gangen
©d^attirung, au8 ber id^ atlenfatlg malcn fonnte, ifl fein JJ^on
fo gelt^traun, gatlenfd^warg, n?ie Qllk'S ©efid^tSfarbe, unb ol8
bie ^axU, auS ber er malt. 3eber ifl bei i^m gleid^ ein
©otteeldfterer, ein 3)^aiefldt6fcl?dnber ; benn au8 biefem Stapittl

3ofann man fie atte fogleid^ rdmn, ^fd^len, Jjiertl^eilen unD
\?ertrennen. — 2)aS ®i;te, n:a3 i^ ^kx get^an \)aU, fie^t
genrip m ber Seme *«cie nid;t0 au0, eben weil'S gut ift —

3- Sluftug. 59

S)a l^Angt tr ftd^ an ieben S^utl^ivttlen, ber ))orBei ip,
erinnert an icbc Unrul^e, bie geflitlt ifi, unb eg wlrb bem
Jt5nigc »or ben Slugen fo »ott S^euteret, Stufrul^r unb ZoU*
tnS)ni)tit, ba^ er fld^ jjorflettt, fie fird^en fld^ l^ler einanber
auf, ttjenn eine flu^tig J)oriiBergel^enbe Ungejogenl^eit eineS 5
rol&en SJoIfS Bel un8 lange ^ergejfen ifl* 5)a faft er einen
red^t ]j>ergll(3^en «&af auf bie armen Seute ; fie f ommen il^m
abff^euli^^ ia, n?ie i^jtere unb Ungel^euer »or, er ffe^t jtd^
naci^ S'euet unb Q^votxt urn unb n^dl^nt, fo Bdnbtge man
a^enfd^em lo

3» a ^ i a » e !!• ^x f^etnt mir ju l^eftlg, Sl^t nel^mt bie
©a^e gu Ijiod^. SBleitt S^r ni^t Megentin ?

{Regent in* Sa8 fenn' id^. ©r njirb eine Snjiruction
Bringem — 3^ Bin in ©taatSgefd^dften alt genug geworben,
urn gu ttjiffen, n?ie man ®inen J?erbrdngt, ol^ne il^m feine 93e* 15
jiattung gu nel^men. — @rfl wirb er eine Snftruction Bringen^
bie wirb unteftimmt unb f(3^ief fein ; er njirb urn fl(3^ greifen,
benn er l^at bie ©ewalt ; unb wenn i(i) mid^ beflage, njirb er
eine gel^eime Snflruction Jjorfc^iigen ; n?enn id^ fie fcl^cn njitl,
ttjirb er mid^ l^erumgiel^en ; tcenn id^ brauf befiel^e, trirb er mir ao
ein ^apitx geigen, bag gang wag anberS entl^dlt; unb njenn
i^ mid^ ba nid^t Beru^ige, gar nid^t me^r tl^un^ aU njenn
id^ rebete* — Snbep wirb er, waS id^ furd^te, getl^an, unb waS
id^ wiinfd^e, n?eit atwdrtS gelenft ^aUn.

S5^ad(fiai)en. 3d^ vooW, id^ f5nnf Cud^ tt?iber*25
f^)red^en.

81 e g e n t i n . SBaS id^ mit unfdglid^er ® ebulb Berul^igte,
njirb er burd^ «&drte unb ©raufamfeit njieber aufl^efeen; id^
njerbe t)ox meinen Slugen mein SBerf J)erloren fel^en unb
vifeerbieg nod^ feine ©c^ulb gu tragen l^aten. 30

SK a d^ i a » e n. ©ncarten'S ©ure «&ol^eit !

(Regent in. ®o »iel ®en?alt \)aV i^ fibtx m(^^ uw.

6o ©gmont.

jilKe gu fein. fia§ i^ fommcn ! 3c^ werbe i^m mit bet
Uftm ^rt $Ia^ madden, el^' er mi(^ )9erbrdngt.

2K a ^ i » c lU @o rafd^ btefcn wif^tigen ©d^ritt ?

81 e g e n 1 1 n • ®(3^njercr, aU Du benf jt SBer gu l^errfc^en
5 gewol^nt Ift wer'g ^ergebrad^t l^at, baf ieben 3!ag baS Sci^icffal
J)0tt S^aufenben In feincr «&anb licgt, jieigt Jjom S^rone wie
inS @ra6. 9l6er Bcffcr fo, al8 cincm @eft)enjle gleid^ unter
ben £e6enben HrtBen, unb mit l^ol^Iem ^nfe^n einen $Iag
Be]^au))ten n^oKen; ben i^m ein ^nberer aigeerBt ^at unb
10 nun Befl^t unb gentept

Jtl&rd^end SBol^nung,
JtUr^en. S^uttcc

SU^utter. ®o elne Siebe wie SBwtfenJurgS ^aV i^ nle
gefe^en; id^ glautte, fie fei nur in «&elbengefd^id^tcm
15 Stlax^tn (gei^t in ber ©tube auf unb db, tin Sieb gtoifien
ben Si)>))en fummenb):

mudli6) aOein

3ji bie ©eele. bie liett

Sro u 1 1 c t» @r Jjermutl^et ©einen Umgang mit Cgmont ;
20 unb id^ glauBe, n?enn S)u il^nt ein n^enig freunblld^ tt)&U%
ttjenn Su njotttefl, er T^eirat^ete Sid^ no(S).
JlUrd^en (fingt):

Sreubijott
Unb leibJ)o«,
25 ®ebanfeni?ott feinj

iJangen
Unb tangen
3n fd^webenber jPein;

3. Slufjug. 6 1

<i&tmmel]§0(^ iaud^genb,
Sum 3!obc BettuBt,
©tutflid^ atleln
3fl bic Seele, bte licBt.

abutter, fia^ bag «&cio^)o^)cio I 5

jeUrc^en. S^cltet mir'8 nid^t ! @8 ifl ein fraftig Sicb.
<i&aB' i^ bo^ f^on nmnd^mal ein groped Jlinb bamit fd^Iafen
gewiegt.

2» u 1 1 c t. Su l^afi bod^ nid^tS im Jlo^fe als Seine Ste^e.
SSergdf efl 5)u nur ni6)t 2llle8 u6er bag Sine. Sen SBratfen^ lo
burg foKteji 3)u In (gl^ren l^alten, fag' l(^ ©ir. ©: fann Stci^
no^ etnmal glitcflid^ ma^tn.

Stl&x^tn. Sr?

SK u 1 1 e r. D ia ! e8 f ommt eine Sett ! — ^x JKnbet
fel^t ni(3^t8 »orau3 unb uJerl^orcJ^t unfre ©rfal^rungen. Sie 15
Sugenb unb bie fd^5ne Stebe, aOed ^at fetn (Snbe; unb ed
fommt eine Qdt, voo man ®ott banft^ n?enn man irgenbwo
unterfeied^en fann*

Stl&xditn (fd^ubert, fd^iwigt imb fa^rt aitf ) : Q^utteT; la^t
bie S^it fommen wie ben 3!ob. Sran ijorjubenfen ifl fti^retf^ 20
l^ftl — Unb wenn et fommt! SBenn wit muffen — bann
ttJoOen mix utt0 geberben n?ie wit fonnen. — Sgmont, i^
©i^ entbcl^ten I — (3n X^rdnen.) 0lein, ed ip nic^t mSglid^,
n\tf)t mdgli^.

S g m n t (in einem dtettermantel, ben $ut ina ©eftd^t gebrud t). 25

Jtldt^en I

JtHti^en (t^ut etnen ©d^rei, fd:^rt guni(f ) : (Sgmont !
(@ie eitt anf i^n gu.) (Sgmont ! (@ie uniatmt i^n unb ru^t an
i^m.) D S)tt ®utet, fiiebet, ©ugerl Jlommp 2)u? biji
S)u ba? 30

(Sgmont. ®uten Sbenb; S^uttetl

62 @gmont.

Wlntitx. ®ott grfig' Sud^, eblcr «§err ! STOcine StUim
ifl fafl Jjergangen, ba^ 3^r fo lang' auSBlcitt ; f!c ^at wieber
ben ganjen ^ag loon @u(3^ gerebet unb gefungcru

(Sgmont 3l^r gc^t mir bod^ eln 0lad^teffcn?
5 sro u 1 1 e r» 3w ^icl ® nabc* SBenn wir nur ctwaS l^dtten !

Jl I d r d^ e n. Srcilic^ ! @eib nur ru^ig, WlntUx ! 3ti^ l^aie
f(^on ^Oed barauf etngeri(^tet, id^ l^aBe etn?a0 juBereitet
aScrratl^et mici^ nid^t, Tlntttt.

SJ^utter* ©d^mal genug*
JO Jtldrd^en. SBartet nur ! Unb bann benP i^ : wenn er Bei
ntlr ifl, i)aV i^ gar f etnen •hunger ; ba fotlte er auc^ feinen
gro^en 3l))))etit l^aBen, wenn id^ Bel ll^m Bin*
©gmont. Wltinft S)u?

Jt I fi r d^ e n (flarnvjl mit bem Suje unb fe^tt jtd^ untolttig urn).
'S egmont. ffiBie iji Sir?

« U r d^ e n* ffiie feib 3l^r l^eute fo fait ! 3^r l^aBt mir nod^

feinen Stn^ angeBoten. SBarum l^aBt 3^r bie Slrme in ben

a^antel gewitfelt wie ein SBod^enfinb? Qitmt feinem ©olbaten

nod^ SieB^aBer, bie Strme eingewitfelt gu l^aBen.

20 ^gmont. 3" 3«ten, 8ieBd^en, ju S^iten. SBenn ber

©olbat auf ber 8auer pel^t unb bem Seinbe etwaS aBIiflen

module, ba nimmt er f!d^ gufammen, fa^t fld^ felBfl In feine

Strme unb faut feinen Stnfd^tag reif. Unb ein SieBl^aBer —

abutter. aSottt 3l^r ©ud^ nid^t fefeen, e6 (gud^ nid^t

25 Bequem madden? 3d^ mu^ in bie Jlud^e; Jtldrd^en benft an

nid^tS, ttjenn 3^r ba feib* 3^r miif t fiirlieB nel^mem

(ggmont* (Suer guter SBiKe ifl bie Befle SBiirge.

(sKutter aB.)
Jlldrd^en. Unb waS wfire benn meine 8ieBe?
30 (ggmont. ®o »iel 2)u wittfl.

Jlldrd^en. SSergleid^t f!e, wenn Sl^r bag «&er§ ^H

3- STufjug. 63

S g m tt t. 3ui)5rbetfl alfo. (®r toitfl ben SKantet oB trnb
^e'^t in einent ^rd^ttgen J^eibe ba.)

JtHrc^en* D iel

©gmont. 0lun f)aV id) bic Strme firel. ((Sr ^ergt f!e.)

« I d r (^ e n. fia^t ! Sl^r loerberBt ®ud^. (@ie tritt gnrurf.) 5
2Bic ^jrdd^tig! 5)a barf i^ Sud^ ntd^t anr^ren.

(g g m n t. aBijt Su jufrieben ? 3(ft »erft)rad^ S)lr, einmal
fpanifc^ ju fommeiu

Jlldt^en* 3^ 5at Cud^ jeltjer nid^t mc^r brum; i^
bad^tc, 3l^r wotttet nid^t — 5td^, unb baS golbne SSlleg I 10

©gmont. Sa fle^ 5)u'8 nun.

Stlax^tn. 5)a8 l^at 2)ir ber ^aifer umgel^dngt?

(S g m n t» 3a, Jtlnb ! Unb Stdtt unb 3^i<^en geBen bem,
bcr fie trdgt, bie ebeljten greil^eiten. 3d^ erfenne auf @rben
feinen Slid^ter Mer meine «&anblungen, als Den ®rof meijter 15
beS DrbenS mlt bem i)erfammelten Sta)(>iUl ber 8lltter.

Jtldrd^en. D 2)u burftefi bie gauge SBelt iiBer 5)id&
rid^ten laffen. — 5)er ©ammet ifl gar ju l^errlid^, unb bie
$affentent*5lrBeit, unb bag ©epicf te ! — 2Kan mi^ nid^t, wo
man anfangen foO. 20

(Sgmont. ©iel^ bid^ nur fatt.

Jt I d r d^ e n. Unb baS golbne SSIie^ I 3^r erjd^Itet mir
bie ©efd^id^te unb fagtet, eg fci ein 3«^«n ^^^8 ©rogen unb
Jloparen, wag man mit ^hf)' unb fflei^ Jjerbient unb ernjirtjt*
€S ip fel^r fojitar — 3d^ fann*0 2)einer SieBe »ergleid^en» — 25
3d^ trage fie eten fo am ^^ergen — unb Ijfernad^ —

Cgmont^ ®a8 wittfi 2)u [agen?

Jtldrd^en. «&erna(^ i)ergleic^t flc^*8 oud^ wieber nid^t.

(ggmont SBie fo?

Jtldrd^en. 3d^ l^aBe fie nid^t mit STOiil^' unb %U\^ 30
encorBen^ nid^t i)erbicnt.

Cgmont, 3n ber SieBe ijl e8 anberS, Su i)erbienfi fie,

64 (Sgmont.

well 2)u ©Id^ nfd^t barum Benjirtfi — unb btc Seute er^oltcn
fie an(f) meifl aOetn^ bte ni(^t barna^ iagen.

Jl I d r d^ e tt . •§afl 2)u bag Jjon 5)it aBgenommen ? '©aft
Su blefe ftotje Slnmerfung ubn S)ici^ feI6ji gemat^t? S)u, ben
5 atleg SSoK lietjt ?

Sgmont. J^dtt' Id^ nut etwaS fut jlegetl^anl Jl5nnt'
id^ ettraS ffit fie tl^unl ®8 Iji il^t guter SBltle, mid^ ju
lieten.
Jttdrd^en. Su warfl genjig l^eutc Bel ber Slegentln?
lo ©gmont* 3d^ njar Ui i^u

Jtldrd^en. 93ift Su gut mit i^r?
@ 9 m tt t. 6S flei^t einmal fo ou8. 8Blr ftnb elnanber
freunblid^ unb bienfllid^*
Jlldrd^en. Unb im ^^ergen?
15 (ggmont^ SBitt i^ if)i wol^I. SebeS ^ot felne elgnen
Sttfld^ten. S)aS tl^ut nld^tS gur ©ae^e* ®ie iji eine treff*
lid^e Srau, fennt il&re 8eute^ unb fdl^e tief genug, n?enn fie
an^ nid^t argn^ol^ntfd^ n^dre. 3d^ mad^e il^r ^id gu fd^affen,
well fie l^inter meinem SBetragen immet ©el^eimnijfe fud^t,
20 unb i^ feine ^aU.

Jtldrd^en. ®o gat feine?

ggmont. @i nun, einen fleinen •©Interl^alt. Seber
SBein fe^t SBetnjiein in ben Sdffern an mit ber QtiU Qxanitn
iji boc^ nod^ eine fceffere Unterljialtung fur fie unb eine immer
25 neue Stufgate. (Sr l^at fid^ in ben Jtrebit gefejt, ba^ er immer
ettt)ad ©el^eimed ^oxf)abt ; unb nun flei^t fie immer nad^ feiner
©time, was er wol^l benfen^ auf [eine ©d^ritte^ voo^in er fie
wo^I ric^ten mSd^te*
«ldrd^en. SSerftettt fie fl^?
30 © g m n t» 8legentin, unb Su fragfl ?

«ldrd^en. QBerjel^t, id^ wottte fragen: 3fl fie falfd^?

3- 8lufiU8. 65

^gmont. 0lid^t mtf)x unb ni^t njeniger art Seber, ber
fetue ^2(Bj!d^ten enei(^en voitL

JlUr^en. 3^ Umtt mid} in bie Sffielt nt(]^t flnben.
®ie i)at aUx and) einen mdnnlid^en ®eijl, {le ifl ein anber
SBei6 aid n?tr 0ldt]^erinnen unb Jt^d^innetu ®ie iji Qio^, 5
](|erg^aft, cntf^loffcn.

^gmont. 3a, n?enn'8 nid^t gat ^u (unt ge^t S)ted«
mal ifl jte bod^ ein u^enig aud ber ^affitng.

JtUr^en* SBie fo?

(Sgmont. ®ie l^at and) ein SBdrtd^en auf ber D6er«* 10
U|)pe, unb mand^mal einen ^nfatt ^on $obagra. (Sine recite
^Smagone !

Jl I d r (i^ e n* (Sine ma|e{ldtif(!^e Srau 1 3t^ f^eute niid^,
9or jle gu treten.

C 9 m n t. S)u Bifl bo^ fonfl nid^t gagl^aft*— (SS wdre 15
QXid) nid^t dvixd)i, nur iungfrduli(^e @^anu

Jtlarc^en (fd^Idgt bie $lugen niebev, nimmt feine ^nb unb
(e^nt {Id^ an ii^n).

e g m n t» 3^ \)er|iel^e SicJb, liefceS 5Kdb(!^en ! 2)u barfji
bie ^ugen auff(^Iagen. ((Sr fupt ii^re $lugen.) 20

Stlaxd)tn. Sa^ mit^ fd^n?eigen ! Sap niici^ S)id^ l^alten !
8ag mid^ 3)ir in bie 9tugen fel^en, 5iae8 brin finben, Xxo^
unb <&offnung unb Sreube unb Jtummer. (@ie umarmt ii^n
unb fiei^t i^^n an.) ®ag' mir ! ©age I 3^ Begreife nid^t !
aSifi 5)u Sgmont, ber ®raf (Sgmont, ber grofie @gmont, 35
ber fo biel 5luffe^n xaad^t, ^on bem in ben S^itungen pe^t,
on bem bie {Probingen l^dngen?

(ggmont. 0lein, JJldrci^en, bag Un id) md)t

J»dr(^en. SBie?

(5 g m n t# ©ie^jl bu, Stlaxd^m ! — Sap mid) figen ! — 30
((Sc fejt \id), jte fniet »or i^n auf cincn ©d^emel, (egt i^re 8lrme auf
fciuen ©d^oof unb fie^t i^n an.) Sener ©gniont i|l ein Qet*

F

66 (Sgmont

brle^Iid^er, pcifer, falter (Sgmont, ber an fl^ l^altcn, haVt>
biefed Balb iened ©efld^t madden mu^; Seplagt, t)erfannt,
i^ernjicfelt i% wenn i^n bic Scute fur frol^ unb fxbl)li(i)
f)alUn } geliebt )9oii einem SJoIfe, bad nic^t n?etf u^ad ed voiU ;

5 geel^rt unb in bie ^b1)t getragen oon einer SJ^enge, mtt ber
nic^td aujufangeu ifl; umge6en )9on J^reunben, benen er flc^
ni(^t itberlaffen barf; 6eo6a(^tet oon 3^enf(^en, bie i^m auf
aUe SBeife 6etfommen m5(^ten ; arbeitenb unb {Id^ 6emiil^enb,
oft ol^ne Swecf, nieifl o^ne So^n — D laf mid^ fd^weigen,

10 n?ie eS bem ergel^t, wie e8 bem gu STOutl^e ifl I 9tber biefer,
Stlaxdjin, ber ifl rul^ig; offen, glucflid^; geliebt unb gefannt
oon bem Seflen ^erjen, t)a^ axi^ er gang fennt unb mit i)oUtx
Sie6e unb 3utraun an bad feine britcft. (Q^r umarmt jle.)
2)ad ip bcin ©gmont!

15 JlUrc^en. @o lap mic!^ {Ier6en! S)ie SBelt ^at feine
Sreuben auf biefe I

ARGUMENT.

ACT IV.

The first scenes of the fourth act are laid in a street at
Brussels. Jetter and a master Carpenter speak of the gloomy
state of public affairs. Alva has arrived and has issued the
most rigid decrees with reference to the conduct of the
citizens. The two speakers are joined by Soest, who brings
the news that the Regent, not being able to agree with the
Duke of Alva, has secretly and suddenly left the town. The
Prince of Orange is also gone, and their only hope is now
based on Egmont, who still remains at Brussels. Vansen,
the attorney's clerk, enters and endeavours to engage the
speakers in a political conversation. First they repulse him,
but by degrees he makes them listen to his ominous utter*
ances about the dangers which were hovering over the head
of Egmont.

The next scenes pass in the Palace of Culenburg, the
temporary residence of the Duke of Alva. Silva and Gomez
meet one another and the latter gives an account of the
execution of the military orders he had received from the
Duke, for enabling them to draw, in a moment, a cordon
roimd the Palace. Gomez complains of the taciturnity of
Alva's surroundings, whom he likens to a 'brazen tower
without gates,' but he greatly admires the masterly skill with
which he 'silently' led his army from Italy to the Nether-
lands. Ferdinand, the son of Alva, joins Silva and Gomez,
and the brief conversation which ensues shows that Egmont
and the Prince of Orange are expected at the Palace.

The Duke of Alva enters and tells Gomez, after enquiring
whether he had carried out his orders, that Silva will apprise

F a

68 ARGUMENT.

him of the moment when he is to concentrate the patrols
who are to occupy the approaches leading to the Palace.
Gomez is dismissed by the Duke, and Silva is entrusted by
him with the task of arresting Egmont's secretary as soon as
the princes have arrived at the Palace. Silva retires and the
Duke discloses to his son his deep-laid scheme for arresting
the two princes on their arrival, telling him, at the same time,
what part he has assigned to him in the execution of his
plans. When his task has been discharged and Silva returns
from his 'mission,' Ferdinand is to announce this fact by
bringing to his father some scrap of paper.

Silva enters with a letter which a messenger has brought
for the Duke from the Prince of Orange. The Prince writes
from Antwerp that he will not attend the conference ap-
pointed by the Duke. Alva gives vent, in a soliloquy, to his
feelings of bitter disappointment at this news ; deliberating,
at the same time, whether it would be judicious to procrasti-
nate now and to allow Egmont to escape with his friends.

Suddenly he becomes attentive to a noise from without.
He walks to the window and, seeing Egmont dismounting
from his horse, he utters ominous words in reference to the
Count. He will not let the favourable opportunity slip
through his fingers, and tells Ferdinand and Silva, who enter
hastily, to do as he had bid them.

Egmont enters, and a long conversation (which seems to
be designedly spun out by the Duke to gain time) ensues
on the public state of the country. The Count frankly avows
his feelings, which, thouj^h breathing loyalty to the King,
are bent upon national freedom and independence. His
utterances are very little to the taste of the Duke, who
nevertheless keeps up the conversation, but betrays his un-
easiness by looking round several times. At last his son,
Ferdinand, enters bringing a letter to the Duke, who steps
aside to read it. Egmont exchanges a few words with Alva's
son« who retires into the background on a sign from his
father.

ARGUMENT. 69

The Count steps forward to take his leave, when Alva still
detains him, telling him that he has laid bare the deepest
<;ecrets of his heart, and thus incautiously implicated himself
more gravely than the accusations of his bitterest enemies
could do. Egmont rejoins that this reproach touches him not.
He is loyal to the King and trusts that the service of their
sovereign and the welfare of his country may soon unite him
with Alva. He expresses his hope that at another conference
may be realized, in a more propitious moment, what seems
impossible to-day. With this he wishes to retire, but Alva,
who makes at the same time a sign to Ferdinand, demands
the sword of Egmont. A door opens and soldiers are seen,
standing motionless, in a gallery. *The King commands,'
says Alva to Egmont, who is about to draw his sword, as if to
defend himself, * thou art my prisoner.* Armed soldiers enter,
and Egmont exclaiming in astonishment, * The King? Orange!
Orange!* gives up, after a pause, his sword, which, as he
reproachfully remarks, *had more frequently defended his
sovereign's cause, than his own breast.'

ffllertcr Slufjug.

©trage.

Setter. Simmermeiflet,

Setter, ^e! $jl! «&e, m^lax, eln SBort!
5 Sintmermeifter* ® el^* S)elne8 $fab8 unb fel tul^ig I

Setter. Slixx tin SBort. SRld^tS 9leue8?

Stmmermelfter. Sli^t^, als baj unS Don Sfleuem gu
teben ijerBoten ift.

Setter. SBie?
10 Sintmermelfter. 3!retet l^ier anS ^au8 an! »6&tet
^ud^ ! 3)er «&ergog ijon 2fiBa l^at gteld^ Bet felner Sfnfunft
einen SSefel^I auSge'^en laffen, babur^ Sroel ober ©rel, ble auf
ber ©tra^e jufammen fprec^en, beS «&oci^ijerratl^S o^ne Unter«
fud)ung fc^utbig erftdrt finb.
15 Setter. t> ttefi!

Simntermeifter. SScl etrtqer ©efangenfd^aft tjl Joer*
Boten, ijon ©taatSfac^en gu reben.

Setter. D unfre grcC^eltl

Simmermelfter. Unb Bel ^obeSfhrafe foil iWemaHb We
ao^anblungen ber 8legierung mi^Binigeiu

Setter. D unfre Jl6pfe!

3 i m m e r m e t ft e r. Unb mit gro^em ajerftjred&en werbett
SJdter; SWutter; Jtinber, SSertranbte, Sreunbe, SDlenflBotett

4. Slufjug 71

eingclaben, traS In bem Snncrjien beS ^aufeS \^oxQif)t, Bel
bcm BefonberS niebcrgcfc^tcn ®cri<^tc gu ofenfiaren.

Setter, ©el^n voir na^ «&aufel

Sltttmernteifter. Unb ben ff olgfamen tfl Uerfrrod^en,
bag jle n?eber an SelBe, no(^ ^i)xe, noti^ SSermogen einlge 5
Jtrdnfung etbulben fotlen.

Setter. SBie gndbig! SBar mlr'S bo($ gteld^ trel^, trie
ber «§ergog in bie ©tabt tarn, ©elt ber 3eit ijl ntlr'g, alS
trdre ber «&ittttttel mit elnem f^n?arjen jjlor iiBergogen unb
l^inge fo tief l^erunter, bag man f!d^ BCitfen muffe, um ni^t lo
bran gu ftogen.

Simmermeifter. Unb trie l^aBen 3)ir felne ©olbaten
gefaden ? ® elt ! 2)ag ift eine anbre 9lrt Jjon Jlretfen, aU
mix jle fonft genjo^nt njaren.

Setter. $fui! ® fc^niirt ^inem baS ^erj ein, wenn 15
man fo einen ^aufen bie ©affen l^inaB marf^iren jlel^t.
Jterjengerab, mit uni?ernjanbtem SBlicf, ^in ^xitt fo i)iel il^rer
flnb. Unb roenn jle auf ber (S^ilbrcad^e jle'^cn, unb 5)u gel^jl
an (Sinem ijorBei, ifi*3 alS njenn er i£)id^ burd^ unb burti^ fel^en
njottte, unb jlel^t fo jleif unb murrifd^ au8, bag S)u auf atten 20
@(fen einen 3«<^tmeifier gu fel^en gtauBfi. @ie t^un mir
gar ni^t njol^I. Unfre 3Kilig max bod^ no^ ein lujiig SSolf ;
jle nal^men jl^ wag l^erauS, jianben mit auSgegrdtfd^ten
aSeinen ba, l^atten ben «&ut iiberm D^x, leBten unb liegen
Men ; biefe Jlerle aBer jinb njie SWaf^inen, in benen ein 25
3:eufel ^t

Simmermeijter. SBenn fo ^iner rufi: „«&alt!*
unb anfc^Ifigt; meinfi Du^ man l^ielte?

Setter. Sti^ n?dre gteic^ be8 3^obe3.

Simmer meifler. ®e^n njir nac^ «&aufe ! 30

Setter. (£8 wirb nid^t gut. 9tbieu !

72 ©gmottt.

©oejl tnit bqiL

© e jl. Jyreunbc ! ©cnoffcn !

Simmermetfter. ©titt 1 fiagt un8 gel^eiu

©ocfl. SBi^t 3l^r?
5 Setter^ 9^ur gu ijici!

©ocfl. Die 8legcntin iji weg.

Setter. Sflim gnaV unS ®ott!

Simmermeijier. S)ie l^iett unS no^.

©oefl. 5tuf elnmal unb in ber ©tide, ©ie fonnte fi^
lomit bem ^ergog ni^t ijertragen; fte lie^ bem 2lbel melben,
fie fomme trieber. SRiemanb glauBt'S.

Simntermeijier. ®ott S)ergei^'3 bem Qtbet; ba^ er unS
blefe ncue ©eigel iiBer ben ^al8 gelaffen l^at. ©ie l^atten eS
aBnjenben fonnen. Unfre 5Jrii)iIegien flnb l^in.
15 Setter. Urn ® otteS njitten nic^ts jjon ^rii^ilegien ! 5(^
roittre ben ®eru^ i)on einem (SrecutionSmorgen ; bie Sonne
roitt ni^t l^erijor, bie 0Ie6eI filnfen.

©oeji. Dranien ijl and) njeg.

Simmermeifter. ©o jlnb mix benn gang sjerlaffen !
20 ©oejl. ®raf (Sgmont iji nod^ ba.

Setter, ®ott fei 5)anfl ©tdrfen i^n aUt «&eiligen,
ba^ er fein SBefieS tl^utl 3)er ifl atlein njaS JjermSgenb.

as an fen tritt auf.

93 a n f e n. ffinb* i^ enblid^ ein $aar, bie nod^ nid^t unter*
2? gefrod^en jlnb ?

Setter. 3!6ut unS ben ®efatlen unb gel^t furBag !

93 a n f e n . S^r feib nld^t f)b^^.

Simmermeijler. (53 iji gar feine 3eit gu Jtom^IU
ntenten. Sucft (gud^ ber aBudtel n?ieber? ©eib S^r [dfton
3-) burd^gel^eilt ?

4. STufjug. 73

S3 an fen. ffragt dnen ©olbatcn na(^ fcinen SBimbcn !
5Benn ic^ auf ©d^Iage waS gegcBen l^dtte, n?dre fein flage
nid^tS auS mir genjorben.

Setter. ^§ fann ernfllic^er werben.

33 a n f e n. 3^r fpurt i)on bem ©eujittet; baS aufjleigt; eine s
crBdrmli^e SKattigfelt in ben ©liebern, fd^eint'S.

Simmer metfter. 5)eine ©ticber njerben jl(^ Mb njo
anberS eine SKotion madden, n?enn 5)u nid^t xnf)^.

as a n f e n. ^Irmfelige SKdufe; bie glei(^ ijerjjtceifetn, wenn
ber ^augl^err eine neue Stai^t anfd^afft ! 0lur ein S3i§c^en lo
anberS ; aBer ttjir treiBen unfer SBefen i)or njic nad^ ; feib nur
rul^ig !

3 i m m e r m e i fl e r. ©u Hfl ein ijerujegener 3!augeni(i^t8.

ajanfen. ©ei)atter 3^ropf! Sa^ S)u ben '&ergog nur
genjdl^ren. 3)er atte Stattx fiel^t au8, aU roenn er 3^eufcl 15
flatt SKdufe gefreffen l^dtte imb fonnte jie nun ni^t ijerbauen.
ia^t if)n nur erjl ! @r mug aud^ effen, trinfen, fc^tafen ttjie
anbere SKenfd^en. @8 ifl mir nid^t Bange, njenn njir unfere
3eit ted^t ne'^men. 3m 2lnfange Qtf)V& rafd^ ; nad^^er njirb
er a\\6) finben, bag in ber ©^eifefammer unter ben ©ipecffeiten 20
Beffer leBen ift nnb beg ^lad^tS gu rul^en, ol8 auf bem Srud^t*
Boben einjelne SWduSd^en gu erlijlen. ©el^t nur, id^ fenne
bie ©tattl^alter.

Simmermeifler. SBaS fo einem SKenfd^en SldeS
butd^gel^t I SBenn \(f) in meinem SeBen fo etttjag gefagt 25
l^dtte, l^ielt' id^ mid^ !cine SKinute fur fid^er.

San fen. ©eib nur ru'^ig! ©ott im ^immel erfdl^rt
ni^tS t)on Qn^ SBurmern, gefd^weige ber 8legent.

Setter. Sdpermaul!

as an fen. Sd^ njeig Slnbere, bcnen e8 Beffer wdre, fie l^dtten 30
flatt ii)xt9 ^elbenmutl^S eine ©d^neiberaber im SeiBe.

Slmmermeifler. SBaS vooUt S^r bamit fagen?

74 ©gmont.

fBanfen. «§m; ben ©rafen mein' i($.

Setter, ^gmont! SBaS fotT ber furd^ten?

93 a n f e tt . 3^ Bin eln armer 3!eufel unb f 5nnte eln gan;;e8
iaf)x leBen \)on bem, njaS er tn @inem QIBenbe ijerliert. Unb
5 bod; fSnnt' er mlr feln (Sinfommen elneS gangen Sal^rS geBen,
n?enn er melnen Sto)pf auf eine SSierteljiunbe l^dtte.

Setter* 3)u benf jl 3)ld^ n?a8 flflec^tS. (ggmontS «&aare
flnb gefd)etter alS i£)ein ^irn,

93 a n f e n. ffleb^t S^r ! 9r6er nid^t felner. S)le «&erren
10 Betrftgen f!^ am erflen. (Er fodte nid^t trauen.

Setter. SBaS er fd^ujfi^tl ®o ein ^errl

93 an fen. ®Ben njeil er !eln ©d^neiber Ifl.

Setter. Ungenjafc^en S^aut I

93anfen. 5)cm n?otlt' ic^ Sure Sourage nur eine ©tunbe

15 in bie ©tieber n:iinfci^en; ba^ jle il^m ba Unru^ mad^te unb

i^n fo lange necfte unb jucfte; BiS er au8 ber ©tabt miigte.

Setter. S^r rebet red^t unijerjidnbig ; er Ijl fo ft(^er
ttjie ber ©tern am «&immet.

9Sanfen. Ȥaft S)u nie einen ft(^ fc^neujen gefe^n?
ao ©eg n:nr eri

Simmermelfler. SCer wid i^m benn n?a8 t^un?

5B an fen. 8Bertt:ia? aSittfl S)u'3 etn?a ^inbern ? aBittjl
2)u einen 5lufru^r erregen, n?enn jte i^n gefangen nel^men ?

Setter. 51^1
as 9Sanfen. ffioUt S^r Cure Oli^^en fur il^n iragen?

©oeji. ®^!

ffianfen (fie naaaffenb). S^! D^! U$ ! 93em?unbert
Qxx63 burclbfi ganje QUpljaOct. ©0 ijl'3 unb WeiBt'« ! @ott
Bewatre i^n !
30 Setter. S^ crfdjrctfe flBer Qwxt Un*?erfc^5mt^it. ®o
tin cHer, Tec^tfd}affcncr SKann fottte itad gu befur^ten
l^Ben!

4- Slufjitg. 75

as an fen. ©er ©d^clm ft^t uUxaU im SSott'^eil. 2luf
bem 5lrmenfunbets®t(il^I(i^en l^at er ben 8fli<^ter gum flatten ;
auf bem flflid^terjiul^I mac^t er ben Snquifiten mlt Sufi gum
aSerBred^er. 3^ l^aBe fo cin $roto!o(l aBgufd^relBen gel^aBt,
njo ber JtommiffarluS fd^n?er 8o6 unb ®elb ijom «&ofe eri^ielt, 5
ttjeil er einen el^rli^en 3!eufel, an ben man njotlte, gum
©d^elmen ijerl^ort l^atte.

Simmer melfler* 5)aS tjl njteber frifd^ gelogen. SBaS
wotten jle benn l^erauS ijerl^Sren, njenn (Siner unfd^utbig ifl?

as an fen. £) ©^a^enfo^jf! 5Bo nic^tS l^eraug gu ijer* lo
^5ren i% ba Derl^5rt man l^inein. ®l^rlid)!eit ma^t unBe*
fonnen, aud^ njol^I tro^ig. 5)a firagt man erfl fad^te vctQ, unb
ber ©efangene ift jlolg auf feme Unfd^ulb, wle fle*S l^eigen,
unb fagt Meg gerabegu, wag eln aSerjlanbiger ijertdrge. 5)ann
ma^t ber Snquifltor an^ ben 5tnttt)orten njieber ffragcn, unb 15
Jpa^t Ja auf; njo irgenb ein SBiberfiprud^e^en erf^einen xtiU ;
ba fnujjft er feincn ©tricf an; unb Id^t fid^ ber bumme
S^eufel BetreteU; ba^ er l^ier etn?a8 gu »iel; bort etroaS gu
ttjenlg gefagt, ober njo'^I gar, au8 @ott njei^ n?a8 fur einer
©ritte, eInen Umftanb ijerfd^roiegen ^at, auc^ vocli)l irgenb an 20
einem ®nbe fid^ i)at f^retfen laffen ; bann jtnb njir auf bem
red^ten SBeg ! Unb i^ ijerftd^ere @u<^, mit mel^r ©orgfalt
fu^en ble SBettelnjeiSer ni^t bie Sumjjen auS bem Stti)xi(i)t,
ate fo tin ©d^etmenfaBrlcant au8 fleineU; fc^iefen, ijer*
fi^oBenen, t^erriicften, Jjerbriicften, gef^Ioffenen, Sefannten, ge* 25
Idugneten 2fngeigen unb Umpdnben fid^ enbli(^ einen jlro^*
lum^jenen aSogelfd^eu gufammenfiinflett; urn njenigpenS feinen
Snquifiten in eflSgie l^dngen gu fonnen. Unb ®ott mag ber
atme S^eufel banfen, njenn er fid^ no(^ fann l^dngen fel^en.

Setter. 5)er l^at eine geldufige QxinQt. 30

Sintmermeifier. Wit Sliegen mag bag angel^en. 3)ie
5Beg))en lad^en eureg ©efpinnfleg.

76 ©gmont.

fBanfen. JRac^bcm ble ©ipinnen jlnb. ©e^t, bet lange

«&cr^og ^at (Eud^ fo cin rein 9lnfc]^tt ijon eincr Jtreujfijinne,

nic^t einer bl(f6fiud^igen, bic f!nb ireniger fd^limm, aBer fo

ciner langfu^igen, fd^madciSigen, ble Sjom ffra^e nid^t fclp

5 trirb unb xt6)i biinne jjfiben giel^t, a6er bcflo gdl^ere.

Setter. (Sgmont ijl flflitter beS gotbnen SSIiegeS; wet

barf «&anb an il^n legen ? SRur ijon feineS ©leid^en fann er

gerlc^tet trerben, iiur ijom gefammten Drben. ©eln lofeg

STOauI, ©ein BofeS ©etriffen Sjerpil^ren S)td^ ju folc^em

10 ®ef(^n?fi|.

SSanfen. SBill l(^ i:^m borum Wei? SWir fann'S rec^t
fein. (58 ifl ein treffli^er '&err. (Sin ))aar melner guten
J?reunbe, ble anbernjfirt^ fd^on njdren gel^angen worben, l^at
er mlt einem SBucfel ijott ®^tdge JjeraBfd^lebet. SRun ge^tl
»S ®e^t ! 3^ ratl^' eS @uc^ felBp. ©ort fe:^' i^ wtcber eine
flflunbe antreten; bie fel^en nld^t auS, alS wenn fie fo Balb
SSruberfd^aft mit unS trinfen wiirben. SBlr ttjotten'8 aB#
»?arten, unb nur fad^te jufel^en.

Ser CuIenBurgifd^e jpalafl.
20 SBol^nung beS '&erjogS i)on 9ir6a.

8il))a unb ©omeg Begegnen einanber.

©ilDa. '&ajl S)u ble SBefe'^te beS '^erjogS auSgerld^tet?

©omeg. ^ftnftlid^. SWe tdglid^e fflunben fmb Beorbert,
gur Befllmmten Qtit an ijerfd^iebenen ^Jtd^en einjutrefen, ble
25 l(^ ll^nen Bejelc^net l^nBe ; fie gel^en Inbe^, n?le genjdl^nlld^,
burci ble ©tabt, urn Drbnung gu er^ntten. Jlelner n?elg ijon
bem 5(nbern ; 3eber glauBt; ber ^efel^I ge^e i^n atteln an, unb
In elnem 9(ugenBlld fann alSbann ber Gorbon gejogen, unb

4. SlufjUfl. 77

aUt Sud^nge gum ^alafl fonneti (efefet fetn. Setgt £)u
bie Urfad^c biefeg SBefel^lS?

® i 1 a« 3(^ Bin getro^nt, HinblingS gu gel^or^en. Unb
ivem gel^orc^t ftc^'d leic^ter aid bem ^^ergoge, ba Balb ber
StuSgang fceweijl, ba^ er teti^t 6cfo^Ien l^at? 5-

® m e g. ®ut ! ®ut 1 %\i^ fd^etnt eS mir fetn Sunber^
baj 3)u fo ^erfcS^Iojfen unb einjllBig xoix^ njic er, ba Su
immcr urn i^n fcln muf t. a^ir fommt eg' fremb ijor, ba i^
ben lei^teren italienlf^en Slenfl gemoi^nt Bin. 2tn ^reue unb
@e^orfam Bin i6) ber alte; aBer ic^ l^aBe mir bad @(^n;d^en lo
unb Sflaifonniten angewd^nt. 3^r fi^roeigt 9tCe unb lagt eS
Su^ nie n?o^I fetn. S)er ^^erjog glei^t mir einem el^ernen
3;^urm ol^ne $forte, n?ogu bie SBefa^ung Slugel l^dtte. 9ieuli^
^drt' i^ i^n Bel ^afel )oon einem frozen, freunblicS^en 2Wenfd^en
fagen, er fei njie eine f^Ieci^te S^enfe mit einem auSgepecften 15
Sranntwein^S^it^^"/ wm SD^iipiggdnger, SBettter unb 3)ieBe
^ereingulo^en.

@iIoa. Unb ^at er unS ni^t fd^n^eigenb l^ierl^er
geful^rt ?

©orneg. Sagegen ifl nid^td gu fagen. @en;i^l SSer 29
3euge feiner Jllugl^eit ttjar, njie er bie Slrmee au8 StaKen
l^ierl^er BracS^te, ber f)at etwaS gefe^en. SBie er jl^ burcS^
Sreunb unb JJeinb, bur^ bie Srangofen, ^finiglid^en unb
^eger, bur^ bie @^n?eiger unb SSerBunbenen gleic^fam bur^«
((^miegte, bie flrengfle S^anndgu(]^t l^ielt, unb einen Quq, ben 25
man fo gefdl^rli(^ ad^tete, lei^t unb ol^ne 3ln{lop gu leiten
ttjugte! — 8Bir ^aBen xcai gefel^en, wag lernen fonnen.

(SiUa. 9tu(^ l^ier ! 3fl ni^t Sitter pitt unb ru^ig, ate
wenn fein Stufpanb geroefen n?dre?

©orneg. 9lun, eS war au^ f^on meijl jtiC, ate wix 30
^etfamcn.

© ilioa. 3n ben $rot)ingen ijl eS loiel rul^iger geworben;

78 Sgmont.

unb njcnn fl^ no^ elner Betregt, fo Ifl eS, um gu cntfHe^m.
2l6er au^ blefcm wlrb er bie SBcgc 6alb i)crf)3errcn, benf' Ic^.

® m e ). 9Iun n?Ub er erfl bU ©unfl bed Jtdntgd ge«

wlnnen.

5 ®il^a« Unb und iU'ibt nid^td angelegner, aid und bie

feinige gu erl^alten. SBenn ber Jt5nig l^iet^er fommt, tteifct

(jetrip ber «&erjog unb Seber, ben er em^fiel^It, nlt^t unBeto^nt.

©omej. ©lauBfi S)u, ba^ ber Stbni^ fommt?

©ilija. ®S njerben fo Jjlete Stnpatten gema^t, bap ed
io:^5d^fi wal^rfci^einUd^ ifl.

©omeg. Wli^ ixBerreben fie nld^t.

©itija. ®o rebe njenigfleng ni^t baijon. ©enn njenn
beS StbnxQ^ 2lBfl^t Jo ni^t fein fottte, gu fommen, fo i\t
fle'S boc3^ njenigjiend gewip, bap man e8 glauBen foil.

15 Serbinanb, $lIBa'^ naturlid^er @o^n, tntt auf.

fferbinanb. 3jl meln SSater nod^ nicS^t l^erauS?
©lit? a* 2Bir warten auf i^n.
fferbinanb* S)ie Surflen njerben Balb ^ier feiiu
©omeg. Jtommen (le l^eute?
20 Serbinanb. Dranien unb @gmont.

© m e g. (leife gu @iba.) 3^ 6egreife ttvoa9.
© i U a. ©0 Behalf eg fur Sic^^ 1

^ergog 90 n $lIBa, tritt auf.
(Ste er ^ereim unb ^eit^crtritt, treten bie (Stnbent gurftcf.)

25 31 IB a. ©omegl

© m e g (tvitt »or). «&err !

21 IB a. S)u ^afi bie SBac^en wt^eilt unb Beorbert?
©omeg. 2luf0 ©enauejte. ©ie tdgli(]^en flflunben —
21 IB a. ©enugl ©u n^artefl in ber ©alerie. ©iloa

4. Slufjufi. 79

irirb ©it ben 9lugenWlcf fagcn, iccnn ©u f!e jufammeujiel^en;
bie 3ugAnge na^ bem $alafl 6efe(eu [oQfi* ©ad UeSrige
n>ei§t ©u*

©orncg. 3a, ^tnt (SiB.)

2tl6a, ©ibol 5

®iIoa* <&ier Sin i^*

ai6a* 9iacS, wag id^ »on Jel^er an ©Ir gefd^fifet ^aBe,
a^ut]^, (5ntf(^Iojfen]^elt, unauf^attfamed 2tu«fu|)ren, baS jeigc
^eutl

@ 11)7 a* 3(^ banfe (Eud^; bap 3^r mir ©elegen^eit geSt lo
{u itiQm, bap i(^ ber alte £in.

2[I6a. ©oBalb bic jjutftcn Bel mir eingetteten jlnb, bann
eile gleid^, (SgmontS ©e^eimfci^teiBer gefangen ju ne^men!
©u ija^ atte 3lnfla(tm gemac^t, bie UeBrtgen, n;el^e Begeic^net
jlnb, gu fa^en ? 15

® i 1 a. aSertraue auf unS I 3^r ©d^icffal wirb (le wie
eine ujo^IBerec^nete Sonnenftnflernip ^unftlic^ unb fc^retfU^
treffen.

91 1 6 a* ^aft ©u jle genau BeoBa^ten laffcn?

