<f v -v. e . - - L ~ AI ,...4 "{ - ....

?j-. , ., -
r SHAKESPEARE IN GERMANY
IN THE
SIXTEENTH AND SEVENTEENTH CENTURIES:
AN ACCOUNT
ENGLISH ACTORS IN GERMANY
AND THE NETHERLANDS
AND OF THE
PLAYS PERFORMED BY THE!l DURING THE SAME PERIOD.
BY
ALBERT COHN.
l .7
WITH TWO PLATES OF FACSIMILES.
LONDON:
ASHER & Co. 1:1, BEDFORD STREET, COVENT GARDEN,
AND AT BERLlN ~ ::!0, UNTER DEN LINDEN.
1865.
1
PREFACE.
lf the wishes expressed by numerous competent judges may be regarded as a
sufficient. criterion for the utility of an undertaking, I am justified in hoping that
the essay now presented to the reader will not altogether fail of its proposed
object. For some time past, indeed, whoever has had occasion to speak of the
so-called English Comedians and their relation to the old German and English
stages, has always complained of the want of a docmnentary history relating to them.
In the year 1849, having been fortunate enough to make the personal acquain-
tance of Ludwig Tieck, I obtained from him so much interesting information re-
garding the appearance of English Actors in Germany, as to cause the liveliest
desire to follow up the traces of those strolling players. The remarks by which
Tieck in his 'Old German Theatre' first directed attention to this subject in the
year 1817, are calcu1ated to stimulate the student to further investigations in the
same field rather than to satisfy him; and in the historians of literature who have
succeeded Tieck, I have only met with contradictory views, based more on
conjecture than on research. One fact alone seemed to be fully evident: that
the whole subject of the actors, their origin, their objects, and also the pieces
which they performed, was veiled in obscurity. It was the custom to speak of
them as of a myth, in the consideration of which we were to base all information
regarding them on legendary rather than on historical ground. Nor indeed was
there any firm footing to be obtained in the materials which had become known
up to that time. Since then, I endeavoured to throw some light upon the question
in a few scattered articles, which at distant intervals appeared in the Athenaeum.
These were followed up by valuable from other quarters; but quite
recently only a few happy discoveries have put me in possession of materials which
several of my literary friends considered as calculated to give a certain degree of
a
II PREFACE.
completeness to the results of previous researches. In saying this, however, I
must not be understood as intending to state that I believe the subject to be
exhausted in the present essay. So far from entertaining such an opinion, I on
the contrary am well aware that in many parts of my attempt the matter offered
is incomplete, and that I can lay claim to nothing more than having made my
contributions to a structure, the superstructure upon which, I hope, will be con-
tinued by abler hands than mine. Nor should I have ventured to publish matter
thus casually collected, had I not entertained the conviction, that any essay how-
ever imperfect, if throwing any light upon a question connected with Shakespeare,_
cannot be altogether useless. I had also originally intended to avail myself of an
external incident as a motive for the publication of the present pages, and to found
on it a claim to the reader's indulgence, as I had hoped to publish it as a con-
tribution to the Shakespeare Tercentenary Festival; but circumstances over which
I had no control deprived me of this advantage. The work was nearly through
the press, when its further progress had to be interrupted for more than six
months.
Four out of the six old German Plays, the first four pieces of the present
work- which constitute its most important part, were to have been published more
than twenty years ago by the Shakespeare Society in London, as may be gathered
from the list of their intended publications; the Society hnwever was dissolved
without having carried its intention into effect. To these four pieces two others are
added which possess no less interest for the present purpose. In all the six
pieces, here presented to the reader in the original language with an English trans-
lation annexed, the old printed editions or manuscripts have been faithfully ad-
hered to. In the second piece alone, 'The Beautiful Phaenicia' by Jacob Ayrer,
I have confined myself to extracts, because the whole piece, which is extremely
long, contains a great deal of matter entirely foreign to the object of the present essay.
For the translation of these pieces I am indebted to friends, who kindly granted me
their valuable assistance and to whom it is a special pleasure for me to express
here publicly my sincerest thanks. The 'Beautiful Sidea' and the 'Phaenicia' have
been translated by Professor Thomas Solly. Any one who has made the attempt
to give a nearly Jiteral translation in another language of the concise and pithy
style of the German poets of the sixteenth century, preserving moreover the
metre of the original, will be able to appreciate the difficulties of his task, and
will agree with myself in admiring the skill of the translator. It would have been
an easier problem for him to give the verses a somewhat more poetical colouring
than the originals themselves can boast of having. Our object, however, was not
PREFACE.
ill
to offer any improvement on the original, but a faithful reflex of it, both as regards
matter and forin. The translation. of the four succeeding pieces will be found not
to be less meritorious. 'Julius and Hyppolita', as also 'Hamlet' have been trans-
lated by Miss Georgina Archer; 'Titus Androllicus' by Mr. Moritz Lippner; and
'Romeo and Juliet' by Mr. Lothar Bucher.
Documents scattered far and wide, which had hitherto lain hidden in public
libraries, state archives, and similar depositories, were necessary for the intro-
ductory and historical part of the work. For their kind and ready aid in enabling
me to procure such materials I have sincerely to thank several personal friends as
well as other gentlemen whose personal acquaintance I have not had the advantage
to enjoy. My especial obligations are due to Mr. Friedrich Culemann of Hanover,
Mr. Moritz Fiirstenau of Dresden, Professor Hoffmann von Fallersleben of Corvey,
Baron W endelin von Maltzahn of Berlin, Mr. Ernst Pasque of Darmstadt, Mr.
W. B. Rye of the British Museum, Mr. C. W. Sack of Brunswick, Dr. A. Tobias
of Zittau, and Dr. Ferdinand \V olf of the Imperial Library of Vienna.
Berlin, October 1864.
CONTENTS.
PART I: HISTORICAL ACCOUNT.
CHAPTER I.
Early connection of Theatrical Productions in Germany and England. - German travellers in London
and their relation to the Theatres. - English Actors go to Germany and other Foreign Countries.
The places visited by them . . . . . . . . . . . . . . . . . . . . . . 1.
CHAPTER II.
~ n g l i s h Actors at the Court of Duke Henry Julius of Brunswick. - The Plays composed under their
influence by the Duke. - English Actors at the Court of Landgrave Maurice of Hesse. - Other places
visited by them towards the end of the Sixteenth Century . . . . . . . . . . xxxvi.
CHAPTER ill.
Jacob Ayrer and the Plays composed by him under the influence of English Actors . . . . . . . . lxi.
CHAPTER IV.
An account of the English Comedians in Germany and the Netherlands in the Seventeenth Century . . lxxv.
CHAPTER V.
The Plays acted by the English Comedians civ.
PART II: TEXTS .

Comedy of the Beautiful Sidea, by Jacob Ayrer of Nuremberg (about 1595), the only drama extant which
points to the plot of Shakespeare's Tempest . . . . . . . . . . . . . . . 1.
(See also Part I, p. lxviii].
Comedy of the Beautiful Phaenicia, by Jacob Ayrer of Nuremberg (about 1595 ), containing the plot of
Shakespeare's Much ado about Nothing . . . . . . . . . . . . . . . . . . . . 77.
[See also Part I, p. lxxi) ..
Tragedy of Julius and Hyppolita, acted in Germany about the year 1600 by English Players, containing
part of the plot of Shakespeare's Two Gentlemen of Verona . . . . . . . . . . . . . . . 113.
[See also Part I, p. cxi].
/Tragedy of Titus Andronicus, acted in Germany about the year 1600 by English Players, supposed to be
an imitation of the old Titus Andronicu.s . . . . . . . . . . . . . . . . . . . . 156.
[See also Part I, p. cxii].
Tragedy of Fratricide punished, or Prince Hamlet of Denmark, acted in Germany about the year 1603 by
English Players . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237.
[See also Part I, p. cxx].
Tragedy of Romeo and Juliet, acted in Germany in (and perhaps before) the year 162.8by English Players. 305.
[See also Part I, p. cxxiii].
PART I:
IDSTORICAL ACCOUNT.
SHAKESPEARE IN GERMANY
IN THE SIXTEENTH AND SEVENTEENTH CENTURIES.
CHAPTER I.
.