® i I » 0* Witf ben (Sgmont \)or 5tnbern. ©r ijt ber (Singige, 20
ber, feit ©u l^ier Bifl, fein SBetragen ni^t gefinbert i)at. ©en
gangen Sag )7on einem 3}ferb aufd anbere^ labet ©dfte, ifl
immer lupig unb unter^altenb Bel Safel, rourfelt, f^iept unb
fid^Iei^t ffla(i)t^ gum SieBc^en. ©ie 9lnbern l^aBen bagegen
eine merfli^e $aufe in il^rer SeBenSart gemac^t ; {te BleiBen 25
Bel fl^ ; t)ox i^xtx X^fixt fle|)t'0 au8, alg mnn ein ^raufer
in «@aufe n?dre*

21 1 6 a* ©rum rafd^, e^' f!e un8 njiber SBitten genefenl

®iUa. 3^ fiette jle. 2luf ©einen SBefe^t uBer^dufen
n?ir fie mit bienflfertigen @^ren. S^uen graut'S ; potitifd^ 30
geBen {le und einen dngfili^en ©anf^ ful^Ien, bad Stdtl^Ii^fle
fei, gu entflie^en. Jteiner voaQt einen ®d^ritt, |le gaubern,

8o (Sgmont.

f^unen flc^ ni6)t Dereinigen; unb einjeln ttwa^ «Su^ne9 gu
t^un, l^dlt fie ber ©emeiugeifl aB. ®te mdc^ten -gern flc^
iebem iBerbac^t entjiel^en unb ma^en {l^ tmmer bevbdc^ttger.
@^ott fe^' i(^ nut Sreuben £)emen ganjen ^nfd^lag au^*

5 gefui^rt.

^ I ( a* 3(^ freue ntiti^ nur itBer bad ©ef^el^ene^ unb aud^
uSer bad ni^t . (ei^t ; benn ed BleiBt fletd no(^ uBrig, n)ad
und ju benfen unb ju forgen gie(t. S)ad ©luct ifl eigenflnnig,
oft bad ©emeine^ bad SRic^tdwurbige gu abein unb n?o^Iu6er«

10 legte ^aten mtt einem gemeinen ^ludgang gu ente^ren.
Siertt^eile, Bid bte Surjlen fommen! S)ann gieB ©omej bie
Orbre^ bie ©tra^en gu Befe^en, unb eile felBfl, Sgmontd
®(^reiBer unb bie UeBrigen gefangen gu nel^men^ bie S)ir Be«
^eic^net flnb. 3{} ed get^an, fo !omm l^ierl^er unb melb' ed

15 meinem ®o!^ne^ baf er niir in ben 9iat^ bie ^la^ri^t Brtngel
@ i I b a* 3c3^ ^offe, biefen 2lBenb i?or Sir ^if)n gu biirfen.
^2lIBa (gel^t nad^ feinem @o^ne, bee bi^^ec in bet ®aimt %t$
jlanben).
®il)?a. 3^ traue mix ed nic^t ju fagen; aBer meine

ao «$offnung f^n?anft. 3^ fiirc^te, ed n?irb nic^t n^etben toit er
benft. 3^ fe^e ©eijier bor mir, bie {lid unb {Innenb auf
fd^n^arjen @(^alen bad ©efd^ict ber i^ixrjlen unb bie(er 3!aufenbe
n?dgen. Sangfam n?anft bad 3&nglein auf unb aB; tief
fc^einen bie Stic^tei: ju {Innen; jute^t flnft biefe ©d^ale,

25 fleigt iene, ange^aud^t bom (^igen|!nn bed ©d^ictfald, unb
entfd^ieben ifl'd* (m.)

Sl(Ba mit Serbiiianb ^et))ort¥eteub*

91 IB a. SBie fanbjl S)u bie ©tabt?
S^erbinanb. @d l^at ftc^ fitted gegeBem 3d^ ritt aid
30 wjie gum S^itJJertreiB, ©trap' auf @tra§' aB. (Sure vooifU
9ertl(|eilten SBad^en l^alten bie S^urc^t fo angef))annt, bag fie

4. ^ufjug. 8i

fE^ ii^t gu Uiptln unterfle'^t. S)ie ®tabt flel^t elnem {^elbe
al^nltd^, n?eun bad ©etritter t)oit ireitem leuc^tet ; man etblidt
feineti aSogel^ fein ^^^ier, aid bad eilenb na^ elnem @^u(orte

21 IB a* 3p Sir nid^td weiter Begegnet? 5

Serbinanb. (Sgmont !am mit ^inigen auf ben S^arft
geritten ; voix grupten und ; er l^atte ein tolled $fetb^ bad ic^
i^m loben mupte. „ia^t und eilen, $fetbe gujuretten, n^ir
ttjerben fie Balb Brau^en !'• rief er mir entgegen. (Sr ttjerbe
miti^ nod^ l^eute n^ieberfei^n, fagte er, unb fomme auf @uer lo
SSerlangen, mit @ud^ gu ratl^fd^lagen*

2llBa* (Sr wirb 3)ic3^ wieberfel^n*

^erbinanb. Unter aUtn Stittern, bie i^ l^ier fenne,
gefdttt er mir am 6e(len. @d f^eint, njir werben Sreunbe fein.-

21 IB a* S)u Biji no^ immer gu fd^nell unb n?enig 15
Be^utfam; immer erfenn' id) in ©ir ben Seic^tflnn Seiner
WtntUx, ber mir f!e unBebingt in bie 5lrme lieferte. 3u
manner gefd^rlicS^cn SSerBinbung lub ©ici^ ber 5tnfd^ein
9oreilig ein.

Serbinanb. (Suer SiHe finbet mi^ Bilbfam. 30

^ IBa. 3^ ijergeBe 3)einem iungen 3Blute bied leid^tflnnige
aBpl^Irootten, biefe una^tfame Sro^lid;feit. 0lur i)ergi§ nid^t,
gu toel^em SBerfe i^ gefanbt Bin unb tt)el(^en ^^eil ic^
SDir baran geBen md(^te.

Serbinanb. ©rinnert mi^, unb fd;ont mid; ni^t, 25
no 3^r ed n&tl^ig l^altetl

21 1 B a (nad^ einer $aufe). SKein @o|)n !

gerbinanb. WUin aSater!

2tl6a» 3)ie SCirpen fommen Balb, Dranien unb Sgmont
fommen. @d ijl nid^t SWi^trauen, bap id) 3)ir erfl iefttso
entbede, raad gefc^e^en fod. @ie n?erben nic^t n?ieber ^m
l^innen gel^n.

G

8% (Sgmont

gfctblnanb* SBaS flnnji Su?

91 1 6 a. (S8 ift tcfc^Ioffen, fie fejl^jul^alten.— 5)u crflaunfl !
SBaS 3)u ju tl^utt l^ajl; ^5rc ! 5)le Urfad^en foKjl S)u wiffcn,
trcnn c8 gcfd^cl^n ijl. 3e|t iUiit fclne 3^it, jle auSijuIcgcn.
5 «Wit ©ir adein wiinf(i^t' i^ baS ®r6f te, baS ©e^elmpc gu
be|>red^en ; cin parfed S9anb ^filt ung jufammengefeffett ; bu
biji niir njertl^ unb Ileb; auf biti^ m6^t' i(^ atttcS l^fiufcn.
9lid^t bie ©eroo^nl^elt ju gel^ord^en attein m5c!^t' i^ Sir ein*
^jrdgen ; au(t) ben ©inn auSjubrud en, gu Befel^ten, auSjufiil^ren,
10 wtinfd^t' i^ in 3)ir fort;;u)3fIangen ; I)ir ein grogeS ^rbtl^eil,
bem Jl5nige ben brautbbarften 3)iener gu l^interlaffen ; S)i(!^
mit bem liBeflen^ n?ad ic^ \)abt, an^u^atttn, ba^ S)u S)i(^
nicl;t fd^dmen bfirfefl, unter 5)eine SSruber gu treten.

Setbinanb. 2Ba8 werb' ic^ Sir nid^t fur biefe 8iebe
15 f^ulbig, bie S)u mir attein jmvenbefl, inbem tin ganjed dieid^
9pr Sir jittert 1

Stiba, Sim ^bxt, waS ju tl^un ijl! ©obalb bie Surjien
eingetreten flnb, n^irb ieber Sugang gum $ala{le befe|t. Sagu
^at ®omeg bie Orbre. ®iba n?irb eilen, ^gmontd @(^reiber

ao mit ben SSerbdd)tig{len gefangen gu ne^men. Su l^dltfl bie
dBacl^e am Xi)ext unb in ben «0^fen in Orbnung. Siox atlen
Singen, t^efe^ biefe 3inimer l^ierneben mit ben flc^erflen
Seuten I Sann u^arte auf ber ©alerie, bid €iIoa n?ieber!ommt,
unb bringe mir irgen^ ein unbeteutenb $latt ^rein, jum

«5 3fi*fw, baji fein 9luftrag au%*ricbtet ijt, Sann bleib' im
ajorfaale, bid Cranien weggebt ; felg' i6m I 3(^ balte Sgmont
Ijier, aid eb id; ibm nocb wad ju fagen ^dtte. 9lm (Snbe ber
(Salerie forbre Draniend Segen, rufe bie ^Bad^e an, Demxi^re
fc^nell ben gefdVrUd,'jlen ^l^ann, unb id; fajfe ^gmont l^ier*

30 Se^^i^^^^* 5d) gebonte, mein QJater — jum erPen
SKal mit f(^wertm 4^<fi(it unb mit v£erge«

4. siufauft. 83

91 IB a. i^ Uerjel^e ©ir'g; eg ijl ber crjic grope ^a^
ben 3)u erleijl*

©iftta (tritt l^ercin).

©tlioa. (Sin 3Bote J)on 9tntwer)3eru «6icr ijiOranienS
Sricfl er fonwit ni^t. 5

31 1 6 a. ©agt' e8 ber QBote?

©lloa. Sldn, mir fagt'3 bag «&erg.

aiBa, 9tu8S)ir fpricJ^t mein 66fer ©eniuS. (SHad^bemer
ben S3rief getefen, n)inft er ©eiben, unb jie gie^^en [16) in bie ®a(erie
gurucf. @t bleibt attein auf bem a5orber%ile.) (£r fommt nid^t! 10
SBig auf ben le|ten 9tucjen6Iid xierf^ieBt er, flc^ gu erflaren. .
®r mast t^, nic^t gu fommen! @o n;ar benn biedmal n^iber
SSermutl^en ber SthxQt Hug genug, ni(^t f lug ju fein ! — (5«
rutf t bie U^r ! 3le^ einen f leinen SBeg beg 3^19^^^^; unb
eitt gropes SBerf ijl getl^an ober Jjerfdumt, unroieberBringlicJ^ 15
^erfdumt ; benn eS ifl njeber na^iii^oUn noc^ gu Jjerl^eimlid^en.
£dng^ ^atV i^ 9ttte8 reipid^ aBgenjogen, unb mir aud^ biefen
Sfatl gebad^t, mir fe|igefe|t, mag au(]^ in biefem Satte ju tl^un
fei; unb je^t, ba e8 ju t!^un iff, wel^r' ic3^ mir faum, bap
nic^^t bag ffur unb SBiber mir aufg 0leue burc^ bie @eele 20
((^wanf t — 3fl'8 rdtl^lid^, bie 2lnbern jju fangen, njenn e r
mir entgel^t ? — ^^W id) eg auf, unb lajf ' ©gtnont mit
ben ©einigen, mit fo SSicten entfd^lupfen, bie nun, i)ie(lei(]^t
nur l^eute nod^, in meinen «§dnben f!nb? ©0 ^wingt ©i^
bag ©efd^icf benn an6), 3)u Unbe^wingtid^er? SBie lang' 25
gebad^t ! SEBie njo^I Bereitet ! SBie grop, n?ie fd^on ber 5JIan !
8Bie nal^' bie 'goffnung il^rem QUU ! Unb nun im 2(ugenBli(f
beg (£nt[(j^eibeng Bifl 3)u gwifd^en jwei UeBel gepettt ; njie in
einen 8oogtoi)f greifjl I)u in bie bunfle 3"^ ""ft ; wog SDu
foffefl, ijl nod^ gugerottt, ©ir unBeujupt, fei'g 3!reffer ober 30
Seller ! (®r toirb aufmerf fam, t»ie diner, ber etwod i^ort, unb tritt
an* genfter.) ©r ijl eg 1 — ©gmont I 3:rug ©id^ ©eln ^\t\\i

G 2

84 @gmont.

fo leid^t l^ereln^ ttnb fd^eute i>t>r bem SSIutgeni^e nl^t^ unb
i>ox bem ©eifle mit bem Blanfen <S(!i)votxt, ber an ber $forte
2)ld^ empfdngt? — ©telg' aBl — @o Wji 5)u mit bem einen
5uf im ®xai — unb fo mit BelbenI — 3a, jirei^r e0 nur,
5 unb flopft fitr feinen mutl^igen S)ienfl- jum le^tenmale ben
Sladm i^m ! — Unb mlr WelBt f elne ffia^I. 3n ber SSer*
Blenbung, n^ie l^ier @gmont nal^t, !ann er !Dir ni^t jum
gweltenmal fl(3^ liefernl — «&5rt!

Serbinanb unb 6iUa treten eilig l^etbeL

10 3l^r tl^ut, ttjaS id^ Befall ; i^ dnbre meinen SBitten nld^t.
3(3^ l^alte, n:ie eS gel^n voiU, Ggmont auf, Bl0 ©u mir sjon
@iba bie Sla^xidji QtUa6}t ^a% S)ann HeiB' in ber M^ !
^2tu(]^ S)ir raubt baS ©eft^ict bag groge ffierbienp, beS JtonigS
grogten ffeinb mit eigener Ȥanb gefangen ju l^aben. (3u @iba.)

15 ®ile 1 (3u Sccbinanb.) ®el^ il^m entgegen. (S^ba bUibt einige
Slugenblicfe a((ein unb gel^t fdf^tDeigenb auf unb ab.)

@gntont tvitt auf.

@gmont. 3(^ fomnie; bie fBtftfjU bed Jt5nigd gu )9er«
nel^men, gu ]^5ren, njelt^en Dienjl er bon unferer Xreue berlangt^
aobie i^m enjig ergeben bleibt.

911 6 a. er wiinft^t t)ox alien Singen Guren Statl) gu l^dren.

@ g m n t • Ueber n?eld^en ® egenfianb ? «Ronimt Oranien

and) ? 3(3^ tjermutl^ete il^n l^ier.

31 lb a. fSHix t\)\it eS leib, baf er und eben in biefer

35 n^id^tigen ®tunbe fel^It. @uren 9tat^^ @ure SO^einung n^itnfd^t

ber Jt5nig^ n?ie biefe @taaten irieber gu befriebigen. 3a, er

]{)offt, 3^r njerbet frdftig mitwirfen, biefe Unrulf^en gu pitten unb

bie Orbnung ber $rooingen t>bUiQ unD bauerl^aft gu griinben.

© g m n t. 3^r f5nnt beffer irijfen alg id^, bag fd^on 2tfle3

3ogenug berul^igt ift, la, noc^ mel^r berul^igt n?ar, el^' bie (Sr#

4. STufaug. 85

fd^elnung ber neuen ©olbaten njieber taxi Surd^t unb ©orge
bie ©emutl^er Benjegte^

21 1 6 a. 3^r fd^eint anbeuten gu vooUm, bag aftdtl^Iid^jic
fel geirefen, njenn ber StbnxQ mi^ gar ni^t in ben Satt gefe^t
l^dtte, @u^ iu frogen. 5

e g m n t SSergell^t 1 D6 ber Jt6nig baS »&eer l^dtte fd&id en
fotten, oB nid^t sjielmel^r bie SD^ad^t feiner maiepdtlfd&en ®egen»
ttart ottein fldrfer getrirft ^attt, iji meine ©ad^e nid^t ju
Beurt^eilen^ ©aS «geer ip ba, er nld^t 2Bir oBer mu^ten
fel^r unbanfBar, fel^r ijergeffen fein, wenn njlr un0 nid^t 10
erinnerten, ttjaS njir ber Olegentin fd^ulbig jlnb. Sefennen
n?lr I ®ie Brad^te burd^ xf)x fo flugeS al8 ta^fereS SBetragen
bie 9lufriiil^rer mit ©enjalt unb 2tn[el&n, mit UeBerrebung unb
£ifl jur Olu^e, unb ful^rte jum ^rflaunen ber SBelt ein re*
BeHifd^eg SJoIf " in njenigen 9}^onaten gu feiner $flid^t gurucf^ 15

21 IB a* 3c^ leugne e« ni^t. ©er 2:umult ip ge^ittt, unb
3eber fd^eint in bie ©rengen beS ©el^orfamS guriidfgeBannt.
9lBer l^dngt eS nid^t J)on eineS Seben SBittfiir aB, fie ju ijer*
lojfen ? 9Ber njitl baS ffiolf ^inbern, ro8gu6red^en ? SBo iji
bie SKad^t, fte aBgul^alten ? 2Ber BCirgt nn^, bap fie ftd^ ferner ao
treu unb unterti^dnig geigen n?erben? 3^r guter SBitte iji
otteS $fanb, bag wir l^aBen.

(gg m n t. Unb ift ber gute SBitte eineS SSoltt nid&t ba«
fld^erjie, baS ebeljie $fanb ? SBei ® ott ! SBann barf ftd^ ein
^onig fid^erer l^alten, atS njenn fie 2ClIe fiir ©inen, ©iner fiir 25
2ltte flel^n? ©id&erer gegen innere unb dupere ffeinbe?

9tIBa^ 8Bir njerben ung bod^ nid^t uBerreben fotten, bafi
e« iefet l^ier fo ftel^t ?

Cgm n t» S)er Jtonig fd^reiBe einen ®eneraI«^arbon au8^
er Berul^ige bie ©emutl^er ; unb Batb wirb man fel^en, njie 30
Sreue unb SieBe mit bem 3wtrauen njieber guriictfe^rt.

a I B a» Unb 3eber, ber bie SKaieftdt be8 JtonigS, ber bag

86 Sgmont.

'©eillQtl^um ber {Religion gefd^Snbet, gfnge fret unb lebfg f)ln
unb ttjieber/ leBte ben 2tnbern gum Beteiten SBeifpiel, bafi
ungel^eure SSertred^en fhafloS finbl
(Sgmont. Unb i(l ein 93ertred^en be8 UnflnnS^ ber

5 3!runfenl^elt, nld^t el^er gu entfd&ulbigen, olg groufam gu Be*
jlrafen? SBefonberS njo fo fld^re «&opung, njo ©enjff^eit
x% ba^ bie UeBel nid^t njieberfel^ren werben ? SBaren J^6nige
barum nlc^t fld&erer ? SBerben fie nid^t J)on SBelt unb ^a(i}^
luelt ge^rlefen, ble elne SSelelbigung il^rer SBixrbe ijergeten,

10 Bebauern, ijerad^ten fonnten ? SBerben fie nid^t e6en beSroegen
®ott glei(^ gel^alten, ber J)iel gu gro^ ifi, att bafi an il^n
iebe Caflerung rei^en fotlte?

51 1 6 a. Unb e6en barum foil ber J^5n(g fJir ble ®firbe
©otteS unb ber Olellglon, njlr foKen fitr bag 9tnfel^n beS

15 Jt5nlg8 fhelten. SBa8 ber DBere atgulel^nen \>tx\6)m&f)i, Ifl
unfere Sflid&t gu rfi^en. Ungeflraft fotl, n?enn i^ xatift,
!ein ©d^ulbiger fld^ freuen.

e g m n t. ®lau6(l 2)u, bag 5)u fie 9ltle erreld^en njlrji ?
«&5rt man nid^t tdglld^, bag bie Surd^t fie l^ie* unb bal^in,

ao fie m^ bem fianbe treiBt ? S)ie Oleid^flen njerben il^re ©fiter,
flc^, ll^re Jtinber unb ffreunbe flCtd^ten ; ber 2trme njlrb feine
nu^lid^en Ȥ5nbe bem S^ad^Bar guBringen.

511 6 a. ®ie werben, njenn man fie nid^t tjerl^inbem fanm
©arum ijerlangt ber JtSnig Siatf) unb 3!^at sjou Jebem Sftrflen,

25 ®rnjl J)on Jebem ©tatt^alter ; nic^t nur ©rgfil^lung njle e0
if}, n:a8 trerben !6nnte, njenn man 5(fleS ge^en liege wie'S gel^t,
^incm grogen UeBel gufel^en, ft(i^ mit »&offhung fd^meid^eln,
ber 3«it sjertrauen, etroa einmal brein fd^Iagen, njie im ffofl*
nad^tsf^iet, bag e8 flatfc^t unb man boc^ etn?a8 gu tl^un

30 fc^eint, ircnn man nid^td tl^un m5c^te — ^eigt bag nici^t, \i(f^
Derbiicl^tig mac^en, atS fe^e man bem Qtufrul^r mit SSergnltgen
j^n, ben man nic^t erregen, ivol^l o6er Ijjegen m5^te?

4. Slufaug. 87

(Sginont (im fBegrtff aufgufa^ren, nimmt {l(!^ gnfammen, unb
fpric^t nad^ Hner Keinen $aufe gefe^t). 9lt^t {ebe ^Bfl^t ifl
ofenBar, unb manned 3KanneS 2lB(lc]^t ifi ju migbeuten.
!nht^ man bo(^ aud^ )9on alien @etten 1^5ren^ ed fei bed JtonigS
%6fi(^t ttjeniget, ble fProtJingen nad^ einf5rmlgen unb flaren 5
®efe|en gu tegieren, bie SKaiefldt ber Religion gu fl^ern unb
einen attgemeinen Srieben felnem SSoIfe gu geben, alS J)ielmel^r
fie unfcebingt gu unterioti^en, jle Hrer alien Sted^te gu BerauBen,
fl(3^ S^eifier ijon W)xm SSejlfetl^umern gu madden, bie fti^onen
9tt6)tt M 9tbele eingu[(^r5n!en, urn berentnjillen ber @ble 10
aWeltt ll^m blenen, i^m 8ei6 unb SeBen njibmen mag. 2)ie
aHeligion, fagt man, fei nur ein px&djtxQtt Zt)p\>i^, ^intn
bem man ieben geffil^rlid^en 2tnfd^Iag nur bepo leid^ter auS*
benft. S)a8 SSoIf liegt auf ben Jtnieen, Betet bie l^eiligen
gensirften Qii6)tn an, unb |)inten laufd^t ber ffiogelpeUer, 15
ber fie Beriicten n?itt.

91 1 Bo. ©a« mug \6) loon 2)ir 1^5ren?

@gmont. 0lid^t meine ©ejlnnungenl 0lur njaS Mb
l^ier, Salb ba, ijon ©rogen unb sjon Jtleinen, Jtlugen unb
3!^oren gefrrod^en, laut J?er6reitet njirb. 2)te Silieberldnber 20
furd^ten ein be^^elteS 3o^, unb njer Biirgt il^nen fur il^re
greil^eit?

31 1 Bo. grei^eit? ^in fd^5ne8 SBort, trer'S red^t J?er*
fldnbe. SBoS njotlen fie fiir ff rei^eit ? SBaS ifl beg ffreieflen
Sreil^eit ? — fflec^t gu tl^un 1 — Unb baron wirb fie ber Jtonig 25
nid^t l^inbem. S^ein, nein ! ®ie glauBen fld^ nid^t frei, njenn
fie fl(3^ nid^t felBfl unb 9lnbern fd^oben fonnen. SBdre eS nid^t
Beffer, oBgubonfen, ol8 ein foId^eS SSolf gu regieren? ?Benn
ouSrodrtige jjeinbe brdngen, on bie !ein SSiirger benft, ber mit
bem SRdd^flen nur Befd^dftigt ifl, unb ber Jtonig berlangt 30
SBeiflanb, bann njerben fie uneinS unter fld&, unb sjerfd^woren
fl^ gleidS^fom mit il^ren geinben. ffieit Beffer ift% jle ein*

88 (S g m n t

guengen, bof man jle trie Jlinber l^alten, nj(e Jtinbcr ju il^rem
SSefien leiten !ann* ©lauBe nut, etn 9}oI! n^irb nidji alt,
m6)i flug; etn 93oK 6lci6t immer finblfi^*

(Sgntont* 9Bie felten fommt ein Jtonig ju SSetflanbl

5 Unb foKen fl(3^ SSlele nld^t lieBer SSielen ijerttauen alS Ginem ?

Unb nit^t einmal bem @inen, fonbern ben SBenigen beS (Sinen,

bent aJolfe, baS on ben SBlltfen feineS »&errn oltett^ S)aS ^at

njol^t attein bag Sle^t, flug ju werben^

5tI6a* Sietleic^t tUn barum, well e8 jlti^ nid^t felBfl
10 ii6erlof|en Ifl.

© g m n t* Unb barum S^iemanb gem fld^ fettjl iiBerlaffen
ni5^te. SD^an t^ue, njoS man njitl; ic^ l^aBe auf S)eine Sroge
geantnjortet, unb wieberl^ole : @S gel^t ni(S^t ! @S !ann nid^t
gel^en ! 3d^ fenne meine SanbSleute. ^8 flnb SlJ^anner, njertl^
15 ©otteS SBoben gu Betreten; ein Seber runb fur ft(^, tin fleiner
^onig, fefl, rul^rig, fa^ig, treu, on olten ©itten l^ongenb.
®(^n?er lfi'8, i^r 3«trauen ju tjerbienen, leid&t^ ju er^otten.
©tort unb feji ! 3u brutfen flnb jle, nic^t ju unterbr&tfen.

51 1 6 (bcr jld^ inbeg einigemal umgefei^en l^t). ©otttefl 3)u
30 bog QltleS in beg Jt5nig8 ©egennjort njieber^olen ?

©gmont. ©epo fd^limmer, n:enn mi(^ feine ©egennjort
a6f(]^retfte ! 2)eflo Beffer fur i^n, fiir fein 93oIf, njenn er
niir ^uH) module, njenn er mlr 3"trouen einflSf te, nod^ welt
mel^r gu fogen.
25 QtlBo. SBoS nufelid^ ijl, fonn id^ 1^5ren wie er.

^gmont. 3(3^ ttjfirbe i^m fogcn: Seid^t fonn ber «6irt
eine gauge «&erbe ©d^ofe tjor fld^ l^intrelBen, ber Stier giel^t
feinen $flug ol^ne SBiberjIonb; oBer bem ebeln fPferbe, bad
2)u reiten njittfl, mugt 3)u feine ©ebonfen oWernen, ©u mujt
30 nid^tS UnflugcS, niti^tS unflug t>on \f)m tjerlongen. ©arum
n?unfc^t ber SBiirger feine olte 93erfaf[ung gu Bel^olten, t)on
feinen SonbSleuten regiert gu fein, njeil er njeifl, njie er ge«

4. siufaug. 89

ful^rt njftb, rrcil er Don il^nen UnelQennuft, S^ellnel^una
an fcinem ©d^itffal l^ofcn tann*

mi a. Unbfome ber Wegent nid^t 2^ad^t l^aBen, biefeS
alte <§crfommen ju ijerfinbern? Unb follte nic^t tUn bieS
feitt fc3^5nfle8 SSomd&t fein ? SBaS ifi BleiBcnb auf biefer 5
SBelt? Unb fottte elne ©taatSehmd^tung BleiBen fonnen?
fPhif nid^t in elner 3«ttfoIge {ebeS QSerl^dltni^ |l(3^ tjercinbem,
unb c6en banim einc olte SScrfaffung bie Urfac^e t)on taufenb
UeBcIn wcrben, n?eil jle ben gegennjfirtigen Bufianb beS SJolfed
nliS^t wmfa^t? 3(3^ furd^te, biefe olten Sled^te jlnb barum fo 10
angenel^m, njeil jle ®d^lu))fh3infcl Wlben, In njeld^en bet
Jtluge, ber !Kfid^tige, jum ©c^aben beS QSoIfS, gum ©d^aben
beS ©anjen, flc^ tjettergen ober burd^fd^leid&en fann.

6gmont. Unb biefe njittfurlic^en QSerdnberungen, biefe
unBefc3^ran!ten 6ingriffe ber ^b^\itn ©emalt, jlnb jle nic^tis
QSorBoten, ba^ 6iner tl^un njitl, wag 3!aufenbe ni^t tl^un
foUen? (£r njiti |l(3^ aUtin frei madden, urn {eben feiner
SBixnfd^e Befriebigen, Jeben feiner ®eban!en auSfiil^ren gu
fonnem Unb nienn njir nn^ ii^m, einem guten weifen Jtonige,
ganj tjertrauten, fagt er unS fur feine Sladitommtn gut, ba§ 20
feiner ol^ne S{vLd\i(i)t, f>f)nt ©^onung regieren njerbe ? SBer
rettet unS alSbann tjon ijottiger SBittWr, njenn er unS
feine S)iener, feine S^dc^jien fenbet, bie ol^ne Jtenntni^ beS
SanbeS unb feiner SSeburfniffe naci^ SSelieBen fd^alten unb
walten, feinen SBiberftanb finben unb fl^ t>en Jeber SSerant* 25
njortung frei njiffen?

21 1 * a (ber jld^ inbep toicber umgefe^en Ijat). @8 ijl nid^tS
ttatiirlid^er, alS bag ein Jtonig burd^ jld^ ju l^enfd&en ge*
ben!t unb benen feine SSefe^le am lieBjien auftrdgt, bie il^n
am Beflen t)erjie^en, tjerjie^en njotlen, bie feinen SBitten un* 30
Bebingt audrid^ten.

Cgmottt^ Unb eten fo natiirlid^ i^% bag ber 3S(jlx^x

90 (Sgmont.

t)ott bem reglert feln will, ber mit i^m gefioten unb ergogen
ifl, bet glel(i;ett Segrlff mit ll^m J?on (Re^t wnb Unred^t
gefagt l^at, ben er aU feinen SBruber anfel^cn fann.

511*0. Unb bod^ i)at ber ?lbel mit bicfen feinen ©rubcm
5 fel^r ungfeic^ getl^eilt.

(ggmont. 5)o8 ijl ijor Sal^rl^unbetten gefd^el^en, unb
ttjirb ic|t ol^ne SReib gebulbet. SGBurben aUt neue SWenfd^en
ol^ne 0lot^ gefenbct, bic (l^ jum jnjeitenmole auf Unfofien
ber Station Bereic^ern n?otlten, fd^e mon |l^ einer fhrengen,
lo fiil^nen, wnMingten »&aBfu(S^t o«8ge[e|t, baS njiirbe eine
©dl^rung ma^en, bie flc^ nid^t leid^t in flc^ felBfl oufldfle.

%lia. 2)u fagji mit, waS i^ nid^t 1^5ten follte; au^
[^ Bin fremb.

(ggmont. S)a§ id^ S)ir'« fage, geigt ©it, bag i&} 5)i(i;
15 ni(^t meine.

51 1 6 a. Unb oud^ fo niiinfd^t' id^ e^ nld^t loon ©ir gu
listen. S)er Jl5nig fanbte mid^ mit »&offnung, ba^ id^ l^ier
ben SSeijianb be« ?lbete finben njiirbe. S)et Jt5nig will feinen
SBitlen. Set Jt5nig l^at nod^ tiefer UeBerlegung gefel^en, n>a«
20 bem aSorCe ftommt ; e8 !ann nid^t BIciBen unb gel^en wie
BiS^er. 5)eS JtdnigS 2tBfld^t ifl, (le felBfl gu il^rem eignen
gSejien eingufd^rdnfen, i^r eigeneS «&eil, nienn'S fein muj, il^nen
oufgubringen, bie fd^dblid^en SBixrger aufguol)fem, bamit bie
UeBrigen 8lu^e finben, beg ®Iuct8 einer njeifen {Regierung
25 geniegen !5nnen. 3)ie8 xft fein Gnifd^tuf ; biefen bem 2tbel
funb gu modljen, l^aBe ic^ SBefel^l ; unb 8latl^ ijerlang' ic^ in
feinem SRamen, nj i e eS gu tlf^un fei, ni^t wad; benn bad
\)at dx Bcfdl^fojfen.

e g m n t. Seiber re^tfertigen S)eine SBorte bie gfurd^t bed

so 55olfS, bie otlgemeine Surd^t I @o l^at er benn Befd^loffen,

n:a« fein ffiirfl Befd^tie^en foKte. 5)ie Jtraft feined gjoKd,

il^r ©emiit^, ben 33egriff, ben jle J?on fid^ felBfi ^Ben, witt

4- 8Iufa«9- 91

er ^(fjvo&Sitn, nieberbrucfen, gct|15ren, urn f!e Bequent regleren
pi fdnnen. 6r trill ben innern Sttxn xf)xtx ^igenl^elt ijer*
berBcn; getci^ In ber Stlbfi^t, fie glucttid^er gu madden. @r
xtiU fie tjerniti^ten, bamit fie ettraS tcerben^ ein anber @tn?a8.
D ! wenn felne 5tbjl^t gut Ifl, fo trirb fie ml^geleitet I Sli^t 5
bent <ftdnige n^ibetfe^t man flci^; man fietlt fl(j^ nur bent
*6nifle entgegen, bet elnen falfd^en SBeg gu nianbeln bie erften
unglutfli^en ©(S^ritte ntod^t,

2lI6.a. SBie S)u geflnnt Biji, fd^eint e8 ein ijergeWid^er
aSerfud^, unS ijereinigen ju njottem S)u benffl gering ijom 10
JIdnige unb loerfid^tlic^ sjon feinen flflfitl^en, njenn 2)u gnjeifelji,
bad 9ltted fei nid^t fc3^on gebad^t, ge))ri3ift, genjogen njorben.
3d^ l^oBe feinen ?luftrag, {ebeS Sur' unb SB i ber nod^
einmal burd^juge^en. ©el^orfam forbre id^ sjon bent SSolfe —
unb ijon ©ud^, \f)x Crfien, 6betjien, fllatl^ unb ^at al8 15
SButgen biefer unBebingten jppid^t.

(£ g nt n t ♦ JJorbrc unfte «&fiu))ter, fo ifl ed auf ei n m a I
getl^an^ D6 fld^ ber S^adten biefent Sod^e Biegen, 06 er fld^
uwr bent SBeite budten foK, fann einer eblen ©eele gleid^ fein.
Umfonji ^aV id^ fo t)iel gef))rod^en ; bie Suft ^aV i^ 20
erfd^fittert, njeiter nid^tS genjonnen.

gerbinanb tommt

getblnanb. SSergeil^t, ba^ ic^ ©uer ©ef^rdd^ unter*
Bred^e. «&ier iji ein SBrief, beffen UeBerferinger bie Slntwort
bringenb mad^t. 25

21 1 Bo. (IrlauBt mir, ba^ id^ fel^e, njaS er mt^lt
{Zxxtt an bie ©eite.)

jjerbinanb (gn ©gmont). ©8 ifi eiu fd^5ne8 fPferb, baS
dure geute geBrad^t ^aUn, dn^) aBguT^olen.

(g g m n t. (S« ifl nid^t bag fd^Iimmpe. 3d^ l^aB' e8 fd^on 30
eine SBeile ; id^ ben!' e8 weggugeBem SBenn eg ©ud^ geffittt,
fo njerben njir ijietteid^t beS «&anbeW einig.

9^ (Sgmont

JJerblnanb. ®ut, irlr njotlen fel^m

2116 a (toinft feincm ©o^ne, ber j!d^ in ben ©runb gurilrfgle^t).

(ggmont. Mt njol^Il ©tttlaft mid^! ©enn i^ wu^te^
Bel @ott, ni(i)i mel^r gu fagen.
5 21 1 6 a. ©Ifitfli^ l^at Sic^ ber Swfatl t)erl^inbett, ©einen
©inn no(^ welter gu t^erratl^en. Uni)orfl(S^tlg entttjltfeljl 2)u
ble Salten DelneS ^^erjenS, unb flogjl S)ld^ feI6fl treit jirenger
an, aU tin SBlberfac^er gel^ajfig i^un !5nnte»

(ggmont. ©lefer SSorrourf rfil^tt mid^ nlc^^t; id^ !enne
loml^ felbji genug, unb njel^, irle 1(3^ bem JtSnlg angel^5re;
irelt mel^r alS SSlele, ble In felnem S)lenfi fl(3^ felber bienem
Ungern fd^elb' Id^ au8 blefent ©trelte, ol^ne ll^n Belgelegt ju
fel^en, unb wunfc^e nut, ba^ unS ber iDlenfl beS »&errn, baS
SBol^l beS SanbeS Balb J)erclnlgen m5ge. 63 njlrft loleUeid^t
15 eln ttjleberl^olteS ©ef^rad^, ble ©egennjart ber fitrlgen Siirflen,
ble l^eute fel^Ien, In elnent glutfllc^ern %vi%milii, njaS l^eut
unm5glld^ fd^elnt. SD^lt blefer »&offnung entfern' x(i) mld^^

21 1 6 a (ber gugleid^ felnem @oi^n $^erblnanb tin Seid^en gieBt).
^alt, Sgrnont ! — Selnen Segen 1 — (3)le 2»lttett^ur offnet fld>,
•20 man jtel^t ble ©alerie nttt 2Dad^e befejt, ble unbetoeglld^ BlelBt.)

^grnont (ber (launenb elne SQBelle gefd^tolegen). 3)le8 war
ble 2lBric^t ? 3)agu l^afl 2)u mlc^ Berufen ? (S^ad^ bem IDegen
gvetfenb, aU toenn er {!d^ t}ert:^etblgen kDoKte.) Sin id^ benn
we^rloS ?
25 21 IB a. S)er Jtonlg Bepe'^It'S, S)u Blfl meln ©efangener*
(Sugleld^ treten \)on Belben ©etten ©etoaffnete l^ereltt.)

©grnont (nad^ elner ^Stine.) Der Jtonlg? — Dranlen!
Dranlenl (dlad) elner ?Paufe, felnen JDegcn :^lngeBenb.) ©0
nimm ll^n ! ©r l^at welt 5fter beS Jt5nlg8 ®ad^e ijertl^elblgt,
30 al8 blefe SBruji Befd^ufet. (@r ge^t burd^ ble sWlttelt^iir oB ;
ble ©ettjaffncten, ble Im Simmer fmb, fotgen l^m, Ingleld^en 9l(Ba*«
©oBn. 5ltBa BlelBt jieBen. 2)er IBovBang fatlt.)

ARGUMENT.
ACT V,

TKKjiftb act begins with a scene at dusk in the streets
of Brussels. Clarchen implores Brackenburg to help her to
liberate Egmont, and when several citizens arrive she chal-
lenges them with words full of enthusiasm and fervour to con-
trive measures for Egmoht's deliverance. The citizens listen
to her appeal with pity and amazement, and asking Bracken-
burg to take her home, they retire. On the approach of
Alva's guard Clarchen is at last prevailed upon by Bracken-
burg to leave the spot and to * go home,' which expression she
repeats with a sinister significance.

The next scene shows us Egmont in his prison. A lamp
is burning, and a couch stands in the background. The
wearied prisoner, deprived of sleep and harassed by cares,
expresses his feelings of horror at his approaching death in
a soliloquy. He faintly indulges in the hope that Orange
will venture some bold enterprise for him, that the people
will gather in myriads, and that he will 'hail in joyfulness
the freedom of the dawn of day.' If only Clarchen were a
man, he thinks, she would be able to restore to him his
liberty.

The scene now changes to Cl'archen's residence. She
enters, carrying a lamp and a glass of water. She places the
light in the window as a sign for Brackenburg that she is
still awake. He promised to bring her tidings of Egmont.
Yet she knows that his doom is sealed. There is no one
who would come forward for his safety, and she herself
is weak and powerless. At last she hears a timid step; it
b Brackenburg, who enters pale and frightened* H.^ \^x\\v^

94 ARGUMENT.

her the sad tidings, which dispel every hope, that Egmont
is condemned to death. He saw with his own eyes all the
sinister preparations for the execution. His recital of the
horrible sight produces an overwhelming effect on Gl'archen,
who is about to rush forth into the darkness of night.
Brackenburg keeps her back, and she produces a phial of
poison which she once * stole in play' from Brackenburg.
She could, herself, not survive the impending calamity, but
conjures Brackenburg to live on as a comfort and support
to her mother. Brackenburg implores her * to pause on the
brink of the precipice,* but she exclaims that she has * con-
quered,' and that he should not call her back to the struggle.

Clarchen goes to the window, as if to look out, and
secretly drinks of the poison. The rest she places on the
table, and beseeching Brackenburg to save himself, lest he
should appear her murderer, she retires. Brackenburg leaves
in irresolution and despair, and Clarchen's death is indicated
by music and by the flame of the lamp which flickers up
several times and then suddenly expires.

The scene, which now changes to Egmont's prison, shows
him asleep on a couch. A rustling of keys is heard, and
servants enter with torches. Ferdinand and Silva follow.
The latter reads to Egmont his death-warrant, and tells
him that a short time will be given to him to prepare himself
and to set his house in order.

Silva retires with the attendants, but Ferdinand remains.
Egmont, who mistakes his motive in remaining behind, gives
vent to his indignation, and addresses to him harsh words of
reproof. Ferdinand, however, reveals to the doomed man
his innermost feelings of admiration for his noble character,
and of heartfelt pity for his hard fate. Egmont beseeches
him to find out means of rescuing him, but Ferdinand de-
clares, in utter despair, that every attempt would be useless.
Alva*s son is so overcome with grief that he cannot leave
the fatal spot, and Egmont must urge him to withdraw. At
last he leaves hastily, overwhelmed with sorrow.

ARGUMENT. 95

Egmont remains alone. He is wearied, and nature ' as-
serts her right ' : he falls asleep, and a bright vision appears
to him in his dream. Freedom, wearing the features of
Clarchen, appears to him in a celestial garb, and with en-
couraging gestures holds out to him a laurel crown. Whilst
she holds the wreath over his head, martial music is heard in
the distance, and at the same moment the apparition vanishes.
Egmont awakes, comforted by the vision which inspires
him with the hope, that his blood will not be shed in vain.
When the drums approach, he feels as if he were going
forth to die a glorious death. Spanish soldiers occupy the
background, and Egmont passes through them, with a firm
and manly bearing, to meet his fate.

gunftet Slufsufl.

S)dmmerun9«
JtUrd^en. fBracfenburg. SBfirget.

5 SradenBurg* &te6(^en, urn ®oiM xtiiUm, voa^ ntmmft
S)u J)or?

iRtdrd^en* Jtomm mit, ^raifenSurg! S)u tnufit bie
a^enfd^cn nid^t fennen; wir Bcfreien il^n gewifl* JDcnn nja0
gleicJ^t i^rer Sic6e gu i^m? Seber fa^lt, l^ fd^wdr' eS, in fl^

lobte Brennenbe Segier, i^n gu retten, bie ©efal^r t)on elnem
!ofi6aren fieBen aBjun?enben, unb bem {^eiefien bie Srei^eit
itiebergugeBen. Jtomm! 68 fe^It nur an ber ©timme^ bie
fte jufammenruft. 3n i^rer ©eele lebt no(^ ganj frifid^, voai
fte il^m fc^ulDig {!nb; unb ba^ fein mac^tiger ^rnt atlein

15 bon i^ntn bad SSerberBen al^&lt, voi^tn fte. Urn fetneU unb

il^tetn^iden nmffen fte SlUed n}agen. Unb n^ad n?agen wir?

3um ]()5d^jlen unfer SeSen, bad gu erl^alteu ni^t ber ^nfjt

xctxif) x% votnn er umfommt

^radeniurg. UngliidfUc^e! 3)u flel^ft ni^t bie ©emalt,

ao bie und mit tfftxntn SBanben gefeffelt f)aU

,^ I & r ^ e n • ®ie f(^eint mit nid^t unCibenvinbliti^, ia$
und nt(]^t lang' berge6ltc^e SBorte n^ed^feln! «&ier fommen
t?on ben alten, reblid^en, n^adfem iP^dnnern ! «&5rt, Sreunbe !
Siad^km, ](;5rt! — ®agt, njie ijl ed mit (Srgmont?

5. Slufjug. " 97

Simmermeijttr* SCBaS voiU bag Jtinb? Sa^ fie
fcS^njeigen 1

JtUrd^en* 3!retet ndl^er, bag wir fad^te tcben, BIS trir
einig flub unb jldr!er. SBir burfen nid^t cinen 2lugenBIirf
ijcrfdumen ! S)ie fre(3^e Xi^xanmx, bie eS tragt, il^u ju feffeln, 5
judt ft^on ben Dold^, il^n 511 ermorben. D greunbc, mit
iebem S^ritt ber S)dmmerung trerb* i^ dngfllid^er. 3^
fiir(3^tc biefe S^at^t Jtommt I SBir trotten unS tl^eilen ; mit
fd^ncttem Sauf ijon Ciuartier ^uCiuartier rufeu njir bie SBftrger
](|etauS. (Sin Seber greife ju feinen alten SBafen ! 9luf bem to
9Kar!te treffen wir unS wieber, unb unfer ©trom reigt einen
Seben mit fld^ fort* 2)ie ffeinbe fel^en ftd^ umringt unb uBet*
f^n?emmt, unb flnb erbritd^. SBad fann un6 eine <@anbt)oIl
Jtned^te njiberfielf^en ? Unb dx in unfrer SKitte fe^rt jurucf ,
flel^t jld^ Befreit, unb Unn u n 8 einmal banfen, un8, bie wit 15
il^m fo tief ijerfd^ulbet worben. @r ftelf^t tjietleid^t — gewig,
er fie^t bad S^orgenrot^ am freien «&immel wieber.

Simmermeifier* SBie iji ©ir, 9Kabd^en?

*I firemen. Jt5nnt i^r mid^ migijerpel^n ? 93om ©rofen
ft)red^' id^! 3d^ frred^e ijon ^gmont. 20

Setter* 0lennt ben 0lamen nid^t! Sr iji t5bttid^*

J^Hrd^en. ©en Seamen nid^t! SBie? iRid^t biefen
0lamen? SBer nennt il^u nid^t Bei ieber ©elegenl^eit ? SBo
jlel^t er nid^t gefd[)rie6en ? 3n biefen ©ternen f)ai>* id} oft
mit ottcn feinen Settern if)n gelefen. 0lid^t nennen ? 2Ba8 25
fott bag? JJreunbe! ®ute, tl^eure S^ad^Barn, 3^r trdumt;
Beflnnt @ud^! ©el^t mid^ nid^t fo ftarr unb dngftlic^ an!
aiidft nid^t fd^ud^tern ^ie unb 6ei ©eite. 3^ ruf @uc^ ia
nur ^u, njaS 3eber wunfd^t* 3p meine ©timme nid^t @ureS
"gerjenS eigene ©timme ? SBer njiirfe fld^ in biefer bangen 30
SHad^t, e|)' er fein unrul^^oneS ©ette Befleigt, ni^t auf bie

H

98 (Sgmont.

Stniu, if)n mit ernfHId^cm ®c6ct tjom '©tmmel ju ettlngen ?
ffraqt Cuc^ elnanber I Stage Seber (l(S^ fel6|i ! Uttb veer frri^t
mit nic3^t na6): „©gmont8 JJteil^eit ebet ben ^lob!**

Setter* ®ott Benjal^t' un«! ©a gUBt'S eln Unglud.

6 StHx6)tn. SBIeiBt, HeiBt, wnb btixdt (Sud^ nic^t »or
felnem SRamen njeg, bem \i)x 6uc!^ fonji fo fto^ entgegen
btdngtft ! — SBenn bet {Ruf i^n anfftnbigte^ wenn eS l^iefl :
„(ygmont fommt! ®t fommt ijon ®ent!", ba l^ielten bie
©ewjo^net bet Sttaf en flc^ glfictlii^, but^ bie et teiten muflte.