So completely has Shakespeare become for us the representative, - the Alpha and Omega,
of the modern drama, that we are accustomed to regard the works of all ages in this de-
partment of literature, mainly with reference to him alone. We are ready to resuscitate
the dead, and to refine the coarse, wherever we succeed in discovering a trace of him, be
it only a mere breath of his genius, and we go back centuries before his times in our
researches after the earliest monuments of the culture which produced him as its most
glorious fruit.' It appears to us therefore, a circumstance of peculiar significance, that our
attention is directed towards him at the very threshold of modern European Literature, at
the first step which we take in the history of the modern drama. The Plays, which
the learned nun Hrotsvita composed in the tenth century in the nunnery of Gandersheim,
in the Hartz mountains, those firstlings of German dramatic art, which on their first ap-
pearance in print in the year 15011 were hailed by the learned of that day as the work
of a tenth muse, a Christian Sappho,t although written in Latin, contain among numerous
traces of their genuine Germanic Saxon origin, many passages which remind one strongly
of Shakespeare. Perhaps it was this circumstance which suggested to Laurence Humphrey
the unhappy idea of metamorphosing the Saxon nun into Hilda Heresvida, a British poetess
of the seventh century.s Neither in the dramatic productions of the immediately succeeding
1
Hrosvite illustris virgini& et monialis germane gente sazonica orte (opera) nuper a Conrado Celte inventa.
Norimbergae, anno Christi, quingentesimo primo super milltsimum (1501). fol. With woodcuts. -The contemporary
Manuscript from which this edition has been printed is in the Royal Library at Munich. - Another edition is
by H. L. Schurtzfleisch, 4to, Wittenberg 1717 (1707 in tit.), a third by J. Bendixen, 12mo, Liibeck 1858, and
a fourth by K. A. Barack, 8vo, Nurnberg 1858. A French translation (with the Latin text opposite) is by Ch.
Magnin: Thldtre de Hrotsvitha. 8vo. Paris 1845. A German one by J. Bendixen, see below.
1
Bilibald Pirkheimer amongst others. See J. Bendixen, Das iltests Drama in Deutschland, oder die Comoe-
dien der Nonne Hrotsvitha von Gandersheim, fibersetzt und erltiutert. 2 Parts. 8vo. Altona 1850-53. Part i, p. 3.
8
The unhappy conjecture of Laurence Humphrey has been refuted by Martin Friedr. Seidel in his
leones et elogia virorum aliquot praestantium etc. fol. 1670, and by other writers, but none of them has indicated
in which of Humphrey's works it has been put forward. See also Magnin, Theatre etc., p. xix. Tbe following
A
II SHAKESPEARE IN GERMANY.
centuries does this spirit disappear entirely, for in the ecclesiastical plays which are also
composed in Latin, and which since the twelfth century rather follow French models, the
long dawdling,formal course of the action is often interrupted by a trait of German feeling.
are some of the coincidences between Hrotsvita and Shakespeare :
HROTSVITA's GALLICANus, Sc. X.
GaU. Behold how, at our entrance in Rome all
the citizens come forth and, according to the custom,
present us with the signs of victory.
IBID, Sc. X.
Paul. No, verily; to the true God alone we must
ascribe our victory.
Gall. Let us then enter the church of the holy
apostles as becometh the humble confessors of the faith.
HaoTsviTA.'s DuLciTius, Sc. XII.
Irene. I prefer giving up the body to all kinds of
outrages, to allowing my soul to be polluted by the
worship of idols.
SHAKESPEARE's HENRY V, AcT V.
Ckor. But now behold - how London doth pour out
her citizens
The mayor and all his brethren in best sort,
Like to the senators of antique Rome
With the plebeians swarming at their heels,
Go forth .and fetch their conquering C ~ e s a r in.
IBID. AcT IV, Sc. 7.
Hen. 0 God thy arm was here -
And not to us, but to thy arm alone
Ascribe we all
Do we all holy rites.
SHAKESPEARE's MEASURE FOR MEASURE, AcT 11, Sc. 4.
l&ab. Sir believe this, - I had rather give my body
than my soul.
A most striking resemblance is to be noticed between Hrotsvita's Callimachua and Shakespeare's Romeo
and Juliet, not only in parts of the dialogue but also with respect to characters and situations. Here are some
passages from the opening scenes of both plays:
HROTSVITA.'s CA.LLn.ucuus, Sc. I AND II.
CaU. I wish, my friends, to say a few words to you.
Friend&. We are at your service as long as you
please.
Call. If you don't object, we would avoid the mul-
titude. [Thev atep a&ide.
Friend&. Reveal then, the cause of thy grievance.
Call. I love.
Friend&. What?
Call. An object fair and graceful.
Friend&. But by your answer it does not ap-
pear what particular being it is you love.
Call. Well then, a woman!
Friend&. The wife of prince Andronicus?
Call. Yes, herself.
Friend&. . . She has devoted herself entirely to
the service of the Lord, and she even refuses her bed to
her husband Andronicus.
SHAKESPEARE's RoMEo AND JULIET, AcT I, Sc. 3.
Ben,, . . So please you step aside.
I'll know his grievance, or be much denied.
. . What sadness lengthens Romeo's hours?
Rom. Not having that, which having makes them
short.
Ben,. In love ?
Rom. Dost thou not laugh?
Ben,. No coz, I rather weep
Tell me in sadness, who she is you love?
Rom. In sadness cousin I do love a woman.
Benv. I aim'd so near.
Rom. And she is fair, I love.
. she'll not be hit
With Cupid's arrow . . . . .
in strong proof of chastity well arm'd.
BmfJ. Then she bas sworn, that she will still live
chaste?
The concluding scenes present almost the same picture in both plays: A sepulchral cavern, an open
woman's tomb, a young woman dead, a young lover dead at the foot of the coffin of his love. This tragic scene
SHAKESPEARE IN GERMANY. Ill
We meet with the first attempt to develop a drama in the German language towards
the end of the thirteenth or beginning of the fourteenth century, in the 'War of Wartburg.' 1
But if we pass by this work as a failure, we must recognise the true commencement of
the German Drama in the ecclesiastical plays eomposed in German, of the fourteenth and
fifteenth centuries. The employment of the vernacular tongue soon took this department
of literature out of the hands of the clergy, who were no longer the exclusive authors of
these plays, as is sufficiently evident from the satirical and humorous passages which we
meet with in them. The introduction of profane scenes, which were always comic, into
the tragedy of these. pieces, which were properly speaking only intended for 1cclesiastical
1 1
purposes, is their peculiar characteristic from the first, and forms the transition to the pro-
fane dramatic representations of the laity, and the Shrove-tide Plays which'-'fi--rst; appeared in
Nuremberg about the middle of the fifteenth ccntury.
2
Their authors, Hans Rosenblut and
Hans Foltz,B are the earliest dramatic poets of Germany who appeared before the public
is witnessed in both pieces by two men, deeply affiicted, in- Romeo and Juliet by the father and friar Laurence, in
Callimachus by the husband and Saint Joan the apostle. See Magnin, Thidtre etc. p. xlvii, who remarks: "Ce soot
la, il faut l'avouer, des coincidences de personnages et de situations incontestables, mais qui ne sont, apres tout,
peut-etre que secondaires et accidentelles. Ce -qui merite d'etre vraiment et serieusement remarque, c'est le ton
de mysticite sophistique, qui donne aux plaintes amoureuses de Callimaque un air de si proche parente avec celles
de Romeo." - See also Philar. Chasles, Hrosvitha, nais&ance du drame chretien au x Biecle, in his Etudes BUT
les premiers temps du CllriJJtianisme. 8vo. Paris 1847.
The play of Gallicanus offere many points of contact with Titus Andronicus in the opening scenes. In
both plays the scene lies in Rome, we meet the same enemies of the commonwealth (the Scythians), the same acting
characters (a victorious captain and his Emperor), the same object of deliberation, the same intended relationship
between them, and the same frustration of this plan. See J. Bendixen, Das alt88te Drama etc. p. 23 and the
same work for other points of similarity.
1
See Wilh. Wackernagel, Guchichte der deut&chen Litteratur. 8vo. Basel 1848. p. 305. It is much to [
be regretted that this excellent work remains unfinished. - Gottsched, in his introduction to Nothiger Vorratk-
zur Geschichte der deut&chen Schaubii.hne. 2 vol. 8vo. Leipzig 1757-65 pretends having read in an old chronicle,. 1
which he cannot name however, that a play in the old Friesic dialect by Angilbert, a monk, has been represented .J
before Charlemagne. Gottsched's authority has never been discovered, and the assertion is doubtful.
E. A. Hagen, Geschichte des Theaters in Preufsen, 8vo. Konigsberg 1854, speaks of Shrove-tide plays,
given at the same period in Prussia. He also says that such plays were given in the open air and extempore.