10 Unb wenn 3l^t feine $fetbe fd^ollen ife^ttet, tcatf Seber feine
9(tf»eit ^in, unb uBet bie Befummetten ©efic^tet, bie 3^t
butcbfi ffenftet ftecttet, fu^t tt?ie ein ©onnenjltal^I J)on feinem
9(ngf (Idjte ein SBUtf bet ffteube unb *&of|itung. 5)a f)oht 3^
^uvc ^Wnbet auf bet 55^iit[(i^n?et[e in bie «&5^ unb beutetet

isibnen: «6iet», bad ifl ^grnont, bet ®r5$te ba! dt t^'dt
®t \jii% con bem 3bt befiete 3eiten, aU Qtmt armrn Setter
lebten^ einft nu entatten ^bt." !Ba^ (Sure JKnber nii^t
betttnft QvfOi frogen : ,®o t^ et l^in ? 8B0 finb bte 3etteii
bin, bie 3br fetfpraOjt?* — Unb fo wec^feln tck SBorte,

to jinb mikf t^ retratben tbn I

6oe9« 6<ibamt Qu6», ^aifenburg! Soft fie sk^ ^
it^bren ! Steuert bem Unbeil !

$TAtfenbuT^« l^icbcd «1tlari$>en^ itir mOcs g^es!
®«l WTb bte SKutttr fo^ ? iBieneidbt —

fi5 «tUT(3b eiu fi^eiD9 !^n,idb fri tin Stxm ober VMi^aibais?
®a* fann rirariib: ? — Son bicfrr fdbrwITijibai 9tmSf)dt
Mnc^4 ^u mitb mit frinct ^ofnung ire^^ — 3tr foflt mid^
bbitn, Mul* 5br twrKt ; l«nn itb frb'*, Sbr frib bc^sx]^ ail
f^nT)t ^4) fclb^ in Gmrm ^fra ni^x iriricrfmboL f0

^f' ^itr(b bie ^e^^miTQni^ @k^abr nur Qintn tNicf in "heM 80^
^onc^ne brincim, Ni< hiq; 3>(Tftangntl SScmM %mt ttdMnfn

5. Sluftug- 99

mat) bet 3«fiiwft. Stbnnt Sl^r benn ItUn, wcrbet 3^r, trenn
cr gu ©runbe gel^t? !Kit feinem 9lt:^em flic|)t ber le^tc
Ǥaud^ bcr Steil^eft, Sag ujar er ^ud^ ? ffur wen CiBergaB
er fld^ ber brittgenbjiett ©efal^r? ©eltte SBunben floffen unb
l^ellten nur fiir @ud^. 2)ie gro^e ®eele, bie @ud^ atle trug, 5
Bcfi^ranft ein Sttxftt, unb ®(3^auer tCicf ifcJ^en iKorbeS fcJ^njeBen
urn jle ^tx. @r benft t)ietleid^t an @ud^, er l^offt auf G'ud^r
er, ber nur gu ge'Ben, nur gu erpitten geirol^nt ujan

Simmermeijier, @e\jatter, fommt!

Aldrd^en, Unb i(i) JaBe nic^t 5trme, ni^t SKarf/njic 10
3l^r ; bod^ ^ah' i^, wag @uc!^ bitten ekn fe^It, SD^utl^ unb
QSera^tung ber ©efal^r. StbnnV ^n^ nteln 5tt]^em bo^
entjftnben! Jt5nnt' id^ an nteinen 93ufen briicfenb dnd^
errodrmen unb BeleBen ! Jtontmt ! 3n @urer Wittt mU i^
gel^en 1 — ®tc eine Sa^ne tct^xlo^ ein ebleg «&eer Sjon Jtrie* 15
^ern tctf)tn\> anf&l^rt, fo foil mein @eiji urn (Sure 'gaunter
flammen, unb SieBe unb Thxtf) baS fd^wanfenbe, gerfheute
SSoIf gu elnem f(ird^terli(5^en 'geer t)erelnlgen.

Setter* ®^aff' fie Bel ®eite; fie bauert ml^.

(93firget oB.) ao

SratfenBurg, Jlldrd^en, ftel^ jl ©u nid^t, njo wir flnb ?

A I d r d^ e tt. So ? Unter bem «&immel, ber fo oft fld^ l^err*
Ilti^er gu wSIBen fcJ^len, wenn ber @ble unter ll^m Merging.
5lu8 blefen Senfiern l^aBen fie l^erauSgefe^n, 'oxtx, funf Jto^fe
iiBer einanber ; an blefen 3!^uren JaBen fie gefcJ^arrt unb genitft, 2$
njenn er auf bie Wltmmtn l^eraBfal^. D i^ f)attt fie fo lieB,
njle fie ll^n el^rtenl Sdre er S^ijrann genjefen, ntSd^ten fte
immer ijor feinem ffatle feitrodrtS gel^n. 5tBer fie lieBten
i|)tt ! — D l^r »6dnbe, bie i^r an bie Wlni^tn griff 't, gum
©^njert fdnnt ll^r nic^t greifen — 93radfenBurg, unb njir? — 30
S^elten wir fie?— ©iefe 5Irme, bie i^n fo ofk fefi l^ielten,

H a

loo @gmont.

was tf)m fie fftr ii)n ? — 8ifl f)at in ber fflcit fo ijlet enelci^t.
— Du f ennjl ffiege unb ©tege, fennjl bag alte ®^Iof . @d
ifi nid^td unm&glid^; gieS ntir einen ^nf(]^Iag.
SBractettBurg. SBenn njlr nad^ «&aufe glngenl

5 JtHrd^en, @ut.

SractenBurg, S)ort an ber @tfe fel^' i^ 9ll6a3 SBac^e;
lag bo^ bie ©tlmfne ber SSernunft ®ir ju «&ergen bringen !
»&dltfl ®u mid^ fiir felg? ©lautfl ®u ni^t, baf id^ urn
©einettritlen jlerBen fonnte? «&ler flnb wir Seibe toll, ici^

10 fo gut ttjle S)u. ©iel^fl ©u nl^t bag UnmSglid^e ? SBenn
Du Did^ fa^tejt ! ®u 6ifl auger Dir.

Jt U r ^ e n . 5tufier ntir ! 9t(>f(^eulid^ ! ©racf enBurg, Sl^r
feib auger (Su6^. ®a 3l^r laut ben »&elben Jjerel^rtet, il^n
ffreunb unb ®d^u^ unb »&offnung nanntet, ti)m aSit)at rieft

15 wenn er tarn, ba jianb i^ in meinem fflinfet, fd^oB bag JJenjler
tfatt auf, )}erBarg mid^ lauf^enb, unb bag <&erj f^Iug ntir
f)bi)tx aU Qtixd) aUtn. 3e^t f^Idgt mir'g wieber f)b^x aU
(Sn^ Qltten I Sl^r t^eriergt @ud^, ba eg Slott) i% Jjerleugnet
i^n, unb fu^It nid^t, bag Sl^r untergel^t, wenn e r t^erbirBt,

ao SBractenBurg* Jlomnt na^ »&aufe!
Stl&x^tn. ffla(i) »&au[e?

SBractenBurg. ©eflnne bid^ nurl ©iel^ ©i(3^ uml
©ieg flnb bie ©tragen, bie ©u nur fonntfigtid^ Betratfl, burti^
bie ©u flttfam nad^ ber Stix<f)t gingfl, njo ©u uBertrieten

n tfjxiax jtirntefi; wenn id) ntit einem freunbli^en, grugenben

5Bort nii^ ju ©ir gefeflte. ©u flel^fl unb rebefl, l^anbel^ J)or

ben ^ugen ber offenen SBelt; 6eflnne bid^, SieBe, woju

^ilft eg ung?

A U r (^ e n . 9la^ <&aufe ! 3a, ic^ Befinne mi^. Stomm,

30 SBradenBurg, nad^ <&aufe! SBeigt £)u, wo meine «6eimat$
ifti in.)

5- Slufiug- loi

©efdngni^
burd^ eine Sant)>e ev^ent, ein Olu^eBett im ©ntnbe.

(Sgmcnt aUetn:

2tlter Srteunb, immer getreuer ©c^Iaf, fticl^fi Du mid^ oud^,
n?ie bie uBrigen Sreunbe ? ilBie wiOig fenftefl ©u 2)i^ auf 5
meitt frcieS »&aui)t l^erunter, wnb ful^Itejl, wie ein fd^oner
SKijrtenfranj ber Siete, tncine ®^ldfe ! SKitten unter SBaffen,
ouf ber SBoge beS Se6en8, ni^t' id^ lei^t otl^menb, irie ein
oufquettenber StmU, in beinen 5trmen. SBenn ©tiirme burd^
Sttjeige unb SBIdtter faufien, 5tfi nnb 9Bi:pfel fi^ fninrenb 10
ibettjegten, Btiet innerfl bo^ ber .Jtern beS «&ergen6 ungeregt.
aBa« f^iittelt ^i^ nun ? ffiaS erfd^uttert ben fefien, treuen
©inn? 3(3^ fuel's, eS ijl ber Jllang ber 2»orbart, bie an
meiner SBurgel nafd^t. 0lod^ ftel^' i^ aufrec^^t, unb ein innrer
S^auer bur^fdl^rt mx^. 3a, fie uBerroinbet, bie t)errdtl^erifd^e 15
©ewatt ; jle untergrdBt ben feften, l^o^en ®tamm, unb tf)* bie
jftinbe borrt, ftiirjt frad^enb unb gerfd^metternb 2)eine .Jtrone.

SBarunt benn jefet, ©er Su fo oft gewalt'ge ©orgen gtei(J^
SeifenHafen ©ir t)om «&aui)te weggewiefen, warum i?ermagfi
Du ni^t bie 5f^nung ju t^erfd^eu^en, bie toufenbfgd^ in ©ir 20
f!(^ auf»» unb niebertreitt ? ®eit njann "Begegnet ber ^ob Sir
fiir^terlid^, mit bejfen njed^felnben SBilbern, wie mit ben
iiBrigen ©epalten ber genjol^nten @rbe, ©u gelaffen leBtejl? —
5tu(^ ijl er'S nid^t, ber rafd^e ffeinb, bem bie gefunbe SBrujI
wetteifernb fl(^ entgegen fel^nt ; ber Jterfer i^% beS ©rated 25
SSorBilb, bem «&elben wie bem ffeigen wiberlid^. Unleiblid^
worb mir'8 f^on auf meinem ge^olfierten ©tul^Ie, njenn in
jtattli^er QSerfammlung bie ffiirfien, waS leid^t gu entfd^eiben
mar, mit wieberfel^renben ©ef^rdd^en uBerlegten, unb gn?ifd^en
biipertt SBdnben eined ®aal8 bie SBalfen ber ©erfe mi<*^^«^

loj^ ggmont.

erbriidten. Sa eilt' i^ fort, fotalb eg mSglld^ war, unb
taf(^ aufe $fetb mit tiefem Qlt^emguge, Unb frifd^ f)im\x^,
ba n?o n;ir l^ingel^&ren 1 3nd 9elb, n;o aud ber Srbe bam^fenb
icbe nfi^fie SBo^Itl^at bcr fflatm, unb bur(^ bie Ǥimmel

5 ttjel^enb aOe ®egen ber ©epirne un8 umwittern ; voo wir, bem
erbgeBornen 8liefen glei^, t)on ber SBeriil^rung unfrer SWutter
frfiftiger un8 in ble «&o]^e rei^en; wo wir bie SKenfd^l^eit
gang, unb menfd^UcJ^e SBegier in aOen 5tbern ful^len ; wo bag
SSerlangen ijorgubringen, ju teflegen, gu erl^af^eli, feine jjaufi

10 gu BraucS^en, gu Befl^en, gu erotern, bur^ bie ©eele beS iungen
SdgerS flliil^t; wo ber ©olbat fein angeBorneg 8le^t auf oBe
SBelt mit rafd^em ®^ritt f!d^ anmaf t, unb in ffird^terlid^er
Sreil^eit wie ein ^^agelwetter burd^ 5Biefe, JJetb unb 8Balb
t)erber6enb ftrei^t, uub feine ©rengen fennt, bie STOenfd^en*

2)u Bifl nur ®ilb, ©rinnerungStraum beS ©IfictS, bag i^
fo lang' Befeffen; wo ^at ©id^ baS ©efd^itf Jjerrdt^erif^
l^ingeful^rt ? SSerfagt e8 ©ir ben nie gefd^euten ^ob Jjorm
9lngefl^t ber Sonne rafd^ gu g6nnen, urn ©ir beg ©rateg

20 SSorgef^mact im efeln SKober gu tereiten ? SBie l^aud^t er

mid} aug biefen ©teinen wibrig an I S^on jiarrt bog

)iJe6en; t?or bem 9lul^e6ette, wie tjor bem ©rate, fc^eut ber

Sug.—

D ®orgc, ©orge, bie S)u t)ox ber Qdt ben iKorb Jeginnfl,

25 lap ai ! — Seit wann ijl ©gmont benn aOeln, fo gang aHein
in biefer SBelt? S)id^ mad^t ber Sweifel fu^og, niti^t bag
©lucf. 3(1 bie ©ered^tigfeit beg Jtonigg, ber S)u lebenglang
t?ertraute|l, ijl ber Slegentin Sreunbfd^aft, bie fafl— bu barfjl
eg ©ir gefiel^n—fajl SieBe war, finb fie ouf einmal, wie eln

30 glangenb Seuerfcilb ber 0la^t, t?erfc3f;wunben unb lajfen SitiJ
attein auf bunf elm $fab gurftc! ? SBirb an ber S^ije S)einer
Sreunbe Oranien ni(^t wagenb flnnen? SBirb ni(j^t ein

5- Slufjufl. 103

ajolf fld^ fammettt unb niit onf^njeBenbet ©ewalt ben alten
Si^eunb enretten?

D l^altet, Q^auern, bie 3^r mid^ einfd^Iiegt, fo Jjieler
©eifler iroi^Igemeinted S)ran9en ntd^t ^on mir aS^ unb
voti^tx f£flvLtf) auS meinen 9lugen fonjl f!d^ Wer fie ergo^, 5
ber fel^re nun au8 i 1^ r e n Ǥer jen in meineS wieber. D ia,
fie rftl^ren fld^ ju 5J!aufenben 1 ®ie fommen, fte^en mir gur
©eite ! 3^r frommer SBunfd^ eilt bringenb gu bem «&immel,
er bittet urn- ein aSunter. Unb fleigt ju meiner Slettuug
nid^t ein (Sngel nieber, fo fe^' id^ fte nad;) Sang' unt> 10
©d^njertern greifen, 2)ie 3!l^ore fpalten (!d^, bie ©itter
fpringeu/ bie SWauer fidrgt t?or i^ren ^Sdnben ein, unb ber
Srei^eit bed eintre^enben 3!age8 peigt (Sgmont frd^lii^ ent:»
geflen. SBie niand^ tefannt Oefld^t em^fdngt nii^ iau^genb I
91(3^ Stlax6^m, njfirjl S)u SDiann, fo fd^' id^ bid^ gewig au^ 15
l^ier guerfl unb banfte S)ir, n?ad eineni <Sonige gu banfen l^art
ip — ff reil^eit.

• JlldrcS^enS • ^an^^
^Urd^en

!ommt mit einer !Kam)>e unb einem ®(a0 SBaffer au^ ber Jtammer; fte ao
fe(t bod ®la6 auf ben Xifc^ unb tritt and Senfler:

SBracfenBurg ? ®eib 3^r'8?— ?Ba8,1^5rt' id^ benn? 0lo^
Sfliemanb ? (£6 war 0liemanb I 3c3^ n?i(l bie Sam^e inS Sen*
fier fejen, bag er fle^t, i(i) voaCtjt noCt}, id) rvaxU no^ auf
i^m @r l^at mir 0la^ri^t i?erf^rod^en. 0lad?ri*t ? ^ntfe^* 25
li^e ©eroigl^eit 1 — (ggmont i?erurt^eilt 1 — Sffiel^ ©eri^t
barf il^n forbern ? Unb fie ijerbammen il^n ! ©er Jtonig tjer*
bammt il^n ? Dber ber »&ergo9 ? Unb bie 8legcntin entgie^t

jld^ ! Dranien gaubert unb aOe feine ffreunbe ! 3fi bieS

bie 5Belt, t)on beren aSanfelmutl^, Ungutjerldffigfeit i^ oiel»ao

104 @gmout.

gel^Srt unb nitidis eni^jfunben f)aM 3jl bieS ble ffielt? —
SBer ttjdre Mf flenug, ben ^tmxn anjufeinben? SBate
SBogl^eit ma^tig genug^ ben allgemeln @r!annten f^nelC gu
fliirjett? S)od^ iji eg fo — eS ijl!— D ©gmont, flc^er l^ielt

5 16:1 2)i^ i?or ®ott unb SKenfd^en, njfe In nielnen 2lrmen !
2Bo8 luar \(i) ©ir? ©u l^ajl mi^ ®ein genannt, niefn ganged
geben tribmete i6) S)einem Seten. — 5Ba8 Bin id) nun ? SSer*
gebenS ^xtd* i* no(3^ bet ©d^Iinge, ble ©id^ faf t, ble *&anb
a\i^. ©u l^iilfloS, unb id^ freil— ^ler ffi ber ©^Ififfel gu

10 meinet ^^ur* 9tn nieinet ffiittfur l^dngt mein ©el^en unb

mein Jlommen, unb ©it Bin i^ gu ni^ts ! D Binbet

niid^, bamit l^ nid^t tjetgroei jle ; unb werft mi(^ In ben
tiefpen StnUx, bag i^ bad ^a\x)pi an feud^te Wtamxn f^lage,
na(]^ Sreil^eit winfle, trdume, wie i^ i^m l^elfen rooOte, n?enn

15 Seffein niii^ nlc^t lal^mten, wie l^ il^m l^elfen wfirbe. —
0lun bin i^ frei, unb in ber Sreil^eit liegt ble Slngfl ber
D^nmac^t. — Wix felSji Beujugt, ni^t fdl^ig, ein ©lleb nac^
feiner «&ulfe gu rul^ren ! 5t(^ leiber, and} ber Heine ^^eil \jon
©eiuem SBefen, ©ein JlldrcS^en, ifl njie ©u gefangen, unb regt

aogetrennt im 3!obe8fram^fe nur bie le^ten Jlrdfte. — 3ti^ 1^5re
f^leid^en, l^uften — SBrocfenBurg — @r ifl'31 — @lenber guter
SWann, ©ein ©c^icffal Weitt flci^ immer gleid^ ; ^m iitid^n
fiffnet ©ir bie nd^tli^e Xi)iix, unb a^, gu mid) unfeKger
Sufammenfunft 1

25 SSradenburg tritt auf.

^liSixd)tn. ©u fommfi fo Bleii^ unb f^iicJ^tern, ®ratfen*
Burg ! aSaS ifl'6 ?

SBracfenburg. ©urd^ Umwege unb ©efa^ren fu^' ic^
©id^ auf. ©ie grofen ©tragen finb Befe^t; burc^ ©dg^en
30 unb burc^^ SOinfel l^aB' id) mid) gu ©ir geflol^len.
. Jlldrd^en. Grgd^l', njie ip?

5- Srufaug. 105

SBrotfenBurg (iitbem er fldfe fc^t). 9td^, .Jtlaw, lag ml^
n?eincn! 3(3^ lieBt' ll^n nicS^t. @r war bcr xti^t SWann unb
lotftc beS 9trmen eingigeS ®d^af jut tcjfern SBeibe fjtxhUx.
3^ l^aS' il^tt nie Jjetflu^t ; ®ott l^at mi^ trcu gefd^affen unb
njci(3^. 3n ©d^mergen |lof meln 2cBen t)Ott mlr nieber, unb 5
gu tjetfd^ma^ten l^offt' id^ icben 3!acj.

Jlldr^en. aSergig baS, ©ratfenBurg! SSetglg ©Id^
felBft! ©^ri^ mlr t)on il^ml 3p'8 wal^r? 3fl er ijerur*
t^eilt?

Sraden'Burg. ^ ifi'd! 3^ wetg eS gang genau. 10

Alarc^en, Unb lett no(3^?

aSractenBurg. 3a, er leBt nod^.

Jlldr^en, SBie wiajl S)u bag tjerflSern ? — ©ie
$*jrannei ermorbet in ber 9la6)t ben »&errli^en ! SSor alien
2(ugen J?erBorgen fRegt fein 93lut. Qlengjllid^ im ©d^lafe 15
Itegt ba3 BetauBte SSolf unb trduntt t)on Sftettung, trdumt
H)xe9 ol^nmd(3^tlgen SBunf^eS ©rfullung, Inbeg unirillig (iter
un0 fein @ei^ bie SBelt i^erldgt. ©r ifl bal^in ! — 3:duf(3^e
mi* nid^t, ©i* nid^t!

aSradenturg. SRein, geroig, er leBt ! — Unb leiber, 20
eS Bereitet ber S^anier bem SSolfe, bag er gertreten ujill, ein
fur^terlic^eS ®d^aui>iel, gen?altfam iebeS «&erg, bag na*
grei^eit fld^ regt, auf cn?ig gu gerfnirfd^en.

Jtldr^en. Sal^re fort unb ]pxi^ gelajfen oud^ mein
3!obe«urtl^eil ou3 ! 3d; wanble ben feligen ©efllben fcJ^on 25
nd^er unb nd:^er, mir wel^t ber Xxo^ au0 ienen ©egenben beg
SriebenS fcJ^on IJieritBer. Sag' an.

aSrodenBurg. 3(3^ fount' eS an ben SBati^en merfen,
aud 0lcben, bie Balb ba, Balb bort pelen, bag auf bem iKarfte
ge^imnigooll ein ©cJ^rectnif guBereitet njerbe. 3(3^ f^lic^ bur(3^ 30
©eitenwege, bur(3^ Mannte ®dnge na* meineS SSettern «&aufe,
unb fol^ an^ einem «&interfenfier na* bem Si^arfte, — Ci,^

io6 @ g m n U

ttjel^ten Sodein In einem njeiten Jlreife ft)an{fd^er ©olbaten
^'m unb irieber. 3^ fcS^drfte mein ungcnjol^nted ^luge, unD
auS ber 0lad^t fiieg mir cin fd^reargeS Oerujl entgcgen, ge*
rdumig, ^o^ ; mir graufte t?or bem 9lnBlid. ©ef^dftig
5 ivarcn SSiele rlitflS uml^er Bemul^t, njaS no^ pon «&oljnjerf
ireifl uub fic^tbar voax, mit fd^warjem ^u(3^ einl^ullen^ gu
t^erfleiben. ©ie 3!re:p^)en bctften f!e gulejt ou^ f^warj ; id^
fa^ e8 wol^l. ®ie fdjienen bie SBei^e eineS grci^li(3^en D:pfer«
t)or6ereltenb gu tegel^n. Cin weired Sttnci^, bag burd^ bic

»o 0lad^t njie ®il6er tlinfte, irarb an ber einen ©eite l^od^
aufgcfletft. 3^ fal^, unb \af) bie f^rectlic3f;e ©enjif ^eit immer
flewiffer, 0lod^ njonften ffotfein ^ie unb ba lucrum ; attmdl^Iic]^
jvid^en fie unb erlofd^en. 9luf einmal war bie fd^eufllid^e
®e6urt ber Sla^t in il^rer SDiutter S^oog guriitfflefe^rt.

IS JlUtcJfien. ®tia, aSratfenBurg I 0lun fliO! Saf biefe
«&titte auf meiner ®eele rul^n ! SSerfd^wunben finb bie @e*
f^enfier, unb bu, l^olbe 0lad^t, lei^' beinen SWantel ber (£rbe,
bie In f!d^ gd^rt. ®ie trdgt nid^t Idnger bie aBfd^euIid^e ia%
rei^t il^re tiefen ®:palten graufenb auf, unb fnirfd^t bad

2o SWorbgeriifl l^inunter. Unb irgenb einen ffingel fenbet ber
@ott, ben f!e gum Qm^m il^rer SBut^ gefti^dnbet; i)ox M
SBoten :^eiliger SBerfil^rung I5fen fld^ Sliegel unb SSanbe, unb
er umgie^t ben ffreunb mit milbem ©d^immer ; er ful^rt i^n
burd^ bie 0lad^t gur Sreil^eit fanft unb fliB. Unb audi mein

25 SBeg gel^t l^eimlid^ in biefer ©unfel^eit, i^m gu Begegnen.
SBratfenBurg (f!e auf^altenb). SU^ein Jtinb, njo^ln?
SBaS wagft ©u ?

Jlldrd^en. M\i, Siefcer, bag 0liemanb erroad^e, bap
n?ir un6 felSft nid^t wetfenl Jtennfl ©u bieS ffldfc^c^en,

30 ©ratfenSurg ? 3d^ nal^m ©ir'd Wergenb, al8 ©u mit uber-
eiltem 3:ob oft ungeDulbig bro^teji. — Unb nun, mein
SJreunb —

5. Slufjug. 107

JtUr^en. ®u |)inbetfl ni^td. ^Tob ift meln a:^ell!
Uttb gSnne mlr ben fanften, f^netten 5j:ob, ben ©u ©ir felSfl
Beteitetejl. ®ie6 mir Seine »&anb ! — 3m 9tugen6lltf, ba id^
bie bunfle $forte eroffhe, au8 ber fein 9flutfireg i% fdnnt'5
id^ mlt biefem »&anbebtutf ®ir fagen, toit fe^r ic3^ 2)id^ gelieBt,
tt)ie fel^r i^ S)id^ Beiammert. SKein SBruber florb mir iung ;
©id^ ttjal^It' ic^ feine ©telle gu erfe^en. €3 njiberft3ta^ ©ein
»&erj, unb qufilte fld^ unb mid^, i?erlongtefi l^ei^ unb immer
l^ei^r, ttjaS ©it ni(3^t Befd^ieben war. SSergieb mir unb leb' 10
tooi)l\ fiag mid^ ©id^ SBruber nenncn! @d ip ein 0lame,
ber Jjiel 0lamen in fld^ fa^t. 0limm bie leftte fd^one
SBlume ber S^eibenben mit treuem «&erjen aB — nimm
biefen Stn^l — ©er ^ob tjereinigt 2tBe6, SBradenBurg; un8
benn ou^. 15

aSractenBurg* ©olaf mi(^ mit ©ir flerBen ! 3!^eile !
^eile! (£0 ifl genug, gn?ei SeBen audjulofc^en.

Jt H r d^ e n. ©leit 1 ©u foajl leBen, S)u fannji leBem —
®ti^' meiner Sautter Ui, bie ol^ne bi(^ in 9lrmutl^ fl(^ t)er^
gel^ren wiirbe. ®ei i^r, n^aS id^ i^r ni^t mel^r fein fann ! 20
£eBt jufammen unb Ben^eint mid^. SBen^eint bad SJaterlanb
unb ben, ber ed aQein erl^alten fonnte! £)aS l^eutige @e:>
fd^led^t wirb biefen Sammer nidjt I08 ; bie SButl^ ber 8lac3^e
felBfl t?ermag i^n ni^t gu tilgen. fieSt, 3^r 9trmen, bie
3eit nod^ ^in, bie feine 3«it me^r i% «&eut pe^t bie 3Belt 25
auf einmal flill; ed {)o(ft il^r .Itreidlauf; unb mein $uld
fd^ldgt faum nod^ n;enige 3^inuten. Seb' n;ol^l!

SBradCenBurg. D leBe S)u mit un3, wie wir fur SDid^
aOeittl ©u tdbtefl un3 In bir. D leb^ unb leiDe! Sir
njollen ungertrennlid^ 2)ir gu beiben ©eiten fle^n, unb immer 30
ad^tfam foil bie Siebe ben fc^dn|len 3!rofl in i^ren leben^

io8 Ggmont.

bigcn 5trmen S)ir Berelten* ®ei unfer I Unfer I 3^ barf nld^t
fogen, meim

JtUr^en. ficlfc, SSratfenBurg I ©u ful^Ifl nid^t, traS
Su tu^rp. . SBo t&offnung ©ir erf^efnt, iji mlr SBergrrcif-
5 lung.

SBratfettBurg. S^eile mlt ben 8eBenblgen ble »6off*
nung I gjernjclt' ant Slonbe bed 9l6grunb8, fd^au' l^inaB unb
jlel^ auf un8 guruct.
Jt Ifi t ^ e n. 3ci^ ^aB' Mernjunben ; ruf m\^ ni^i njieber
10 jum ©trelL

©r a den Burg. S)u Bijl BetduBt; ge^utlt In ffla^i,

fuc^ft ©u bie 3:iefe. 0lod^ iji nld^t iebeS gi^t erlofc^en, nod^

mand^er Xa^ —

Jt t d r ti^ e n . 5Be^ ! UeBer ©id^ SBe^ ! fBtf) ! ® raufam

J5 gerrei^ejl S)u ben QSorl^ang \jor ineinem 2tuge. 3a, er wirb

grauen, ber SiaQ ! i?ergeBen8 ode 0leBeI um fld^ giel^n unb

ttjiber aSiOen grauen I ffurd^tfam fd^aut ber Surger au8

feinem genjier, ble ^aCtji Id§t einen fd^trargen ffleden guruct

— er f^aut, unb ^xix^ttxli^ wd^p im 2iCi)U bag SWorb*.

20 gerujl. — SReu leibenb wenbet ba3 entwell^te ©otteSBilb feln

flel^enb 2tuge gum QSater ouf. S)ie Sonne wagt fl(3^ ni^t

f)n^ox j fie mU bie ©tunbe nid^t Begei^nen, in ber cr flerBen

foil, ^rdge gel^n bie Qt'iQtx il^ren SB eg, unb eine ©tunbe

na^ ber anbern [d^Iagt. ^ait ! ^alt ! 0lun iji eg 3eit !

25 SKid; fd^eu^t beg Si^orgeng 9ll^nung in bag ®raB. (®ie tritt

and Senjler, a(« JS^e jle jld^ um, unb trinft ^eimlic^.)

SBroctenBurg. Jlldre! Jlldre!

Jl I d r ti^ e n (gei^t m^ bem Xx^d) unb trinft bag SBajfer). JQxn

iji ber 3fleji! 3^ lodfe ©id^ ni^t na^. ^n\ n?ag 5)u

3obarfjl ! SeB' \\^df)l ! S5fci^e biefe Sam^e jlitt unb ol^ne Saubern!

3c^ geV i^^ 3flu]^e. ©d^lei^e ©id^ faci^te ttjeg, jiel^e bie Xf)fiX

md} ©ir gu. ©titt! SBecfe meine abutter niti^t! ®e^',

5- Slufjug. 109

rctte S)ld^! 8iette 5)ld^, njenn ©u ni^t meln ^Uxtn
fdjeinen wiaft. (9lb.)

SQra(fen(urg. ®te Idft tni(^ gum le^ten Wlalt voU
immer. D, fonnte eine SWeufd^enfeele ful^len, irie fie cin
liebenb t&erj jerrei^en f ann I ®ie Idft mid^ \tif)n, mir felBer 5
uBerlojfen, unb 3!ob unb Sekn ifl mir qUx^ ^tx^a^t — 9t(lein
}u flerBen ! — SBcint, 3l^r giebenben ! Jtein l^drter @d^i(f fol
ifl aid meindl ®ie t^eilt mit mir ben ^Mtxo^^m, unb
\6)idt m\^ weg, Sjon il^rer ©cite ireg ! ®ie giel^t mi(^ na^,
unb flof t in8 Seten mid^ jurud. D (Sgmont, weld^ Jjreig* 10
ttjurbig SooS fdttt Dir! ®ie gel^t ijoran; ber Jlranj beg
©iegS auS il^rer «&anb ijl Dein, f!e bringt ben gangen «§immel
Sir entgegen ! — Unb foil i^ folgen, tt?ieber feitwdrtS
fiel^n, ben unauSBf^lid^en Si^eib in jene SBol^nungen l^inii*
6ertragen? — 2tuf @rben ifi fein SBleiBen mel^r fiir mid^, unb 15
^bW unb «&immel tieten gleic^e Dual. SBie ware ber 93er*
ni^tung ©d^rerfengl^anb bem Ungliitffeligen njittfommen 1 —

©radfenburg gel^t aB; ba« %f)taUx bteibt einige i3eit un»erdnbert.
@ine SKufir, Stiax^mi Xo\> begeid^ncnb, beginnt ; bie fiam^e, mi6)t
SBradfenburg au^gulofc^en t^etgeffen, flammt nod^ einigemal auf, baun ao
erlifd^t fte. $8a(b ))ertDanbett ftd^ ber <S(!^au))la^ in bod

©efdngnig,

(Sgtnont Uegt fd^tafenb auf bem (Ru^ebette. @d entfle^t ein ©etaffel
mit @(!^(uffeln, unb bie X^ur ti^ut fld^ auf. Wiener mit Sacf eIn freten
^ferein; il^nen folgt gerbinanb, W>a^ <Bof}n, unb (Sil»a, 25
begleitet »on ©eiuaffneten. @gmont fdl^rt au^ bem ^d)la^ auf.

©gmont. 3Ber feib ^% bie 3^r mir unfreunblid^ ben
S^Iaf bon ben 9tugen f^iittelt ? SBaS Kinben (Sure tro^igen,
unfld^ern SBlicte mir an ? aSarum biefen fixrd^terli^en 9lufs»
jug ? SBetd^en ©d^rectenStraum f ommt Sl^r ber l^albernja^ten 3c
©cele tJorjulCigen ?

©11 J) a. Un8 fd^ictt ber ^Serjog, ®ir Dein Urtl^eil anju*
fitnbigem

i .

no @gmont.

(Sgtnottt* 93dngfi ©u ben »&en!cr and^ mlt, eg ju
t)otlgiel^en ?

® 1.1 J) a. aSetttlmm e8, fo njfrji SDu wiffen, waS Deiner
• TOartet I

5 (Sgmottt. So giemt e3 @ud^ iinb (Surem f^finblid^en
SBeginnen ! 3rt S'^aiJ^t geBrutet wnb In ^a^t ^jottfu^rt. ®o
mag biefe fxt^t ^at ber Ungered^tfgfeit flti^ J^erBergen ! —
3!ritt ffil^n l^er^or, ber S)u bag ©c^trert t)er|)uttt unter bem
SD^antel ttdgfl ! ^itx ifl mein ^anptf bag fireiefle, bag {e bie

10 3!i)rattttei t)om Slum^f gerijfen,

®lUa. ®u irrjt! 3Bag gere^te Sliti^ter Bef(^negett,
werben fie t)orm 9tngefl(5^t beg 3!ageg ntcJ^t J^erBergen.

©gmottt, ®o uBer|!cigt bie {Jted^l^eit {eben SBegriff unb
©ebanfen*

15 @il^a (nintmt einem !DaBeifle^enben bad Urtl^eU ab, entfattet
e« unb tieft). „3m Seamen beg Jt5nlgg, unb fraft Befonberet
tjon ©elner Tlalt^at ung fttertragenen ©etralt, atle feine
Untertl^anen, we^ ©tanbeg fie fefen, gugteiti^ bie (Ritter beg
gotbnen SSlicgeg ju ri(3^ten, erfennen n?ir — *

30 ^gmont. ,Jtann bie ber Jt5nig fiBertragen?

©iljja* „(5rfennen njtr, na^ t)orgfingiger genauer, ge#
fefelic^er Unterfuc^ung, 2)i(=^ ^t'mxi^ ©rafen Sgmont, ^rinjen
oon ©aure, beg »&oc^t)erratl^g f^ulbig, wnb fpred^en bag Ur*
tl^cil, bag 2)u mlt ber ffrCi^e beg einBre^enben SRorgcng aug

25 bem Jlerfer auf ben WlaxH gefiil^rt, unb bort ijorm Slngefld^t
beg SSolfg gur SBarnung atler 9Serrat|)er mit bem ®^n>erte
ijom ii^eBen gum ^obe geBrac^^t njerben fotlefl. ©egeBen SBrCiffel
am — " (3)atum unb 3al^rgai^t toerben unbeutU^ gelefen, fo bag fU
ber Sul^orer nid^t »erfte^t.)

30 „fferbinanb, »&ergog bon StIBa, SSorfl^

beg ©eric^tg ber 3n?5lfe/

5- Slufjug. Ill

£)u voti^t nun 2)eltt ©cJ^idfal; eS WeiBt 2)lr wenige 3«it#
2)i(3^ brein gu ergeBen, ©ein tgauS ju Befletlen unb tjon ben
2)clnigett 2lbfd^ieb gu nel^men.

@ilt>a mit bem (Slefotge ^el^t aB. @d BleiBt J^crbtnanb unb groet
Sacfetn; bad Xl^eoter ifi md^ig etleuc^tet. 5

©gniont ftat einc ©cite, in ^^ »erfenft, flilie gcjlanbcn, unb
©it^Kt, ol^ne {t(!^ umgufe^en, abgel^n lafen. (Sr gtauBt {!(!^ aKein unb
ba er bie ittugen auf^ebt, erbticft er W^ca @oBn). 2)u flel^fl unb
BleiBp? SBitlfl 2)u mein erjiaiinen, ntein ©ntfe^en noc^
burc^ 2)eine ©egennjart t)ermel^rett? SBitlfl ©u no^ etnja bie to
ttjiUfommene SBotfd^aft 2)eittem SSater Bringen, baf id^ un*
mannlic!^ ijerjireiflie? %^! ®ag' il^m, fag' ii)m, bag et
treber mid^ no(^ bie SBett Beliigt. 3^m, bem Sinf)m\vid)*
tigen, irirb man eS etji l^inter ben S^ultern teife liS^etn,
bann taut unb lauter fagen, unb n?enn er einp bon biefem 15
®ipfel ^eraBpeigt, werben taufenb ©timmen eS il^m entgegen
rufen: 0lid^t bag SBo^l be« ©taats, ni^t bie aBixrbe beg
Jtonigg, nicJ^t bie 9flul^e ber $robinjen l^aBen il^n l^ierl^er
geBrad^t* Urn fein felBji toiUtn ^at er .Jtrieg geratl^en, baf
ber Jlricger im Jtriege gelte. ®r ^at biefe ungcl^eure aSer* 20
njirrung erregt, bamit man feiner BebCirfe, Unb i(^ faHe
ein Dpftx feineS niebrigen «&afTe0, feineS fleinlid^en 0ieibe3.
3a, i^ njcij eg, unb i^ barf eg fagen, ber ©terBenbe, ber
t5btli(3^ aSenrunbete fann eg fagen : 2^i^ f)at ber (SingeBilbete
Beneibet; mid^ njeggutilgen ^at er lange gefonnen unb gebacJ^t. 25
@(3^on bamalg, alS n?ir, noci^ iiinger,, mit ffiiirfeln fpielten,
unb bie »&aufen ©otbeS, einer nad^ bem anbern, bon feiner
©eite gu mir l^eriiBereitten, ba flanb er grimmig, log ©elaffen*
^eit, unb innertid^ berjel^rte i^n bie 5tergerni^, mel^r iiBer
mein ©Ifitf, ate iiBer feinen aSerlujl, 0^o^ erinnere x^ 30
mi^ beg funfelnben SBlictg, ber berrdtl^erifd^en SBtdfpf, alg

112 @gmont.

voir an elnem 5ffenttiti^ett Sejle ijor Jjielen taufenb Wltn\^m
urn bie SBette f^offcn. (5r fotbette mid^ auf, unb Jeibe
0lationen panben; bie ®:ponicr, bie S^ieberldnber tretteten
unb njunf^ten* 3^ uBerwanb il^n; feine .Jtugel irrte, bie
5 meine traf ; ein lauter ffreubenfci^rei ber SWeinigcn burd^fira^
bie fiuft. ^un trifft mid^ fein ©ef^o^. ©og* if)m, bap
ici^'d ttjeij/ bag i^ x^n fenne, baf bie SBett {ebe ©iegeSgeid^en
t)era^tet, bie ein Heiner @etfl er[^Iei(3^enb fld^ oufri^tet,
Unb ©u, njenn einem (Soigne m5glid^ ift, bon ber ©itte bed
10 SSaterS ju weicJ^en, uBe Beijeiten bie <S(i)am, inbem Su ©id^
fiir ben f^amjl, ben 2)u getne t)on gangem t&erjen tjereiren

fferbinanb. 3c!^ ]^5re 2)i(3^»an, o^ne ©id^ gu unter*
6red^en 1 ©eine SSornjiirfe lajlen n?ie Jteulfdjidge auf einen

i5»§elm; id^ filiate bie ©rfd^iitterung, aBer (^ tin Bewaffnet
Du triffft mic^, ©u berwunbefi mid^ nid^t; fltl^lBar ifl mix
attein ber S^merj, ber mir ben SBufen gerrei^, SBel^e mir I
5Bel^e! Qn einem fold^en 5ln6litf bin i(S) oufgewoti^fen, ju
einem folcJ^en ©ci^oufpiele Bin i^ gefenbet!

ao @ g m n t. S)u Brid^fi in Jtlagen aud ? 9Bad riil^rt, toad
Befixmmert 2)iti^ ? 3fl eS eine frdte 8ieue, bag ©u ber fd^dnb*
Ud^en 9Serfi^n?5runcj ©einen 2)ienjl geliel(^en ? 5)u Bijl fo iung,
unb l^ajl ein gliitflid^eg 5tnfel^n. 5)u trarfl fo gutrauliti^, fo
freunblic^ gegen mi^. ®o lang* i^ ©id^ fal^, war t^ mit

35 ©einem SSater berf5l^nt. Unb eBen fo berflellt, tjerpellter
atS er, locf fl ©u mi^ in bo8 5ne|. ©u Bijl ber SlBf^^euIlc^Se I
5Ber il(^m traut, mag er eS auf feine ©efo^r if)\xn.' 9l6er
wer furd^tete ©efal^r, ©ir gu bertrouen ? ®el^ ! ®ti) I flflauBe
mir ni(3^t bie njenigen 5lugenBlicfe ! ©el^, bafj i(^ mid^ fammle,

30 bie SBett, unb ©i^ guerfi, bergeffe ! —

g e r b i n a n b. SBoS fott id) ©ir fagen ? 3ti^ pel^e unb
fel^e ©id^ an, unb fel^e ©i^ nid^t, unb fu^le m\6) nid^t. ®oO

5- ^luftufl. 113

i6f mid^ entfd^ulbigen ? ®otl i^ S)ir ^erfld^ern, bafi i^ erfl
fi)dt, etjl gang jule^t be§ SSaterS 9tBf!d^ten etful^r, bag i^
ate tin gejnjungeneS, ein leBlofeS ffierfjeug felneS SBillenS
l^anbclte? ?Ba8 frud^tet'S, weld^e SWeinung ©u boii nifr ^aUn
magjl? S)u 6ifl t^erloren; unb Id^ Ungluctli^cr flel^e nuts
t)a, um ©ir'6 gu tjerfld^ern, urn Did^ ju beiammern,

6 g mo lit. SBeld^e fonberbare ©tirnnie, ireld^ ein unet*
njarteter S^rojl begegnet mir auf bem SBege gum ©rabe !
®u, ©ol^n meineS erfieu, meineS fafl eingigen SeinbeS, S)u
bebouerjl mici^? ©ubifl nidji untcr meinen 9^5rberu? ©age, 10
rebel ffur wen foB i^ bid^ l^alten?

jjetbinanb. ©raufamer SSater! 3a, i(^ etfenne S)ld^
in biefem SBefel^Ie* Su fannteji mein ^gerg, melne ©eflnnung,
bie 5)u fo oft ate ©rbt^eil einer gfirtli^en STOuttet fd^alteft.
3Kl(^ blr gleid^ gu bilben, fanbtejl ©u mi(3^ l(^iet^er* 5)iefen 15
S^ann am Sianbe bed gdl^nenben ©rabed, in ber ©en?alt
eined n?itt!urli^en XoM gu fel^en^ gn?tngfl S)u mid^, bag id^
ben tieffien ©d^merg em^jjlnbe, bag l(^ taub gegen atleS
®c3f;i(ffal, bag i^ unemjjfinbnti^ werbe, e3 gef^el^e mir,
wa^ njotte. ao

(ggmont. 3(3^ erfiaune! gaffe ®i(^! ©tel^e, rebe njie
em Wlannl

gerbinanb. D, bag i(^ ein SBeib ware! Sag man mir
fagen Knnte : „?Baa rii^rt ©idj? ?Ba6 fid^t 2)i^ an?" @age
mir ein grogereS, ein ungel^eurereS Uebel, mai^e mid^ gum 25
Seugen einer f^retflid^ern ^il^at; id} njitt Dir banfen, i^
will fagen: @S war nicS^tS.

(ggmont* ©u wlierji ®id^* SBo biji S)u?

gerbinanb* Sag biefe Seibenfd^aft rafen, lag mid^ Io8«
gebunben Hagen ! 3(^ witt nid^t ftanbl^aft fd^einen, wenn 30
9ltte8 In mir gumfammenbricS^t. 5)i(]^ fott i^ f)'m fel^n? —

I

114 (Sgmont.

fottfi Du mlc]^ i)ct jlel^cn ? (ggmont ! Cgmont ! (3^m urn ben
$ate fattenb.)

@gmont. S5fe mix bad ©el^eimnifi !

5 Serblnanb. Jtein ©el^eimnifi.

(g g m n t. SBIc 6en?egt S)id^ fo tlef bag ©d^Hfal elneS
frcniben STOanncS?

gctblnanb. 9liti^t frembi 5)u 6lfl mit nld^t fircmb,
S)ein 9lamc njar'S, ber mir In melner etfien Sugenb glei^

10 cinem ©tctn M «&immelS cntgegenleuti^tete. SBie oft f)aV
i^ nadi S)it gel^ord^t, gefragt ! S)eS StinM Ȥoffhung ifl bcr
Sungling, beS SungllngS ber STOann, @o 6ifl Du bot mir
^er gefd^rittcn, Immer bor, unb ol^ne S^eib fal^ td^ Dl^ bor
unb fti^ritt 5)lr nati^, unb fort unb fort, 9lun l^offt' i^

15 enbllt^ 5)ic]^ ju fel^en, unb iaf) S)i(^, unb mcin ^er^ flog 5)u
cntgcgen. S)ld^ l^att' i^ mir Bepimmt unb njdl^ltc 3)ic]^ aufg
0leuc, ba id^ Sid^ fal^, 0lun l^offt' id^ crp mit S)ir gu fein,
mit Sir gu Uitn, S)id^ gu faffen, Did^— S)a0 ifl nun aOeS
njeggef(^nittcn, unb ic]^ fel^c 5)ic]^ l^ier !

9o Cgmont, SD^ein {Jreunb, njenn eg JDir njo^^l tl^un
fann, fo nimm bie SJerflti^erung, baf im erflen QlugenBIid
mein ®em\itf) S)ir entgegenfaml Unb ]^5re mi^I S'afi
und ein rul^tged SBort unter einanber ttec^^feln 1 ®age
mir: 3{l ed ber ftrenge, ernfie SBille S)eined SSaterd mi^

a5 JU t5bten ?

gerbinanb, (Sr iji'fi.