I believe that the plays to which he alludes are no real Shrove-tide plays. - A. Keller has given a collection
of all the (121) German Shrove-tide plays of the fifteenth century: Fastnachtspiele aUII dem funfzehnten Jahrhundert,
guammelt von A. Keller. 3 vol. 8vo. Stuttgart 1853.
a The only play bearing Rosenblut's name, is Du Kiinig von Engel/ant Hoc/izeit (The nuptial$ of the
King of England). Keller No. 100. Eight heralds announce that the King of England will celebrate on the 8
1
b
of May the nuptials of his daughter with the Duke of Orleans. Each herald promises a precious present: Each
guest receives a fiorin for each mile that he has travelled; the winner in the tournament receives a horse, worth
52 marks of gold; the second prize is a mcklnce of Greek gold, the third a precious sword, the fourth a mira-
culous ring; the most skilful and most decent dancing girl recei,es a garland of pearls; a richly ornamented ass
is promised to the laziest amongst the guests. Finally a lettt>r of the King is read, by which twelve citizens
are named to testify the truth of the promises. (See Karl Gocdeke, Grundrifs zur Geschichte der deut&cilen Dich-
tun.IJ, 8vo. Hannover 1859, p a ~ . 97.) Can this play be traced to an English source?
For Hans Folz see Keller, Vol. iii, and Goedeke, p. 99.
A2
''
'\-
IV SHAKESPEARE IN GERMANY.
as such, under their own names. The subjects which they treated are always of a hu-
morous and generally of a local character, taken fresh from actual life, and their own im-
mediate surroundings. This remarkably early transition to representations of an entirely
profane character, in which Germany was considerably more than half a century in ad-
vance of England,l had no influence on the further development of the drama. It is true,
the Shrove-tide Plays were raised from their earlier and cruder form by one highly gifted
genius, but they soon sank into eternal obscurity; and although their secular character
might have led us to conjecture that they would form one step in the process of develop-
ment to the true artistic drama, yet such a conjecture would not be justified by the fact.
This process was interrupted for centuries, and Germany did not arrive at the true Art-
Drama, till long after Western Europe.
The Shrove-tide Pieces were of a less public nature than the Passion-Plays; for
while the latter were performed in the churches before the assembled people, or on public
squares and in the open the former migrated from house to house among the pri-
vate citizens. This explains the immorality and want of taste pervading the humour of
these plays, which abound in coarseness and indecency;2 for although this tendency to
licence met with a ready response in the popular tone of thought and feeling, publicity
would have confined it within narrower limits. From the private character of the Shrove-
tide Plays we may also deduce the extreme poverty of the theatrical apparatus employed
in their representation. In this respect there was a retrograde movement, for in the Passion-
Plays, which were often put upon the stage with great magnificence and very complicated
machinery, the merely theatrical part of the representation was a very important element
of the whole, while the dramatic life in the Shrove-title Plays was almost confined to the
distribution of the among several persons, the monotony of which was only inter-
rupted by the above-mentioned jokes. Towards the close of the century, the revival of
classical antiquity exercised some influence, at least upon the form of the drama; the
rizon of the invention displayed in it, however, still remained exceedingly circumscribed.
Hans Sachs (born 1494, died 1576)
8
was the first who turned the studies of the
1
The earliest and at the same time the only English drama of the fifteenth century, founded neither on a
biblical narrative nor on the life of a saint, and the characters of which, instead of being allegorical, are taken
from a popular legend, is the lately discovered Play of the Sacrament, composed, as it appears, during the reign
of Edward iv. But though secular in form, it is thoroughly ecclesiastical in matter, its principal tendency being
to prove the doctrine of the real presence. See The Play of the Sacrament, a Middle-English Drama ed. from a
Manuscript in the Library of Trinity College, Dublin, by W(hitley) S(tokes). Published by the Philological So<'iety.
8vo. 1862. - See also J. P. Collier's History of the stage in his edition of Shakespeare, in 8 vok 8vo. 18H.
Vol. i, p. xiv.
1
"The coarse rudeness of manners, displayed in these plays, is beyond all description, and it is im-
possible to give an idea of it." Goedeke, Grundrifs etc., p. 95. Foltz, who wrote many years later than Rosen-
blot, outdoes his predecessor in filthiness.
a Hans Sachs himself has gi,en a collective edition of his works in three folio volumes, and two other
volumes were added after his death. Vol. i, 1558 (and four later editions: 1560, 1570, 1589 and 1590), Vol. ii,
SHAKESPEARE IN GERMAli'Y. v
learned in the ancient dra:p1a to good account for the people's stage. This poet is of very
great value for the history of German Literature, as he enables us to comprehend the tone
and character of popular thought during his century to which moreover he gave expression
in a manner at once noble and energetic. The drama advanced with him with gigantic
strides, both as regards matter as well as form. It is true, he also treated sacred subjects,
and composed a great number of Shrove-tide Plays, but both these species of composition
had nothing in common with the productions of his predecessors beyond the name. Neither
did he confine himself to these alone. His great importance for the German Drama con-
sists in his having emancipated its form from its previous coarseness, and its subject matter
from the narrow limits which had hitherto been imposed on it. The traditions of Antiquity
and of the Middle Ages, of his home and of foreign countries, Italian novels, History, sacred
and profane, the events of the time and place in which he lived, all these sources offered
him welcome materials in the choice of his matter. Only about a quarter of all his pieces
treat of sacred subjects, in any form whatever, and even in these there is no longer any
question of religious ideas and symbols, and ecclesiastical objects, but human conduct and
human relations are the centre on which all the action turns. Whoever compares some of
the best of his 208 dramas with those of his immediate predecessors and contemporaries,
must be astonished at the contrast which results in favour of the Nuremberg shoemaker.
This great revolution in the drama was effected partly through the lofty genius of the man
himself, but partly also through the new energy infused into the public and political life
of the nation by the Reformation, the cause of which was espoused by Hans Sachs with
the most zealous enthusiasm. Ecclesiastics as well as Laymen had now become citizens of
the State, who required w other excitements than any which could be afforded by the
sacred dramas devoted to the service of the church, or by the low indecencies of the
Shrove-tide Plays. Even at the very commencement, the indissoluble nature of the con-
nection of the stage with the life of the Nation became very evident. In Hans Sachs every- ,
thing is popular, and even in his treatment of foreign matter, we find the reflection of the
German mind. Never has there been another poet whose spirit was so completely iden-
tified with that of the people, as his. He does not tower indeed over the heads of all
times, like the great heroes in the field of intellect - he only aims at being understood
and recognized in his own time; but it is just in his being a true reflection of his age,
that his' importance for us consists. We become best acquainted with him in his Shrove-
tide Plays, and his humorous pieces generally.l Here he moves on popular ground, in
which alone the new tendencies could strike root. Where he makes an incursion upon the
field of Tragedy or the Antique, he very soon reaches the utmost limits of his powers.
1560 (and three later editions: 1560, 1570, 1590), Vol. iii, 1561 (and three later editions: 1577, 1588, 1589),
Vol. iv, 1578, VoL v, 1579. All of them printed and published at Nuremberg. Another edition 5 vol. 4to.
Kempten 1612 et seq. The same edition with another title-page: 5 vol. 4to. Augsburg 1712. A chronological
list of the plays will be found in Karl Goedeke's Grundri/8, p. 345.
1
See With. W ackernagel, Ge&chicllte etc., p. 410.
VI SHAKESPEARE IN GERMANY.
In spite however of the important place which we must concede to Hans Sachs in
the process of the development of the German Drama, he accomplished but little for dra-
matic art. We seek in vain in his works for an action resting on internal harmony and
consistency, - for a drama constructed in conformity with the laws of human nature.
Stage-management moreover, and the whole of the technical side of the drama remained
for him a perfectly unknown field. And if he distinguished between Tragedy and Comedy,

which had not been done before, and' divided his pieces into acts and scenes, these inno-
vations were of a merely external nature. A perfectly unmotived arrangement of the order
of the scenes, and an arbitrary division into Acts even up to the number of twelve, are
characteristics of just as much as of his predecessors. I Neither did his immediate
successors accomplish anything more for the furtherance of dramatic art. Notwithstanding
the great fertility of his invention, he wanted the dramatic power to produce theatrical
effects. For this a more highly gifted genius was necessary; but none such appeared. Both
scholars and laymen expended their efforts on translations of antique dramas, for the most
part unsuccessful ones, by which nothing was gained; while on the other hand they entirely
lost the one popular element, the pure unsophisticated comedy, as practised by Hans Sachs.