©gmont. Siefeg Urtl^eil njdre ni^t ein leereS ©d^red*
6ilb, mid^ gu fingfligen, burc^ 5urd)t unb ©rol^ung gu jhafen,
mid^ gu erntebrigen, unb bann mit foniglt^er @nabe mid)
3ottjieber aufgul^eben?

i^erblnanb. 0lein, a^ leiber nein ! Q(nfangd fd^meit^elte

5. Slufiug. 115

I

[^ mix felBfi mlt blefet auSroei^enben «&offuung, unb fc^on
ba en4)fanb i6) 9lngfl unb @c]^merg, S)i(^ in blefcm 3wp«ni>^
in fcl^cn, QlvLti Ifl e8 witfli^, ifl gewif . 0lcin, ic]^ rcgiete
mid^ ni^t SBet gieBt mit etne ^ulfe, votx einen Slatl^; bem
Unijermeibll^en gu entgel^en? 5

(Sgtnottt. ©0 ^bxt mi^! SBcnn Seine ©eele fo ge^
n^altfam btingt, mt^ ju retten, n?enn S)u bie VUUxmati^t
»eraBfc]^euji, bie mid^ gefejfelt l^dlt, fo rette nii^! I)ie
OlugenBHtfe jlnb fopBat. J)u Bifi beg Stagenjaltigen ©ol^n
unb fettji gewaltig. — Sa^ ung entfliel^en! 3c^ fenne bie 10
SBege; bie Wittd fonnen Sit ni^t unBefannt fein. 0lur
biefe S^auetn, nur n^enige ^eilen entfernen mi^ bon meinen
Steunbem S5fe biefe SBanbe, Bringe mid^ ju il^nen unb fei
unfer. ©enjif , bet Jt5nig banft Sir bereinp meine Wettung.
Sefet ifl er uUxxa\^t, unb biettei^t ifl il^m 9ltteS unBefannt, 15
Sein QSater n^agt; unb bie S^aiefldt muf bad ©efd^^l^ene
BiBigen, wenn fie flc]^ audi babor entfefeet. Su benffl? D
benfe uiir ben 3Beg bet {Jteil^eit au8 1 @i)tid^ unb ndl^re bie
*&offhung bet leBenbigen ©eelel

i^erbinanb. ©^n^etg, f^n^etge! Su betmel^tfl mit ao
iebem 3Botte meine SSetgweiflung. «&ier ifl fein Stugweg, fein
aHatl^, feine ^l\x6)t — SaS qudit miti^, bag gteift unb faf t
mit text mit Jtlauen bie Stufl. 3(^ l^aBe felBfl bad 9le|
gufammengejogen ; i^ fenne bie flrengen, feflen <ftnoten ; i^
mi% wie iebet Jtul^nl^eit, iebet 8ifl bie SBege bettennt finb ; 25
i^ fiil^Ie mi(^ mit Sir unb mit atten 9lnbern gefeffelt. SBiitbe
i^ flagen, l^dtte i^ ni^t gitteS betfu^t ? Qn feinen Suf en
l^aBe id^ gelegen, getebet unb geBeten. (St fd)i(fte mid^ ||iet||er;
um 9lBeS, wag bon SeBenSlufl unb Sreube mit mir leBt, in
biefem 9lugenBIicte gu getflfiten. 30

<£ g m n t. Unb feine Sfiettung ?

I 2

ii6 ©gmont.

Scrbinanb. Jlelne!

e a ni n t (mit bem gufe jlamvfenb). Jlelne jHettung ! —
— ©iifeg 8e6enl @^5ne frcunbllc^^c ®tm^nf)dt beS
3)afein0 unb SBItfenS, ijon Sir foO i^ fd^elben, fo gc*

5 laffen fd^eibeu I S^i^t im Sumulte ber <S^la^t, untcr bem
©erfiufc]^ ber SBaffen, in ber Setpreuung beg ©etwmmeW
giefcji S)u mir ein fliid^tigeS 8e6en?o|)I; Su nimmfl feinen
eiligen Qlbft^ieb, ijerfiirgeji nit^t ben ^tugenfclicf ber 3!ren-
nung. 3^ [oO Deine *&anb faffen, Sir no6) einmal In bie

io5tugen fei^n, Seine @^5ne, Seinen ffiert^ re^t Uif)a\t

fu^m, unb bann mi(^ entft^Ioffen lodrei^en unb fagen:
Sa^re ^in !

5 e r b i n a n b. Unb i^ fott baneBen pel^n, jufe^n, Sic^i
nic]^t l^alten, ni^t l^inbern fonnen ! D votl^t ©timme reic^^te
15 jur StlaQt ! SBelt^ed «&erg f!&{fe nid^t aud [einen Sanben oor
biefem Sammer?

(Sgmont. ffaffe bid^l

fferbinanb. Su fannp Sic]^ faffen, Su fannfl entfagen,
ben fc]^ttieren ©d^ritt an ber •ganb ber Slotl^njenbigfeit l^elben*
2o ma^ig ge^n. 3Bad fann i^ ? SBad foil id^ ? Su iiBern?inbep
Sid^ felBji unb unS ; Su uBerjle^fl ; i^ uUxlibt Sic^i unb
mi^ felbfi. SBei ber Sreube M STOa^te ^aV i^ mein 8i^t,
im ©etummel ber (S^ladit meine Saline 9erIoren« ®^al,
ijernjorren, trii6' fd^eint mir bie S^funft

as (S g m n t. Sunger ffreunb, ben id^ burd^ ein fonber6are§
©c^ictfal gugleic^ geroinne unb ijerliere, ber fiir mid^ bie
5!obe8[d^merjeu enH)finbet, fiir mid^ leibet, fle^ mid^ in biefen
Qlugenblidfen an ; bu ^erlierfl mid^ nid^t, 3Bar bir mein
ithn ein Spiegel, in njeld^em Su Sic^ gerne Betrad^tetefl,

30 fo fei eg aud^ mein Sob ! Sie a^ienfd^en flnb nid^t nur gu*
fammen, njenn fie Beifammen flnb; aud^ ber (Sntfernte^ ber

5. SlufiUfl. 117

BfBgefd^lebcne leBt ung. 3^ IcBe 5)lt, unb f)aU mir genug
geleBt. 6ineS Jebcn Stages l^at' id^ lui^ gcfircut; an Jebem
XaQt mit rafter aBirfung meine $flid^t getl^an, njie mcin
©enjiffen mit jle geigtc. 3lun enbigt {!d^ bag 8eBen, wie eS
jld^ fruiter, fru^et, f^on auf bem @anbc ijon @rat)elingcn 5
l^attc enbigen fonnen. 3^ 1^5re auf, ju lefien ; aitx \^ ijobt
gcIcBt. @o W aud^ 5)u, mein Sreunb, gem unb mit Sujl,
unb f(^euc ben 3!ob ni(^t.

{Jetbinanb. 5)u l^attefi ©i^ fhx un8 er^alten Wnnen,
etl^alten foKen. S)u l^afi 5)id^ felBer get5btet. Dft 1^5rt' iti^, 10
ttjenn Huge STOdnner iiBet 5)i(^ fpra^en; feinbfelige, xcdf)U
ttjoHenbe, fie fhitten tang' iiBet 3)einen SBert^ ; bo^ enbli^
t>erelnigten fie fl^, Jleiner wagt' eg gu leugnen, 3ebet
geftanb: „3a, er njanbett einen gefdl^rlid^en SBeg." — SBie oft
tt)iinf(^t' i^, 5)ld^ njatnen gu Wnnen ! «&atteft Su benn 15
felne Stcunbe?

©gmont. 3(^ roar genjarnt.

{Jetbinanb. Unb wie i^ jjunftweife atle biefe S3e*
fti^ulbigungen n?iebet in ber ^Inflnge fanb unb Seine 2lnt*
n?orten! ®ut genug, S)i^ gu entf(^ulbigen, nic]^t triftig 20
genug, 5)id^ t>on ber ©d^ulb gu Befreien —

©gmont. 5)ie0 fei Bei ©eite gelegt! 68 glauBt ber
SWenfd^ fein fieBen gu leiten, f!d^ felBfl gu fiil^ren, unb fein
3nnerfle8 wirb unnjiberflel^Iid^ wa^ feinem ©d^itffale gegogen.
ia^ un0 bariiBer ni^t flnnen ; biefer ©ebanfen entf^lag' i^ 25
mid^ leid^t — f^roerer ber ©orge fur biefeS 8anb ; bod) au^
bafiir wirb geforgt fein. Jlann mein SBIut ffir 93iele fliegen,
meinem SJoIfe Sriebe Bringen, fo fliefit eS njittig. Seiber
njirb'S nid^t fo werben. Sod^ eS giemt bem STOenfd^en, nid^t
mel^r gu gruBeln, njo er nid^t mel^r roirfen fott. Jlannp ©u 30
bie ijerberBenbe ®en?att ©eineg SSaterS aufl^atten, lenfen, fo
t^u'S ! ©er wirb ba0 f onnen ? — 8eB' mi)l 1

ii8 (Sgmont.

jjerblnanb. 3^ fann ni(]^t Qtf)n.

(ggmont. 8afi mcine Scute Dit aufS Befle em^jfo^Icn
feln ! 3^ l^aBe gute SD^enf^en gu ©iencrn — bafi fie ni^t
getjiteut, ttlti^t ungliidllc]^ njerben ! SBie jie|)t eS urn 9liti^arb,
5 melnen ©^telBer ?

g e r b I n a n b. (Sr ifl ©Ir sjorangegangen. ®le ^ahn i^n
aU Wit\^\iVoiQtn bed ^o^^nxatf)^ tntf)avi)pUU

©grnont. Strme ©eelel — fflo^ (SinS, unb banit leB'
voo% i^ fann nid^t mel^r. Sad au(^ ben ®eifi geiraltfam
lo Befd^fiftlgt, forbert ble Slaiux gulefet bod^ unnjlberfle'^Iid^ il^te
9led^te, unb njte eln Jtinb, umwunben ijon ber ©flange, bed
erquitfenben ©d^Iafd genie^t, fo legt ber STOube f!^ no^ elnmol
i)ot ber fJJforte bed 3!obed nieber unb tul^t tlef auS, alS o6
er einen inelten 3Beg gu njqntern l^dtte. — Slo^ (SinS —
^5 3ti& fenne eln a^dbd^en, S)u mlrfi fie nld^t bera^ten, well flc
meln war. Stun \^ fie ©Ir tmpfi^U, pert' l^ rul^lg. 5)u
Bifi eln ebler SD^ann ; eln SBelB, bag ben flnbet, Ifl geBorgen.
fieBt meln alter Otbol^)^? 3fl er frel?

Serblnanb. S)er muntre ®relS, ber ffiud^ gu fPferbe
20 Imnier Begleltete ?

©gmont. S)erfeIBe.

fferblnanb. dx lebt, er Ip frel.

(Sgmont. 6r n?el^ l^re SBo^nung; lag S)lti^ t)on ll^m
ffifiren. unb lol^n' ll^m BU an feln ©nbe, bafi er Sir ben
«5 SDcg gu blefem Jltelnobe geigt — 8eB' njol^I I
{Jerblnanb. 3^ gel^e nld^t,
Sgmont (Iftn nad^ ber X^ure brSngenb). 8eB' njol^I !
Serblnanb. D lag mid^ no^I
©gmont. Sreunb, felnen 2tBfd^leb!

30 {(Sx Begleitet gerblnanben Bl« an bie X^iix unb relf t Bd^ bort »on l^m
lo«. gerblnanb, betdubt, entfernt jld^ ellenb.)

5* *^ufaufl. "9

6 9 m tt t (aHein). &elnbfellgcr SKann I Du glauBtep nl^t/
mir bicfe SBol^lt^at burd^ ©eincn ©o^^n gu ergeigen, S)urd^
il^it Bin idi ber ©orgen loS unb ber ©Emergen, bcr {Jut^t
unb iebeS fingjili^cn ©efftl^W. Sanft unb btingenb forbett
ble Slaiux il^ren le^tcn 3otI. gg Ifi ijorBci, e S ifl Befd^toffen 1 5
Unb voa^ bie le^te 9la^t mi^ ungen^ifi auf meinem Sager
n)a^enb "^ielt, bad fd^I&fert nun ntit unBegn?ingli(]^er ®einif ;*
l^eit meine ©innen ein,

dx fe^t ft$ auf^ €ftul^eBett. !D?uftf.

©fi^er ©d^laf I S)u f ommft wlc ein relncS ©Ifidf, ungc* to
Beten, unerflel^t am tniHigpen. 5)u lofefl blc Jtnoten bet
fhrengcn ©ebanfen, ijcrmif^efl attc SBilbet ber Sreube unb beg
©^merges ; unge^inbert flie^t bet JtreiS Innerer «&armonlen,
unb; eingel^uHt in gefdttigen SBal^nflnn, ijerftnfen voix unb
fjbxtn auf gu fein, 15

(dx entfd^tdfl ; bie Wln^i Begteitet feinen ^^{ummtx. Jginter fcinem
8ager fc^eint ^6i bie SWauer gu eroffnen, eine gldngenbe (Srfti^einung
geigt ft(i^. JDie grei^eit in l^immlif(3^em ©ettanbe, »on einev ^lar^eit
umfioffen, ni^t auf einer SQSolfe. @ie ^at bie Suge »on ^^IdrcJ^en, unb
neigt S^ gegen ben fd^lafcnben $elben. <Sie brucft eine bebauembe 20
Q^mvllnbung au^, fie fi^eint il^n gu Beftagen. Salb fagt fte ^d), unb
mit aufmunternber ©eberbe geigt ftc i^m ba« S3unbel $fci(e, bann ben
©tab mit bem $ute. @ie l^eigt il^n firo^ fein, unb inbem fie i^m
anbeutet, bag fein Xob ben $ro»injen bie Srei^eit verf^affen toerbe,
erfennt fte i^n aU ©ieger unb reic^t x^m einen Sorbeerfrang. SBie fie 25
ftd^ mit bem Jtrange bem ^aupte na'^et, mad^t (f gmcnt eine ^en^egung,
toie einer, ber f!ci& im @^lafe regt, bergejialt, bap er mit bem @eft(]^t
aufnodttd gegen fte liegt. ©ie ^dlt ben ^rang itber feinem ^aupte
f^tt>eBenb; man l^ort gang »on tt)eitem eine megerifd^e 9Wnfif von
Srommeln unb ^feifen ; bei bem leifeflen Saut berfelBen verf^ttinbet 30
bie C^tfc^einung. S)er ©(f^all mxt> ftdrfer. @gmont txxoa^t] bad
©efdngnif mirb vom 3)?orgen mdgig er'^eUt. ©eine erfle ^etoegung
ifl, nad^ bem J&au^te ju greifen ; er fleljt auf unb ftel(|t fld^ um, ihbem
er bie $anb auf bem ^au^te Be^lt.)

aSerfd^njunben ifl ber ^rang I 2)u fd^5ne8 SBilb, bag Sid^t ss

120 (Sgmont

beS XaQt9 l)at ^i^ i)ctf(^euti^et ! 3a, fie trarcn'g, fie traren
^mint, We telben fu^eflen {freuben meineS «&erjenS. 5)ie
gSttli^e Sreil^eit, i)on meinet ©elieBten Borgte fie bie ©eflalt ;
bag reijenbe STOdb^en fleibete fld^ In bet Sreunbin l^immlifd^eS

5 ©enjanb. 3n elnem ernflen SlugenWid erfd^einen fie ijerelnigt,
ernfiet aW IteHi^.' STOit WutBefledCten ©ol^Ien trat fie Dor
mit auf, bie njel^enben Salten beg ©aumeg mit SBIut tefledt.
(£3 roar mein SBIut unb bleler (Sblen SBIut. 3lem, eg warb
nld^t umfonji bergoffen. ©d^reltet burd^ I SBrabeg SSoIf I

10 Die @iege8g5ttin fu^rt S)i(^ an I Unb role bag STOeer burd^
(Sure 5)&mme ixxdji, fo Bred^t, fo rel^t ben SBatI ber 3^ijrannei
gufammen, unb fd^roemmt erfdufenb fie bon ll^rem ©runbe,
ben fie fld^ anma^t, n?eg I

llrommein n&^er.

15 ^ox^l «&or(^I 3Bie oft rief midj biefer ©d^atl gum frelen
©d^ritt nad^ bem Selbe beg ©treitg unb beg ©ieggi 3Bie
munter traten bie ©efSl^rten auf ber gefd^rlld^en, rul^nilid^en
SBa^n ! 9lud^ Id^ fd^reite elnem e^rentjotten S^obe aug biefem
Jterfer entcjecjen ; Id^ fierce far bie Sreil^eit, fCir bie id^ lette

20 unb foc^t, unb ber ld& mid^ Je^t leibenb o^fre,

2)er ^intetgrunb toirb mit einer (Retire fpanifd^er ©olbaten Befe^,

ivetc^e ^eHeBarben ttagen.

X

3a, fiil^rt fie nur gufammen 1 ©d^tiegt @ure Sleil^en, 3^
fd^redft mid^ nid^t. 3d^ tin genjo^nt, t)or ©peeren gegen
35 <Spmt ju fte^en unb, ringg umge6en t)on bem bro^enben
5!ob; bag mut^ige 8e6en nur hop^ptU rafd^ gu fiil^len,

Ztommtln,

S)id^ fd^Iiegt ber geinb bon atten ©eiten ein ! (gg 6lin!en
©d^roerter; Sreunbe, ^61^ern SD^utl^! 3m SludCen l^aBt i^r
30 (Sltern, SBeiber, Jtinber I

5- Slufjufl. lai

(5luf bie SBa^e geigenb.)

Unb blefc trciBt eln l^ol^IeS aBort beS »&errWer8, nid^t il^t
©cmfit^. ®^u|t ^ure Outer ! Unb @ucr SieBfleS gu emtten,
faUt freubig, n?le i^ ^ud^ cin SBclf^IcI getc!

(Xrommetn. SBie er auf bie 3Ba^e hi unb auf bie ^intert^ur gu* 5
gel^t, f(&((t ber SSorl^anQ ; bie Tlu[il fdttt ein unb f(]^Uef t mit 'einer

Siege^fi^mv^onie ba0 @tu(f.)

NOTES.

-M-

ACT I.

p. 5, 1. 3, SltmBrttftfd^iegcn, crossbow shooting, — The word ^rmBtufi,
which occurs in various forms in most Teutonic languages, has been
formed by means of phonetic corruption from the Lat. arcubalista^ or the
abbreviated arbcUistay the origin of the French * arbalete.* The circum-
stance that $(rmbrufl was originally used, not as a feminine, but as a
neuter or masculine noun, speaks in itself against the assumption that it
is a German compound, formed from $(rm and ^rufl.

1. 6. etc. 0lun f(!&te$t, etc., now shoot on (or * away *), that there bean
end of it. — ^When the adj. af(, af(e, is used as a predicate, it denotes
idiomatically 'finished ; * * at an end ; * *gone,* etc.

3l^r nel^mt mir'^, etc., you will not take it from me. — The present
tense with the expletive bod^, is here used in order to express emphatically
the speaker's certainty that Jetter will not deprive him of the prize.

1. 7. The technical phrase brei 9{tn0e WlDarg (used in popular
language for brei fd^toatge {Ringe), will best be translated lit. three
black rings. — The word Oiinge denotes in target-shooting the * concen-
tric circles drawn round the bull's eye.' The nearer the marksman hit
the bull's eye the more circles or centres were outside the hit. Soest has
left three circles outside the bull's eye, and he tells Jetter, that he never
made such a successful hit.

1. 8. Sure 3^age, say in all your life. — The word Slage may be used
in German with a possessive pronoun — inflected or uninflected— in the
sense of IBeBtage, in order to denote, * the whole life-time of a man.'

Unb fo iDar'tci^, and so I am. — In similar exclamations, expressing the
result of an action, the conditional mood is used in German, whilst the
indicative is employed in English.

1. 9. SReiflet stands here for ©d^u^entttcifler, master of the marksmen,
in the same way as jtonig in the next line stands for @d^u^en!6nt0.

1. ID. ^agu, to boot.— The shooting match was a J^oniQ^Wicf en, i.e.
he who was the most successful shot was king of the year among the
marksmen.

1. II. 3^t font bafur, etc., but then you shall pay douhlt scot,\,«;.N»v^

1 24 EGMONT, [P. 5, 6.

•
the amount which each of them has to contribute to the general score.
Cp. p. 6, 1. 24.

1. 1 2. 3i]^r foUt, etc. The irony of this remark is self-evident.

1. 14- Setttanb ettt)a« abftanbeln, to buy something of any one (by
bargaining).

1. 15. 3»(]^ Bin fd^on, etc. Buyck, being a native of Holland, stayed at
Brussels as a guest ; hence his remark that ' as it is, he has been here
a long time, and is indebted for many civilities.*

1. 16. S^W ^^ stands here for ttetin id^ fel^te. Cp. on contracted
conditional clauses of the kind, my Modem German Reader^ I (C. P.
S.), pp. 69, 20; 84, 13, notes \ or Schiller s HistorischeSkizzen (C. P.
S.), p. 18, 1. 9, n.

Omit fo in the translation, and render ijl by the future of the verb
'to be.'

1. 18, etc. 2)rein (contracted of barein) teben, to have a word in the
matter. — Soest seems to have been quite certain that Jetter would not
beat him in the match, but he feared that Buyck who, as a soldier
under Egmont, was sure to be a good shot, would deprive him of the
prize.

1.19. Qflur intttterl^in, go on.

1. 20. The fpritfd^meifter, or SBritfd^enmeifler, was a kind of harlequin
or buffoon marker at shooting-matches, who, as Adelung explains,
' pointed out the spot which had been hit in the target, and made the
spectators laugh by his gestures with his sword of lath (5Jrttf(i^e, or^
SBritfd^e).' He generally used to bow in a comical manner to the suc-
cessful marksman, as many times as the latter had made hits; and
it is to this circumstance that Buyck alludes in exclaiming 92uit, ^ritfd^-
mcijier, Oievercnj ! which may be rendered, well^ marker, make your
bow.

1. 23. 93i»at, ^crr Jtonig, etc., long live the king, hurrah ! and hurrah
again! — The LAtin *vivat* (cp. the Fr. 'vive'), from vivere, * to live,*
may be rendered long live, whether it stands by itself or is connected
with the adj. l^od^ ; but ffcd^ alone may also be translated, long live, or
hurrah ; the verb tcben being understood.

P. e, 1. I. SQSdre 2l?ci(lcr, etc. Buyck, as a soldier under Egmont,
considers his victory as an insignificant feat, and deprecating the honour
of being proclaimed 'king of the year,' he exclaims that even master
would be too much.

1. 4. Friesland, or Vrieslandt is one of the most nothem provinces
of Holland. The Frisicms, or Frieslanders, were always distinguished by
grcAt bravery and their xeal for the Protestant cause.

p. 6.] NO TES. ACT I. \%^

1. 5. %Qi% V&i, etc., let me tell you. The conj. ba^ is sometimes used in
popular language in similar phrases, corresponding to the clauses, 3(^
foge ciid^ ; id^ bemcrfc %\\^, etc. Cp. the Fr. queje vous dise,

1. 6. The familiar expression xoxt ifl'6, stands here for toa^ gtebt e^,
what is the matter ? or what is it ?

1. 9. Render here gegen, compared with, and @ci^(u(f cr, bungler.

1. 10. etc. 9Kit bet ©iici^fe, etc., w?VA the gun he certainly hits as no
one else, etc. — Buyck wishes to intimate that Egmont is a better marksman
than he himself, even when using the crossbow ; but that with a gun,
Egmont *is sure (erfl) to hit better than any one else in the world.*
The adv. erjl, in the sense in which it is used here, corresponds somewhat
to the Lat. * vero * and has no single equivalent in English. On Egmont*s
skill in shooting, and on the high esteem in which this art was held by
the Flemish, see pp. 9, 1. 15 ; 112, 1. 6, notes.

S'lid^t tiXOd, etc., i. e. not merely when he is perchance in good luck or
in the vein.

1. 1 1. 2Bie cr aniegt, etc., as soon as he levels, a bulPs eye is made. — The
adv. rein is here synonymous with gdngUc^, quite ^ and the past participle
gefd^offen is used to denote the certainty of the action.

1. 13. 5)a^ tt)dte aud^, etc., that would be a nice fellow who, etc.

1. 14- The idiomatic elliptical phrase nici^t gu ttcrgcffcn, in the sense
of we must not forget ; let us not forget, somewhat resembles in its
structure the phrase bag id^ tvi&i fa^e in 1. 5.

1. 15. S'ldi^ren, to maintain; Oied^nwilQ, here charge. The clause
SBein l^cr is elliptical, the verb bringt being understood.

1. 17. @^ ijl, etc., it has been settled.

1. 18. etc. Turn fremb by ein Siewber. The allusion in Buyck's
remark is self-evident.

1. 20. The adv. {a corresponds in sin^ilar phrases to the expressions
I declare ; why,t\c,

1. 21. The conj. bod^ here strengthens the assertion, and corresponds
somewhat to the English after all.

jie un^ . . . laffett, lit. ' leave them to us,' i. e. respect them.

1. 23. The verb gaflirctl, denoting like tractiren (p. 5, 1. 15), to treat;
to entertain, is formed from @aji, guest, by means of the termination
iren, or icren, which is now more generally used with verbs derived
from modem foreign languages.

toitt nic^t l^aben, does not wish ; will not allow.

1. 24. Bufammenlegen, here to club together.

1. 26. Dfjtlt $r&iubij (from the Lat. * praejudicium *), without
prejudice to the established custom, i. e, • saving (^ox * x^aecHvck.^^ 's^"^

126 EGMONT. [P*6, 7.

rights.* Ruysnm intimates that he wishes to consider Buyck's offer as an
exceptional case only.

1. 27. (Splenbib (pron. fprenbib), from the Lat. ' splendidus/ is used
in colloquial speech for freigebig, liberal ; munificent.

@^ laufcn gu laffen, too c^ gebei^t, is an idiomatic phrase denoting to
spend freely when prosperous.

1. 30. 3l^to aWaiejIdt SBofil, to the health of your majesty.— Tht
now obsolete form 3^ro is the O. H. German tro, the gen. and dat. of
the feminine pronoun si (f[c). It was formerly used in official style,
especially in connection with titles.

P. 7, 1. I. Jetter, the malcontent tailor, is anxious to remove the
ambiguity of which the general form 3t|to admits, which may signify
both your and his. He therefore substitutes the more distinct @ure for

3Sto.

1. 2. SSon ^erjcn should here be rendered, heartily ^ and in the next
line but onQ^from his heart.

^odfe fo fein fo((, must be so.

1. 5. Ruysum, being deaf, did not understand the drift of Soest*s
speech, and seems to think that the latter has brought out another
toast. Soest, however, merely adds the name of the king in the ex-
planation of his speech, which circumstance only increases the mis-
understanding.

1. 7. In aKcrgnabiflft, most gracious^ the superlative is strengthened by
alter, the genitive of af(.

1. II. The verb trojlcn, *to comfort,' denotes, when referring to
a deceased person, to bless ; to have mercy on his soul^ both in biblical
and popular language, ^err, here sovereign.

1. 12. (Srbboben, earth, denotes the whole world, corresponding
to the Latin * orbis terrarum.* Charles V was the most powerful
potentate of his times, and the saying that * the sun never set in
his dominions/ is well known. Strada (i, p. 10), in speaking of
his power, says, * that giant who boasted that he had extended his
hands beyond the Pillars of Hercules.' {Ilk gigas, qui Herculeos ultra
terminos extendisse manus gloriabatur), which is an allusion to the
Emperor's device, consisting of the Pillars of Hercules and the motto of
plus ultra, i. e. * and beyond that.'

@ud6 is here an ethical dative, which is used with personal pronouns,
in order to denote an individual interest, regarding some fact, in the
person speaking, or spoken to. This kind of dative pccurred formerly
also in English.

i. ij. IBenn tx @U(!^, etc. Goethe has here sketched the characters of

p. 7,] NOTES. ACT /. 1 27

Charles V and his son Philip II, in accordance with a parallel which
Strada draws between the two sovereigns. He says (i. p. 66) : * For
the Emperor, who was of easy access, and to whom one could speak
without difficulty, behaved like a private person, being everywhere
confident in his own majesty. And he was so versatile in everything,
and his mind so pliant, that he easily assumed foreign habits; so
that he was not less a German with the Germans, or an Italian with the
Italians, or a Spaniard with the Spaniards, than he was a Fleming with
the Flemings. Philip, however, was, and showed himself to be in
everything, a thorough Spaniard. He spoke little, and only in Spanish ;
he showed himself rarely in public, and seemed to aspire to veneration
by retirement. He changed nothing in his apparel and pomp which he
had brought with him from Spain. All this, however, was interpreted
by the people, whose minds were already excited, as pride and contempt;
they being disgusted by that very difference of manners.' {Nam Casar
aditu facilis alloquioqucy privatum in modum demit tebat se, securus
ubique Majestatis sua, Atque, ut erat versatili ad omnia pariter
ingenioy mores exteros ita induebat^ ut non minus cum Germanis
Germanum ageret^ Italumque cum I talis ^ aut cum Hispanis Hispanum ;
quam Belgis suis se Belgam prastaret. Philippus contra^ et esse
et videri omnibus Hispanus : parce loquiy nee nisi Hispanice ; publico
libenter abstinere^ et quasi ex abdito venerationem intendere : de vestitUf
deque cetero cultUy quem attulerat ab ffispania, nihil immutare. Idvero
commotis semel animis, super bia et contemptus habebaiur^ perinde quasi
ea morum diversitate ipsi fastidirentur.)

1. 17. It is an historical fact that the Netherlanders wept at the abdica-
tion of Charles V. In describing the ceremony of the abdication, Strada
reports (i, p. 7) : * With tears in his eyes, he paused a moment, and he
drew abundant tears from those who were present.* (JSubortis lacrymis
substitit : ex eorumque^ qui aderant, oculis ubertim lacrymas expressit^
Cp. Motley, Rise of the Dutch Republic, i, p. 108.

1. 18. 9{e0tment is here used in the sense of {RegierutlQ. — -

1. 35. @o . . . xo\x aud^ finb, however , . . we may be, — Strada says (i.
p. 26) 'that; the Netherlanders speedily forget the injuries they have
received, unless they see themselves despised as persons who can easily
put up with anything ;• then, indeed, they are quite implacable in their
anger.* {Nisi si contemni se videant, tamquam exfacili tolerantes ; tunc
enimvtro implacabiliter excandescere.)

1. 29. ®tvxvLi^ is a collective term formed from SD'^utl^ (cp. the English
*mood*), and was primarily used to express the intellectual power of
volition, affection, etc., in general, and also the tem^i^rj "5X»X& ^"^ "^^

1 28 EGMONT, [P. 7, 8,

mind. It has a very comprehensive meaning ; here it may be rendered,
affection.

Goethe frequently follows the former German usage, in employing
gegcn instead of fiir, after expressions of * love * and * affection,* in the
sense oifor or towards.

1. 32, There are several passages in Strada which refer to Egmont's
popularity. In speaking of the fervent wish of the Flemish to see him
appointed their Regent, he says (i, p. 33): *He had, too, an innate
friendliness, and (that rare quality) a popularity which did not detract
from the dignity of his nobility.' {Accedebat innata viri comitas et \^uod
rarum est] innoxia nobilitaii popularitas.) And in describing the effect
which his execution had on the people, he states (ibid, i, p. 328) : * He
was beloved by all * (/« omnium amoribus erat).

P. 8, 1. I. 3emanb auf ben ^dnben tragcn, lit. 'to carry any one on
one's hands,* is a figure of speech for to treat any one most tenderly, * to
bestow upon any one affection and admiration.' The Latin equivalent
for that phrase is actually used by Strada in describing £gmont*s
popularity, viz. Erat in oculis . . . Belgarum, comes Egmontius, (Cp.
p. 9. 1. 15, ».) Here, however, a literal translation will be preferable,
because the phrase is put in the conditional mood ; only, to make the
English version more emphatic, the adverb actually might be inserted
before carry.

^an ii^nt anfle^t^ one can read in his face ; one need only look at him
to see. — 3cmanb ettua^ anfe^en, signifies *to perceive something by
looking at any one.'

1. 2. 3)a^ freie Scben, joyousness. The adjective frei is used to denote
* lively ; * * gay ; * * sprightly,* as well as * free.*

I. 3. ®ute 3Reinung, here kindly feeling. The expression 9){einitng
was formerly also used for * affection ; ' * love,* etc.

1. 5. The phrase Semanb (^od^) lebcn laffcn, used in a convivial sense,
denotes to drink the hecUth of any one ; to cheer anyone.

%^^i ben, etc., a cheer for Count Egmont. — Buyck, having carried off
the prize, it was for him to give the first toast, and, being a soldier
under Egmont, he is challenged by Soest to give his master's hecUth.

The impersonal phrase, e6 ijl an mir, eu(i^, etc., signifies * it is my.
your turn ; * * it is for me, for you,* etc. Cp. the French, * c'est \ moi,
k vous,* etc.

1. 6, etc. (Sine ©efunbljeit bringen, denotes in general to propose a
toast, whilst Semanbg @cfunb^>eit au^bringen signifies to drink {or * to
propose *) any ofies health.

1. 8. Cp, p. f, 1. 23, n.

p. 8.] NOTES. ACT I. 1 29

1. 9, The battle of Saint Quentin (Goethe adopted the spelling * Quintin'
from Strada) was fought on Ang. 11, 1557, between the forces and allies
' of Philip II, mainly consisting of Englishmen, Germans, and Spaniards,
and the army of Henry II of France. The French were totally defeated,
chiefly through the gallantry and promptness of Egmont. Compare
Schiller's Historische Skizzen, p. 4, 1. 21, etc.

1. 14, etc. @inem @itt^ auf ben $eli^ (more usually aufbie J&aut)Brennen,
is an idiomatic phrase for to shaoty to fire at any one. Translate J^ab' —
gebrennt, still I fired one more shot at the French, The form gebrennt
for the more usual geBrannt is very appropriate in the mouth of the
speaker. ^}xxx 9lbfd&ieb, as a parting gift.

1. 17. JDen @ie0 l^abcn, etc., that victory we gained quite alone \
ba Qlttgd ftiW/ there was brisk work. — The town of Gravelines is
situated near the sea-shore and the river Aa, about midway between
Calais and Dunkirk. The armies of Philip II under Egmont, and
of Henry II under Marshal de Thermes, met near that place on 13th
Julyi 1558) and a sanguinary battle ensued, which resulted in the total
defeat of the French. The main onset was made by Egmont and his
light cavalry, but the final victory was also owing to the Germans, who
turned the left flank of the enemy, when the English made their oppor-
tune and effective appearance. Cp. Schiller^ s Hist. Skizzen, p. 5, 1. 14, etc.

1. 18. SBreunen unb fengen, lit. 'to bum and singe,* is used as a
general term for to lay waste by fire.

The term SBdtfd^ (SBelfd^) denotes all nations of Romance origin, but
is now more specially used with reference to Italians only ; when
it refers, however, to a particular Romance nationality, it should be
rendered accordingly. In the present scene it is applied to the French.
As to the etymology of 9Bdlf«^, some derive it from the O. H. G.

* Wal(a)h,' i. e. ' foreign,' which word is again traced to the Lat.

* Gallus ' ; whilst others trace it to the Sanskrit * Mlechha,' which
denotes a person who talks indistinctly, in the same way as the
Greeks called the barbarians "A'^Xoht trot, i. e. * speechless.*

1. 19. The country was mercilessly ravaged by the troops under
Marshal de Thermes, whom Strada describes (i, p. 20) as 'an old
general who plundered and ravaged maritime Flanders * {veterem belli
ducem, Flandriae maritima praedis incendiisque vexantem).

1. 20. J^atlbfejl, i. e. ' having a strong hand' or *fist,' corresponds to the
English familiar expression strong-fisted, ^ietten . . . toiber, rather
unnsual for toibcrjlanbeti.

1. 21, etc. IDa^ SKaul (more dignified, ben SKunb or bad ©ejl^t)
l^etjerten, to make wry faces. Cp. p. 9, 1. 3, » : ^u(!^Xl,^«^ to nwa-ue'^^

K

J30 EGMONT. [P. 8.

11. 32, 23. 2)a toatb ©gmont bad fBfctb, etc. Egmoni stands here in
the dative, in accordance with the idiomatic pecnliarity of the German
language to use, in instances like the present, the dative of a nonn,
instead of the possessive case. That Egmont^s horse was shot under
him at the commencement of the fight is stated by Meteren (i. 21),
whose account Goethe followed closely in the first part of his description
of the battle ; the second part is based on that given by Strada.

1. 24. The adverbs l^inuBet, l&eruber, correspond here to the English
backwards and forwards^ in which backwards is the equivalent for
^eruber, (cp. the Latin * ultro citroque '). The expression is here used
to denote the doubtful state of the battle in its first stage, as will be
seen from 1. 26, n,

fKann fur SWann, etc. The prepositions fur, gegen, and mit, which
are all to be rendered here, to^ are in German appropriately varied, in
accordance with the character of the respective combatants in the hand-
to-hand conflict. It may be of some interest to know that the first
two prepositions occur in the same combinations, in the original Dutch
account of Meteren, viz. * Man vor Man, Peerden teghen Peerden.*

1. 25. 9ltt . . . l&in is here synonymous with l&ngd, cUong, It was low
tide — of which circumstance Marshal de Thermes intended to avail
himself in order to make his escape — and the fight took place along the
broad sands towards Calais.

1. 26. We give here, at once, the principal points of Strada*s de-
scription of the battle, which Goethe has adapted in so masterly a
manner to his purpose : * For after the two veteran armies had been
fighting for a while with doubtful issue, an unexpected event entirely
destroyed the French army, which was then beginning to waver. . Ten
English vessels were by chance sailing that way, and having noticed
the battle from the distance, they hastily made towards the mouth
of the river Aa, and firing on the flank of the French, they brought
down upon them from the seaward side, where they considered them-
selves quite secure, a storm which was the more terrible because it was
unexpected. The lines of the infantry were broken, the cavalry was
seized with a panic, and the whole army was routed, so that scarcely
any one was left of the whole mass to report the disaster to their
friends . . . And as if to increase the disgrace of the vanquished, those
who had escaped and wandered about Flanders without knowing their
way, were miserably killed by the women who flocked from the villages
with cudgels and sticks.' {Dum enim a veieranis utrimque exercitibus,
dubio aliquamdiu Marie, conseruntur manus, inclinantem paululum
Gallorum aciem inopinatus repente casus plane perdidit. Naves

p. 8,9.] NOTES. ACT I. 13I

Bfitannica decern iliac forte pratervehebantur, conspectaque procul
pugnay ad ostium fluminis Hocb festinanter admoteSy Gallorum latera
tormentis invadunt tempestatemque a mariy unde sese inaccessos rebantur
hostes^ adeo improvisam, ideoque majorem important ^ ut solutis peditum
ordinibuSf transmisso in equites metUy profligato universo exercitu, vix
e tanto dein numero superfuerity qui nuncium cladis referret ad suos . . .
In quo et illud victis accessit ad ignominiam, quod eorum reliquias per
ignota Flandria loca errabundasj egressae e pagis gregatim mulieres
fustibus sudibusque , . . misere contrucidarunty Strada* i, pp. 20, ai.)

1. 27. The onomatopoetic interjections bat), bdU correspond to the
Enlgish bangy bang,

3tltmer XXXi, etc., cannon after cannon, right into, etc

1. 29. The incidents related in the concluding lines of p. 8 and in the
first lines of p. 9 are taken from Meteren.

1. 31. ^erbei, say approach ; the verb fomtnen being here understood.

1. 3a. The English cannon struck also their allies, because, as Meteren
says, * the two parties were so close together.' The adv. toob^ is here
used in the sense of gutoeilen, at times.

P. 9, 1. I. The verb bradj does not signify here, as seems generally
to be supposed, that the firing broke the lines of the French, but that
it * broke their spirit,* that it disheartened the Frenchy which version is
supported by the statement of Meteren, * that the firing destroyed the
courage of the French and emboldened the Flemish.*

JDa ging'd, there was brisk work.

1. 2, etc. The interjection ri(f radf, which is here used to express the
rapidly succeeding crackling noise of musket reports, may be translated,
crctcky crack,

Cp. for l^eruber, l^inuber p. 8, 1. 24, n.

SlUed tobt gefd^tagett, etc. The use of the past participle in this line
as also in the next and in I. 7, without the requisite aux. verb (tourbe),
imparts great vigour and force to the speech.

1. 3. ©Jjrengctt is here used for to drive violently ; to force.

The expression etfaufen (used of beasts only) instead of ertrinfen, is
here employed to express the speaker's contempt for the enemy.

1. 4. The elliptical, clause load — bittterbreitt may be rendered, we
Dutchmen jumped straight after them.

The pron. toad, when used as in the present instance, in an indefinite
and collective manner, may be omitted in the English rendering, or
translated, as further on (1. 7), those who.

1. 5. Und . . . toarb crft toobl, etc., we felt the more comfortable. Cp.
on erjl, in the present signification, p. 6, 1. 10, ;i.

13a EGMONT. [P. 9.

1. 6. Smnter has here the meaning of without stopping. The river
alluded to is the Aa, which was in the rear of the French army. The
sea was on their right hand, and the enemy in front.

1. 7- Sufammenljauen (mil. term), to cut to pieces, Se^fd^ieSen, to
shoot down, 2Ba^ nun ttod^ burd^brad^, those who escaped. See above,
note to 1. 4.

1. 8. (Sud^ is here an ethical dative. Cp. p. 7, 1. la, n,

1. 10. JDael $f6t(3^en reid^en, to stretch out the little paw, corresponds
nearly to the idiomatic English phrase, to draw in ones horns. With
reference to the conclusion of peace, Strada adds to his above-cited
accoimt of the battle the remark, * Thus Henry King of France readily
accepted the peace which he refused when favoured by fortune.* {Sic
Henricus GcUliareXyquam for tuna blandiente respuerat pacem , , . turn
illibenter illam complexus est.)

Goethe, Lessing, and Schiller often use the form Sriebc, for griebcn,
in the accus. case, when it occurs without the article. Cp. Lessing s
Minna v, Barnhelm (C. P. S.), p. 30, 1. i.

1. 13. Cp. for the various renderings of l^od^^ p. 5, 1. 23, n, ^R^ixvmX,
once more ; again. — The adverb abet, now chiefly used for * but,* was
formerly employed for ' again * ; in which signification it still occurs in the
compound form abcrmat(^), or after unb abermal^.

1. 15. Strada says (i, p. 33), with reference to the desire of the
Netherlanders to see Egmont appointed as their Regent, ' All the
Flemish looked fondly up to Coimt Egmont, a prince glorious in
warfare, and who was excelled by nobody, whether when engaged in
battle against the enemy, or in time of peace at tournaments, or in
shooting at the target with the gun, which latter art is held in high
esteem by the people.' {Erat in oculis votisque Belgarum^ Comes
EgrnoniiuSy clarus militari scientia Princeps^ manuque, sive inter hastes,
sive domi equestribus in ludis decurrendis^ librcmcbque adsignum sclopo
\a quibus magna genti existimatuii] nulli secundus, &c.) Strada further
adds, that £gmont*s brilliant exploits at St. Quentin and Gravelines,
which were publicly acknowledged even by the King himself, endeared
him above all to his countrymen ; so that if the votes of the army and
the wishes of the people had been consulted, he certainly would have
been appointed Regent of the Netherlands.

1. i7> ^a^r ftleibt toa^r is an idiomatic expression corresponding
to the English truth is truth. The pronoun wir is here an ethical
dative.

1. 18. Cp. on ijl'tf an mir the Grammatical Note to p. 8, 1. 5.

1. 21. On bcm ^aiife, i e. in the House of Habsburg. This assertion

p. 9.] NOTES, ACT I. 1 33

is based on the fact, that the easily satisfied Netherlanders had some
reason to be pleased with the government of several female Regents, who
were descendants of the House of Habsburg. Margaret of Austria (or
Savoy), daughter of the Emperor Maximilian I, and paternal aunt to
Charles V, governed the Netherlands from 1504 to 1530 with prudence
and gentleness, and gained the good-will of the people. Her successor,
Mary, Queen, Dowager of Hungary and sister of Charles V — the famous
himtress- queen — was likewise popular among the Netherlanders . For
Margaret of Parma, see p. 13, 1. 16, n.

1. 33. ^lug ijl flc, etc. Strada portrays the Regent's character in the
following words (i, p. 42) : ' She possessed, besides, a ready presence of
mind, and in action a wonderful dexterity to steer in whichever direction
she chose. . . . Then, as to piety, she had indeed a very great master,
Ignatius Loyola, the founder of the Order of Jesus, to whom she used to
confess, and that more frequently than was customary in those times.'
{Ceterum ingenium ei promptum ac praesensy interqtie agendum^
velificatumis in omnem partem obiiquandae mira dexteritas . . . Porro
ad pietcUem magno sane magisiro usa est^ Igndtio Loyolat Societatis Jesu
^undatore : apud quern expiare a noxis animumf idquecrebrius aliquanto^
quam eaferrent tempora^ consuevtt, &c.)

1. 24, etc. J^ieltc jte'^, etc., if she would only not hold so fast and
stiffly ^ etc. — The expression $faffe, priest ; parson^ has been used, since
Luther, with a shade of contempt.

@ie i(l bcd^, etc., it is also her fault,

1. 25. In addition to the four sees of Arras, Cambray, Toumay,
and Utrecht, Philip II created fourteen new bishoprics (viz. those of
Malines, Antwerp, Bois le Due, Rurmond, Ghent, Bruges, Ypres, Saint
Omer, Namur, Haarlem, Middelburgh, Leeuwarden,. Groningen, and
Deventer) by substituting bishops for the abbots, who used to be
elected by the Chapters of the religious institutions themselves. This
unconstitutional measure greatly incensed the people, who saw in it an
expedient for enriching foreign priests by Flemish wealth, and for
gaining fanatical agents for the extinction of ' heresy ' in the Netherlands.
The express. 93ifd^cf6mufectl for SSifd^ofe is, of course, rather con-
temptuously used.

1. 26. ^0}U bie, etc. / wonder what is the use of them, — (Sotten is
in similar phrases used elliptically, the verb nii^en, to be of use, being
understood. S^lid^t tual^r, ba§ man . . . f antt , surely, in order to enable them.

1. 29. ($^ fei itm bet dletigion, etc. This and similar complaints
were, according to Meteren and Strada, loudly and frequently uttered by
the people.

134 EGMONT. [P. 9, lo.

The phrase ed l^at fi^ is ironically used, some verb, corresponding
to the preceeding assertion, — here, %Vi gtauben— being understood. It
must be translated according to the sense of the passage in which
it occurs. Here 3a, e6, etc., may be rendered, Oh yes, that is
likely,

I. 30. etc ©ing'^ . . . JU, things went on; all was done. — Goethe
mentions, in accordance with Meteren, three sees only, because Utrecht
was within the archiepiscopate of Cologne.