The Shrove-tide Plays, which in their more refined form were by far the best thing that
dramatic literature had been able to shew up to that time, were obliged to yield more
and more, partly to those worthless translations from the Antique, and partly to other
subjects for the most part taken from the Bible. The latter found some standing ground
1
0nly in one of his numerous plays does he take a higher po;;;ition, but here he is more imitator than
inventor, and his source is an English work. His Comedi von dem reichen sierbenden Heca&l:u& genannt
1549, is undoubtedly an imitation of the English Morality of Every Man (first printed by Pynson before 15:n
and twice by Skot before 1537. Reprintrd in Hawkin's English Drama, i, p. 27). A reprint in L. 'fieck's /Jeut-
sches Theater, 2 vol. 8vo. Berlin 1817, Vol. i. Tieck says pag. xiii: "Here Sachs is delightful in his innocPnrc,
he probably follows his model step by step." This piece seems to be the first link between the English ami tlw
German stage. - The nearest source of Hans Sachs is perhaps a Latin version of Etery Jfan. See E. A. Ha-
gen, p. 31, and Fluegel, Geschichte der komischen Litteratur, Vol. iv, p. Hl9. The first Latin version is by Georg.
Macropedius, Coloniae 1539; reprinted ib. 1540, Tremon. 1549, Francofurti 15i1, Argentorati 158G. A later ver-
sion, probably founded on 1\facropedius, is by Laurentius Rappolt, which was represented at Nuremberg 1;>50.
In 1556 a latin Heca&tus was represented at Basle. A German ver!'ion of Rappolt's play has been representl.'d
at Nurl'mberg in 1549: Ein schOn christlich Spiel, lleca&tus genaiit, Niirnberg, Joh. Daubmann, 1552. - Other
German versions are by Cyr. Spangenberg, 1564; Henr. Petr. Rehenstock, Heca&tus, ein geistlicll Spiel tom Ampl
l"nd Benif eines jeden llfenschen. Franckf., N. Bassens, 1568; Joh. Schrl'ckenberg<'r, Georg. llfacropedii Hecastw
verteutscht. Strassburg, A. Bertram, 151:19; M. Abr. Saurius, Comoedia germanica Hecastos seu Ilomulus. )larpurgi
1591. The GE-rman Heca&tus been represented at Annaberg in 15G9. - Another play, ealled Ilomulus,
derived from Every Man. This howe\er seems to have come from the Low countries: PE-trus DieMhemiin:<. IIo.
mulus comoedia inprimis lepida et pi_a, in rem christiani hominis adprime faciens, Antterpiae quondam in public'
cicitatum Brabanticarum convent:u vulgariter acta palmamque adepta. Colonine, ex off. Jasparis Gemwpei, 1.):31)
ib. 1537; Antverp. 1538; ib. 1546. - Translated into German by Jaspar von Gennep: Comedia Hamuli
vnd gebessert etc. Collen, Jasp. v. Gennep, lf>40, 4to; ib. 1.148, 1-1\-o; ib. 1.154, lho; ib. 15H:2; Magdl'hurgk, ,J
Franck, n. d.; Erfurt 1624. Anotber German version by Heinr. ""rttengang, Homulus, in ietz nen iibliche
Reimarten iibersetzet. Bremen 1665; Niirnberg 16GH. - The German version of .Jaspar von Gennep has
rise to a Dutch translation: NimmE>ghen 15.56; Amst<'rdam 1632, 1G5(i, 1661, n. d., liOl.
SHAKESPEARE IN GERMANY. Vll
in the religious struggle which then agitated the nation, and as, with few exceptions, they
were intended to serve satirical and didactic but not uramatic objects, they entirely failed
of all theatrical efl'ect. Such subjects as were offered by romance, trauition, and the history
of the country, subjects to which English writers had had recourse at a. very early period,
remained almost entirely neglected. One of the results of this moralising tendency, which
from the intimate connection between church-questions and politics, often encroached upon
the field of the latter, was soon to render the drama an affair of the state, or of the towns.
we constantly meet with the civil and municipal authorities as the patrons of the stage.
This perhaps may be the reason, that while dramatic art was at a far lower ebb in Ger-
many than in England, the former country possessed permanent theatres at a far earlier
period than the latter.l For the management of the stage and arrangements of the theatre
in Germany naturally corresponded to the very imperfect condition of its dramatic litera-
ture. At a time when England was already traversed in all directions by innumerable
troops of strolling players, dramatic art had attained a high stage of development,
Germany could not yet boast of any actors by profession. Nuremberg and Augsburg al-
ready possessed their permanent theatres, consisting of a large broad stage with a deep
proscenium, surrounded by an unroofed amphitheatre intended for the spectators. In the
other cities, just as at the time of Rosenblut's, the representations took place in the houses
of the citizens, and in the inns and taverns, on a 'podium', or platform, constructed of
benches and casks. But here, just as in the above-mentioned theatres, the actors continued
to consist of honest citizens, and merry young fellows and scholars, who drawled out their
lesson in stiff traditional forms, without any other variation than the coarse humour of the
pieces, and far more for their own amusement than from any very earnest endeavour to
satisfy the public. In short the play was more for the sake of the actors than the spectators.