1. 32. S^lot^jig, here needed, — The phrase e0 fejt (familiar for gieBt)
denotes, there arises vexation^ etc.

P. 10, 1. I. flUuttetn unb fd^uttetn is one of those alliterative rhyming
expressions in which the German language abounds, and which may
frequently be rendered into English by a single word. Here, however,
we may translate ruttelt unb fd^uttelt, stir and shake, and truber in the
next line, muddier. The speaker wishes to imply that * the more one
looks into and agitates the matter, the more imsatisfactory it becomes.'

1. 3. ®ie — tl^un, lit. she can add nothing to it, nor take any thin^ from
it, i.e., the Regent has no power in the matter, and can make it neither
better nor worse.

1. 5. The psalms, partly translated into French verse by the poet Clement
Marot (b. 1495 ; d. 1544) ^^^ completed at Geneva by the celebrated
Theodore Beza, or rather De B^ze (b. 15T9; d. 1605), ^^o appended
to them suitable melodies, enjoyed the greatest popularity in Flanders.
The prohibition to sing them was founded on the edict, promulgated by
Charles V at Augsburg, Sept. 25. 1550, according to which all kinds of
private worship, as well as the reading of the Scriptures, were forbidden
to laymen on pain of death ; and it is recorded (Brandt, Hist, dtr
Refortnatie, i. 169) that one Thomas Calberg, being convicted of
having copied some hynms from a book printed at Geneva, was burned
alive.

1. 6. The obsolete pi. form, flUeimen for flfjeime, is very appropriate
in the mouth of the speaker.

1. 8. ^iSii^XMXiW^^, frivolous songs.

1. 9. Unb @ad^en, ®ctt tocig, and Heaven knows what,

1. 10. Stirrer, some of them. i.e. of the Psalms.

1. II. ^\^i^, * nothing,* i.e. /«> ^arw.

1. 12. The ironical phrase id^ tooKte fie fcagen, / should ask their
leave, indeed! refers to the authorities who forbade the singing of the
Psalms. 3tn unferer $ rowing, i.e. in Flanders, the native province of
Buyck.

1 J3. ^ad vx^6:ii, whether followed by ba$ or not, expresses

p. 10, II J NOTES. ACT I, I35

idiomatically that is, because, Cp. the Fr. cela fait que, — Egmont was
Stadtholder of Flanders, as well as of Artois.

1. 14. Silad^ ettt)a« frageti, is here equivalent to fid^ urn t^^^ Befum-
tttern, to trouble oneself about anything,

1. 15. In order to show that the Psalms are smig throughout Flanders
by anybody who chooses (toet ^eliebett l^at), the speaker mentions the
important city of Ghent (Flemish, * Gend '), which is situated in East
Flanders, and Ypres (Flemish 'Yperen*), which is situated in West
Flanders, and was formerly a town of great importance.

1. 16. @« ijl Ja too^)t, surely there w.— @in 0ci(IU(J& (for 0eijili(]^e6)
Sieb, a sacred (or * religious *) song,

1. iS. @^ ifi, etc. i.e. it is devotional and edifying.

1. 20. @^ fei nid^t auf, it is not done in,

1. 21. etc Render here bcd^ immer^ anyhow^ and ba, therefore^ or so.
QtJoa^ fein X^^^VX, to leave anything alone,

1. 22. Snquifitiott^bicner, officials (or 'familiars') of the Inquisition.
The inquisitors appointed sub-inquisitors, who, accompanied by a notary,
collected written information in the provinces concerning suspected
persons.

1. 24. JDer @ett)iffen6jtt)ang fel^Ue ncd^, this restraint of conscience
was yet wanting. — The elliptical exclamation bad fel^tte ncd^ is used to
express the highest degree of disappointment or misery, and denotes, as
in the present instance, that a certain event was yet wanting to com-
plete anything unpleasant. Cp. the Fr. ' il ne manquait plus que cela.*

L 27. ^ommt nid^t auf, will not maintain itself, — The Inquisition
was so deeply and universally abhorred by the Netherlanders, that it
may be considered as the principal cause of their revolt against the
Spanish rule ; though it was not quite so mercilessly carried out there as
in Spain.

1. 31. The adj. fatal (pron. fatal), from Lat. ' fatalis,' is used in German
to denote awkward; provoking^ etc., but never in the sense of
' deadly,* as *■ fatal ' is in English.

£ieb, here used ironically, may be rendered, good.

P. U, 1. 4. Uber, here, across,

L 5. A number of German field-preachers used to roam through the
Netherlands, preaching the Gospel in the open air. Thousands of
people flocked from all parts of the country to hear them (cp. 1. 11),
and thus they greatly contributed to the spread of the Reformation.
The fact that there were two powerful agencies at work in the Nether-
lands for the furtherance of the Reformation, namely, the Lutheran and
the Calvinistic elements, has been most skilfully illustrated b^ C3k^aK!^^

136 EGMONT, [P. II.

in mentioning the popularity of the German preachers and of the French
version of the Psalms.

1. II. It is recorded that as many as 16,000 people listened one day
to a preacher in an open field' near Antwerp.

1. 12. ©efod^', mess, is the familiar frequentative form for ®tH6)
(from fc(^en), and denotes, rather contemptuously, anything cooked,
more particularly a mixture.

^erumtvomtnetn, are drumming, i. e. are knocking on the desk of the
pulpit in the fashion of indifferent speakers, who wish to make up
by vehement gestures for their want of eloquence.

1. 14. S3on bet l^eber tveg fpred^en, is an idiomatic phrase, equivalent
to t)om ^crgen tocg fpred^cn, to speak from one's heart ; to speak out freely,

1. 17. (Sud^ is here an ethical dative.

1. 18. Render here bod^ aud^^ after all, and btan (contracted of
baratt), in it, 2Ba^ is here used for etttjad.

1. 19, etc. SKir ijl'^, etc., it has . . . been running in my, etc.

1. 22. JDa^ ^^vAi' id&, I should think so.

1. 24. Unb — nun, say and where is the harm,

1. 26, Buyck reminds his countrymen that whilst chatting they ne-
glected to do honour to the wine and to the Prince of Orange.

1. 28. JDen — tjergcffcn, we must not forget him. The following de-
monstrative pronoun, ba^, may be rendered, he,

1. 30. SBrad^te cincn nidftt ^tr^nx, could not pull you away.

1. 31. Cp. for §od& p. 5, 1. 23, n.

William, Prince of Orange, was a German by birth. He was bom
in 1533, at Dillenburg, in the county of Nassau, being the second son of
Count William of Nassau, and of Countess Juliane of Stolberg. He
derived his surname from the small principality of Orange (Oranien),
situated in the present department of Vaucluse, which he had inherited,
in 1544, at the age of eleven, from his relative, Piince R^n^ of Orange.
William of Orange was the founder of the national independence of the
Netherlanders, who commonly designated him by the familiar name,
* Father William.' He gave up his exalted position and the comforts
of wealth for a life of incessant struggle in the service of the people,
and steadfastly refused the crown, repeatedly offered to him by the
nation. Even his enemies could not deny him their tribute of admiration
for his constancy in the unequal warfare which he had to wage, and his
friends likened him to a rock in the ocean, * tranquil amid raging
billows* (cp. IDa^ ijl cin red^ter SDBatt, p. n, 1. 28). It may be truly
said of him, that he combined almost all the virtues of the great
ibe^efactors of mankind known in the world's history. This great man

p. II, 12.] NOTES. ACT I. 137

died in 1584, a^ the age of fifty-one, by the hand of the assassin
Balthazar Gerard, a native of Burgundy.

P. 12, 1. 1. Cp. for eine ©efunbl^eit Bringen, p. 8, 1. 6, n.

1. 2. @^ teBe ber J^rieg, hurrah for war. Cp. the Fr. * Vive la guerre.'

1. 6. Jetter*s speech describes the feelings of peaceful citizens amidst
the turmoil of war, with its universal confusion, uncertainty, and
imminent dangers.

1. 7, etc. JDafI — gel^t, that it glibly slips from your mouthy i. e. the
cheering in honour of war. The adv. iDol^t corresponds here somewhat
to the English enough.

SBie lutn^ig/ etc., but how wretched it (the war) makes us feel. — The
term Cumpig is here synonymous with idmwevlijd^, * wretched ' ; ' miser-
able.'

1. 9. JDa« ©etrcwmel, the (constant) becUing of drums. — @etromme( is
the frequentative form of trotnmetn^ and consequently denotes frequent
repetition of the action.

1. 10. JDa is often used in Germ, in the sense of l^ier, here. Cp. the
same usage of the English * there * for * here.'

^aufen, here troop. This word often occurs in the sing, number
without the letter n. ©ejogett fommt, approaches.

1. 13. The verb BleiBcn, lit. *to remain,' is used as an equivalent
for to die, more particular with reference to persons perishing on the
field of battle, or in consequence of a shipwreck. The expression
probably conveys the notion that the person dying remains on the spot
whilst others return. Cp. the Fr. * rester sur le champ de bataille.'

1. 13. @idj brdngen, harass (lit. press) ec^h other.

1. 14. Dl^ne — begteift, say, without one ever comprehending. Cp. p 5,
1. 8, n. Goethe's description of the vicissitudes of war is probably
based on his reminiscences of the Seven Years' War, in the progress of
which he took a lively interest when a boy.

1. 16, etc. 3Bic'« . . . ergc^t, how it fares with. S^otl^, distress.

1. 18. (5^ — fo, it will be our turn next.

1. 32. The idiomatic expression eg ubt ft^ (tt>er), is here used ironi-
cally, signifying much can he prcutise (who).

1. 35. $(uf is here used in the sense of gegeit, against.

1. 36. J^olten — ^\^tXX, we breathed freely again.— The Spanish garri-
sons were removed from the Netherlands, at the instance of the Regent,
at the beginning of 1561.

1. 38. ®elt! 3)ic lagen, etc. they pressed you hardest, didnt they? —
The interjecdon gctt is often used, either ironically or in earnest, to
express the certainty that the person spoken to vj\V\ ^-ajoX ^^ vcsi.^^ ^^

J38 EGMONT. [P. 12, X3.

an assertion. It admits of various renderings, as ' I'd bet * ; ' faith * ;

* eh, is it not so ? * etc. Cp. the French fCest-ce pas f

1. 29. SSerir @r fld^, mind your own business. The proper meaning is

* dont vex me, but vex your own self.*

1. 30. JDie — bit, they were heavily billeted upon you,
1. 31. S^^aul, say tongue. The term SD'^aul, * mouth/ is properly used
with reference to beasts only.

P. 13, 1. 4. The word Xropf signifies literally a *drop,' and figuratively
a silly person; a blockhead^ etc. Some etymologists trace the figurative
meaning to the Low German 2)r5»e^, ' a silly person,* or to the Slavonic

* Traup,* * a fool,* whilst others explain it by the circumstance that %xti^'\
was formerly used for * apoplexy,' and a person of weak imderstanding
was called Xto))f/ he being considered as helpless as an s^oplectic person.
We may add that the word Xropf was employed for * apoplexy* because
it was supposed that that disease was caused by drops of wetter from the
brain (cp. the French * goutte*), and an apoplectic person was therefore
equivalent to one whose brains were affected, and vice versd,

1. 7. The challenge bringt aud^, etc., give us a toast of your oivn, is of
course, addressed by Buyck to the citizens Jetter and Soest.

1. 12. For the benefit of non-musical readers it may briefly be stated
that a canon is a musical composition, in which one voice begins a
melody and another voice takes it up, note for note. Here the canon is
formed by the successive exclamations of those assembled.

The old man refers, of course, to Ruysum.

1. 16. Margaret of Parma (b. 1522; d. 1586,) was the daughter of
Charles V and Johonna van der Gheenst. She was brought up until her
eighth year by the above-mentioned Margaret of Austria (cp. 9, 1. 21, «.),
then Regent of the provinces. Upon the death of the latter in 1 530, Margaret
was entrusted to the care of the Emperor's sister, Mary, Queen Dowager
of Hungary. Margaret was twice married ; first to Alexander of Medici,
and a few years after his death she married Ottavio Famese, Duke of
Parma. In the year 1559 her half-brother Philip II appointed her, *for
political reasons,* Regent of the Netherlands. Endowed with a power-
ful mind, possessing a proud and energetic character, and well versed in
the art of diplomacy, she seemed the most suitable person for the
difficult office; the more so, because she would not be considered
a foreigner by the Netherlanders. In her appearance she was rather
masculine and majestic ; she was famous as a huntress, and outrivalled
in this respect her instructress, Mary of Hungary. It is a fine dramatic
touch of the author to make her appear on the stage in a hunting-
duress.

P- 13-15.] NOTES, ACT I. 139

1. 18. $lbfleQen is here used for aBbefieQen, to countermand, and the
indicative is emphatically employed for the imperative.

1. 21. The Regent refers to the dreadful scenes of image-breaking
which took place in the Netherlands, in the latter part of August 1566.

1. 32. Serflreuen, here to divert,

1. 23. JDiefe 93ilber, i. e. the scenes of the riots.

1. 26. ^a^ dlatl^Ud^fle; lit. the most advisable, i. e. the wisest,

1. 27. ©clUe id^, was I to have, ©rimm, here wrath,

P. 14, 1. I. The verb anfad^en is now generally used in the sense of
* to kindle,* but in the present instance it means to fan (Lat. * afflare,* Fr.
' exciter*), an interpretation which is also confirmed by the authority of
Jacob Grimm.

Uml^ertreiben, here to spread, and umjlenen, to keep in,

L 2. SSerfd^utten, here to stifle ; to suffocate.

L 4. The verb ifl has in this phrase the signification of can,

!• 5* Sel^rer designates here the above-mentioned religious teachers, or
field-preachers, Cp. p. 11, 1. 5, n,

1. 7, etc. 3«rriittet may here be rendered, unsettled, ©d^toinbelgeifl,
spirit of infcUuation, and uttter fie gebannt, implanted among them,

1. 10. (Sinjctn, lit 'singly,' i.e. in full detail ; minutely.

1. 12. {Ruf denotes here rumour, and gu»or fomme, outrun,

1. 18. Goethe has selected for Margaret of Parma's secretary, whom
he makes the exponent of liberal views and of a conciliatory policy,
a courtier who, as is related by Strada, was, in September 1567, the
bearer of a special letter to the King, in which she requested — after the
imprisonment of Egmont and Horn — to be relieved of her post. {Ma-
chiavellum aulicum suum Ugai ad regem, etc., i, 301.) The conjecture
that in selecting the name of the secretary Goethe had in his mind the
celebrated Florentine historian Machiavelli, seems imtenable.

1. 25. The fortified town of St. Omer, in the French Departement of
the Pas du Calais, belonged in those days to Flanders.

1. 26. The general outlines of the image-breaking riots contained in
the following speech are condensed from the detailed account given by
Strada (i, p. 216, etc.).

1. 31, etc. SlKe^ — antreffen^ everything sacred and holy which they find
on their way. — The conjunction nut, when put in connection with the
relative pronominal adverb toa0, strengthens the assertion.

P. 15, 1. 3. Cp. for Sppertl p. 10, 1. 15, n.

1. 5. The name of the bishop was Martin Rithove.

1. 6. The towns oiMenin (Flem. *Meenen') and Comines, or Commines
(Flem. ' Comin *) in West Flanders, are situated on tXsft. t««. V?v^

140 ECMONT, [P. 15.

between Belgium and France, to which latter country part of Comines
now belongs.

Verwich is the Flemish or German name of the well-known town of
Vervier in the Eastern Province of Lifege.

1. 8. The tumultuous outbreak of the Iconoclasts is here called a
conspiracy, in "accordance with the account from which the present
sketch has been condensed. It has, however, been historically proved
that the movement was, to speak with Motley, ' a sudden explosion of
popular revenge against the symbols of that Church by which the
Reformers had been enduring such terrible persecution.'

1. 9. The reflective verb fld^ erfl&vett is here synonymous with f[(^
offenbaren, to manifest itself.

1. 10. etc. Render ergreift, overcomesy SBteberl^oluitg (1. n), recital^
and gefettt fl^ bagu, adds to my grief {that),

1. 12. SBetbe, etc. The subjunctive is used in German in dependent
clauses containing an apprehension.

1. 14. The form 93er§eil&en dure §o^>cit, instead of SSerjeil^t J&ol^eit, is
used in ' official ' style only, in addressing persons of a superior rank.

1. 15. %x\\k^f fancies \ »enn . . . au(3&, although. ^

1. 17. 9)'^O0en^ may here be rendered, y^// inclined.

1. 19. 5ur^ 9ldd&jle ^oxqjtn, provide for the nearest contingency.

1. 22. The pertinent answer of the Regent seems to be foimded on
Strada's remark (i, p. 194) : * It is easier to foresee than to avert the events
which are in store for us.* {Quce unumquemque manent^ prcesentire^
quam vitare^ facilius est.y

1. 24, etc. din 9Bort fur taufcnb, lit. * one word for a thousand/ i. e.
in one word. In the clause ^\fC—Xi\^i, the present tense is used for the
future. Cp. p. 5, 1 6, n.

1. 25. gajt fie gelten, recognise them (i. e. the adherents of the new
creed).

1. 26. 5<l§t— fin, admit them within the pale of civic order. — The

drift of Machiavell's advice is, that the best mode of stifling the growing

rebellion would be, to take off with one stroke the edge of the spreading

ferment by declaring the neiv faith legal, and by placing its adherents in

the eyes of the law on an equal footing with the true believers,

' It may be of interest to know that Goethe alludes to the above
saying — which most men probably have occasion to apply in their
lives,— in a letter to Frau von Stein (Feb. 11. 1776), viz. — ' Geht mir
auch wie Margareten von Parma. Ich sehe viel voraus, was ich nicht
dndern kann^

p. ^5-17.] NOTES, ACT I. 141

1. 27. @o l^aBt, etc., i. e. thus you will pacify, etc.

1. 39. SSerl^eert, here ruin.

1. 31. ©elbjl bie Stage, say M^ w^r^ suggestion.

P. 16, 1. I, etc The present speech of the Regent is entirely founded
on the account which Strada gives (i, p. 141 , etc.) of the secret correspond-
ence, carried on between her and Philip II. The letters, one hundred
of which were in possession of that remarkable historian, were fre-
quently written in cypher, and in all of them the King urged the
Regent, to have constantly in view the safety of the Roman Catholic
Church before anything else in the world. Strada further relates that
Philip II was kept so well informed of all the doings of the heretics,
that he actually sent to the Regent a list of their names (which was
likewise in the hands of the historian), giving at the same time their
rank, age, hiding-places, and even their personal appearance.

1. 3. SBiffetl X0\[[, say will not hear {of).

1. 5. Translate here WttxnViXi^, doctrine.

1. 8. (£(]^drfe, say rigour.

1. 9, etc. Render here nad^fel^e, be indulgent, bulbe, in the next line,
tolerate J or be patient and @lauBen, credit.

1. 13. Semanb ettoa^ ttjiffen taflfetl, to inform any one of anything

1. 15. IDen Jlrieg . . . anblafen, to kindle {the flame of) war.

1. 16. Strada states that the Flemish merchants were the principal
promoters of the 'heretical' movement, they having been infected by
their intercourse with foreign traders. The German soldiers who had
been employed by Charles V and Philip II also contributed to the spread
of * heresy.*

1. 19, etc. Transl. Sji^od^te bod^ . . . ein^eben, oh that . . . would suggest,
etc. ©eift, geniusy and ailftanbiQet ift, better becomes.

1. 21. StvH^vlei ©laubeti^, of two different creeds.

1. 23. The clause @old^ — kDiebet is elliptical ; transl. never let me hear
again, etc. Cp. p. 9, 1. 23, «.

1. 24. Xreu unb ©(auben l^atten is an idiomatic phrase for to regard
truth and good faith. Render here ^otitif, politics, or diplomacy.

1. 28. 93ett)dl^rte Sel^re, say established faith.

1. 30. Render l^inQcben, give up for, and j^ergelaufetl, random, or erratic.
The latter term is generally used in German in the sense of * vagabond.'

1. 32. Translate be^toegeit (lit. * therefore '), y«^r what I have said.

P. 17, 1. 3. ^eil, here salvation.

1. 6. SBen begeid^net, etc., whom do you refer to ?

1. 8. (Re^t innerti^en, say heartfelt.

1. 10. ^ux^ fein getool^nli^e^, i. e. through his usucU Q,<yoA'^^.

14^ EGMONT. [P. 17, 18.

1. 1 1, etc. The cooyersation here mentioned is given by Strada (i, p.
210) in fall. After having related the outrages of the Iconoclasts, he
proceeds, * The news of that fierce slaughter greatly afflicted the Regent
who, taming in her deep grief to Egmont, who accompanied her to
the Palace on her way from mass and sermon, said, ''Do yoa hear
Count, what pleasant news they bring from Flanders, this province of
yours? . . . And will yon, of whose bravery and fidelity the King
alwa3rs expected the utmost, allow such great crimes against God
to pass unpunished?" {Enimvero furiosa cladis nuncius prater
modum afflixit animum Gubematricis : qua ingenti mcerore ad Egmon-
tium conversay qui earn d Sacro et concione redeuntem comitabatur
in conclave : Audis, inquit. Comes, quam lata perferuntur e Flandria^
provincia tua f . , , Tu vero, de cujus pracipue virtute ac fide sibi
Rex pollicitus semper est omnia, patieris in Provincia tibi commissa
tam immania in Deum scelera impune pcUrari ^) To this reproof the
Count calmly replied, ' First we must think of the conservation of the
State; religious matters will be easily settled afterwards.* (^Primam
conservando imperio curam intendendam esse, religionem facile dein
resiitutum iri,)

1. 19. 9lebenfa(!^e, a thing of secondary importance ; a trifle,

1. 20. Translate here uber^ as to^ and betul^igt, scUisfied,

1. 21. @id^ lei^t geBett; say soon be settled,

1. 22. According to the usual rules of Grammar the compound
comparative should be used here, viz. vxt^x iDal^t, but the simple
comparative sounds in the present instance far better. The rule alluded
to was not always followed by Lessing either.

1. 24, etc. ^a$ e0 ntel^r • • • gu tl^un ifl, that we are more anxious
for,

1. 27. gette fPfrfinben gef^maufl, swallowed fat benefices.

1. 28. Translate ttjerben . . . mit . . . befefet, are given to,

1. 29. IBaffen e0 {!$ bie, {but) do not the Spaniards give unmistakable
signs?

1. 32. S3 on ben @einigen, say by their own countrymen,

P. 18, 1. 4. JDu — ^tXUfyou range yourself with,

1. 5. The pronoun id^ is to be supplied before tooKte.

1. 7. SDo((en is here used in the sense of bet fS^einung fein ; transl.
therefore SDenn — toittjl, if this be your opinion. Cp. the corresponding
use of 'velle ' in Latin, as for instance in quod quum volunt, declarant
quiidam esse vera, (Cicero.)

1. 9. According to Strada (i, p. 114). both Egmont and Orange
manifested great coolness towards the Government as soon as the

p. i8.] NOTES. ACT I. I43

Regent had assnmed her office, for ' having both been frustrated in their
hopes to obtain the government of the whole of the Netherlands, they
felt the recent slight the more keenly.' {Nempe cum dejectus uterque
spe administrandi universi Belgii^ recentem repulsam acrius sentiebant^

1. 10. The league between Egmont and Orange was, according to
Strada (i, pp. 115-iao), rather cemented by their common hatred against
Cardinal Granvelle, than by their opposition to the Regent.

1. 14. The delineation of the characters of Orange and Egmont
is almost entirely based on the sketch drawn of them by Strada, who
says (i, p. 120), 'Egmont was of a cheerful temper, frank and self-
confiding ; Oiange, however, was of a melancholy disposition, reserved
(l^eimUd^). and distrustful. Full of forethought, the latter was constantly
restless, and directed his thoughts towards the future ; the former busied
himself only with the actual present. One would have hoped more of
the one ; feared more from the other.* {Erat Egmontius ingenio
hilariy explicato, sibique prcefidente ; tristi Orangius^ inobservabiliy
vitahundo, , . . Provisor alter anxius, inque futura semper animo
prcBcurrens ; — alter plerumque curis vacuus, nisi instantibus — Plus ab
altera sperares : ab altertf, plus timeres.)

1. 18. @e^>t— @^ritt, steps forth boldly.

L ao. @o %^^, say cu proudly,

1. 31. S^lid^t — fd^toeBte, were not suspended over him,

1. 23. Cp. p. 7, 1. 32, «.

1- 33. J&dngcn an X^m, are attached to him.

1. 24. ©inett @d^ein, say appearances.

1. 25. 93on Semanb Sled&enfd^aft forberti, to call any one to account.

1, 26, etc. This passage contains an allusion to the family dispute
which was attached to the principality of Guelderland. It had been
sold, in 147 1, by the family of Egmont to Charles the Bold of Burgundy,
and in spite of a litigation which broke out subsequently about its
possession, it remained in the hands of the Habsburg d3masty. The
words used here by Goethe are based on a remark which Strada adds
(i, p. 329) to his full account of the House of Egmont, * It — viz. the
House of Egmont — derived its name from the town of Egmont, situated
on the extreme border of Holland, on the coast of the North Sea, and
from which Lamoralius assumed the title of Count, although he was
Prince of Gaure [Gawr], which lay on the Scheldt, not far from Ghent.'
{Genti cognomentum ab Egmontio oppido in extreme Batavia ad litus
occidentcUcy ex quo Comitis appellationem semper usurpavit Lamoralius,
quamvis Gaverce ad Scaldis ripam sitce, non procul Gandavo princeps
esset.)

144 EGMONT, [P. 18-20.

Cp. also Schiller* s Histor. Skhun, p. 3. L i , etc., and notes,

1. 30. SBiebet geltenb maci^en, here revive again,

P. 19, 1. 3. ®i(]^ urn 3emanb verbient madden, to deserve well of any
one ; to render great service to.

1. 4, etc. Render anfiatt bag, whilst ; f[(]^ ju nufeen, benefitting himself ,

1. 6. ©efeHfii^aften, etc. social gatherings, feasts , and banquets,

1. 8. 9)'{it feinen ©efunbl^eiten, etc. This is an allusion, among others,
to the Toast given, or rather acknowledged, by Egmont, when he
attended the famous banquet of the Gueux. Cp. p. 44, 11. 37-30, notes.

1. 9. Ginen— @(]^tt)inbel, a never-ceasing frenzy.

1. 10. ©efd^ojjft, say imbibed.

1. 12. 5lbjei(]^en, here devices. See for the incidents alluded to by the
Regent the notes to Kgmont*s speech, p. 44, 11. 17-31, and the
Historical Introduction^ p. xiii, etc.

1. 15. The phrase <S(]^(imm gettUO denotes, with idiomatic brevity,
that it is hfld enough as it is ; viz. Egmont's doings were bad enough in
their consequences, although they were not the result of any evil
intention.

1. 18. (So— 9lnbete, thus one drives on the other; i.e. the reckless
doings of the one produce the harsh deeds of the other.

1. 19. ^ad maci^t i!(i^ etfl tedftt, just that is sure to be accomplished;
namely, the very endeavour to avert a certain occurrence produces the
contrary result.

1. 2 2. It is an historical fact that Egmont*s doings were, one and all,
reported by secret informers to the Spanish Court, where they were duly
chronicled.

U. 23, 24. ^ag may here be rendered, in which, and mi^ — mod^t,
does not annoy me, anncy me very much.

1. 27. The term gefdUigett is here used in the sense oi accommodating',
convenient.

1. 29. SEBenn — lebe, if he were perfectly convinced. — Mark the use of
the conjunctive (subjunctive) here and in the following clauses.

1. 30. SRur aud ®t\b\[\^U\i,from mere courtesy.

1. 31. Render fo gerabe, actually; c^— geben, that will come all in
good time, viz. the departure of the Spaniards from the country is sure
to foWovt of itself

P. 20, 1. I. Render legt . . . and 0- 3) interpret, and gefa^rlif^,
ominously.

1. 2. ^lut, lit ' blood,* may here be rendered, temper,

1. 6. The preposition t'cr is here to be rendered, mi, and in the next
line a^imt.

p. 30, 21.] NOTES. ACT I, I45

1. 8. The privileges connected with Flemish nobility were considered
as a special safeguard against any hcuty, arbitrary act of royal dis-
pleasure, and the Knights of the Golden Fleece could, besides, only be
judged by the Grand Master (i.e. the King) and the assembled Chapter
of the Knights. Cp. p. 63, 11. 10-16, 22-24, and Histor. Skizzen, p. 3,
1. 20 ; 24, 1. 22, notes,

1. II. The charge here mentioned forms one -of the articles of the
accusation brought forward against Egmont.

1. 12. ^a$ —flatten, that we had somethittg on our hands.

1. 13. !&ag VCiX^ nur, Lt me alone ; i. e. let me speak on. 9Bad— bavon,
what weighs upon my hearty shall find its vent on this occasion.

!• 15' (Smpftnbtid^ ifl may in this line be rendered, can be wounded^
and in the next line susceptible^ or vulnerable.

1. 17. This seems to be an allusion to a meeting of the Council which
took place on Dec. 15, 1566, and at which the Regent delivered an
energetic address (communicated in full by Strada, i, p. 241 ), with a
view of obtaining the sanction of the nobles to strict measures and of
throwing upon their shoulders the burden of the responsibility concerning
the outrages of the image-breakers.

1. 24. The name of the trusty messenger is fictitious.

1. 26, etc. Cp. p. 14, 1. 12. — The concluding remark seems to be an
allusion to the secret messages which the Regent used to send to the
King of Spain.

P. 21, 1. 7. l^ieBe^bienfl may here be rendered, y&z/^wr.

1. 8. 3^>r — \i\Xi, you hold me (as with a spell) so fast before you with
the yam.

1. 10. ©rtneit) here nonsense.

1. II. @in^ may here be rendered, something. (Sind fingett/ means

properly ein i^icb flngen.

1. 12. ^uBfd^ fecunbiren, to sing a good second \ \oxi^, formerly.

1. 17. The adv. l^uBfd^, strengthening another adverb, denotes very ;
right, etc. Stifdft toeg, say briskly.

1. 18. ^ti^^u^, favourite songy or tune.

1. 20. The past participles geru^tet in this, and gefpiett in the next line,
are used with the force of an imperative.

1. 22. The form getoaffnet instead of betoaffnet occurs frequently in
poetry, when the past participle has a passive meaning. The former is,
besides, far more melodious in this place than the latter would be.

1. 23. ^aufen, here troop.

1. 24. Both the verbs fu^^ret, carries^ and regietet/ commands, in the
next line, refer to mein SieBjiet.

L

146 . EGMONT, [P. 21-24.

1. 26. The form J&erge instead of J^ctj was formerly also used.

1. 28. SBdttlingtein is a dimin. oi^fiXM^^, jacket. Jpofcn, hose.

P. 22, 1. I . Sotfit* is here the present conditional of fctgeil, and fling' ,
in 11. 3, and 4, that of gel^en ; *nau« by syncope for l^inau«.

1. 3. The expression 5Jro»tUgen is here appropriately used, on account
1 of the division of the Netherlands into provinces.

1. 6. (Sd^iegen \i(xxnxi; fire among them.

1. 7. @onbet ©leid^en, without comparison.

1. 8. On account of the double meaning of which the word * man '
admits, the term SKantlgbKb, lit. * male being,* may here be rendered,
soldier. The French version by Porchat has * gar9on.'

1. 9. Unlet betn ©ingen, during the song,

1. 10. S3(cibt \i\VX bie, etc., his voice falters,
1. II, etc. (Strang, here skein; ftngt . . . au^, %^y finishes.
1. 16. The verb tnatfci^itcn, used as a military term, signifies the march-
ing of soldiers.

1. 20, etc. 5<*ft — ^aufcn, i. e. nearly all the soldiers are out.

1. 27. The adverb au(^ may here be rendered, besides.

1. 28. Xl^ut tnir toel^, here pains me; immcr nxdji, never.

1. 29. 3;(^— i^n, I have done him wrong.

1. 30. SKid^ nagt'^, etc. it tarings my heart \ tebenbtg, say keenly.

1. 31. J^ann tc^'0, etc. still I cannot, etc.

1. 32. Xtcuet 53utf(i^e, say true-hearted fellow,

P. 23, 1. I. 3ci& — taffcn, and I cannot help it.

1. 2. JDtUcft fld^ . . . gu, r/<?Xifx.

1. 5. libel baran fein, to be ill, or badly off.

1. 7. 3ci& fann, etc., j/^/ I cannot, etc.

1. 8. @ut is here used in the sense of red^t, rj*fift/.

1. 9, etc. Semanb gem i^aben, to like any one. 3emanb(em) too^l

XDoHen, /^ w/jA a«;r one well.

1. 12. Smmer is here used for ttttttterl^in, at any rate.

1. 13. SBdre, etc. The pronoun td^ is frequently omitted in German
colloquial speech and in poetry.

1. 17. ®o is here an expletive ; gegangen ijl, has come to pass.

1. 18. The verb biitfen is here used in the sense oito need.

1. 19. 3a, tX.c.yea,far more would become , . . to me.

1. 20. The omission of fur before ein in this phrase, is permitted in
familiar speech only.

1. 27. Slu^gel^en, here end.

1. 30. ©etaffen, quietly ; calmly ; lieget, here allowed.

P. 24, }. 1, S3orbeiteiten, to ride by.

P- 24, 25.] NOTES, ACT /. 147

1. 4. Swtoibct, here displeasing,

1. 6. Wia^^t tnir, etc, go on ivith your reproaches^ i. e. add yet re-
proaches to my anxiety.

1. 8, etc. 2)cn 9Beg tnad^te, say came this way.

1. 12. JDaci^tc X^, say did I knoWy or could I imagine. The verb
f ctntnen may here be rendered, to go.

1- 13. Surucfgel&altenen, here suppressed, or repressed.

1. 19. ^inreigcn, /^ rarry fl«/a>r.

1. 21. 3Rit au^brcd^enben XJrdncn, bursting into tears, ^^x tooHt'^

nun, say this is what you want, viz. exciting her grief.

1. 23. It is exceedingly difficult to give an adequate rendering for the
adverbs nod^ gar in the sense in which they occur here. The translation
now torment me yet with your crying for lIBetne 1tod& gar, will convey
the meaning approximately. Cp. above, the note to line 6.

1. 25. @in »ertt)otfened ©cfd^opf, a castaway.

P. 25, 1. I. 9Runneln, here /^? whisper. — Clarchen wishes to imply by
this unfinished sentence, that she does not care for the opinions, or the
idle gossip of other people.

1. 2. $immel may here be freely rendered. Paradise.

1. 3. 9Wan— fcin, one cannot help loving him, Cp. p. 9, 1. 15, n.

1. 5. The idiomatic phrase @^ tft fcine fatfd&C Slbcr an i^m corresponds
to the English there is not a drop of bad (or * false ') blood itUiim,

1. 6. The adverb bod^ may here be rendered, you know, to be placed
either before the equivalent of et, or after Egmont.

1. 7. i&icb, say tender.

1. 9- (So nur, nothing but.

1. 10. The adv. tool^t, in phrases expressing a doubt or uncertainty, is
an expletive, which may often be rendered by the familiar expression /
wonder whether^ or is . . , likely {to).

1. 12. 3Bcnn'^— raufd^t, when there is any sound at the door.

1. 13. The compound adverbs cbfd^oit, obgleid^, etc., may be separated,
as is done in the present instance.

1. 14. SSermutl^cn may here be rendered, to expect.

1. 18. ©pringitt^fctb is a very characteristic expression ior giddy -pate.
It is formed from the imperative (Sj)ting itl^ S^Ib, 'spring into the
field.'

1. 19. The adverb batb, when repeated before other parts of speech, as
is the case here, is to be rendered now.

1. 21. 2Bcnn id^ Sangctoeile l^abe, if I dont know what to do with
myself Cp. the French * si je m'ennuie.'

1. 22. Supply the word einige, some, after ftillftett.

148 EGMONT. [P. 35, 26.

1. 23. goMiebd^en auf il^n, songs in his praise,

1. 24, etc. JDa^ — ^a(^, wy' heart leaped up into my throat.

P. 26, 1. 3. @te^t ba, M^r^ iV j/<?^flf. The construction used in this
clause is permissible in familiar speech only.

1. 3. On this incident compare p. 8, 1. 23, n.

1. 4. ^\6ii uBetlief ^ is the imperfect of the impersonal phrase ed
iiBetlduft tnici^, / shudder.

1. 5. The expression |}ctg0ef(]^ni^tet1 must be paraphrased in English
by translating iibet — (Sgmont, at the wood-cut figure of Egmont, or at the
figure of Egmont cut in wood.

1. 6. ©leid^ babel, close to it, viz. close to Egmont's figure. Goethe
characterizes by the description of the woodcut the style which was
peculiar to the artistic productions of those times. Many similar wood-
cuts are found in the historical works relating to the revolt of the
Netherlands, as in those of Strada, Meteren, etc. Diintzer supposes that
Goethe has actually seen the woodcut he describes. There is nothing
improbable in this supposition ; but it is not impossible that the poet
has invented the existence of the woodcut, as he did the incident of
Clarchen's seeing it.

1. II. Unb — {^, and what I feel now.

1. 13. SS^ie fiel^t'd is an idiomatic phrase for how do matters stand ;
what news. etc.

1. 15. ®on is here, and in the next line, used in the sense of they say ;
it is rumoured f etc.

1. 17. ^t\tifi,i,\iext garrisoned \ jlnb lOi^ilxd^li, are assembled in large
numbers. Cp. p. 32, 11. 10-12, and n.

1. 18. The expression fummen signifies not only *to buzz,' *to hum'
(of bees), but also * to move in a restless manner,' in speaking of a crowd,
and may here be rendered, sway to and fro.

1. 19. Understand the verb ge^en after SSater; the verb "coolitXi, in
1. 18, being here used elliptically. •

1. 21. Use in the English version the verb *to see,' in the first person
plural of the future tense. In German the futurity is sufficiently pointed
out by the adverb tnotgetl*

1. 23. giebctlic^, say untidy.

1. 25. The expression ^iflotie, in which the final e is also heard, was
formerly used for stoty ; novel. The obsolete term is quite appropriate
to the tenor of the quaint and familiar mode of speech in the present
scene.

1. 31. ®rabe, say directly. — Some editions have the form gerabc ^a
{te ed bafur aufnimmt, now as she takes me at my word.

p. 37, 38.] NOTES. ACT /. 149

P. 27, 1. 3, etc. Unb gleid^ ijl, etc., i. e. both his countrymen and the
Spaniards are indifferent to him, and it is all the same to him, who rules
and who is in the right.

1. 6. The Latin @retctttum is a school term for Slufgabe, exercise ;
theme. The genitive of ^tutu^ is here marked by an apostrophe, which
practice is not unfrequently resorted to with foreign proper names ending
in -us, Cp. Goethe*s Iphigenie (C. P. S.), 1. 339, n,

L 7. SBar bod^ immer denotes here, was sure to be.

1. 8. The title flUector is, in Germany, given to the head master or
principal of a public school, such as a Gymnasium^ Biirgerschule^ etc.

The expression orbentltci^ is here used in the sense of f^jlematifd^,
systematical^ and refers to the composition, and not, as some translators
suppose, to the manner in which the speech was delivered.

1. 9. Sflur — 0eflot))ert, and all was not so jumbled together. The con-
ditional todre, in 1. 8, refers also to the present clause.

^Damald — ttieb, then my blood boiled and fermented^ i. e. in his early
youth, Brackenburg was enthusiastic and impulsive ; so much so that he
did not expound his ideas systematically, but stated them in a confused,
precipitate manner.

1. 10. !^e^t f^Ie^^' \6!i, etc., namely, now he languidly drags on his
existence in the presence of the maiden.

1. 15. ®^^it, translate whispered.

1. 21. @o fort leben^ live on thus.

1. 32, etc. The speaker alludes by the inner strife to the iconoclastic
riots.

1. 23, etc. ^eftiger Betoegt, say convulsed \ jletbe . . . aB, pine away.

1. 24. The clause 3(j^ bulb' e^ nid^t, does not refer to the preceding
sentence, but is a repetition of the former statement that he will bear it
{viz. this mode of life) no longer.

1. 35. 3Rtt fd^>rt'« butdft, it thrills through my—

1. 26. Render here rei^ett, to stimulatey and forbem, to summon ; aud^
Utit eillJUgreifcn, to Join in the common cause.

1. 27. The meaning of tnit will here, in some degree, be conveyed by
rendering ju tcttetl, to take part in the rescue.

1. 29. ©edngiletc, agonized.

1. 31. The verb ttetgcjfcn, now commonly used with the accusative
case, frequently occurs in higher diction with the genitive.

P. 28, 1. II. JDoctorfdfici&cn, signifies literally 'a doctor's chest of
medicines,' say here medicine-chest.

1. 1 2. JDicfe^ ^angen, etc. this agony ^ this dizziness^ this sweat of death.

1. 14. aSetfd^lingen unb lofen, engulph and quelL

150 EGMONT. [P. 3'i32-

Act II.

P. 31, 1. 5. 3unft, is here used for Sunftlofaf, guild-hall, i. e. the
assembly house where the members of the trade-guilds used to meet.

@d — gcben, there would be serious disturbances.

1. 8. First the notion was commonly current, that the image-breakers
were chiefly bent upon pillage. It has been proved, however, that such
was not the case. * It would be very easy,* says Motley, * to accumulate
a vast weight of testimony as to their forbearance from robbery. They
destroyed for destruction's sake, not for purposes of plunder.* {^Rise of
the Dutch Republic, i. 571.) Cp. p. 15, 1. 8, n.

1. II. Sautcr Sumpengefinbel, nothing but rabble,

1. 1 2, etc. ^aci^t . . . fdftUmm, damages. — The speaker is of opinion
'that they ought to have before this submitted in due form, and
resolutely, their privileges (.©crcd^tfatttc) to the Regent, and that they
ught to have stood by them.'

1. 15. ®0 l^et§t ti, it will be said.

1. 16. 5lufiT)icg(er means literally, * an instigator to rebellion,* say here
rioters.

I. 17. ffiad — Voran, why shouldst thou poke thy nose first into it.

1. 18. ^dngt . . . jufammen, is connected.

1. 20. SBenn'd — anfdngt, tumults arise among the rabble.

1. ^3. Un« . . . Bcrufen, here appeal.

P. 32, 1. 3, etc. Towards the latter end of August, 1566, the rumour
had spread that the rebels intended to set the churches at Brussels on
fire, and to massacre all the priests.

1. 6. Xobacf is the older form for Xabacf. It is still freqaently used
by common people and in students' cant. Some of the recent German
editions have the modem word, but the old form, which occurs also in
the first edition of the present drama, seems far more appropriate to the
speaker.

1. 7. ilBacf re is here synonymous with mutl^i^ brctoe.

1. 8. The verb Mttben is in similar phrases used emphatically for feiit.
^ufer Saffun^ fein, to Use all self-possession.

I. II. The incident alluded to by 5>oest occurred in 1566, when the
rumour had spread that the Iconoclasts meditated a raid on Brussels.
The Regoit intended to escape, and it was on'y owing to the remon-
strances and assurances of her Council that she was prerailed upon to
remain. Her distress of body and anguish of mind was however so great
that she c<wfcsses herself * que par aulcons jours, la ficbvre m'a detenue
ct ay p«$$^ plusiers noicts sans repos.' ^Correspondance dc Marguerite

p. 32, 33.] NOTES. ACT IL 151

d'Autriche, p. 194.) Subsequently she tried again to leave Brussels,
but having been frustrated in her design she * ordered a new reinforce-
ment of cavalry and infantry to the to'Vfnt fortified her palace (2)ic ^ur()
ijl Warf befefet), and omitted nothing to insure her own safety and that
of the town.* i^Atque advocato in urbetn novo equitum ac peditum
prasidiOy armataque aula; nihil omisit ad sui urbisque custodiam.
Strada, i, p. 223.)

1. J 2. Some citizens, says Strada (i, p. 221), actually shut the gattsof
the city, whilst others implored her * not to increase by her flight the
audacity of the miscreants {^Ne per earn fugam sceleratis hominibus
augeret audaciam), and not to shake the confidence of the King in the*
citizens by making him suppose, that they were accomplices in the
conspiracy/

1. 14. The expression ©tu^Bdrtc, lit. * clipped mustachioes/ is here
used as a nickname for Spanish soldiers.

1. 16. Cp. p. 8, 1. I, n. '

1. 18, etc. ®ax^\^t ^QiXi\)t\,^^y an ugly business this. — By the general
statement @g toirb, etc., the speaker wishes to express that troubles are
beginning, and that things will take a bad turn.

1. 26. The form ^atl^oUfc for ^atl^BUf, is used in popular language
only.

1. 29. @ott griig' t)X^ (btci^, etc.) is an old familiar form of salutation,
still frequently heard, especially in Southern Germany. The verb gru^ett
may in this phrase be rendered to bless , or to save^ and toag Oleueg, is there
any news ?

1. 30. (Sidft mit Semanb nid^t abgeben, to have nothing to do with any

one.

p. 33, 1. I. The expression ©d^reiber seems to correspond here more
to the English clerk than to * secretary.'

1. 3. patron, may here be rendered, employer.

1. 4. Semanb in« $anb»crf pfufd^en, to dabble in any cnes business^
profession, etc.

1. 5. The abbreviated form 3cipf for 3<lpffn is used figuratively for a
drunkard ; S9rannttoeinj;apf signifies therefore * a dramdrinker,' and
should be translated here, a regular drunkard, or simply, a drunkard.
Grimm, Sanders, and others, interpret the word in this sense, and we
cannot agree with those who understand by 93ranntU)eittjapf a * publican.'

I. 8. (Stccfen, here to put.
. . 1. 9. Sttttttet is, in this clause, used in the sense of certainly ; rcbetlg;
toertl^, worth speaking about .

1. 10. 3(]^ benf* auci^, I should think so.

15J» EGMONT. [p. 33, 34.

1. II, etc. Vansen intimates that if any one now had heart or courage
enough to act, and if there were some one to assist him (ba^u) with his
brains, they could recover their freedom. The first supposition seems
to refer to William of Orange and th£ second to Egmont.

1. 14. The ancient form of address ^erre for ^err is still sometimes
used in popular languages.

1. 17. ^a^ Id§t ^^ 1^6ren is an iodiomatlc phrase for that is plausible
enough ; there is some sense in that,

1. 18. ^er |>at $fiffe signifies idiomatically, that is a sharpie,

1. 19. The expression ^ergatnettte, lit. *■ parchments/ is also used
metonymically for document, SBriefe, here charters,

1. 31. ©cred^tiflfeiten is here synonymous with ^ySxi'^t^XiXi, Privileges.
Slttf K\^^i l^alten, to set great value on anything,

1. 33. (Singelne, individual. — The Netherlands consisted until the
fourteenth century of several sovereign states or provinces, each of
which was governed by its own prince, in accordance with its customary
laws,

1. 35. Render here regiert by the imperfect oi to govern,

1. 37. ilber bie (Sci^nur Iftaucn, to go beyond the mark ; to overstep
onis bounds^ is an idiomatic phrase, derived from mensuration ; the
term @d^nur being used in this phrase for SD'^eSfd^nitr; 'measuring-
line.'

The expression ©taateit is here synonymous with ®tdnbe, Stettes, in
the sense of * legislative bodies * ; |>interbtein, after it,

1. 39. Sanbfldnbe, Diets. — The constitutional principle was fought for
and recognized in the Netherlands at an early period. In describing the
advent of Philip, sumamed ' the Good,* in the early part of the fifteenth
century, Motley says, ' The burgher class controlled the government,
not only of the cities, but often of the provinces, through its influence in
the estates.* {Rise of the Dutch Republic^ i. 43.)

1. 30. Cp. p. 13, 1. 31, n.

F. 84, 1. I, etc. 9{ed^tr(&a{fne is here used in tiie sense of respectable \
ifl . . . unterrid^tct, say knows.

1. 6. @o toad translate t?use things, or simply this,

1. 8. @o— JBurgerdleute, this is your usual way, citizens. (@o) in ben
^ag l^inlebtn is an idiomatic phrase for to live on without thinking ; to
live in the present only.

1. 10, etc, jilbfvfcmmen is here used in the sense of empfangen, to
receive. — The trade of the parents used formerly, as a matter of course,
also to be carried on by their children.

Cp. for (Regiment, p. 7, 1. 18, n.

p. 34, 35.] NOTES. ACT II. 153

1. II. (S(^a(ten unb batten, lit. 'to rule and govern,* is an alliterative
expression. Cp. p. 10, 1. i, «.

1. 13. The terms ^erfcottnett and ^tficrie do not refer in this sentence
to the possessive eitic^ SicQenten, but are used to express separate
notions ; the political * fire-brand ' reproaching the citizens for not
inquiring after the old customs (^erfotniwen), into the history of the
country (^iilorte), or into the rights or claims of a sovereign (bcttl (Relict
cineg Sf^egcnten). Cp. p. 26, 1. 25, n, where the term J&i(iorte has been
used in a different sense.

1. 13. Uber has here the force of in consequence {pf\ $8etfduinniS
is used both as a feminine and neuter noun.

1. 17, etc. S3etj!u(]^t may here be rendered by the exclamation, The
deuce ! or by the more harmless Bless me ! Jetter thinks that it is now
too late, and some one ought to have come forward in time and told
them these things.

1. 19. The speaker uses here the expression i^ottig in, and not ))on
^))anien; because Philip II was not exclusively *King <?/" Spain.*

1. 20. The largest portion of the Netherlands fell into the hands of the
House of Habsburg, in consequence of the marriage between the Arch-
duke Maximilian of Austria and the Lady Mary, daughter of Charles
the Bold. This was one of the * prudent marriages,* which gave rise to
the well-known saying, * Bella gerant alii, tufelix Austria nube, &c. '

1. 21. See above, the note to 1. 11.

1. 26. Every Flemish province had its own constitution, and it was
one of the privileges of the various provinces that their inhabitants were
to be judged according to their respective provincial statutes.

1. 29, etc Translate SBruffcIer, citizen {or * burgher''') of Brussels^ and
the proper names ^ntkoerpet and ©enter in analogy with this rendering.
SBol^er, etc. horv comes thcU ?

P. 35, 1. I, etc. The pron. e^ (by elision 'g) is often employed in
German to denote in a general way things, matters ^ etc. Cp. p. 32,
1. 18, ». ; fortlaufen, here to go on.

toirb man'd, etc. i. e. they will soon treat you differently.

1. 2. Charles the Bold (1435 — 1477) inherited from his father, Philip
the Good, the then united portions of the Netherlands. He was in
constant collision with the Netherlanders, whose political rights he
relentlessly endeavoured to suppress. The citizens defended their
institutions bravely, but the entire suppression of the latter was probably
only prevented by the sudden death of that reckless warrior.

I. 3. The mention of Frederick the Warrior in this place is generally
considered very puzzling, there having existed no sovereign. oC\i«.\ia5Si&

J 54 EG MO NT. [P. 3

»•

of Frederick, suraamed the 'Warrior.' And on account of this circum-
stance, Schiller went even so far as to omit that unhistorical name in his
stage edition of Egmont. We think, however, that Goethe must have
meant here Frederick III, Emperor of Germany, who, in 1488, raised
with great alacrity an army for the rescue of his son Maximilian, then a
prisoner of the burghers of Brages. The royal captive had, in the
meantime, been set at liberty on promising various concessions to the
Flemings. These concessions were afterwards declared null and void,
and the Emperor besieged in person, but without success, the City of
Ghent. The mention of Frederick seems, therefore, more appropriate
here than that of Maximilian would be, who finally succeeded in
tranquillizing the Netherlands ; and the unhistorical designation of the
monarch, who was anything but warlike, may be explained by the
circumstance that Goethe made the incendiary clerk purposely use the
martial surname, in order to make the contrast between the Emperor
and the female regent more striking. By omitting the words Friedrich
der JCrieger, the speech loses in rhythm as well as in force.

1. 4. The taunt which Goethe puts in the mouth of the lawyer's clerk,
is partially based on the question which some of the nobles addressed to
the Regent, when she intended to enfprce the introduction of the
Inquisition into Flanders. 'Will the people of Brabant,' they asked,
* who shook off the yoke of Charles V, and who did not submit to it
during the presence of Philip, now stoop under it at the command of a
Regent who is a woman?' {Brabantinij gut sub Carolo Caesare
frenum excusserant ^ et prasente Philippo Rege non receperantj nunc
ad Gubernatricis femina vocem, in illud sese induerent ? Strada, i, p.
60.)

I. 5. 5ltt is here used in the sense of former.

II. 8-10. The incident here alluded to does by no means refer, as has
been interpreted, to the above-related capture of Maximilian, but to
that of his son Philip, of whom the burghers took possession when he
was only four years of age. After the death of the Lady Mary in 1482,
her husband Maximilian was to be governor and guardian during the
minority of his children ; but the Flemish demurred, and after they had
captured the heir apparent, the government was carried on in the name
of the minor by a commission of burghers.

1. 12. Oied^tc SKdnncr, men of the right sort.

1. 13. Render bafur . . . abet au(^, and hence it is that.

1. 18. 3Bir S3rabanter, we people of Brabant — It is a well-known fact
in the history of the Netherlands, that the province of Brabant enjoyed,
together with that of Limburg, special political privileges, in con-

p. 35-37.] NOTES, ACT II. 155

sequence of the very liberal Charter which it received in the fourteenth
century, and which is known in history by the name of the * Joyeuse
Entree' (*blyde inkomst,' i. e. 'blithe entrance'). It is worthy of
remark that the leading features of the Brabant Constitution which are
so skilfully interwoven in the dramatic dialogue, do not only actually
occur in the * Joyeuse Entree,' but have been taken by the poet, with
some slight verbal alterations, from the German translation of Meteren*s
History of the Netherlands, viz. the Articles contained in 11. 24, 25, and
in 11. 29-31, and in p. 36, 11. 21-23. The statement about the superiority
of the Brabant Charter over that of all other provinces is given by
Meteren in the introductory remarks to the famous Constitution. See
Meteren, Geschichte der Niederlandet p. 47, and the original Dutch
edition, fol. 30.

1. 24. Goethe uses here, as in other instances, the older form erfllili^,
for the more modem erflen^,

1. 28. @r ijl utW Verpjlld^tet, he is bound to us.

1. 29. (5r— (aflfen, he is not to exercise in respect of us any force or
arbitrary willy or give any sign of it.

P. 36, 1. II. JDa^ 2Bort ful^ren, to be spokesman.

1. 13. See p. 13, 1. 4. n.

1- 15. 3n ben J&a(^, down his throat.

I. 1 7. ffiet i^m t^^^'^ tl^ut, "who dares touch him.

II. 21-23. The Article contained in these lines is given by Motley in
the following words, * that the prince of the land should not elevate the
clerical state higher than of old has been customary and by former
princes settled ; unless by the other two estates, the nobility and the
cities.* {Rise of the Dutch Republic, vol. i. p. 270.) Cp. also Schiller^ s
Historische Skizzen, p. 9, 1. 29, etc.

1. 29. §dnbct anfangen, to cause, or make a row.

1. 31- Semanb ing SBocfgl^otn jagen is an idiomatic phrase for to
intimidate, or to frighten any one.

P. 37, 1. 3. The * political instigator ' who wishes to induce the people
to commit excesses, alludes here to the iconoclastic outrages which
originated in Flanders.

1. 10. The term ©cta^rtc is the obsolete form for ©etel^tte.

1. 13. SQ3a^ foH bag, what do you mean by that?

1. 15. Sduft jU, come running up.

1. 16. %xi\^v\Oi\Wx\i\^^<iXU>^^'^VX, play all sorts of pranks', jubtUren,
to hurrah. — We cannot help calling the attention of the reader to the
graphic description of the tumult, which the poet characterizes with a
few masterly touches.

156 EGMONT. [P. 37, 38.

1. 31. Srin0t~audcinanber,/flr^M^»«.

1. 34. JDem ©rafen, etc. make your obeisance to, etc,

1. 35. SBad fangt 3l^r an, w^a/ are you about i
* 1. 38. Render here att; about, and ©etoerbe, business,

1. 39. 5eiem, here /^ ^^ f<//tf. — Egmont*s saying bears a slight resem-
blance to the speech which Shakespeare puts in the mouth of Flavins in
the opening scene of his JuHus Caesar —

' Hence ! home, you idle creatures, get you home ;

Is this a holiday ? '

£gmont*s conversation with the citizens about their trade seems likewise

to be, in its general outlines, a poetical reminiscence of the parley

between the tribunes Flavins and Marullus and the * rabble of citizens.*

P. 38, 1. 3. Sertriimmetn, to destroy.

1. 6. @ttte« 3eic3&en«, your calling. — The genitive of 3ct(i^en in con-
nection with the name of a trade (or profession) is used to denote the
nature of the employment of a person, e. g. (5r ift j5line« 3ei(i^en« fin
Sittiwertneifler, *he is a carpenter by trade.' The origin of this
idiomatic phrase is to be found in the custom of mechanics, shop-
keepers, etc. to hang up a sign (S^ici^cn) in front of their place of
business, indicating the nature of their trade or employment.

1. 13, etc. The preposition xaxi expresses here * co-operation,' viz. Sl^r
^abt vxxi . . . flearbeitet, you assisted in making. Cp. p. 44, 11. 33-35,
notes.

1. 14. The expression ©nabe is here used elliptically for it is (or, ' I
consider it ') a high favour.

1. 16. 2Ba^ an ©ud^ ifi, all that is in your power.

1. 1 7. Ubel angefd^rieben fein is an idiomatic expression for to be in bad
odour ; to stand in bad repute.

1. 19. DrbentUd^, here respectable.

1. 31. 9ld^ tocl^I, may be rendered here, oh yes,

1. 33. Sflotl^, here misfortune. 2!aQbieb or 2!a0ebieb is a characteristic
expression for idler ; it denotes literally * one who robs the very day,'
i. e. one who makes a wrong use of his time, ©offei: is the vulgar form
for @aufer.

9Rit eucr ©nabcn SScrlaub, say by your gracious leave.

1. 23. JDic— Sangerwcile, they stir up riots for want of something to do.
The noun l^angettjeile (cp. the French * ennuie *) is often declined as if it
were written in two separate words, e.g. au^ langet SBeile.

(Sdftatrcn . . . nad^, scrape for ; rake up.

1. 24. Semanb ettt?a« (tt)a«) ©orlugen, to tell lies to some one,

1. 35. JBeja^lt JU ftiegen^ here to be treated to.

p. 38, 39-] NOTES, ACT II. I57

1. 37. JDo^ — tedjt, that is just what they vtant,

1. 29. The sentiments expressed by the carpenter are in accordance
vith the then prevalent opinion, that the Iconoclasts were bent
upon pillage and robbery. Cp. p. 31, 1. 8, n,

1. 32. Egmont was sincerely devoted. to the Roman Catholic faith,
and his admonition to make a firm stand against the ' foreign creed ' —
as the new doctrines were, then called — fully harmonizes with his
religious conviction.

P. 39, 1. 2. ©ie — rotten, crowds assemble in the streets,

1. 5. JDanfen, etc. The nominative of the pers. pron. of the first and
third persons is sometimes omitted in German familiar conversation.

1. 6. The elliptical phrase ^{[ti — \vtqli denotes here, we will do all
that is in our power.

1. 7. ®ar fo nid^td ©panifd^e^, there is nothing Spanish about him.
The position of gar before fc in this phrase is not quite usual.

1. 9. Cp. p. 9, 1. 15, and the note referring to it.

1. 1 1. 5)ad — fein, the king. will never do that.

1. 12. SWit ben @einigen, with his own kindred.

1. 16. (Sin red^ted Swffcn, is the plebeian expression for a fine morsel.

1. 18. 9Ba^ !ommt bir ein, what are you thinking of 1

1. 19, etc. @g iji mir nun fo, but so it is with me.

1. 21. SS^iber SS$i((en, against my own will.

2)er ijl gut fopfen, that would suit well for the headsman.

1. 24. ^ucf et (properly * hump *) for 9{itcfen is, according to Grimm,
mostly used when the back has been exposed to some ill-treatment.
Cp. p. 72, 1. 29, and p. 76, 1. 14.

1. 25. SWit 9lut^en fireidfeen, to beat with rods.

@in redftter SBanfl, say a portly person. The literal translation is a
big paunch,

1. 26. am $fa^>t, at the stake.

1- 27. 3tt>tcft — ©liebcm, I feel twitching pains in all my limbs.

1. 30. Some recent German editions have gebannt for gebrannt. We
have given the preference to the latter version, because it occurs in the
first original edition of 1787, and because the word geBannt, * spell-
bound,* seems too refined an expression for the general tenor of the
speech. In making Jetter give utterance to his morbid feelings, the
poet describes, with a masterly touch, which shows his deep insight
into human nature, the fatal influence which a reign of terror exercises
on the minds of men. By constantly witnessing the most harrowing
punishments, Jetter declares that he cannot be cheerful for a single hour,
and he * soon forgets all fun and merriment ' ; hia una.^^aa^!Na^ '>a»

158 EGMONT. [P. 39-4I'

excited to luch a degree ^^X fearful visions are^ as it were, hur^t in
upon his brain,

P. 40, 1. 3. The adverb imtner denotes here the continuity of Egmont's
absence. It may therefore be rendered by the adv. stilly to be placed at
the beginning of the sentence.

1. 6. The idiomatic phrase, (Sei Btennt twit untet ben @ol^ten, corre-
sponds to the English, I feel the ground burning under my feet.

1. 7. 9luf bie @tuilbe ba fein, to be punctual to the minute (lit. ' hour.')

1. 9, etc. Sctttanb butd^ bie ffingcr fel^cn is one of the many idiomatic
phrases connected with the word Singer. It denotes to overlook some
negligence or fault ; to be indulgent, in which sense the literal rendering is
also sometimes used in English.

1. 10, etc. $ieU id^'d beffer, I should prefer ; Vd rather.

1. 14. aOen er unterttJefl^, etc., of whom he may ha!ve caught hold
on his 7vay. — IJy this supposition Goethe wishes to indicate the
sociable disposition of Egmont, and his affable communicative char-
acter.

1. 16. Cp. p. 35, 1. 1, w.

1. a6. CJtf ift mit flanj red^t, / rather like.

P. 41, 1. 1 . 9lU^U)drt<!i, herc/ww abroad.

1. 6. The whole of the following conversation reflects £gmont*s
character in its brightest colours. It shows his humane disposition, his
strict sense of justice, and his indulgent and forbearing mind ; but above
all, the principal feature of his character, viz. his impulsive carelessness
and love of life for its own sake.

1. 7. Tlie name of the captain is, like all the other proper names
mcntioncil in this scene, fictitious. The expression 9{e(ation, from
the I*atin * relatio.* is usetl in official language for ^etiii^t, report.

1. Q. The tun\ult here rcfcn-eil to is the iconoclastic outbreak which
took placff in Flanders during Egmont^s absence. Cp. p. 17, 1. 11, etc.,

I. to. Unv^cjic^en^citen may be tmnslatetl, acts of misconduct^ and
!$ eUf ubnbcitcn by the sing, numlver of its ctjuiN-alent.

1. 15. Cp. tor ^4Unvi(b p« I5» 1« ^» *♦•

1. 17. Schiller, in his //#V/«»rr «/ tMt Rtv^t of the Xetkerlandsy says :
H'owiU l'4»«\ont ttl*o» in onlcr to mauitest his feal for the King's service,
t\l\l violcnco to his natuml kindhcartnlncss. IntncKlucing a gairisoQ into
the town of (.ihent. he causcil some of the most refractory rebels to be
p\il tv> death/

K ii. \Jtbttt» herf /#vw, *^r. Cp» pp. ii» 5; 14, 1. 5, «,

I My C|v tor iScwinMk p. 15, 1. ^ «.

p. 4I-44-] NOTES. ACT II, 159

1. 29. @inne]^mer denotes * a receiver of taxes, tolls,* etc., but may
here be rendered, steward.

1. 30. Translate here auf, within,

P. 42, 1. 1. SKu6 l^erbei, must be procured. The verbs gefd^^iff^ loerben
are here understood.

1. 7. ©efete er ftd^ felb(l, he fixed . . . himself ; namely, he stated his
own time.

1. 12. @r — @rft(l, ^ is sure to set about it in earnest.

1.15. %Vi^tXi^t%oXi, pension. ®thuf)X, here allowance.

1. 16, etc. ^ati) fc^affcn, to devise some expedient.

@tc— cinric^ten, let them shift as well as they can.

1. 22. Sluf cttoa^ bcilfen, is frequently used in the signification of
to consider how to manage a thing.

1. 25. Sluf ettoag anberg finncn, devise something else.

1. 28. Count Oliva is a fictitious character.

1. 30. J^err may here be freely rendered, count.

P. 43, 1. I. 3(i& fomme nidfet bagU, denotes here, / cannot find
time for it; unter »iclcm SSer^agten, of all detestable things.

1. 5. ©ebenfUci^feit, here apprehension.

1. 7* ©ttgt — SKeinung, give me an outline of your ideas.

1. i4.^J&inten, with reference to a battle, in the rear.

1. 15. ©orglidfee, apprehensive man ; the article and the inflection
make in German the meaning sufficiently clear.

(5r win, say he is anxious for.

1. 18. @i(j^ toal^rcn, /^ be on one's guard.

1. 23. ©0 — ^\X,you may do so.

1. 25. Oiafd^ Icbe, live gaily. — The popular expression * to live fast *
corresponds to the German raf(j^ leben ; but here it would be a vulgarism,
if used in that sense.

1. 27. Xobtengeteotbe, burial vaults or simply vault.

1. 28. The words 3(i^ l^abe in the preceding line refer also to nx^i Suft.

1. 29. ©ebdci^tigcn J&of^G^abenj, solemn measures of the court. — The
expression J^of;@abcn;^ is a coined word, used here to .designate
the stiff manner of life prescribed by the Spanish court etiquette.
The term mujlem (itac^), to model (according to), is not of frequent
occurrence.

1. 30. Um — benf en, to trouble myself about life. Cp. above, p. 42, 1. 2 2 , «.

P. 44, 1. 6. 3Bie^bcru]^rt, with what delicacy he treats you.

1. 8. Unb — @aite, yet he harps continually on this string. — It is
rather difficult to render in English the delicate play on the word
berul^ren in this and the preceding line.

l6o EGMONT, [P. 44.

1. 14. The senliment contained in this line reminds us of Goethe^s
admirable saying :

mm Widft ft* nidftt fiit allc !
(Sel^e jebct wie cr'« treibc,
@e^e icber too er b(eibe,
Unb n>er jlei^t, bag er nic^t fade I

1. 15. The secretary wishes to intimate, that it lies in £gmont*s
nature to be free from care, that it suits him iiOell to be without
fears.

1. 18. Seic^tcm may here be rendered, lively,

1. 19. Uebcrinut^ ber ©efeHiefeit, overflow of cotvviviality, ©ctrieBcn,
say done,

I. 20. golgen, is here a synonym of Solgerungen^ conclusions.

II. 22-25. These lines refer to a well known incident in the troubled
pages of the history of the Netherlands. The following summary
extracted from the account given by Prescott {^Philip 11, vol. i. p. 440),
will suffice for the present purpose. ' At a banquet at which many of
the Flemish nobles were present, the talk fell on the expensive habits of
the aristocracy, especially as shown in the number and dress of their
domestics. . ^ . It was proposed to regulate their apparel by a more
modest and uniform standard. The lot fell on Egmont to devjse some
suitable livery, of the simple kind used by the Germans. He proposed
a dark grey habit, which, instead of the aiguillettes commonly suspended
from the shoulders, should have flat pieces of cloth, embroidered with
the figure of a head and a fool's cap. The head was made marvellously
like that of the cardinal (Granvelle), and the cap, being red, was
thought to bear much resemblance to a cardinal's hat. The dress was
received with acclamation. The nobles instantly clad their retainers in
the new livery, which had the advantage of greater economy. It became
the badge of party. The tailors of Brussels could not find time to
supply their customers. (Cp. above, p. 38, 11. 12, 13.) The Duchess
at first laughed at the jest, and even sent some specimens of the
embroidery to Philip. But Granvelle looked more . gravely on the
matter. . . . Margaret at length succeeded in persuading the lords to take
another (device), not personal in its nature. The substitute was a sheaf
of arrows. Even this was found to have an offensive application as
it intimated the league of the nobles.*

Cp. Schiller s Historische Skizzen, p. 11, 11. 9-23, notes.

II. 27-30. This is an allusion to the celebrated designation of Gueux,
'beggars,* which the confederate Flemish noblemen assumed in 1566.
After having presented a petition to the Regent, some three hundred of

p. 44, 45.] NOTES. ACT II. 161

them were told at a banquet that the Seigneur de Berla3rmont had called
them * gueux,' in the presence of the Regent. Brederode, the president
of the banquet, declared that ' he and his friends had no objection to the
name, since they were ready at any time to become beggars for the
service of their king and country.* (Se vero libenter appellationem
illaniy qu<B ea cunique esset, accipere, ac regis patriceque causd Gheusios
se mendicosque re ipsA futures. Strada, i, p. 187, where the whole
occurrence is related in foil.) The guests received that sally with great
applause, and as they drank to one another they shouted Vivent les
Gueux ! " Long live the beggars I '* * The prince of Orange, and the
Counts Egmont and Horn were passing by chance the Culemberg
House, where the banquet took place ; they entered with a view
to break up the revels, and as the new comers pledged their friends in
the wine-cup, it was received with the same thundering acclamations of
Vivent les Gueux! The confederates assumed then the insignia of
poverty, and appeared in public in coarse clothing with beggar's wallets
and wooden bowls.

Unname (1. 28) may here be rendered, nickname,

1. 31, etc. 5ttftnac]6t3ft)iel, carnivals play. Cp. on the etymology
of gaftnad^t, or gagnac^t, my Note to Schiller's Wilhelm Tell (C. P. S.),
1. 390.

@inb — tni§0Qlinen, are we to begrudged the scanty y motley rags ? SKutT^
may here be rendered, spirit.

P. 46, 1. I , etc. Render angefrifd^tc, animatedy and tliag, would.

1. 5. SBol^l — toJertl^, worth the trouble of dressing and undressing.

1. 6, etc. Urn gu ratl^en unb gu verbinbcn, to guess and conjecture.
^rratl^en has a more emphatic meaning than ratl^etl, and may be
rendered, divine.

1. 8. @(^enfen is here used in the sense oito omit ; to spare.

I. 9. ©chiller seems to be used here in the sense of scholar , or rather
pedant.

II. 10, II. The expressions jtntieit and au^jtiitien refer to ©cj^utern,
and the remaining portion of the sentence to J^ojIiltQen ; but in order to
understand fully the right meaning of this passage, it must be borne in
mind that the verbs are here used in a kind of * antithetical gradation * ;
the intransitive verb finnen denotes to ponder ^ and the transitive verb
au^finnen, to contrive; to devise. In the same way, the intransitive
verbs loanbetn, to walk gently ^ and fd^Ieid^ett, to sneaky refer respectively
to gekngcn Wol^in jxe fonnen, reach any place they like, and to
erf(i&lei(^en, obtain surreptitiously.

1. 16. ®ie (affen xoxii, is about to let it go.

l62 EGMONT. [P. 45-47.

11. 20-22 SBie . . . QCjjeitfd&t, as if lashed, ©el^ctt . . . b«r(i&, rush
away, SQBageit, here chariot,

1. 23. SKutl^ig 0efa§t, with calm self-possession,

1. 24. (Sturg signifies not only * fall/ but also steep descent ; precipice,

1. 25. @g ge^t, say we hasten. — The pronoun er in the following
sentence refers to man in general ; it may be rendered men or by the
pronoun we,

1. 26. A special interest is attached to the present speech of
Egmont from the circumstance that it forms the concluding passage of
Goethe's Wahrheit und Dichtung. His devoted friend, Fraulein Delft,
was anxious to persuade him to undertake the journey to Italy, instead
of repairing to Weimar, and relating how be was obliged to tear himself
away from her (Oct. 31, 1775), he adds* that he finally addressed to her
passionately and enthusiastically Egmont*s words: Kind I Kind!* etc.
Cp. Critical Analysis, p. xxviii, etc.

1. 28. It has been remarked that there is a perfect iambic movement
in the first portion of the present speech. This is also, in a great
measure, the case with the preceding speech of Egmont, and with many
other passages throughout the drama, too numerous to be pointed out
Cp. Crit. Anal. p. xxxvi.

1. 32, etc. 3a— ©d^ritt, Yea^ a false step of my OTvn.

F. 46, 1. 3. Scc6, here die. Egmont is known to have shared
valiantly all the dangers of warfare with his comrades.

1. 4. SQBcnn'6— gel^t, when the whole worth of a free life is at stake,

1. 10. 3)a3 Slut)ere ^at 3eit, the rest may wait.

1. 13. ^crd^e, here try to find out, Cp. p. 32, 1. 11, n,

1. 14. This statement is based on the account given by Strada
(i, p. 223) of the effort made by the Regent, not to show a woman's
weakness by her grief (* baud palam moerori muliebriter indolsit,' etc.).

1. 16. See on William of Orange p. 11, 1. 31, «.

1. 18. The expression frei is here used in the sense of ^eitet ; fotgenfm,
cheerful ; at ease, i. e. Orange seemed preoccupied.

1. 24. Surudf^aftenber, i. e. more reserved than usual.

1. 26. ©elaffcn, here calmly.

1. 27. SBid^ may here be rendered, turned, and 5Did€Ur0, in the next
line, topic.

1. 29. S^irc, etc., her benevolent, kindly demeanour,

1. 31. JTiag nid^t^/ etc., i. e. that nothing turned out well.

P. 47, 1. 4. Unb bic, etc., and these, i.e. women in general, the noun
2Beib in the preceding clause being used collectively.

J. 6. This is an allusion to the well-known mythological tale that

p. 47, 48.] NOTES. ACT IT, 163

Hercules was spinning wool, when he was a slave to the Lydian queen,
Omphale, whilst the latter wore his lion's skin.

1. 7. Jlunf ell^of is a coined expression, composed of StmiltX, ' distaff/
and J^of, 'court.* It approaches in meaning the expression 'petticoat
government,' and may be rendered here, spinning court-circle.

1. 10. The conjunction that is to be supplied before the most dis-
cordant (bie toibrtgjlen), because the words bie TOod^ten immet gem
(1. 4) refer also to the present clause.

1. 12. ID a ft e, etc., since she cannot accomplish her object,

1. 13. Untoei^l^ett, here unwise conduct.

1. 16. ^giimoX is here, as in some other instances, used by Goethe for

bie^mal.

1. 1 8. ^limmcrinel^r, simply never. — The Regent had at three different
times made preparations to leave Brussels.

1. 19. J&in, i.e. go to. Supply the words jxc i(l before @tatt^>alterin.
The expression Jlonigin is here used to denotej in general, the exalted
position occupied by the Regent.

1. 21. Unbebcutcnbe Xage aBgu^jaftjeln, to spin out an insignificant
existence. — The verb ab^jafpeln denotes literally * to reel off* (yam, etc.),
and is here happily used by Goethe to express the slow monotony of an
inactive life at the Court of her half-brother, Philip II.

1. 22, etc. ©id^ — l^erutn}uf(]^Ie))))en, to drag on her existence in the old
family circle. — Margaret was, as stated before (see p. 13, 1. 16, «.),
first married to Alexander dei Medici, and after his death to Ottavio
Famese, Duke of Parma.

1. 30. The pi. 5? lane for ?P(dne, is used in higher diction.

1-. 31- Surec^t rudfcn, to arrange.

P. 48, 1. 2. The noun J&inbenii§ is more commonly used in the
neuter than in the feminine gender.

1. 5. %\X^ X^XXi, translate with him also.

1. 6. Sl^ren ®ang l^atten, will hold on their {ordinary) course. The
verb loirb (1. 5.) refers also to this clause, although 2)inge is used in the
plural.

1. 7. ©eitc should here be rendered, vast, and nad^ einer vorgegogenen,
in the next line, according to a marked out.

1. 12. 2)er tojare, which should be ?

1. 13. The Prince alludes here to the possibility of depriving the
people, which he designates by (Rum^f, body^ of their leaders, whom he
calls their ^atl^t, head.

1. 16, etc. 3cl^ ttage, etc. / have had for many years our concerns
upon my mind,

M %

l64 EGMONT. tP.4^50.

L 22. Goethe has here most admirably adapted a sa3ring of William
of Orange which has been reported by Strada, i, p. 234. After qnoting
the statement of the Prince that he was fnlly acquainted with every
word which Philip II uttered, either in public or private, and that he
could not better employ his riches than by buying those useful state
secrets, Orange is reported by Strada to have added, * For it constitutes
the wisdom of a Prince, to find out the secrets of the councils and to
leave the mysteries of nature to idle persons.* {jQV'ipp^ hone esse
Principum philosophiam, conciliorum secreta rimari: natura vera
abdiia otiosis relinqui.)

1. 25. SWit etn)a« au^fommen, fig. to get on with anything,

1. 28, etc. ©^ — fommeu, the world cannot be set to rights,

P. 49, 1. I. The prince of Orange now states more explicitly what he
had before (p. 48, 1. 13) only hinted at. Cp. Schiller's Historischt
Skizzen, p. 15, 1. 8, etc.

I. 4. ®6 ifl feine ©orge, there is no fear of that.

1. 8. Sluf unfere Slrt, after our own fashion ; utitcr etnanber, here
between ourselves,

1. 10. The verb aBtoSgcit is here used in the sense of to balance^ for
Orange wishes to intimate that they well know how ' to distinguish their
own rights from those of the king.*

1. II, etc. Untert^ian unb getodrtig fein, to be obedient and loyal \ i^m
DUfommt^ say is his due. Dr. Strehlke remarks here on the verb
i\ufommen : ^mtUd^er 9(udbru(f gur SBegeid^nung ber l^el^n^^flid^t gegen
ben Sel^n^i^errn.

1. 13. ©enn — j^ufd^riebc, but if he should arrogate more,

1. 17. 9Bit — laffen, we will submit to a trial, Cp. p. 20, 1. 8, n.

I. 19. Unb n)a6, etc., i.e. atid what, if there were a verdict, etc.

1. 21, etc. Egmont believed so firmly in the clemency and humane
disposition ot Philip II, that he laughed at all the warnings of his
friends.

1. 29, etc. Kufjledfen, to raise; SBinblftau^, lit. * breath of wind,' say
hreu,

I. 31. SBurbe— j^ufammcntreiBcil, ^wuld cause a mighty conflagrcUion,
i. e. the news of their capture would drive together (gufammentreiben)
all the combustible elements of political discontent, and thus cause
a mighty conflagration.

1. 3a. 3Dcbinau^ WcKtcn Sf, 'ivhat would be their object?

P. 50, I. I. Unb— \?cbcn, and «v«.\/ they have recourse to assassina-
Hon t — This is evidently an allusion to the various attempts which
were subsequently made., at the instigation of Philip II, on the life of

p. 50, 51.] NOTES. ACT IL 165

the Prince of Orange, and to his ultimate tragic death by the hands of
the assassin Gerard. Cp. p. 11, 1. 31, ».

1. 2. SBoKen, say intend it. — Egmont is of opinion, that their enemies
* could not entertain the will ' to attempt their lives. In the following
lines he describes almost prophetically the result, which was partly
brought about by his own violent death and by that of his fellow-
sufferer. Count Horn.

1. 6, etc. 2Butl^ete is here, like floffc in the next line, the present
conditional ; Iccr, here vain ; futile.

1. 12. Cp. p. 48,.!. 22, «.

1. 13. SQBoflen has here nearly the meaning of to pretend \ viz. the
Regent pretended not to know it,

1. 14, etc. The Regent was, according to Strada (i, p. 29), strongly
opposed to the arrival of Alva with an army ; and in a letter which she
addressed to the King she plainly tells him, that a new army would only
contribute to impoverish the country and produce a civil war —
which view Goethe has, in the next speech, put in the mouth of
Egmont.

1. 15. SWorbftnn, murderous disposition.

1. 19. It is an historical fact that Orange was acquainted with the
fact, that Alva came to the Netherlands with death-warrants, signed in
blank, intended against the most prominent leaders.

P. 61, 1. 7, etc. SBcran — bijl, what you 7vill be the cause of.

1. 12. SKu^lfelig, etc. kept down with difficulty.

1. 13- SKit (Sinent SBinfe, by a single sign; aVL^^tl^tn, to excite; to stir
up.

1. 15. J^anbtung, tor §anbel, commerce , is now not very often used.

JDenfe bie, etc. imagine the desolation ^ the butchery. — Mark here the
different use of the verb betlfen, which is employed in 1. 14 with the
prep, an, in the signification of to think of; whilst in 1. 15 it is used
without any preposition — as is sometimes done in higher diction — in the
sense of ' to represent to one's mind's eye ' ; to imagine.

1. 16. jjelb is here used for ©dfefadfetfetb.

1. 17, etc. Goethe describes here the horrible incidents which actually
took place, during the subsequent sanguinary struggle, between the
Netherlanders and the Spaniards.

1. 21, etc. 9Sie — trniSt, what will be your feelings when you must confess
to yourself

1. 24. @inje(ne WttXl\6!itXi, single men, i. e. mere individuals.

1. 29. 20 CT ^6) fennt, etc. namely, he who does not act by mere impulse,
but is always guided in his actions by a thoughtCwV ^^X.OoS.xjSsnk^'** ^'^^s^

166 ECMONT. [p: 51-53,

himself, need not suspect his own courage, and can with confidence ad-
vance and retreat (ftci^er tt^Xi unb rudftodrt^ QC^ien) ; that is to say, he
well knows when to spare himself and when to act otherwise.

P. 52, 1. 3. jtomtnt . . . Slnfcfelag, translate should be taken into account ;
Icid^tcjie, hevQ faintest.

1. 5. !&cifeflen, lit. 'gentlest,* here smallest, guftritt, step.

1. 13. 2)ic .Konige, etc. The import of this saying is, that the actions
of kings are never interpreted as mean, because people always attribute
them to higher motives.

i. 16. $robe, here experiment ; abloarteit, to await:

1. 20. Supply the word own before the equivalent of Slugett. In
German the emphasis is sufficiently indicated by means of the possessive
pronoun mcineit.

I. 27, etc. 5tt— ®c(laU, lit. *in its true shape,' i e. in its true light.
The Fr. version has * sous son vrai jour.*

1. 30. Cp. for bcfefeen p. 26, 1. 17, n.

1. 31, etc. SWad^t denotes here power; authority.

2Bic bcinc Sreunbe gefa^t finb, in what frame of mind your friends are.
The Prince admonishes Egmont to listen to the advice of his friends,
which the Count subsequently neglected to do.

P. 53, 1. 9. The above scene is mainly based on the memorable
meeting which took place between Egmont and Orange at Willebroek,
a village between Antwerp and Brussels, in 1567. Egmont had received
the mission from the Regent to persuade his friend not to withdraw from
the Netherlands. Count Mansfeld, and Berty, the Regent's secretary,
were present at the interview, which is fully described by Strada (i, p.
26S), who concludes his report wiih the following remarkable passage :
' It is related that, before parting, the Prince of Orange led Egmont aside
and spoke to him of the danger which threatened him, imploring him
not to await the bloody tempest which was about to burst forth from
Spain over the heads of the most distinguished Flemish nobles. And
when Egmont, fully relying on his services and unmindful of every
danger, dissented, asserting that he hoped eveiything from the clemency
of the King, when he would find order restored in the provinces, Orange
exclaimed : " This clemency of the King which you so extol, will be
your ruin, Egmont, and I foresee with my mind's eye (would that I might
be deceived !) that over your body, as a bridge, the Spaniards will enter
the country.** After these words he closely embraced him, as if he were
sure that his presentiment was to become a truth, and that he saw the
Count for the last time ; and tears fell from the eyes of both of them.'
{Ferunt Orangium, antequam inde recederetj cum Egmontio seorsim a^

p. 53^57.] NOTES. ACT III. 1 67

fiucto de imminentibus periculis locutum^ orasse illunif subduceret sese,
gravidamque cruore tempestatem ab Hispania impendentem Belgarum
procerum capitibus m oppertretur, Et cum Egmontius meritis ferox^
eoque periculi negligens^ contra dissereret^ ac Regis clement icB^ sipcuaias
reperiret provinciaSf omnia tribueret : Perdet te, inquit OrangiuSt hsec
quam jactas dementia Regis, Egmonti, ac videor mihi prsevidere animo,
utinam falso, te pontem scilicet futurum, quo Hispani calcato, in Belgium
transmittant. Quo dicto tamquam prasagitionis certuSy hominemque
supremum visurus^ arete ^ nee sine utriusque laerymis complexus^ ab-
scessit,) — Cp. Schiller* s Historische Skizzen^ p. 19, 1. 17, etc., where the
above interview between Egmont and Oranien is graphically described
by the author.

1. II, etc. SKir todr', etc. i. e. these fears would never have entered
his mind. Xrdfit . . . ^fCruBer, transfers, ©orgtid^fcit, anxiety,

1. 15. ^ie finnenbett/ etc. i. e. there is still a gentle means left to smooth
away the pensive wrinkles from his brow.

Act III.

I

P. 56, 1. 5. Render »or ftd^ l^tltlcbt, lecuis a life {of\ placing these words
before the equivalent of SKul^e, and omitting the preposition in.

1. lo. It is hardly necessary to mention that the Regent refers to the
abdication of Charles V.

1. 13, etc. iibcr ti\Ci(x^ benfen, for nad^benfcn, is not very commonly
used. — The letter alluded to was a reply to the Regent's remonstrance
against the mission of Alva to the Netherlands. Both missives were con-
veyed by Caspar Robles in the summer of 1567.

1. 16, etc. Goethe has here and p. 57, 1. 9, etc., embodied the substance
of Philip's reply, in which the Regent was assured * that the King had at
heart the esteem she had gained from all, by her great wisdom in the
government of the provinces in those disturbed times, etc. And that
Alva was not sent to deprive her Highness of any of the praise that was
fully her due, but in order that by giving her his aid and counsel, and
while lessening her labour, he might preserve the result of what she had
done up to that time, etc.* (^Regi cura esse sororis existimationem,quam
ilia sibi apud omnes summa prudentia comparaverat, moderandis ea
tempestate ProvinciiSf etc. Nee eo mitti Albanum^ ut ex ea laude, quce
tola ejus Celsitudinis est, quiddam decerpat: sed ad operam illi suam
consiliumque prcestando, et minore Gubernatricis labore ad earn diem
cuta conservaty etc. Strada, i, p. 292.)

1. 20. ©0— tnadfee, gave me so much trouble.

P. 57, 1. 2. @(3^cn is here used in the sense of politely, — Ivk. 's^KsStAs^?^

l68 EGMONT, [P. 57, 58.

of a ' billet * in which the King informed his sister, under date Oct. 13,
1568, that her resignation was accepted, M. de Thou remarks: *£lle
re9nt enfin d'Espagne une lettre pleine d'amiti^ et de tendresse, telle qu'on
a coutume d'^crire ^ une personiie qu'on remercie apr^s Tavoir d^pouill^e
de sa dignit^.' Hist. Univ. v. p. 439.

1. 4. This statement is based on a historical fact.

1. 10. (SiitQaitiJ, htxt preamble. — The following passage is partly based
on the speech which Alva is reported to have made at the last meeting
of the State Council at Madrid, which was held, according to Strada, in
order to discuss the propriety of interfering in the Netherlands with an
armed force.

1. 14. gajlet, lies heavily ; ttcrbiete il^m, will prevent him.

1. 15. @ro§e @))run0€ X^^^tn, fig. to move freely.

1. 16. Machia veil's reply contains the gist of the views expressed by
the State Councillor Ruy Gomez. Cp. p. 58, 1. 13, n.

1. 20. Oiaifon (or SScrnunft) annel^men, to listen to reason.

®ar ba(b . . . fcrtig loerben f^nne, will soon be able to manage.

1. 25. SBo^t is here used in the>sen3e oi probably.

1. 30. @erab' l^crau^, straightforwardly ^ or simply out.

P. 58, 1. I. SKoc^te m^ ©erjleHcn, should like to dissemble, i.e. the
Regent would like to conceal the irritation she feels at the double-faced
dealings of the King.

1. 2. ®mpitnbU(3& is here a synonym oi \^x^^X^(xSi, painful.

1. 3, etc. So^^wtid^, formal ; conventional. — The letter quoted above
was written by Prince Eboli and only signed by the King.

1. 5. @infe^)cn may here be rendered, consider.

1. 6. 3ntt)enbt0 unb au^ttjenbig, lit. * internally and externally,' i. e.
thoroughly.

1. 7. @ie — ^abcn, they would like to make a clean sweep of it.

1. 8. (Sie — gugreifen, they do not set about it themselves. — This seems
to be an allusion to Philip's reluctance to go himself with an armed force
to the Netherlands, after having been told that the Flemings threatened
to resist his entrance openly with the help of foreign allies. See Strada,
i, p. 281.

1. 10. The foreign term Sonfeit (to be pronounced as in French) for
^^i^ or (Staatgrat^, is used both in the neuter and masculine gender. —
@ett?irft, here simply worked.

1. II, etc. Render leb^aft, vividly ^ and ^Vi^, feature.

1. 1 3, etc. The description of the members of the Royal Council is, in
part only, historical. By honest Roderick^ the poet designates Ruy
Gomez de Silva, whom Strada (i, p. 283) calls—' a man who loved peace

p. 58, 59.] J\rOT£S, ACT III. 169

and quiet before all things ' {cut pax et quies imprimis cures) ; and by
the diligent Freneda, is designated the royal confessor and Franciscan
monk Bernard Fresneda, whom that historian characterizes as * a man
of gentle and upright character* {miti rectoque vir ingenio). Both these
councillors spoke at the above-mentioned final consultation warmly in
favour of a policy of peace. The names of Alonzo and Las Vargas do,
however, not occur among the royal councillors enumerated by Strada or
by the Spanish historian Cabrera, who describes the same meeting.
One Alonzo de Laloo was secretary to Count Horn, and one Francis de
Vargas was Spanish ambassador at Rome. Juan de Vargas made him-
self notorious as President of the ' Blood Council ' in the Netherlands.
According to our opinion Goethe has given a generally favourable
description of the State Council, in order to bring out in stronger relief
the hateful character of Alva.

1. 16. SKitgc^en, here to join, ?P artel may here be rendered, cause ;
and tnd(]^ti0, triumphant,

1. 1 7. By the hollow-eyed Toledan, Goethe designates, of course, the
Duke of Alva, whose first name was Fernando Alvarez de Toledo.
Meteren (book v.) and other historians describe him as a man who was
in person * tall, thin, erect, with a long visage, lean yellow cheek, dark
twinkling eyes, adust complexion — cross-looking and rigid.* Cp. p.
78, 1. 23, «.

1. 19. SBeibergute, womanish kindness,

1. 21. ©tanmetjier, lit. 'equerry/ may here be rendered, horse- breaker.

1. 22. J^abe mit burd^l^oren muffen, have been obliged to listen patiently.
2)urd^^6ren, lit. * to listen to anything until the end.*

1. 23. Sincn guten {Jarbcntojjf, say good colours. Scirbento))f denotes
literally * colour-pot,' i. e. the pot in which painters mix their colours.

1 25, etc. 3n — fonnte, among all my tints, which I could use for my
picture. %oxi, here hue.

1. 27. ©aUenfci^Warj, %2iy jaundice- like.

1. 28. Sltt^ ber may here be rendered, with which,

3eber tfl bci i^im Qleitib cin, he sets down every one at once as a.

1. 29. Slug biefcm .^ajjitel, under this head. The term .^opitel is used
in German also for ' topic ' ; * subject * ; ' head,* etc. Cp. the use of
* chapitre ' in French.

P. 69, 1. I, etc. 2)a— SKutl^toiHen, now he takes hold of every wanton
act. Unrul&e, here disturbance.

1. 3. Unb — t)on, and the King sees before him nothing but.

1. 4. The pres. conditional frdgen sounds here far better, than the pres.
conjunctive would do, which formally resembles the pres. indxRaSic^^*

170 EGMONT, [P. 59, 60.

1. 5. 9Bcnn— Ungcjogcn^ieit, when a quickly passing offence,

1. 6. Saffen, here to conceive,

1. 8. Cardinal Granvelle, in speaking of the people, described it as
* that vile animal, called the people.* — Papiers d'Etat, vii. 367.

1. 10. The sentiments attributed by the Regent to the King and the
Duke of Alva are, in general, expressed in the speech of the latter (as
reported by Strada), at the above-mentioned meeting of the Royal
Council.

1. 12. J&od^ may here be rendered, seriously,

1. 15. SSerbrangen, to supplant ; to dislodge, ©cjlaflung, office,

1. 17. @(]^ief, crooked f i. e. not straightforward.

Um fi(j^ gteifen, stretch his authority ; become encroaching,

1. 18, etc. 2Birb er . . . »orf(3^ufeen, he will allege that he has,

1. 20. Semanb I6erumjiel)cn, denotes fig. to put off any one,

1. 22, etc. Sd^ — xt^tit, this does not satisfy me ^ he will pay no attention
to what I say. —The expression gar tlid^t mel^r t^Utt has the sense of * to
take no account of.' The verb l^abett in 1. 24 refers also to (^etl^att.

1. 24. 2Beit abtoartg gclcnft, turned far away, i. e. Alva would
entirely frustrate all her cherished wishes and schemes. It may be
observed here that the mode of proceeding on the part of Alva,
described by the Duchess beforehand, is, in general, historical. At his
first interview with the Regent, Alva is said to have coolly declared that
he did not exactly remember the nature and extent of his powers.
Next day, however, he produced his commission (SnjitMction) in which
he was appointed by Philip Captain- General *in correspondence with
his Majesty's dear sister of Parma.* The Duchess was requested in
this document * to co-operate with Alva and to command obedience for
him, but step by step he became more and more encroaching ^ mitil the
Regent's authority was a mere shadow.* See Motley's Rise of the
Dutch Republic, vol. ii. p. 115.

1. 30. (Seine ©d^ulb, etc. i. e. she will have to bear the blame of
his wrong-doing,

1. 31. (Srtoarten is here, as elsewhere, used by Goethe in the sense of
abtoarten, to await anything {patiently),

1. 32, etc. The Regent at first contrived * to disguise her anger and her
mortification under a veil of imperial pride ' ; but being greatly enraged
at the arbitrary proceedings of Alva and her own false position, she gave,
later, free vent to her indignation.

P. 60, 1. 4. Supply (S« id, before (Sd^toerer.

1. 5. 9Ber'« l^ergebrad^t Iftat may here be rendered, he with whom it has
become customary

p. 6C-63.] NO TMS. ACT III, 171

1. 8. Slnfe^n, here authority,

1. 10. In her last letter to Philip II, which the Regent transmitted to
Spain through the above-mentioned courtier Machiavell, she actually
asked him * whether he considered it worthy of a person whom the King
calls his sister, to be left in Belgium with so little authority?*
Cp. Strada, i, p. 301.

1. 14, @ie — J&clbengefc^id&ten, thai it was to be found only in romances.

1. 19. Umgang, say attachment,

1. 26, etc. Sangen is here to be rendered, /(CTM^V/^; hoXi^tti fearing \ and
3n fcJ^toebenbcr ^tm, in painful suspense,

P. 61, 1. 5. gaj bad J&eio))0))cio, stop that sing-song, — The German
^eiopcpeio corresponds to the English ' lullaby.' A number of German
cradle-songs begin with that word.

1. 15. liber l^orc^t/ say heed not,

1. 18. ^XxiX^X^X\t^%\\,^J2Xi^, find shelter.

1. 20. 2)ran worjubenfen, to think of it beforehand.

1. 22. Uud geberbett, bear ourselves.

P. 62, 1. I. Jlteine, transl. daughter.

1- 5« 3u »ic( Oitabe, ^y you do us too much honour,

1. 9. ©4ma( genug, it will be scanty enough,

1. 10. The imper. toartet nur is here used elliptically, denoting 'only
wait (until you see).* Transl. simply you will see,

1. 21. @th>ad abliflen, here to trick ; to outmanoeuvre.

1. 22. @i^ jufammenncl^men, to collect oneself (cp. the Latin *se
colligere ') ; fajt — %XXCit, wraps himself up in his own arms^ so to speak.

1. 23. J^aut — reif, ruminates his scheme, Cp. 3hakespeare's * to rumi-
nate strange plots/ etc. in Titus Andronicus, Act v. Scene 2.

P. 63, 1. I. 3u\)orberjl a\\ti, first then,

1. 3. D ie, dear me I

1. 5. 3?>t tjerberbt ©ud^, transl. you will spoil your dress,

1. 7. (Sinmal — fommen, to come once dressed as a Spaniard, or in
Spanish fashion.

1. 9. Seitl^er, since then, viz. since the time when Egmont had
made his promise.

1. 12. Egmont had been created Knight of the Golden Fleece by the
Emperor Charles V in 1546, at Utrecht. Cp. Schiller s Histor. Skizzen,
p. 3. 1. 18, etc., notes.

1- 13- ^tx^tn, here insignia. The Golden Fleece was suspended on
the breast of the knights by a chain, hanging round the neck.

1. 16. Cp. p. 20, 1. 6, etc., notes,

1. 18. ^\6:iUxi, here sit in judgment.

172 EGMONT. [P. 63-65.

1. 19. ^^^imXiU%x^\\, lace-work ; braiding.

?Paffeinent is, like $ofament, denoting the same thing, pron. as a
German word. It is originally a Romance expression, being derived
from Lat. * passare/ In Ital. it is * passamento,* and in Fr. * passement/
The French version has here * la broderie/

1. 21. ©icl^ bic^ nur fatt, only look to your hearts content ; look your
^11. — The above episode has been imitated by Walter Scott in his
Kenilworth (Chapter vii.\ where the Earl of Leicester visits Amy
Robsart in his magnificent court costume. Goethe referred to it himself
in his generous fashion : SOB alter @cott benufete eine @cenc tneine^
„ Sgrnoiit " unb er l^atte ein (Rec^t bagu, unb toett tt mi 95erjlanb
gefd^a^, fo i(l cr gu lobcn {Eckermanns Gesprdche mit Goethe, i. 133).

1. 24. The inscription on the Spanish Order (there exists also an Aus-
trian Order) of the Golden Fleece was ' Pretium labornm non vile,' ' No
common prize for work.' Cp. Schiller*s Histor, Skizzen, p. 3, 1. ao, n,

P. 64, 1. 3. Slbnel^men, here to dcdtice ; to infer.

1. II. %vX mit Scmanb fcin, is a familiar expression for to he on good
terms with anyone.

1. 16. 2)a^ — ©acifec, say that makes no difference.

1. 21. @o flat feine, none at all\ fo is here an expletive.

1. 22. J&inter!^alt, here reserve.

1. 23. @efet — 3cit, deposits some sediment in the cask in the course of
time. SBetnilcin signifies properly * the tartar deposited by wine.'

1. 24. 2)o(i^ may here be rendered, after ally and immer constantly,

1. 25. Slufgabe, htxt problem ; jic^— gefefet, got the credit.

1. 26. @ttt?a3 ©el^eitt^ed »or!^aben, to harbour some secret design,

1. 30. Supply she is a before the equivalent of (Regentitt.

P. 65, 1. 2. Render here to'xii, wants y or is anxious.

1- 3. ^ie is here used as a demonstrative pronoun, and should be
rendered, in that, or in such a ; ft(i^ flnben, here to get on.

1. 4. @ie l^at, etc. but then she has.

1. 7. SScnn'^ — gc^t, when matters do not go on too roughly.

1. 8. 3(1 — Saffung, she is losing her composure.

1. 12. Egmont's sketch of the Regent's character is based on the de-
scription which Strada (i, p. 41) has given of her: *She not only
possessed a mind which surpassed the ordinary female standard, but
also a certain gait and deportment by which she appeared more a man
in female attire, than a woman endowed with a masculine spirit. She
was so strong, that in hunting the stag she used to change horses in the
field, which mode of hunting even strong men cannot always bear. She
had also a slight beard on her chin and upper lip, which imparted to her

p. 65, 66.] NOTES. A CT III. 1 73

not only a masculine appearance, but also an air of authority. Nay,
what is rarely found in women, except in very strong ones, she sufferred
also occasionally from gout. {Aderat ei non modo animus muliebrem
conditionem superegressus : sedetiam habitus quidam corporis incessusque
quo non tarn femina sortita viri spiritus^ quam vir ementitus veste
feminatn videretur* Quippe vires illi tantce, ut venari vel cervos
mutatis ad cur sum equis consuesset ; cujusmodi venationi homines
perquam robusti succumbunt. Nee deerat aliqua mento superiorique
labello barbula : ex qua virilis ei non magis species, quam auctoritas
conciliabatur, Immo^ quod raro in mulieres, nee nisi in prcevalidas
•ccuiit J podagra idemtidem iaborabat.)

1. 13. 3(^ f^cute iritc^ is the present conditional of ftd^ fd^euen, to be
afraid.

1. 16. Sungfrdutid^e ©cfeam, girlish bashfulness.

1. 26. The expression S^ttungen is here by no means such an anachron-
ism as is generally believed. The flying sheets or pamphlets which
used to contain accounts of current events, and which represented
the * press' of those times, frequently contained the word Seituttg, * news,*
in the superscription or the title of the occasional prints. I have myself
seen a pamphlet issued Aug. 14, 1557, which describes the battle of
St. Quentin (cp. p. 8, 1. 9, n.\ and the title of which begins with
the words SBa^jrl^aftige Seitungcn, etc.

1. 28. 3)a^ — nx^i, I am not he. — In German the neuter ba^ is com-
monly used, when a person or thing is to be denoted indefinitely.

1. 32. Scner @gmont, etc., viz. that Egmont who makes such a noise
in the world — that Egmont who is a public personage.

P. 66, 1. I, etc. 2)er— mu§, who must be reserved^ and assume now
this aspect, now that.

1. 3. SSertoicfelt, entangled ; perplexed.

1. 5. 3n bic J&6^>e getragen, extolled.

1. 7. 2)tc — mod^tett/ who would like to harm him, by any means.

1. 10. 3Bie e6 bcm, etc. how it fares with that Egmxmt, how he feels.

1. 14. Diintzer remarks with reference to the description of a ' double
Egmont,* that it involuntarily reminds the reader of the delineation of a
'double Goethe,' which the poet gives in a letter addressed to the Countess
Auguste von Stolberg. The letter alluded to, which occurs in a small
volume entitled Goethis Briefwechsel mit der Grdfin A. zu Stolberg, con-
tains the sketch of * a frivolous Goethe, who moves in society, frequents
balls and concerts,' etc. and of ' a serious Goethe, who toils and strives
onward and is full of enthusiasm for nature and poetry.' After a
careful perusal of the letter in question, it seems also to us probable

J 74 EGMONT. [P. 65-72.

that the characterisation of ' a double Egmont/ is based on a personal
reminiscence.

Act IV.

P. 70, 1. 1 6. dtoig is here used in the sense oi perpetuaU or for life.

1. 22, etc. The order refemng to the encouragement of denunciations
is strictly historical. It was promulgated after the arrest of Egmont and
Horn.

P. 71, 1. 7. 2Bar'^— locl^, my heart sank directly,

1. II. The gloomy state of Brussels after the entrance of Alva, which
is so effectively represented in the present scene, has been most
graphically described by Schiller in Book IV of his Ahfall der Nieder*
lande. The following is a brief extract from the description : (Sine tobte
©tiKc l&crrfd^tc Jcfct in SBruffcl, bic nur guwcilen ba« ungctDol&nte @er&ufc^
bcr 2Baffcn unterbrad^. 5)er §crgo0 tear locnigc @tunben in bcr @tabt, al«
Sv&i fcine SBcQlcitcr, Qlcid^ lo«(jclaffcncn ©purl^unben, naclj <ittcn ©egcnben
gerjircuten. . . . Dlftne, loic fonji, gcfrrdti^ig beifammen ivi tiertoeiUn,
ei(ten SBcfanntc.an SBcfannten »oriibcc; wan forberte feine ©c^ritte,
fobalb ein ©panier in ben ©tragcn erfcljien. 3cbc« @erdttf(^ lagte
©d^reden cin aid ^od^te fd^on cin ©mcljtdbiencr an ber $forte.

1. 13. Render @clt, ^(twV >'(?« think, Cp. p. 12, 1. 28, ». J^rebfe, is
used in familiar language for creatures ; fello7vs.

1. 15. @0— cin, the heart becomes compressed.

1. 1 7. Jtergengerab, lit. * as straight as a candle,' is used in German to
indicate something perfectly straight and erect ; it corresponds to the
English, as straight as an arrow,

din — flnb, all of them marching in step,

1. 21. @ic — XOt>%{, they do not please me at all,

1. 23. SKit — SBcincn, with their legs astride.

1. 28. Slnfdjlagcn, here to level the gun,

1. 29. Sd^— Xobcd, I should be like a dead man,

1. 31. (Sd — ^yxi, it will not turn out well,

P. 72, 1. 6. The Regent did not leave Brussels imtil several months
after the arrest of Egmont ; but for the course of dramatic action it was
necessary to let Alva at once appear as the sole ruler of the country.
By making the Regent suddenly retire from the scene of action, the
dramatic effect in depicting the terror of the citizens is also greatly
heightened.

1. 7. Sllun Qnab' un« ® ott, God help us now.— The verb Qnaben, * to have
pity * or * mercy on ', is generally used in phrases like the present only.

1. 8, JDie — nodj, she was our last support,

I. 9. The mode of the Regent's departure, as described here, is not in

p. 72-74-] NOTES, ACT IV. 175

accordance with history, but it fully tallies with the poet's dramatic
conception of the subject. That the Duchess could not agree with Alva
has been stated before.

1. 16. 3Bittre ben ©cruclj, smell the scent, Cp. p. 39, 11. 20-30, notes,

1. 17. 2)ie S^icbcl ftinfctl, the fogs are rank.

1. 22. JDer — t)crtll60enb, he can^ by himself^ do something for us.

1. 24. (5in $aar, say a few men. Unterfrteti^en denotes here to submit ;
to yield.

1. 26. @e]()t furBaS,/afj <w. The expression furba^ for loeiter is now
rather obsolete.

1. 29. Cp. for SButfcl p. 39» 1- 24» »• @eib— burcl^Q^^^itt, //«2'^ you
quite recovered 1 See p. 37, 1. 6.

P. 73, 1. 2. Sluf ettua^ Qeben, to mind anything.

3Bdrc fcin Xage, etc. I should never have got on. Cp. p. 5, 1. 8, n.

1. 7. SQ3etbcn, etc. w«7/ soon get into motion elsewhere^ i.e. on the
gallows.

1. 1 1. Slber — tul^tg, but we shall go on (behave) as we used to do, rely
upon that. — The expression XiW&i tt)ic tjor for in future as before^ is more
usual than ttor toic tiati^.

1. 14. @e»atter 3!ropf, say blockhead. — The term ® ettatter, in addressing
a person, corresponds to the English * gossip.'

For Xwf, see p. 13, 1. 4, «.

1. 17. £a§t — crft, let him alone for the present,

I- 19. SSit^i nel^mcn may here be rendered, bide, and gc]()t'^ tafd^, /i<f
makes quick work of it.

1. 20, etc. ©pedfeiten, flitches of bacon. — 58effer Icbcn ift, (//) «>
pleasanter to live. — Vansen expresses his opinion, that the Stadtholders
prefer leading a comfortable life to troubling themselves about the
doings of individual rebels.

1. 22. 3u erlijlctt, here to entrap. @c^t tiur, go to !

1. 24. 3Bad— bur(i^ge]()t, what liberties such a fellow may take.

1- 25. 3n incincm Sebcn is here in the sense of Je, ever.

1. 30. 5)encn,^r whom.

1-31. @inc — Seibc, say a little tailors blood in their veins. — The word
Slber is frequently used in German in combination with some other term,
to express similarity of character, as here, ©(^^ndberabet/ lit. 'tailor's
vein,' to denote a timorous disposition.

P. 74, 1. 5. J^onnt, is here to be translated, might. — Vansen considers
his own head safer than that of Egmont, because he is endowed, as he
distinctly states further on, in 1. 9, with greater cunning and practical
shrewdness than the Count.

176 EGMONT. [p. 74, 75-

1. 7. 9Ba0 9{e(^t0, transl. mighty wise,

1. 9. The ironical expression Stcb't i%x must be freely translated ; say
how wisely you talk ; fciner, more shrewd,

1. II. Supply the word nonsense after the equivalent of toad.

1. 1 3. For ungctoafti^en lD?auI we may use the Shakespearian expression,
foul-mouthed villain.

1. 15. 5)af — moi^^iit, that it would make him uneasy,

1. 19, etc. §ajl bu, etc. have you never seen one (i.e. a star) snuffed
out ? It was gone for ever. — The popular belief is, that shooting stars
originate in the fact that the stars snuff themselves (f[(]^ fd^neu^ett), in the
same way as the snuff is taken off a candle in order to give a brighter
light. Vansen intimates, with an evident allusion to Egmont, that not
even all the stars are firm and secure, since there are also shooting stars
which disappear as soon as they fall.

1. 27. SScrtDUnbert (SuclJ \i}XX^' ^, express your astonishment by.

P. 75, 11. 1-4. This passage is frequently misunderstood. It
contains an antithesis to the effect, that whichever part the scoundrel
acts, whether that of the accused or of the judge, he has always the
best of it; for *in the dock he fools the judge, and on the bench
({Ri(i^tcrfiuf)l) he takes pleasure in stamping the accused (Snquifitcn) as
a criminal.* — Stiquifit was the name given to a person who was accused
before the tribunal of the Inquisition, and Slrmenfuttbetflul^Icl^en was
called the stool on which he was placed.

I. 5. Jtommiffariu^ is the new Lat. form for the now more usual Jtotn^
TJliffar, commissary. The adj. \^\ovc is here used in the sense of much.

1. 6. 2Beil — l^atte, because he examined an honest fellow ^ whom they
wanted to punish ^ so as to make him appear a rogue. — Those who
have a fair knowledge of German will find no difficulty in understanding
the grammatical import of the phrase gum ©d^elmctl ttw^oren, which
signifies ^ to entangle a person in cross-examination in such a manner,
that he must appear as a rogue.'

1. 8. Srifd^ QeloQcn, a downright lie.

1. 9, etc. 3Ba0— @iner, what can they get out of a man by examinaticnt
if he, etc.

1. 10. @pafcenfot)f, lit. 'sparrow-head,' is, according to Sanders, the
same as $)ummfo^f, blockhead-, but Diintzer informed me, ^ Spatzenkopf
bezeichnet im Frankfurter Volksmund einen eingebildeten Menschen.
Man sagt auch " SpcUzen im Kopfe haben^^ im Sinne von Grillen
haben, sich etwas einbilden^ According to this explanation the equivalent
for SpcUzenkopf would be, approximately, conceited fool. I may add
that the sparrow is one of the shrewdest birds in existence, so that he

p. 75, 7^.] NOTES. ACT IV, 1 77

coald not be taken as the symbol of stupidity ^. The following phrase,
the literal meaning of which will be easily understood, must be rendered
freely, viz. when nothing can be worked out by cross-examination^ they
zuork something in {by cross-examination).

1. 1 2. Render here )cofi\)\, at times, placing it before the equivalent of
^Vi6:i. 5)a — tocg, they put the questions gently.

1. 15. ^^^i, htit forms.

1. 16. 5?Ci6t — X0\{{, does not fail to watch for every slight contradiction
which may occur.

1. 17. The clause ba — an, there he fastens his line, is here used
figuratively to express, that the alleged contradiction serves the
Inquisitor as a starting-point from which he proceeds with his snare.

ioiii — Betreten, if the poor fellow allows himself to be caught. @lnen

bctreten is synonymous with @inen ertoifd^en, erta)>^)cn.

1. 21. @nbe may here be rendered, /^/«/.

1. 24. @(!^clmcnfabricant, manufacturer (or 'forger') of rogues.

1. 25. SSerfd^oBcncn, misplaced, is here used as synonymous with
t>errfttftcn, disjointed-, and »erbriitften, suppressed, with gef(!^(offcnen,
concealed', Befannten, acknowledged.

1. 26. Slngcigen, here information ; eincn— jufammenfunflelt, cobbles

together a ragged scarecrow.

1. 31. 3KaQ t>a« angel^n, this may do very welP.

P. 76, 1. 2. @o — Slnfel^n, quite the look. — J^rcugfpinnc, lit. 'cross-
spider,' so called from their triple white cross ; Engl. * diadem spider '
(Lat. Aranea diadema). The portraits preserved of Alva would seem
fully to justify the simile.

1. 3. 2)i(fbdU(i6i0cn, paunch-bellied.

1. 4. ©(^^maneibigen, meagre-bodied, graj (from ^t^tVi),food\ pro-
perly said of * food for beasts ' only.

1. 6. Cp. pp. 49, 1. 16 ; 63, 1. 14.

1. 8, etc. !Kofe0 STOaul, foul-mouth.

1. 1 1. SJ3il( — libel, cb I then say this, because I wish him ill?

9Rir fann'd reci^t fcin, it can only be agreeable to me, viz. if Egmont's
life is safe.

1. 13, etc. J&at — »crabf(^iebct, he let off with a sound flogging. Cp.
p. 41, U. 14-18.

* The Fr. version has the literal rendering, * t^te de moineau.*

^ Vansen's speech forms one of the most difficult passages in the drama ;

but it is hoped that, with the help given above, the reader will find no

difficulty in making out Its meaning.

1<

178 EG MO NT, [P. 76, 77.

1. 15, etc. @ine Olunbe antreten, a patrol forming itself,

1. 17. SSrubcrfd^aft wit un^ trinfen, fraternize with us over a glass.
S^tubcrfd^aft trinfen means literally * to give the pledge of brotherhood
whilst drinking,* i.e. by touching the glasses.

1. 18. Silur fad^te gufelf^n, quietly look on.

1. 19. The Duke of Alva resided in the Culemburg (Fr. 'Culembourg')
mansion, which stood in the Square called the Sablon, from the time of
his arrival at Brussels (Aug. 1567) until the departure of the Regent (Feb.
1568). Goethe uses the form ^ulenBurg^ probably in accordance with the
German edition of Meteren, where it is so called. Schiller calls the
residence the ^uitcmBurgifd^c §au«.

1. 21. Both Silva and Gomez are fictitious personages.

1. 24. 9ln eincm $lafcc cintreffen, to arrive at {to come to) a place.

!• 25. SnbeS (also spelt inbed\ meanwhile, i.e. before the appointed
hour arrives.

P. 77. 1. 5. ^Qi^^^oX, that his command was right.

1. 7. dinjtlbiQ, here laconic.

1. 8, etc. 2)a — bin, because I am cucustomed to the lighter service of
Italy. — It is not improbable, that this remark contains a reminiscence
of Goethe from his sojourn in Italy, where he finished the present
tragedy. He had ample opportunity — as may be seen from his ItcdiC'
nische Reise — to witness the laxity of ofhcial life in Italy.

1. 10. JDer attc, the same I used to be.

1. II, etc. fiagt — fein, are never at ease.

1. 12. ©leid^t tttir, say to my mind resembles.

1. 1 3. SBogu — l&dttc, the garrison of which must have (be furnished
with) wings. — The simile is made by Gomez, to express the reser\'ed and
inaccessible character of Alva.

1. 15. (5r fei tt)ie, etc. that he wcu like a common tavern with a
{suspended) signboard, — S3ranntt»cin?3ci(j6w signifies *a sign which
indicates that spirits are sold in the house.* Alva evidently alluded to
Egmont, who was accessible to everybody.

I. 18. Unb \j^i er, etc. Silva wishes to indicate with these words
the great advantage of the Duke's taciturn disposition, for it was in
silence that he brought them from Spain to the Netherlands.

II. 22, 24. (^\^ . . . burd^fd^miegte, wedged his way through.
1. 26. Slnflog, here impediment.

1. 27. Alva*s march from Spain to the Netherlands is regarded as a
remarkable military achievement. He embarked with about 10,000 men
on May 10, 1567, at Carthagena. At the beginning of June the army
was ordered to rendezvous at San Ambrosio, at the foot of the Alps

p. 77, 78.] NOTES. ACT IF. 1 79

(au« Statien l^tetlfter Brad^te, 1. 21, etc.). The Duke took then his route
over Mount Cenis, where he had to struggle against the difficulties of
the Pass (unb ctncn 3ug, 1. 25, etc). * The army,' says Schiller, in his
AbfcUl der NiederlandCy * crossed the Alps of Savoy by regular stages,
and with the fourteenth day completed that dangerous passage. A French
army of observation accompanied it, side by side, along the frontiers
of Dauphin^ and the course of the Rhone, and the allied army of the
Genevese followed it on the right.' We may add that the Spaniards
were closely watched on their passage by the troops of Charles IX of
France, and that the Prince of Cond^ and Admiral Coligny, the leaders of
the Huguenot party, offered that monarch 50,000 men ' to fall upon his
old enemies, the Spaniards, and cut them off in the passes of the
mountains* (burclj tie Stangofcn, J^onigltd^cn «nb J^efcct, 1. 23, etc.).
The Genevese, apprehending a coup de main on their town, and relying,
in case of need, on the people of Berne, were ready to repel any assault
(burdi bie ©d^tocijer unb SScrBunbencn, 1. 24). That the strictest
discipline was observed during the whole march is an historical fact (bie
ftrcnQJie fKann^gudJt ^tclt, 1. 25), Alva bridling the rage of his soldiers
to let it loose, with the more fury, on the inhabitants of the Netherlands,
where he arrived in the middle of August. The remarkably accurate
description given by Goethe is mainly based on Strada's accoimt, i, p.
293, etc.

1. 30. The statement made by Gomez is based on the advice of the
Regent to Alva, *to dismiss a portion of his army, in order not to irritate
the provinces, which were already quiet and obedient to the King.*
(Strada, i, p. 292.)

P. 78, 1. I. The Regent informed the King that 100,000 people fled
the country on the coming of Alva (Strada, i, p. 298). Numerous
emigrants came to England, and, according to statistical calculations,
the Flemings in London in that very year (1567) were as numerous
as all other foreigners put together. Cp. Prescott, Philip II, vol. ii» p.
361.

1. 2. Edicts, strictly forbidding the people to leave the country, were
issued before and after the arrival of Alva.

I. 3. @rji has here approximately the meaning of more than ever, Cp.
p. 6, 1. 10, n.

II. 9-T4. The contents of these lines have an historical basis. Accord-
ing to Strada (i, p. 293) and other authorities, the Regent had equipped,
at the request of the King, sixteen ships, which were to be launched as
soon as the news of his departure from Spain would become known in
the Netherlands. Besides, prayers were ordered for the safe arrival <^C

l8o EGMONT. [P. 78, 79.

the King, who was very anxious to make the Netherlanders believe that he
would shortly visit their country. By this expedient he hoped to allay
the general discontent about the arrival of Alva. This artifice was, to
some degree, successful ; but the Flemings soon grew incredulous about
the King's visit to their country, and jocosely compared him to the
Emperor Tiberius, who, by ordering public prayers for his safety, made
people believe in his imaginary journey. The prayers, they also
declared, wexe quite needless ; the King being safe enough in his own
country,

1. 15- Don Fernando de Toledo, Prior of the Knights of St. John,
had the command of the cavalry in the Duke's army.

1. 23. Don Fernando Alvarez de Toledo, Duke of Alva*, was bom in
1508. He was trained from childhood to arms, and distinguished
himself at an early age as a courageous soldier. In 1530 he accompanied
Charles V in his campaign against the Turks, and in 1535 in his
expedition to Tunis. In the Smalkaldian war he won the decisive
battle of Miihlberg, as Imperial Generalissimo. When sent by Philip II
to Italy to fight against the Pope, he was not allowed to display fully
his military talent. In the Netherlands he pursued a merciless policy —
such as has perhaps no parallel in history — without being able to
subdue the ' rebels.* Personally he was stem and haughty, and
as regards his general character. Motley says {Rise of the Dutch
ReptthliCy ii. p. 107), * He did not combine a great variety of vices, but
those which he had were colossal ; and he possessed no virtues. He
was neither lustful nor intemperate, but his professed eulogists admitted
his enormous avarice, while the world has agreed that such an amount
of stealth and ferocity, of patient vindicriveness and universal blood-
thirstiness, were never found in a savage beast of the forest, and but
rarely in a human bosom.' Alva left the Netherlands in I573» without
having been able to subdue them, and died in 1582 in Spain.

1. 27. SSeorbert, s&y given them their instructions,

1. 29. The talkative Gomez, who seemed inclined to give a detailed
description of the execution of the Duke's orders, is cut short by the latter,
to whom the assurance, auf ©enaufle^ was quite sufficient.

P. 78, 1. 6. The phrase $ier bin t(!^ has not in German the familiar
stamp which its literal equivalent has in English. In the present
instance it may be rendered here^ my lord,

1. 8. Unauf^altfam, irrepressible,

^ The name is spelt in Spanish Alba^ but pronounced Alva, In
German the b sound is retained.

p. 79, 8o.] NOTES, ACT IV. l8l

!• 15. S^al^en for fangen is now used in poetry, and in higher diction
only.

1. 17. ?PunftU(]^ — treffen, overtake them with terrible certainty,

1. 20. 95or Slnbcm, before all others^ i.e. 'particularly.*

1. 21. In speaking of Egmont^s conduct after the arrival of Alva,
Motley sa3rs : ' He affected, and sometimes felt, a lightheartedness
which surprised all around him * (Rise of the Dutch Republic ^ ii. p.
119).

1. 25. SKetflici^e, manifest ; notable.

1. 28. The word rafd^ is here elliptically used ; say quick to work] un^
toiber SBi((en, against our will.

1. 29. 3emanb lleHen is an idiomatic expression for to retain^ or deliver
up J any one.

1. 30" 5)icnftfcrti0, say officious. Sl^nen graut'^, they are overawed ;
full of dreqd.

The term ^oUtifti^ is here used in the sense of bi^)tomatif(]^f(UQ, or
fd^lan^ say therefore diplomatically,

1. 31. 5Ji;nQftlid6 is here synonymous with Slngfl ^crratl^cnb, i.e.
betraying anxiety, and may be rendered, timid,

P. 80, 1. I. @ingeln, here individually.

1. 2. ^dlt — oib, they are prevented by their public-spirited character y
viz. by that spirit which bade them act in common only.

1. 3. Silva*s description of the general feeling and behaviour of the
Flemish nobles is based on historical facts.

1. 7, etc. S93a0 — giebt, something which gives ground for anxiety atid
thought.

1- 9. $(beln is here used in the sense of to distinguish.

1. 13. Egmont's confidential and private secretary was a Flemish
nobleman of the name of John van Kasembrood, Seigneur de Backerzeel.
He was supposed to be in possession of papers which would implicate
Egmont. The importance which Alva attached to his capture has been
effectively pointed out by the poet, in making the Duke, who was so
curt and precise in his orders, mention the secretary twice : viz. here and
p. 79,1. 13.

1. 17. ©aUrie is by some authors spelt with double \.

1. 19. !3(^ — ^Q^tl, I dare not confess it to myself.

1. 21. @inn«lb, here thoughtfully,

1. 22. (Sd^alen stands here for SBagfd^alen, scales.

1. 23. 3un()(ein (of scales), balance beam.

1. 25. ^n^tlfau^it, breathed on ; moved.

1. 29. @d — gegcbcn, all has become quiet ; it is quiet everywhtrt^

lg2 EGMONT. [P. 80-81.

1. 30. (Stra§' auf @tra§ ^, up and down the streets,

1. 31. fatten— atlQeftjannt, keep the fear in such restraint.

P. 81, 1. I. I^i^peln denotes here to whisper,

1. 2. The clause toenn— leudjtct, which hardly admits of a literal
translation, unless (eud^tet is rendered, * flashes/ signifies when distant
lightning announces a storm,

' 1. 7. 9lol^e0, here unbroken. $)a0 — ^mu§te, which J could not help
praising. Cp. the Grammatical Note to p. 7, 1. 12.

I. 8. @in $fcrb gurciten, /<? ^r^a^ a horse, — The words put here in the
mouth of Egmont, and which contain in themselves only a harmless,
though careless remark, admit of a malignant interpretation ; since they
can be so construed that Egmont wished to intimate his intention to flee
the country, or rather that he expected an outbreak.

II. 13, 14. Goethe has here recorded an historical fact which we think
best to give in the words of Motley. * The Grand Prior, Feijdinando de
Toledo, natural son of the Duke, and already a distinguished soldier,
seems to have felt a warm and unaffected friendship for Egmont, whose
brilliant exploits in the field had excited his youthful admiration, and of
whose destruction he was, nevertheless, compelled to be the unwilling
instrument. For a few days accordingly, after the arrival of the new
Governor- General, all seemed to be going on smoothly. The Grand
Prior and Egmont became exceedingly intimate, passing their time
together in banquets, masquerades, and play,* etc. {Rise of the Dutch
Republic^ vol. ii. p. 1 20.)

1. 17. 2)er — licfcrtc, which brought about her sudden aitachmcnt to
me.

1. 20. SSilbfam, docile.

1. 21. ^ie0 leit^^tftnnige, etc. i. e. his lightminded affection for
Egmont.

P. 82, 1. I. 3Ba0 fLnnji bu, iJohat do you intend to do?

1. 5. Translate bad ®ro§te, bad ©cl^cirajie, the weightiest ^ the most
secret matters.

1. 7. The sentiment expressed here by Alva is not a poetical invention,
as seems generally to be supposed, but b based on an historical fact.
The Duke seemed to have a special predilection for his son Ferdinand,
* for whom,* to speak with Prescott, * the father showed as much affec-
tion as it was in his rugged nature to feel for anyone.* {Philip II, vol.
ii. p. 143.)

1. 9, etc. $(ud^ ben Sinn, etc. i.e. he should like to transmit to his son
the faculty of expressing himself of commanding^ and of executing.
Thb somewhat puzzling clause seems to contain a gradation of which

p. 82, 83.] NOTES, ACT IV. 1 83

the verb au^gufu^ren is the climax; for Alva expresses his wish to
bequeath to his son a grand inheritance (ein QTO^ed (Srbt^eil . • • JU
iHtlterkffen) by implanting in his mind all the elements requisite for
distinction in this world, viz. the capacity of expressing his ideas in a
clear and concise form, of conmianding with proper emphasis, and ^
lastly of executing his command with suitable energy ^.

1. II. 2)en braud^barjicn may here be rendered a most useful.
Goethe not unfrequently uses the form of the relative superlative for
the absolute superlative ; which usage will not be foreign to classical
scholars.

Alva shows by the present assertion his great loyalty to Philip II,
which, however, did not save him from eventual royal disgrace and
banishment.

1. 24. @in unbcbeutenb S3latt, say some piece of paper.

1. 28. SScrtoa^ren, here to secure.

P. 83, 1. 4. According to history the Prince of Orange had left the
Netherlands before Alva's arrival. He was afterwards summoned by the
* Blood Council,* to present himself at Brussels, and answer the charges
against him. It is needless to say that the Prince did not obey the
summons ; he sent, however, a brief reply in which he contemptuously
denied the jurisdiction of the Council.

1. 8. Cp. p. 80, 1. 19, etc. where Silva expressed his foreboding that
he fears things will not turn out as Alva hoped.

1. 1 3. @0 XViiti, say moves on.

1. 16. 9lacJ^^oUn, here to retrieve.

1. 19, etc. 3Bc]^i:' — f^lDanft, I can scarcely prevent the reasons for and
against from floating anew through my mind. SBcl^rcn is here used in
the sense of to forbid. The pleonastic negation toel^tett . • . ni(6t occurs
rather frequently.

1. 23. JDen ©einiQcn, his friends ; his partisans.

1. 24. BtDingetl should here be rendered, to coerce^ in order to retain the
true distinction between that verb and the noun UttbeglDingUi^er (I. 25),
indomitable ; uruonquerable.

^The distinguished critic Heinrich Diintzer says in his commentary, with
reference to the above clau^, that the juxtaposition of the three verbs it
contains appears to him wunderlich^ and in a private communication
on the subject he informs me that he adheres to his opinion, regarding
the superfluity of the verb auszudriicken. He surmises that Gpethe forgot
to eliminate it from his MS.

1 84 EGMONT. [P. 83-85.

1. 29. iBoo^topf, lottery-urn^ i. e. the vessel from which the lottery-
tickets are drawn.

1* 30. 3u9ero((t, rolled up, i. e. as the tickets generally are in the
lottery-vase. Xteffet, for prize, has been primarily used of winnings
in the lottery only. The expression %t\!jUx, for blanks is not so nsnal
as 0iietc.

P. 84, 1. I. Unb — lltdjt, and did it not start at the scent of blood. —
This remark is founded on the popular superstition that horses start at
places where blood has been shed, or which are to be the scenes of
bloodshed. Cp. Lord Hastings' speech in Shakespeare's Richard III
(Act iii. Scene 4),

* Three times to-day my foot-cloth horse did stumble,
And started, when he looked upon the Tower,
As loth to bear me to the slaughter-house.'

1. 5. ^lopfen, here to pat,

1. II. SEic — toiH, as best I may. — This part of Alva*s speech (as far
as l^aben, 1. 14) is addressed to Ferdinand.

1. 14. That Orange was considered the greatest and most dangerous
enemy of the King is a well-known historical fact. It is related that,
when Cardinal Granvelle was told at Rome that * the Taciturn,* as he
used to call the Prince, had not been arrested, he exclaimed, * If Orange
has escaped, they have taken nobody ; for his capture would have been
worth more than that of any other man in the Netherlands.*

1. 18, etc. The profession of loyalty in the mouth of Egmont is here
very characteristic. It emphatically expresses his unfaltering devotion
to the King under all circumstances.

1. 23, etc. The question whether William of Orange is also coming
and Egmont's assurance that he expected him in this place, shows his
infatuation, and that he delivered himself without guile into the clutches
of his enemy.

1. 27. ^rdftig mittt)irFen, work vigorously with us.

1. 29. It would seem that Egmont was justified in attributing to the
Duke a more correct knowledge of the state of the country, inasmuch as
he had distributed his troops throughout Brussels and other principal
cities of the Netherlands, and kept, besides, a number of spies in the
country.

P. 86, 1. 7. SKa^t, might; weight.

1. 15. The import of Egmont's speech is contained in the Regent's
last letters, alluded to before, which she addressed to the King from the
Netherlands.

1- 1 1' Surudgcbannt is a very expressive term ior forced back.

p. 85, 86.] NO TES, A CT IV. 1 85

11. 18-22. Alva is reported by Strada (i, 285) to have concluded his
speech at the above-mentioned meeting of the State Council at Madrid
with the words, * That the rebels do not harbour less ill temper because
they appear calm for the present ; and their rebellious spirit is sure to
rise again, when the fear of punishment has passed. For even venonaous
serpents can be handled with impunity during the winter ; not because
they are not poisonous, but because they are torpid. And it is a well-
known fact that heresy does never sincerely subside into quiet.* {Nimi-
rum exploratum jam esse numquam bona fide haeresim mansitescere.)

1. 27. 2Bir — fcttcn, surely y we are not to persuade ourselves,

1. 29. Slu^fd^rciBen, here to proclaim. —The advice to have recourse
to clemency in order to pacify the country, was repeatedly given to the
King, and even the Kegent urged Alva to proclaim a general amnesty,
as the only way to restore quiet. (Prescott, Philip 11, vol. ii. 182.)

P. 86, 1. I, ©ingc— toieber, would remain (lit. move about) free and
unmolested.

1. 2. ^ViXa Bcreitcn S3eifriel, an encouraging example.

1. 4. Unfinn may here be rendered, yZ>//^ ; and Xrunfen^eit, infatuation.
The latter term denotes lit. * drunkenness,' but is also used to express
an exalted state of the mind, by • infatuation.*

1. 7. The clause SBaren Jtotligc, etc., is elliptical, and bears the
meaning of were kings not safer in following a policy of mercy ?

1. 8. The expression 3Belt has, in combination with S^ad^ttJett, the
meaning of SWitlCCit, i.e. * contemporary age'; 'one's contemporaries,'
and forms in that combination an antithetical expression, which is difficult
to be rendered into another language, both literally and elegantly. In the
present instance the expression tocn 3Bclt ttllb 9la(!^tDeU may be freely
rendered, dy their own age and by after-ages , or by their own age and
posterity.

1. II. Sl(0 — fottte, to be offended by every idle blasphemy. — The sen.
timent, expressed here by Egmont, is based on a remark which the
Regent made to her brother, in her last letter from the Netherlands, in
which she urged him to use the royal prerogative of mercy ; and which,
as Strada (i, p. 305) reports, concluded with the words, *I pray and
implore your Majesty that, mindful of divine clemency and of your own,
and limiting your vengeance to as few as possible, you would prefer the
repentance of your subjects to their punishment.' {Majestatem ego tuam
oro obtestorque, ut dementia divines ac tuce memor, ultione in quam
paucissimos contrcuta, tttorum panitentiam, quam poenam malis.) The
letter alluded to, which is given verbatim in Spanish, in the Correspon-
dance de Philippe II (i. p. 603), actually contains the foUa^vw^^^"v^i^s^^

1 86 EGMONT. [P. 86, 87.

passage: *Your Majesty should remember that the greater kings are,
and the more they approach God in station {y se aceran mas d Dtos),
the more they should strive to imitate the divine clemency and com-
passion/

1. 15. W)Uf}mn is here poetically used for alitotn'^m, io avert.

1. 16. This statement fully characterizes the uncompromising character
of Alva, whose vindictiveness was without bounds.

The expression ungeftraft . . . jld^ frcucn is here poetically used for to
enjoy impunity.

1. 21. gtud^tcn, bring to a place of shelter ; save. Cp. with reference
to Egmont's statement p. 78, 1. i, «.

1. 24. 02at^ unb X^at is an alliterative expression signifying counsel
and aid (lit. * deed *). Cp. p. 10, 1. i, «.

1. 27. Bufcl^en, here to contemplate quietly.

1. 28. @tU)a einmal, etc. now and then strike about us, as in a
pantomime (lit. carnival's play), so that there should be some noise. — It
is perhaps not too far-fetched to assume that the present simile contains
a satirical remark on the absurd practice, in certain carnival's plays or
pantomimes, of harlequins, running to and fro on the stage, and striking
each other with their swords of lath, without any one knowing why and
to what purpose, unless it be to make people forget the absence of all
action in the play.

1. 30. The verb ]^ei§cn is in this phrase equivalent to fein.

1. 32. Alva's reproach refers to Egmont's temporary persecution of
the ^ heretics,' and his subsequent indulgence towards them. Cp. p. 41,
11. 10-18, and the notes referring to that passage.

P. 87, 1. 3- 3? JU miibeuten, may be misconstrmd.

1. II. I^ebett may in the present alliterative expression be rendered,
soul. — Egmont's speech is a complete summary of the grievances of
the Flemings, and, in general, a repetition of the complaints of the
citizens in the opening scene of the drama. That Philip the Second's
scheme was to become absolute King of the Netherlands, over which he
ruled only in his capacity of Duke, is well known from history.

1. 12. Xep^jid^ denotes here, piece of tapestry.

1. 13- ^Xi\^\<xq^, design \ aueUntt, devises; plans.

1. 15. ®tmxHtn ^tidltn, embroidered symbols.

1. 16. ©ic berucfen, translate to ensnare them.— The verb htxiidtn was
primarily used for * to entrap,' or * catch beasts and birds in a snare * ;
hence the figurative meaning *to ensnare.' The dramatist Gryphius
(1616-1664) uses the same expression with reference to the abuse which
is often made of religion for worldly purposes^ in saying : SBeil (n) obtl

p. 87-89.] NOTES. ACT IV. 187

bie Sfteligion unt> bercn SSorf^ufcunQ bcr fi^crflc SBeg iji ben $obeI ju
beru^en.

1. 21. @in boppelted 3o(!^, namely, that of political despotism and of
religious intolerance.

1. 23. SJ3cr'^ re^t tjerjldnbe, if {it were but) rightly understood.

1. 30. JDcm 9lad^fien^ his nearest concerns,

1. 31. Uncin^ loerben, to disagree ; to quarrel.

1. 32, etc. ©incttQen, figuratively to coerce ; to restrain.

P. 88, 1. I. J^alten is here used in the sense of bel^anbeln, to treat.

1. 4. ^Otttttlt— SSerjianb, does a king attain to mature reason.

3u SScrfianbe fcmmen is properly the equivalent for the familiar
phrase, * to come to years of discretion.*

1. 5. Unb— liebcr, and should the many not prefer. — Egmont pleads
here the superiority of a representative government over that of an
absolute monarchy.

1- 7, etc. 2)a0 — altcrt, that class of people who grow old under the
eyes of their master y viz. the courtiers v^'ho spend their whole life in the
vicinity of the king, on whose will they entirely depend. The adv. tool^l
in the next line is used with the ironical signification of I presume ; I
dare say.

1. II. Unb barutn, i. e. because the courtiers themselves are deprived
of all independence, they do not like to leave others to their own
guidance. Cp. Schiller's Histor. Skizzen, p. 15, 1. 25, etc.

1. 1 3. etc. (S0 gel^t, etc. it won't do ! It will never do !

1. 14. In the idiomatic phrase, @r ifl loertl^ ®otte^ SBoben p Betrcten,
which expresses that a person is worthy of the life he has received from
God, the word SBoben stands for (Srbc

9{unb fur ^^, complete in himself — {Ruilb is figuratively used for
* complete,* i. e. like a circle which is complete and perfect in itself.
Cp. the term rotundus^ in teres atque rvtundus, Horace, Scd. ii. 7. 86.

1. 18. This description of the Netherlanders by Egmont is partly
based on that given by Strada (cp. i, p. 26), and by other authorities.
Even Charles V said of them * that there was no people who detested
servitude more than they did, and that they could only be gained over
by kindness'

1. 29. Slblemen, signifying lit. * to leam anything by quietly watching
any one, or listening to him,* may here be rendered, to study,

P. 89, 1. I. The form Uneigcnnu^igfcit is more usual than Uneigennuft.

1. 6. (Staat^einrid^tung, government of a state.

1- 7- 3eitfol0e, course of time.

1. II. <&(^lupf»infel, loopholes.

1 88 EGMONT. [P. 89-92.

1. 13. The verb fann should be placed in the English translation before
fic^ tterbergen, and bur(^fc6lei(3^en rendered, slink through.

1. 23. 9la(]^flen may here be rendered, relatives, ox kindred ; for which
rxpressions it frequently stands ; besides, it seems to contain an allusion
to the appointment of the Regents of the Netherlands, who were all
relatives of the rulers of the country. Cp. p. 39, 1. 11, etc.

1. 34. On fd^alten unb walten see p. 34, 1. 11, «.

1. 28. X)urcJ^— gebenft, should wish to rule by himself.

P. 90, 1. 3. ®einen may here be translated, of his^ to be placed after
the equivalent of S3 ruber.

1. 10. Unbcbingten, here uncompromising. The reproach of rapacity
is aimed at Alva. Cp. p. 78, 1. 23, n.

1. II. ®d^run0 is the spelling adopted by Goethe and Schiller; it is
now frequently written without an 1^.

^\t — auflofic, which would not easily die out (or * cease *) by itself.

1. 18. The expression \d\\{ feincn SBifUn, lit. * wills his will/ is very
emphatic, asserting, as it does forcibly, that the King is determitied to
hazr his 7f'/7/, or zvhat the King wills , he wills. Alva wishes to make
Egmont understand that the King's will is supreme, which notion has
been strikingly pointed out by the emphatic repetition of the word Jtonig
in the present speech.

1. 27. Supply is to be done, after the equivalent of t^ad.

1. 32. ^cmutfi, spirit. Cp. p. 7, 1. 29, n.

P. 01, 1. 2. ^fit— Gi^nenficit, /A^ innermost core of their individuality.

I. 3. etc. (Sr tt>iU f!e, etc i.e. the King wants (first) to crush them en-
tirely, in order that they should (then) become something — but something
quile diflfcrcnt

I. 13. The word argumeni may be supplied before,^ (Sut), and
tlUX^j^UvKbCtt in the next line rendered, to dalance.

K iS. Cb tr ft*, etc, ^'hfther it is to stoof down before the fa/lit^ axe,
vtr> it must be indifferent to a noble-minded man, whether he sabmit to
an ignominious N*oke or suffer death.

t 25 rrittvVttb mad^t. nr/^^rsrN/s . . . oj $irgm/, — The verb ma^ra is
hcrr ws<xl in the sense of bantdUit.

P. ^a. I. 7, Ullb an ^7ftJ bnngafxr m^^ntstri^MSA'iHsafiomagm'nst
I '#.-///•■— The ad\*rrb yvKimvt in the next line may be rendered, ma/ig-
v,:.^«V. v-^r stt \is •<r*3>X<Tfj>r.

I 1 .^. ^ttvWborfn ileiunc5 fij^ratively A- /*• offA-i^ ^or • devoted '> to.

I. 12. etc '^cNnt'- '^tttUt / "Yfs'v/n'^ tkis disfmfe, Tt$ fyzin,
My ,; •','*• >,T«,-'v4-^. ^oirfcn. in I. 14* denotes A? *i\vm/^isk,

I 17. IV.utxtT vjuotw vrith Rhrreacc to the pnesent soeut between

p. 92-99-] NOTES. ACT V. 1 89

Egmont and Alva the opinion of the literary historian and publicist
A. H. Miiller, gall bic gangc mobcrnc (Staat^toet^l&eit l^at tii^tcJ J&ol^erc^
a(^ biefc Untcrrebutig aufgutocifcn.

1.22. ^^ytx, S3iy for this purpose, ^ttvi^tvi, summoned.

1. 30. The dramatic version of Egmont*s capture differs in various
circumstances from history. See Historical Introduction, p. xlv, etc.,
and Schiller s Historische Skizzen, p. 22, 1. 12, etc.

Act V.

F. 96, 1. 4. In some editions the name of «^(are has been changed into
the diminutive ,Ktdrd6cn in this act only ; whilst the original edition has
the latter form also in the third act, and some editions adopt it through-
out the drama.

1. 5. fiicl^d^cn, etc. dearest, for hecever^ s sake, what will you do?

1. 7. Clarchen thinks that Brackenbnrg cannot know the disposition of
the people, else he would not despair of their readiness to help Egmont.

1. 22. S^id^t — ttjcd^fetn, not lose time in idle talk.

P. 97, 1. 6, etc. 2)en $)olc]& gucf en, to lift the dagger. SKit—AtlgfUi^cr,
as twilight grows darker ^ my anxiety increases.

, 1. 8, etc. ^\i fd^ncUcm Sauf, by a rapid course, i. e. by hastening from
one part of the town to the other.

1. 12, etc. uBerfdftttjemmt, say overwhelmed; erbrucft, crushed.

1. 1 3. SBa^ has here the meaning of toie.

1. 17. Sim frcicn Jpimmet, in the open space of the heavens.

1. 18. SBie ift $)ir, say what ails thee?

1. 25. SBa^ foH ba^, may here be rendered, what does thai mean? or,
what do you mean ? the verb l^eif en or Bebeuten being understood in
German.

P. 98, 1. I. 3l&n . . . JU erringen, to obtain his freedom.

1. 10. (Seine $ferbe flatten, say the noise of his horses* hoofs,

1. 12. 5wT^r niay here be rendered, there shot.

1. 21. @inen gctodl^ren taflfen signifies to let any one have his own will ;
to let any one go on as he likes.

1. 26, etc. 93on biefer, etc. i. e. no hope can remove the dreadful cer-
tainty from her mind that Egmont was doomed to death.

1. 29. .^onnt — toiebetjinben, you cannot collect yourselves ; you are no
more your former selves.

P. 99, 1. I. The verb (eBen is to l>e understood after toerbet il^r.

1. 2. Both Sltl^em and ^aud^ signifying * breath,' the phrase will be
rendered more emphatic in English by translating ^\i feincm ^\^tm,,
with his last brecUh.

190 EGMONT, [P. 99-101.

1. 6. 'tudfifci^ctt, say treacherous,

1. 8. ©rfuHcn, to fulfil what has been requested, i. e. to grant.

1. 10. 3Karf is used figuratively for manly strength^ or strength in
general.

1. 15, etc. SBel^rtod, unarmed^ may be placed as an attribute before
5a^ne. Translate ttjcl^enb, waving.

1. 25. iiBct eitianbet, one above the other \ l^aBcn—Qetlirft, they stood
scraping and bowing. — This passage, and partly the one contained in
11. 7-15, p. 98, will remind the reader of the speech of Marullus in the
opening scene of Shakespeare's y«//«j Casar, viz.

•Many a time and oft
Have you climb'd up to walls and battlements,
To towers and windows, yea, to chimney tops.
Your infants in your arms, and there have sat
The livelong day, with patient expectation.
To see great Pompey pass the streets of Rome,' etc

1. 27. SWod^tctl — 0cl^n, they might turn aside from his fall.

1. 29. 2)ic — griff' t, who used to doff your hats.

P. 100, 1. 2. 2Be0C unb @te0C, all the ways and pcLssages. Cp. p. 10,
1. I, ».

1. 3. @itten Sltifd^tag geBeti, to suggest some plan.

1. 14. Cp. for Vivat p. 5, 1. 23, n.

1. 18. 2)a — ifl, in the hour of need,

1. 23. 2)ie — betratfl, where you appeared only on Sundays.

1. 24. iibcrtricben el^rbar, with excess of propriety.

P. 101, 1. 5. SBtnig, here readily ; fid^ fenfeit, to descend.

1. 7. The myrtle is the classical symbol of the youth and love of
Aphrodite.

1. 8, etc. The clause tcid^t — atl^tnenb, etc. may be rendered rather
freely, with the light breath of healthy childhood.

1. 9. ^ufquenen is here used as a poetical expression for to grew.
The expression of healthy growth^ to be placed after jtnabe, would
perhaps be an appropriate rendering for the attribute auf(fUeUettbeT.

1. 10, etc. 5ljl — bcnjcgtctl, the boughs and tops of trees swayed and
creaked ; innerfl ... ber .^ertl, the inmost core.

1. 14- Sflafd^en, which denotes primarily 'to taste some dainty by
stealth,' is here used in the sense of to gnaw (tiagetl), to which latter
expression it seems allied.

1. 15. @ie ubertcinbet, bie, etc. This inverted mode of construction is
sanctioned in poetical diction only.

1. 17. Jtrad^etlb unb jerfAtnettemb, crashing and shattering.

p. 101-102.] NOTES. ACT V. I91

1. 18. ®U\^ — toeQQetoicfetl, chased . . . like bubbles y from thy mind,

1. 20. 2)ie — niebertreibt, which in a thousand shapes ebbs and flows
within thee,

1. 21. SBegegnet, approach ; appear,

1. 22. SBed^fclnbcn 93ilbern, varying forms.

1. 23. Render ©ejlalten, shapes , and ^mt\^i^% familiar '^ <Du gelaffeu
leBtefl, thou didst calmly associcUe.

1. 24. JDetn — fcl^nt, whom the sound heart yearns to encounter in
emulation (emulonsly). — Egmont affirms that he does not fear the
impetuous foe — sudden death — with whom to grapple in emulation is
the desire of a healthy spirit.

1. 26, etc. SSorbilb, image ; symbol. Unleiblid^— auf, how intolerable
wcLS it to me, even when secUed upon — .

1. 29. Wi'xi — uberlcQten, in constantly recurring discussions.

1. 30, etc. Render here ^aiUn, rafters, andmid^ erbrucften (cp. 102, 1. 1,)
oppressed me. — Egmont describes here graphically the oppressive feeling
of anxiety which overcomes a person, accustomed to move freely in the
open air, when constrained within narrow walls. It is not quite
impossible that Goethe describes here his own reminiscences of official
life.

"P. 102, 1. 2. SKit, etc. with deep-drawn breath,

Unb frifd^ l^inau^, and we hastened away,

!!• 3-5* 2)a — Uinttjittcrn, to the place so befitting {meet) to us : into the
open field where all the surrounding gifts of nature, exhaling from the
earth , and all the blessings of the stars floating through the air, hover
round us. — We deemed it expedient to give a full translation — keeping
it as literal as possible — of these lines, which offer, like several other
passages in the last scenes of the present drama, almost insurmountable
difficulties to foreign readers of German.

1. 7. ,Krdf tiger — tei§en, we spring aloft invigorated, — ^This simile
refers to the giant Antaeus, the son of Poseidon and Ge (Earth), who
was invincible so long as he remained in contact with his mother Earth ;
so that, when any one succeeded in throwing him to the ground, the
earth-bora giant rose with renewed vigour.

1. 8. Render here SBegier, desires, and aKen, every,

1. 9. SSorgubringen, to press forward \ gu erl^af^cn, to grasp,

1. 10. 2)ur4>, may here be translated, in, or bur^ . . . glu^t, rendered,
pervades, or animcUes.

1. II, etc. Slngcbornc^, native-, at(e, here whole; fid^ antnagt, asserts,

1. 14. SSerberbenb flrcid^t, destroying all, sweeps ; which words should
be placed after the equivalent of unb in 1. 12.

igz EGMONT. [P. 102-104.

1. 15. The whole of the above passage from Unb fttW ^inaitd, etc.
(1. 2), down to the present line, contains a poetical description of the
exuberant feelings which are entertained in the open air, by persons
endowed with a poetical mind, striving spirits, and an energetic impulse
for action.

1. 16. 2)u bifl, etc. This cefers to the soul-elevating enjoyment
described in the preceding passage, which enjoyment is now a mere
image, a dream of past happiness.

1. 18. The clause 93etfa^t — gonttett, which offers some difficulty for a
faithfuU literal translation, may be rendered, does she refuse to grant
thee to meet suddenly never-dreaded death, in open daylight.

1. ao. 3m efern SKober may be rendered, in this loathsome foulness,
or rather freely, in these loathsome mouldy walls.

9Bie— an, etc. what a rank odour it Cviz. the mouldiness and the
foulness of the air) exhales from these stones I

1. 21. Render here {larrt, stagtuztes, and )}ot . . . f^eut, in the next
line, shrinks from.

1. 24. 93or bcr 3«it, beforehand, i. e. lefore the murder is actually
perpetrated. Sag ab, in the next line, may be Ttnditxe^, forbear.

1. 26. Egmont addresses here to himself the reproach that it is not his
fate (ba^ ®(u(f ) which makes him insensible to any hope of rescue, but
his own doubt, ©titcf denotes also 'fate* in general. Some explain,
however, the present passage in a different manner ; namely, by under-
standing the word @lu(f to have the usual signification of ' happiness.*

1. 29. It is an historical fact that the Regent held Egmont in very
high favour.

1. 30. 9euerbt(b, lit. * fiery image ' ; * phenomenon,' i.e. meteor.

1. 32. The rendering deznse some daring scheme, will, in general,
convey the meaning of the poetical expression toagenb finnen, which is
quite appropriate to the thoughtful and dauntless character of Orange.'

P. 103. 1. I. Unb— ®ci»a(t, and with gathering tide of power.
Egmont hopes that the people will assemble in numbers, and in doing
so their own ranks and numbers will swell.

1. 3, etc. Translate ftdltct . . . ab, shut out, and kool^Igettinnte^
JDrangtn, weU meafit thronging.

1. 5. 'Scnft — ergoj, used to spread ever ijnspire) them.

1. 1 1, etc. @^?aUcn fi6, etc. are cleft open ; the bars are bursting.

1. 13. ^teigt . . . frcblicb cntfltgen, un II joyfully walk forth to meet
{the).

I 30. UnjUVtrUfilflfett, untrustworthiness.

P. 104, 1. 3. The expression ben aUaemtinWanntfn, denoting literally

p. 104-106.] NOTES, ACT V. 1 93

' the universally acknowledged,' or * appreciated,' may here be rendered,
rather freely, a nation's favourite.

1. 1 1 . $J)ir — nid^t^, to help thee I am powerless,

1. 17. 3Kir fclbfl bctoujt, conscious of my own self

1. 19, etc. Olcgt— Jtrdftc, separated from thee^ her last powers grapple
with the agony of death.

1. 20, etc. 3d6 — l^uftcn, say / hear a stealthy step — a cough.

1. 33. J)ie ndd^tlid^C %\xiX, the door at night.- Mark the use of
ndd^tlid^ in the present combination, to which analogies may be found
in Goethe's 3)u Worgenblid^er Sungling {Pandora, Act i) ; in Uhland's
abcnbli^cn @drtcn (in the poem Ritter Sankt Georg) ; and in the
Vesper tinum pererro forum f by Horace {Sat. i. 6).

P. 105, 1. 3. 3)e^ ^tmen cingigc^ ^^^i, the poor man's one ewe lamb.
This biblical simile is founded on the parable in 2 Sam. xii. One would
expect in this sentence the adverb l^inuber instead of l^erubcr, which
latter term denotes a * direction towards the speaker ' ; but Brackenburg
transfers himself, as it were, to the place of the subject spoken of.

1. 5. The poetical expression flof . . . t)on XoXx Itiebcr will perhaps best
be rendered, ebbed away from me.

1.6. 3u verfd^inad^ten, here to die away.

1. 14. 3)en J&errlid^cn, say the glorious hero.

1. 15. ingflti^ im @d^(afe, in anxious slumber. — The general feeling
of the people, as described by the present speaker, is in accordance with
history.

1. 17. The pronouns referring to the collective term 3Sotf, are not un-
frequently used in the plural. Cp. p. 47, 1. 4, n.

1. 23. <B\&i rcgt, ssiy yearns.

1. 25. ffianbcln is a poetical expression for to walk; move ; here it may
be rendered, to approach.

1. 30. (Sin <S^re(fnifl, lit. * a terror,' say a terrible spectacle.

P. 106, 1. 2. (S(ijdrfen, here to strain:

1. 3. @tie0 mit . . . cntgegen, there arose before me.

1. 5, etc. 2Ba^ nod^, etc. i.e. to envelope what still remained white
and visible of the wood, by covering it with black cloth.

1. 9. 93orbereitenb iJU begcl^n, to perform in this preparation.

1. 15. 2)iefe ^vXit, this veil, namely, the veil of darkness which
enveloped the hideous birth of night. — The spectres alluded to in the
next line are the horrible visions which Brackenburg had described.

1. 19. ^tttrf^t . . . ^inunter, crashing swallows. — The verb fnirWen
is here used in the sense of ' to crush with a creaking noise.' In this
signification the form getfttitfd^en is more usual, but in this i^la-CA. v<.

O

194 EGMONT. [P. io6-ic8.

would be inapplicable, on account of the adverb l^tttutttet which refers to
fnirfd^en.

1. 21. 5^ en — gefd^dnbet, whom they have desecrated by making him a
witness of their rage.

1. 33. Sofett — 93anbe, bolts and fetters open,

1. 33. Utngie^t — ^d^itntner, sheds around our friend a halo of soft
light. — The whole of this clause from »or to @d(ttnmer is a biblical
reminiscence, based on the deliverance of the Apostle Peter (cp. Acts
xii. 6, 7, etc.). T\it freedom alluded to in the next clause, however,
does not mean * bodily liberation ' from prison, but deliverance from
earthly life. Clarchen, who now sees that there is no rescue for Egmont,
hopes he will be spared the ignominy of an execution by dying during
the night a gentle death. That such is her feeling becomes evident from
the conclusion of her speech*

1. 31. Ungebulbig, in thy impatience.

P. 107, 1. 9. J&ei8 unb, etc. more and more ardently.

1. 13. 3)et . . . in (ld& fagt, embracing.— ^mm . . . ab, receive.

1. 14. Und benn aud^, say it will unite us too. — It is hardly possible
to give, with adequate force, the meaning of the expression benn in this
concise phrase. It properly signifies here * consequently,' but this word
would be too prosaic to be used in the present poetical speech.

1. 33. SBirb . . . nidjt (0^, will never shake off; will never be freed

from. — The meaning of the following clause is, that even the rage

of vengeance will not be able to remove the misery from the present

generation, if Egmont, the man who alone could save the country, has

perished.

1. 34, etc. Sebt— ijl, live on^poor souls, through a time which ceases to
be time.

1. a6. @« jiorft il^r Jtrei^Iauf, its course is arrested.

1. 38. SBic XOXX, etc. i. e. oj we live.

1. 39. Scibe, here bear.

1. 31, etc. li^ebenbigen may here be rendered, life-inspiring; animat-
ing.

P. 108, 1. 16, etc. 93er0eben3— gie^n, it will gather in vain round it-
self the mist.

1. 17. Sffiiber SBiHcn, against its own will,

1. 30. Sflcu leibenb, suffering anew ; with re-awakened sufferings.
®ctte«bilb, here image of the Saviour.

1. 31. SQSagt — l&ert)or, will not venture forth.

1. 33. ^rS^e gel^n, etc. slowly the hands (of the clock) go their
round.

p. loS-iio.] NOTES, ACT V. 195

1. 25. SWid^ — ®raB, the feeling (of the approach) of morning scares me
into the grave. — This sentiment is based on the belief, that ghosts walk-
ing upon earth, must return to their graves on scenting the morning air ;
Clarchen wishing to express that her abode in this world will be over
with the present night, and her doom will be sealed with the approach
of the dawning morning.

1. 30. 2)arf|l, may St \ namely, what he thinks his conscience allows
him to do.

P. 109, 1. 5. (Sie — uBerlaffen, she leaves me, leaves me to myself

1- 7- 3T^t SieBenben, j^ that love,

1. 1 2. SSrinQt ten, etc she will welcSme theewith the whole bliss of heaven.

1. 17. ©d^recfetl^l^anb, dread hand. Cp. Crit. Analysis, p. xxxv.

1. 29. Unj!(i6ern 93(icfe, here wandering glances.

1. 30. SBctd^cn — »orgutu0en, with what deceitful vision do you cotn^ to
startle the half-awakened mind? — Some free rendering of the kind seems
here necessary, on account of the difficulty of translating literally the
expression eincn @d^re(f eti^trautn vorliiQcn, which denotes approximately
* to delude with a dream of horror.' It is in accordance with history
that the sentence of death was announced to Egmont during the night.
As regards the other incidents relating to his tragic end, compare the
Historical Introdtution, p. xlvii ; and Schiller's Hisiorische Skizzen, pp.
28-33.

P. 110, 1. 1 7. Un« ubertragenen, delegated to us.

1. 19. Grfennen denotes, in legal terminology, to pronounce judgment ;
to declare.

1. 20. This brief interruption fully characterizes Egmont's imper-
turbable belief in the protection afforded by the Order of the Golden
Fleece. According to the statutes of this Order, the King could
certainly not delegate any power whatever over the Knights, but Alva
shrewdly and peremptorily declared * that he had undertaken the cogni-
zance of this affair by commission from his Majesty as sovereign of the
land, not as head of the Golden Fleece.'

1. 21. The term ttorgdnQtQer, which denotes 'previous,' and is here a
pleonastic legal expression, may be omitted in the translation.

1. 22. Egmont's Christian name was Lamoral, but Goethe probably
preferred to give him a genuine Teutonic name, which seems, besides,
to have been a special favourite of his. Thus he changed the Christian
name of Faust, which is given as 3ol^ann, likewise into ^einrtd^.

1. 24. 9Rit — Wiex^tVi^, with the break of the day.

1. 26. SKit bem (Sd^wette ttotn fiebcn gutn !£obe gebrad^t toerbeti, is a
legal phrase for to be beheaded with the sword,

O %

196 EGMONT. [P. 110-112.

1. 28. The reason why Goethe omitted the date is attributed by some
to the circumstance, that the mention of the correct date would have
been in contradiction to the course in which the events follow each other
in the drama, and a wrong date would have too much offended against
historical truth. We think, however, that Goethe's sole reason was,
that the mention of any date would have imparted to the sentence of
death the formal character of a legal document, and would have
considerably weakened the dramatic effect.

1. 31. The 'Tribunal of Twelve,' or, as it was also officially called,
the ' Council of Troubles,' and popularly the * Blood Council,' had been
established by Alva after the capturfe of Egmont and Horn * for the trial
of crimes committed during the recent period of troubles.' It was one
of the most arbitrary and informal tribunals which ever decided on the
fate of man.

P. Ill, 1. 2. @ein J&au^ BejIcKen, to set one's house in order y is a
biblical phrase for *■ to malce one's last arrangements before death.'
Cp. Isa. xxxviii. i.

I. 5. 5a£feln is here used for SacfeCtrdger.

1. 13, etc. 3^m — (iapeln, at first they will misper it behind the back of
the ambitiotis man,

1. 20. @e(tc, might assert his worth. — It is a well-known fact that Alva
counselled the invasion of the Netherlands, solely in order to make him-
self indispensable to the King. Cp. Strada, i, p. 286.

1. 24. ^vc^\Xi'^^\X^tit,the owerweeningman. — Conceit and arrogance
were among the principal features of Alva's character.

1. 28. J&eruberciltctl, passed rapidly over ; tog, here feigned,

P. 112, 1. 3. ©tc^en signifies here that the two nations stood there
in anxious expectation of the result ; in which sense the verb is not
unfrequently used in German poetry, in order to express expectant
attention. Translate therefore jianben, looked anxiously on,

1. 4. SQSunfd^ten, lit. * wished ' ; here hoped.

1. 5. Supply the mark after the equivalent of traf ; render bet SWeinigen,
of my countrymen^ and bUtt^Brad^, rent.

1. 6. The causes of paltry envy of Alva against Egmont as given here,
are related by Strada (i, 326), who says: *The people, however, being
guided in their judgment either by their hatred against Alva or by their
love towards Egmont, exculpated the guilty, and laid all the blame on
Alva as liarbouring envy against Egmont, his old martial rival ; and they
said, besides, that he was mortified because Egmont once won from him,
when playing at dice, many thousand ducats, and that later, when at a
public rejoicingf they contended for superiority at a shooting-match.

p. II2-II4.] NOTES, ACT V. I97

Alva was defeated amidst the loud exultation of the Flemings, who con-
sidered the victory, carried off over a Spanish Duke, as a national
triumph.* {Populus tametty sive ex odio in Albanum, sive in Egmontium
amor Cy judicium f evens ^reum absolvebat, culpamque omnem transferebat
in Albanum invidia retinentem adversus Egmontium j veterem belli
cemulum, offensumque super hac memorabant, quod olim alea ludenti
multa aureorum millia victor Egmontius abstulisset ; ac postea inpublica
latitia, dum uterque explodendo ad signum sclopo ex provocatiorte con-
tenderent^ superatus esset Albanus, ingenti Belgarum plausu ad nationis
sua decus refereniium victoriam ex Duce Hispano.)

Cp. also Schiller's Historische Skizzen, p. 21, 1. 8, etc.

1. 8. @rf(^Ieid(enb, by surreptitious means,

1. 14. Jteulfd^ldge^ lit. 'blows with a cudgel'; transl. here heavy
blows, — Ferdinand wishes to intimate that his conscience is clear.

1. 23. Sutrauttd^, trustful.

1. 26. 2)er 5lBfd^euli(i6e, the hateful one,

\, 31, etc. 3(iJ jlcl^e, etc. Ferdinand wishes to express by these words,
that he is so bewildered, that he cannot realize the position of
Egmont.

P. 113, 1. 3. gcblofc^, lit. * lifeless'; here passive.

1. 16. 3n — Xotti, in the grasp {power) of an arbitrary doom.

1. 18, etc. Translate taub, indifferent ^ unem))flnb(i$, callous y ondi t^ —
ftjcKc, happen what may.

1* 23. @tn SlBeib, etc. i. e. a weak woman to whom one addresses
words of sympathetic pity.

1. 24. aOa^ fid^t bi^ an, what troubles thee ?

I. 25. @in — Uebel, a more dreadful calamity.

1. 27. @g XCQX, etc. this (i. e. Egmont's calamity) wcu nothing.

1. 28. ^u, tic. you lose all self-control. What are you thinking of ^

1. 29, etc. 8a6 mid^/ etc. let me lament without restraint.

1. 31. SlHe^ in, etc. 2 am entirely prostrate.

P. 114, 1. 1 1, ^ord^en is here used in the sense of forfd^fn, to inquire.

1. 1 3. The prep. »or, occurring twice in this line, should be rendered
before me.

1. 14. Unb fort, etc. always onward and onward,

1. 16. 2)i4> — bejiimwt, / had destined thee for myself viz. I fixed on
you as my model.

1. 17. @rfl — fcitt, to be entirely with you. The proper meaning of erfl
is here more than ever, Cp. p. 78, 1. 3, n,

1. 20. SBcnn — fann, if it can be any comfort to thee.

1. 22. fD^^ein — fani, my heart was drawn towards thee.

198 EGMONT. [P. 114-117.

1. 27. din leered ©dJredBitb, a vain terror.

p. 115, 1. 1 . 9ludtoeid^enben, lit. * evasive/ may here be rendered self-
deluding,

1. 4. The expressions ^u(fe and (Ratl^ are here made highly emphatic
by means of the indefinite article, which would in ordinary prose not be
required.

1. 6, etc. (So getoaltfam brtngt, be so intent. The term Uebenitad^t
(1. 7) contains here the notion of tyrannical supremacy.

1. 12. @ntfemen tnid^, ^j separate me.

1. 16. $J)ie, say his. — The definite article is sometimes used in higher
diction, instead of the possessive pronoun, before ^afefl&t. Cp. the
verse Sffia« benft bie SWaiefldt \)on S^ren 3:rupj>en? in Schiller's Piccolo-
mini, Act ii. Scene 7.

1. 24. @trengen, here tight.

1. 25. (Sinem ben 2Beg cetrennen is a figurative expression for to bar
the way. The form t)errannt is more usual than t)errennt.

I. 29. 9ll(ed — (ebt, every feeling of joy and happiness which I harbour.
Lit. * all the pleasure of life and joy which exist in (with) me.*

P. lie, 1. 6. 3n — ©etummeld, in the excitement of the fray.

1. 15. The poetical expression jlojfe — S3anben, lit. * would not burst
(melt away) from its bonds,* may here be rendered, but must break.

1. 18. (Sntfagen, here be resigned.

1. 24. Ferdinand expresses by this pathetic outburst, that he loses in
Egmont everything which made life bright to him, and the star which
guided him through life. He feels now like one ' who has lost his light
at the festive joy of a banquet, and his standard amidst the din of battle.*

1. 31. 93eifammen, here side by side.

P. 117, 1. 3. Sffiirfung is here used as a synonym of il^l^dttgfeit, activity.

1. 5. Cp. p. 8, 1. 17, n.

1. 7. ©0 — Suft, so s}jouldyou, my friend^ love life and enjoy it.

1. 17. Egmont was not only warned by Orange (cp. pp. 46-53, and
the note to p. 53, 1. 9), but repeatedly by other friends, more particularly
by Robles, Seigneur de Billy, a Portuguese gentleman, who had before
Alva's arrival returned from Spain to Brussels, and was well aware of the
disposition of the Court towards Egmont. On the very night before his
capture, Egmont was warned by a Spanish officer of rank, who came se>
cretly into his house and 'urged him solemnly to make his escape before the
morrow.* Cp. Motley's Rise of the Dutch Republic , vol. ii. pp. 120, 1 22.

1. 22. ^ied fet, etc. let us leave that cUone. Cp. on Egmont's fatalistic
views, p. 45, 1. 20, etc.

1. 24. Render 3nnerfle«, spirit, and gejogen. drawn on.

p. ri7-i2i.] NOTES. ACT V. I99

1. 25. (Si(i6 cntfd^tagett (©ebatifcn, @crgeti, etc.), to banish.

1. 26. $)od6 — fein, yet she (i. e. the country) will be cared for,

1. 30. Render ju QtuBeln, /^ ponder ; tt)0, w^^» ; and fcK, ^d5».

P. 118, 1. 2. 2a8 — f^in, let my attendants be commended to thy best
care.

1. 5. Egmont's secretary, whose Christian name was Johann, was
executed the day before his master died on the scaffold. Cp. p. 80, 1.
13, n. and Strada, i, p. 322.

1. 10. S3cfd^dftigt, say agitates,

1. 13. Olu^t tief au3, rests in deep repose.

1. 17. 2)en, such a one.

1. 29. ^citicn Slbfd^icb, no leave-taking ; no more farewells.

P. 119, 1. 6, etc. 9Wtd& ungetoig . . . toac^etib l^icU, kept me wakeful by
its uncertainty,

1. 7. SWit — @etoi§l^ett, by its resistless certainty. — As long as Egmont's
fate was doubtful, he was harassed by cares which kept him wakeful on
his couch, but now his fate being decided, all mental anxiety had
vanished, and he only felt the bodily fatigue, the * urgent call of nature.'

1. 10. Ungebctcn, unsought ; unerflel^t, unimplored.

1. II. ^u— ©cbatlfen, thou unravellest the knots of intense thought.

1. 14. Utlb — XOXX, and wrapped in pleasing delirious visions , we are
submerged. — Egmont*s last speech is a poetical description of the
sensation which we feel when sleep gradually overpowers us. The
thoughts lose their definite shape ; the course (^rei^) of our harmonious
feelings moves on without any discordant interruption, and a kind of
pleasing delirious delusion takes hold of the mind.

1. 18. 95 on — utnjiojfen, surrounded by a halo.

1. 22. The bundle of arrows was the emblem of the ' Gueux,* and the
staff with the hat were afterwards the arms of the Netherland Republic.
The latter emblem is shown to Egmont as a kind of prophetic vision.

P. 120, 1. 7. $Dte — @aume^, the floating hem of her garment,

1. 12. Unb — Xot%, and drowning it, sweep it from ths ground which it
usurps,

1. 26. ^o)})}ett taf(^, translate with double vigour,

P. 121. 1. I. %xt\H, i.e. are impelled {by),

I. 2. (5uer Siebfter, thcU which is dearest to you, i.e. freedom.

1. 6, etc. ^oX\X cin, joins in.

1. 7. @te0e^f^ttHjf>onie, a symphony expressive of victory.

APPENDIX I.

GOETHE'S VORZUGLICHSTE SCHRIFTEN
NACH IHREM GATTUNGS-CHARAKTER.

A— IiEBBN.

I. ZuT Selbstbiographie.

1. Annalen, oder Tag- und Jahres-

hefte. 1749 bis Ende 1822.

2. Brief e aus der Schweiz. 1779.

3. Schweizerreise, (Briefe.) 1797.
Italienische Reise. 1 786-1 788.
Campagne in Frankreich, etc.

1792-1793.
Aus meinem Leben. Wahrheit

undDichiung, Bis 1775 rei-

chend. 181 1-1830.
Rtise am Rheiriy etc. 1814-

1815.

4.

5.

6.

7

II. Briefweohsel.

1. Mit Kestner, 177 2-1 798.

2. Mit Koebel, 1 774-1832.

3. Mit F. H. Jacobi, 17 74-1 8 17.

4. Briefe an Lavater, 1 774-1 783.

5. An Grafin Stolberg, 1 775-1 782

und 1 822-1823.

6. An Frau von Stein, 1 776-1826.

7. An H. Meyer, 1 788-1 830.

8. Mit Schiller, 1 704-1 805.

9. Mit Zelter, 1796-1832.

10. Femer Briefe an Merck, Herder,
Wieland, Rochlitz, Grafen Rein-
hard, etc., und Briefe an Leip-
ziger Freunde, herausgegeben
von O. Jahn.

B— POBSIB.

I. Iiyrisches und Didaktisches.

1. Die Hollenfahrt Christi. I'J'JS-

2. Romische Elegien, 1788.

3. Xenien. 1796.

4. Westdstlicher Divan. 1814-1819.

5. Triologie der Leidenschaft. i%2i'

1824.
Vom Jahre 1765 bis 1832 sindvon
Goethe an zwei tausend kleinere, ly-
rische, didaktische und erzahlende
Gedichte erschienen.

II. Episches, etc.

1. Die Geheimnisse. 1785.

2. Reineke Fucks. 1793.

3. Hermann und Dorothea. 1797.

III. Dramatisches.

1. Die Laune des Verliebten. I'jS'j.

(1768.)

2. Die Mitschuldigen. 1767. (1768.)

3. Gotz von Berlichingen. 1773.

4. Cotter, Helden und Wieland.

1774-

5. Stella. 1774.

6. Clavigo. 1774.

7. Faust. Erste Scenen, 1774.

Erster Theil voUendet, 1806.-
Zweiter Theil, 1831.

202

APPENDIX /.

8. Egmont. 1787.

9. Iphigenie. In Prosa, 1779; in

Versen, 1786.

10. Jery und Bately. Singspiel.

1779-

11. Tasso. 1789.

12. Der Gross- Cophta. 1789.

13. Der Biirgergeneral. 1794.

14. Die natiirliche Tochter, 1802.

15. Pandora. 1807.

16. Des Epimenides Erwachen, Ein

Festspiel zum Friedensfest,
1814.

Uebersetzungen :

1. Voltaire's Mahomet. 1779.

2. Tankred. 1800.

IV. Bomane.

1. Leiden des jungen Werther. 1773.

2. Wilhelm Meister^s Lehrjahre,

1795-1796.

3. Wilhelm Meisier's Wander jahre,

1821.

4. Die Wahlverwandtschaften. 1809.

5. Kind und Lowe. Novelle.

Ausserdem eine Anzahl kleinerer
Erzahlungen, Marchen, etc.

C— WISSENSCHAFT-
IiICHES.

I. Biographie und G-esohiohte.

1. Benvenuto Cellini. 1798.

2. Winckelmannund seinjahrhun-

dert. 1805.

3. Zum Andenken an die Herzogin

Amalie von Weimar. 1807.

4. Philipp Hackert. Biographische

Skizze. 1810-1811.

5. Zum Andenken an Wieland.
1813.

II. Literatur und Kritik.

1. Recensionen: —

(a) In den Frankfurter Gelehrten
Anzeigen, 1772-1773.

(^) In der Jenaischen Literatur-
zeitung, 1804-1806.

(r) In den Berltner Jahrbiichem,
etc., 1 830-1 83 1.

2. Anmerkungen zu Rameau*s

NefFen von Diderot, 1805.

Goethe's Aufsatze iiber Literatur
und Kunst sind zu zahlreich um hier
im Detail aufgezahlt zu werden.

III. Kunst.

1 . Ueber deutsche Baukunst. 1 7 7 1 .

2. Ueber Malerei. Nach Diderot.

1708.

3. Aufsatze in den Propylden.

I 798 -I 800.

4. Aufsatze in der Zeitschrift :

Kunst und Alterthum. 1816-
1832.

rv. Zur Natuiwissensohaft.

T. Die Metamorphose der Pflanun.
1790.

2. Bettrdge zur Optik. 1 791-1 792.

3. Zur Morphologies etc. 1817-

1824.

4. Farbenlehre. 1810.

5. Ueber plastische Anatomie. 1832.

Ausserdem eine Reihe von zahl-
reichen einzelnen Aufsatzen Uberwis-
senschaftliche Fragen.

Von den Gesammtausgaben der Goethe'schen Werke sind besonders zu
nennen: (i) Cotta's, 1866-68; (2) Hempel's, 1867-79; (3) Bohlau's,
*im Auftrage der Grofsherzogin Sophie von Sachsen/ 1887, etc

APPENDIX II.

ENGLISH TRANSLATIONS OF GOETHE'S

WORKS.

A— LIFE.

I. Autobiographical.

1. Truth and Poetry. First 13

Books. By John Oxenford.
1846.

2. Vol. II., and Letters from

Switzerland, Italy, etc. By A.
J. W. Morrison. 1846.

3. Campaign in France. By R.

Flarie. 1848.

II. Correspondence, etc.

I. Goethe's Letters to Leipzig
Friends. Edited by O. Jahn,
Translated byR. Slater. 1866.

a. Correspondence between Schiller
and Goethe, from 1 794-1 805.
By Miss Dora Schmitz.

3. Conversations with Eckermann.

By S. M. Fuller. 1838.

4. By J. Oxenford. 1850.

B— POETRY.

I. Lyrics.

1. Poems. With a sketch of Gothe's

Life. By E. A. Bowring. 1853.

2. Poems and Ballads. By W. E.

Aytoun and T. Martin. With
Notes. 2nd edition, i860.

3. Minor Poems. By E. Chawner.

1866.

4. Poems. By Wm. Gibson, 1 884.

II. Epics, etc.

1. Reynard the Fox.

By(i) T.J. Arnold.
(ii) Anon. 1853.

2. Hermann and Dorothea.'

By (i) Holcroft. 1801.
(ii) W. Whewell. 1830.
(iii) M. Winter (in the old
English measureof Chap-
man's Homer). 1850.
(iv) C. Cochrane. 1853.
(v) T. C. Porter. 1854.
(vi) H. Dale. 1859.
(vii) Anon. 1862.

III. Drama.

(a) Various.

1. Stella. Anon. 1798.

2. Gotz von Berlichingen.

By(i) Walter Scott. 1799.
(ii) B. D'Aguilar.

3. Iphigenie.

By (i) W. Taylor, of Norwich.

1793.

ao4

APPENDIX II.

By (ii) G. L. Hartwig. 1841.
(iii) Miss A. Swanwick. 1846.
(iv) G. J. Adler. 1850.
(v) Anon. 1851.

4. Egmont.

By (i) Anon. Boston, 1841.
(ii) Miss Swanwick (6ohn*s

Library). 1846.
(iii) Anon. Frankfort, 1848.
(iv) A. D. Coleridge, M. A.,
(Chapman & Hall). 1868.

5. Tasso.

By (i) C. Des Voeux. 1827.
(ii) Miss Swanwick. 1846.
(iii) M. A. H. 1856.

(Jb) Faust*

By (i) Lord L. F. Gower.

(ii) Hayward. In Prose. 1833.

5th edition, 1855.
(iii) J. S. Blakie. With Notes

and Remarks. 1834.
(iv) D. Syme. 1834.
(v) Hon. R. Talbot. 1835.
(vi) J. Hills. 1S40.
(vii) Sir G. Lefevre. 2nd edition,

1843.
(viii) C. J. Brooks. 2nd edit.

1847.
(ix) L. Filmore. 1853.
(x) J. Gal van. i860.
(xi) Beresford. 1862.
(xii) T. Martin. 2nd edit. 1866.

By (xiii) J. W. Grant. 1867.
(xiv) J. Anster. 1867.
(xv) J. A. Birds. 1880.

Parts I and II.

By (xvi) L. J. Bemays. 1839.
(xvii) A. Gumey. 1842.
(xviii) Macdonald (Part II).

1842.
(xix) Bayard Taylor. 1871.
(xx) Miss Swanwick. 1879.
(xxi) T. E. Webb. 1881.

IV. Novels.

1. Sorrows of Werter.

By(i) A. Gifford (after the
French translat.). 1789.
(ii) W. Bender. 1801.
(iii) F. Gotzberg. 1802.
(iv) Dr. Pratt. 1813. 2nd

edit. 1823.
(v) R. D. Boylan. i854.t

2. Wilhelm Meister's Apprentice-

ship, etc.
By (i) T. Carlyle 1842.
(ii) R. D. Boylan. 1846.

3. German Emigrants, and other

Minor Tales. By R. D.
Boylan. 1846.

4. Elective Affinities. By R. D.

Boylan. 1854.

* There have been published, besides, several anonymous translations of
Parti of 'Faust'

t There exist, besides, six anonymous English translations of * Werter.'

N.B. — There exist also translations of several Essays by Goethe on Art.
His ' Theory of Colours' has been translated by C. L. Eastlake, R.A., 1840.

tflartttkn |ttss Stries

QEBMAN CLASSICS,

Containing carefully revised German Texts, with biographical Notices
of the Authors, historical and critical Introductions, complete Commen-
taries, Arguments (to the Dramas), Indexes, and Bibliographical
Appendixes.

BOITED BY

C. A. BUCHHEIM, HON. M.A., Ph.D., F.C.P.

Professor of German Literature in King^s College^ London

Examiner in German to the University of New Zealand

The College of Preceptors^ the Society of Arts

Sometime Examiner to the University qf London

OPINIONS OF THE PRESS.

I. Goethe's Egmont. A Tragedy in five Acts. Fourth Edition,
revised and improved,

*Dr. Buchheim has done his work thoroughly and well.' — Th4
Spectator,

' Both in form and matter this edition is one that for the use of
English readers may be pronounced perfect. In historical matter it is
singularly rich.* — Pall Mall Gazette.

' It seems to us a model of judicious editing.' — Daily Telegraph, May
lo, 1869.

* A more complete apparatus criticus for this, the most difficult of
Goethe's works, cannot be imagined.* — British Quarterly, July 1869.

* This edition of Goethe's admirable drama is the best we have seen,
and the volume altogether one of the most meritorious of the series.' —
Educational Times, June 1869.

*I have seen enough of the work to be sure that it is thoroughly
and conscientiously as well as ably done. It cannot but be useful and
interesting to all lovers of the great Master of German Literature.' —
From a Letter of y. Z. Motley, Author of the Rise of the Dutch
Republic^

, OPINIONS OF THE PRESS.

n. Schiller's "Wilhelm Tell. A Drama in fire Acts. With a Map.
Seventh, revised Edition.

* There is no work more snitable for Students of German, and no
edition of it so well adapted for English readers as this, which is as
complete and satisfactory in every respect as could be desired. Dr.
Bnchheim has made the edition more useful to classical students by
references to the ancient Classics, and occasional philological observa-
tions.' — The Athenaum.

* The volume before us has been edited by Dr. Buchheim with equal
ability and care as Goethe's Egmoni* It is no small boon to possess an
edition which will not only prove useful to the student, but mteresting
to the scholar/ — Pall Mall Gazette.

* The Tell of Schiller has been edited by Professor Buchheim in the
same intelligent and scholarly manner as the Egmont, His, at all
events, is a first, or the first, considerable endeavour to edit German
Classics in the fashion in which only classical Greek and Latin authors
have been edited.' — The Morning Post.

* In Dr Buchheim, Schiller's Tell has certainly found an interpreter
who has spared neither time nor labour in making clear every difficulty
which the text offers, whether in revealing the deeper meaning of some
obscure or unnoticed passage, giving philological definitions of curious
words, or explaining the numerous popular Swiss expressions occurring
in the drama.' — Educational Times.

' In the admirable Series of German Classics which Professor Buchheim
has been preparing for the youth of England, we find a careful,
comprehensive, and conclusive risumi of all the Tell stories.* — Thi
Daily News.

* The books and documents referring to the Tell legend are in them-
selves a library ; but Dr. Buchheim, in an exhaustive essay prefixed to the
tragedy, has condensed the contents of that library into two dozen most
interesting pages.' — Notes and Queries.

* Diese Ausgaben enthaUen den deutschen Text in mbglichst correcter
Gestalty begieitet von englischen Antnerkungeny die sowohl das sprachliche^
wie das sachliche Moment berUcksichtigen. Dieselben sind duszerst
zweckmdszig angelegt^ in der rechten Mitte zwischen zu viel und tu
wenig* — Blatter iiir literarische Unterhaltung, 23. Nov., 1871.

' Vous avez sauvegardi les droits de la viriti sans nUconnattre ceux de
Vimagination et vous avez interpriti Fun des plus beaux chefs-d'osuvre
inspire par celle-ci avec une sinceriti de sentiments qui montre que Pon
peut allier tout ensemble t intelligence en la poisie et celle de Phistoire*
— From a letter of Mr. Rilliet de CondoUe, author of Les Origines de
la ConfMh'ation, etc

III. Lessing's Minna yon Barnhelm. A Comedy in Five Acts.
Seventh Edition.

* Dr. Buchheim's Introduction and Notes are alike excellent.'—-^//!/-
naum.

OPINIONS OF THE PRESS.

* Dr. Buchheim, as the editor of this series, requires no praise. His
life of Lessing shows his merits as a biographer ; his critical analysis and
his notes give the more than usual proof of his scholarship and sound
judgment .* — Noies and Queries,

* A more desirable book for the thorough-going student of German
literature could hardly be conceived.* — TAe Scotsman,

* Dr. Buchheim*s interesting commentary is well calculated to promote
the popularity of Minna von Bamhelm among students of German.'
— Educational Times.

'There can be do doubt that thoroughness combined with literary
excellence forms the chief characteristic of the series to which a third
volume, the Minna von Bamhelm by Lessing, has now been added.
The present volume is equal in merit to its predecessors.* — Westminster
Review.

* We do think very highly of Dr. Buchheim*s editions, and we hold
that the students of German are much indebted to him for them. . . .
Dr. Buchheim's editions are done with far more care than is usually be-
stowed on school-books, and more than this, they show the scholarlike
treatment which has hitherto been given almost exclusively to the
Classics of Greece and Rome.* — Quarterly JoumcU of Education.*

*A selection from the three chief classical writers of Germany —
Lessing, Goethe, and Schiller — edited for the Clarendon Press Series by
Dr. Buchheim, deserves especial commendation for the clearness and
copiousness of the Commentary, which leaves no verbal or grammatical
difficulty unnoticed, and for the genial and sympathetic spirit of the
biographical notices and introductions to the particular works prefixed
by the editor.' — Saturday Review.

* We cannot imagine the play presented in a more attractive form to the
student than it is in this volume, in which Dr. Buchheim has certainly
done his work thoroughly and well.* — Academy ^ July 21, 1875.

*■ Thanks to Professor Buchheim, Lessing*s Minna von Bamhelm has
become an English school classic* — Pall Mail Gazette,

IV. Schiller's Historische Skizzen. i. Egmont's Leben und Tod.

2, DieBelagerung von Antwerpen, (Printed in Roman type.)
With a Map. Fifth Edition, 9

'Dr. Buchheim has contributed an Historical Introduction and a

body of explanatory Notes which leave nothing to be desired.* — L$t,

Churchman,

* The two works here selected for school use by Professor Buchheim
are undoubtedly most worthy of being adopted in classes . . . The
Professor's Notes are excellent.* — Educational Times, Dec. 1878.

V. Goethe's Iphigenie auf Tauris. A Drama in Five Acts. Fourth,

revised Edition,

* We have seldom met with any work on which such care and pains
have been bestowed, and to the elucidation of which such an amount of
exhaustive criticism and various learning have been applied.' — Educatio-
nal Times,

OPINIONS OF THE PRESS.

* Dr. Bnchheim deserves much credit for his careful edition of one of
Goethe's masterpieces.' — The Spectator,

Professor Paley : — * I have read through with interest and approval
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is altogether well and carefully executed/

Professor P. C.Jebb : — * You have completely succeeded in your task of
making your Commentary valuable and interesting to classical scholars.'

VI. Lessing's Nathan der Weise. A Dramatic Poem in Five Acts.
Second Edition, (Printed in Roman type.)
' It could not have been better edited as a class book than by Dr.
Buchheim.*— Saturday Review,

* One of the most thorough " editors for love " in this country is Dr.
Buchheim, and he has evidently thrown himself heartily into the present
work. . . His introductions are always excellent and here, where they are
especially needed, they are especially good.' — -Journal of Education.

* The Editor's name is a guarantee of careful and scholarly work, with
a practical knowledge of the amount and kind of assistance which will
be of most service to the student.' — Modern Review,

"VII. Heine's Frosa. Being selections from his Prose Works. Second
. Edition, (Printed in Roman type.)
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appended a body of very useful notes, explaining difficulties of language,
and, more often, obscurities of expression and allusion.' — Schoolmaster,

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*■ The concise Commentary is a model of clearness and condensation.' —
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* The biographical sketch of Heine, the account of the Harz district,
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