Hence arose the endeavour on the part of the authors to let as many persons as possible
upon the stage; and there were pieces indeed with as many as a hundred characters
who spoke, as well as a still larger number of mutes.
2
Occasionally indeed, for the grati-
' The first German theatre was erected at Nuremberg in 1550, by the corporation of master-singers;
another followed soon at Augsburg. See Ed. Devrient, Geichichte der deutiJchen Schauspielkunst. 3 vol. 8vo. Leipzig
1848. VoL i, p. 114. Epgland saw her first theatre (The Blackfriars) in London in 1576. "'Until then the va-
rious companies of actors had been obliged to content themselves with churches, halls, with temporary erections
in the streets, or with inn-yards, in which they raised a stage, the spectators standing below, or occupying the
galleries that surrounded the open space." J. P. History of thtJ English stage to the time of Shakespeare,
in his edition of Shakespeare's works, 8 vols. 8vo, Vol. i, p. xxxv. As early as 1398 France possessed
a playhouse, built by the 'freres de Ia passion' in the village of St. Maur-des-Fosses near Vincennes. The
same body errected the 'Theatre de la trinite' at Paris in 1442. In 1550 a second theatre, called 'Table de
marbre,' was granted to the 'C.nfrerie de Ia Bazoche.' In Italy the ancient Amphitheatres were used as play-
houses; in 1264 the Passion-brothers del Gonfalone gave representations at the Coliseum. In the sixteenth century
the Italian princes had theatres in their palaces. In Spain the first theatres were built in 1574. Up to that time
the courts of private houses were used for representations. - See Devrient, ibid. Vol. i, p. 114.
' e. g. 105 persons in Jacob Rueff's Adam und ller:a, 1550 - 158 in Valentin Boltz's lVeltspiegel, 1550
- 162 in .Job. Rasser's Comoedie aus Er:ang. Matth. 21 und 22, - 100 acting and 200 mute persons in Math.
Holzwart"s Saul, 1571.- See W. Wackernagel, Geschichte etc., p. 4.56. -As late as 1591 a play with 106 persons
VIII SHAKESPEARE IN GERMANY.
fication of the many, they again had recourse to the spectacle of the Middle Ages, to the
gay, noisy processions on foot and horseback, with devils and other monsters, who amused
the multitude sometimes with harmless, and sometimes with bitter jokes.
However small may have been the fruits which the efforts of centuries produced
for the drama, one trait is quite m1mistakable in all its phases: namely, the zest and delight
with which the people took part in it, either as authors, actors, or spectators, and the
readiness with which the learned entered into the spirit of the people in their way of re-
garding the whole subject. But now even this last hold, the only one which could repay
us for ploughing up a field so unproductive for art, was to disappear. In this, as in other
kinds of poetry, the learned and the popular went side by side, but there was no field in
which the injury done by the encroachments of the learned was so great as in this. In
order to render the separation from the people complete, they wrote their poetry in Latin,
the drama sank to a mere school exercise, and was used in the schools as a method to
facilitate the learning of the languages of Antiquity. Sometimes indeed the pupils performed
German pieces also, and occasionally Latin pieces were translated into German and played
in that form, but that was not sufficient to prevent the German drama from sinking into
obscurity and contempt. This abandonment of the fietd of real life which was the inevitable
consequence of the exclusion of the cooperation of the people, was rendered still more
complete by the composition and printing of dramas which were avowedly only intended
to be reacl. By thus neglecting the stage, which is the indispensable mediator between the
poet and the people, they really turned their back upon the latter, and the
popular drama to a miserable state of existence.!
The German Princes appear to have regarded the drama with no unfiworable eyes.
They frequently assisted with the loan of costumes, armour, and properties of all sorts,
and the scholars were often required to play their comedies at the courts. But a higher
taste for dramatic art than that which found its gratification in these unartistic productions,
is nowhere to be met with. People were satisfied with things as they were. Whilst music
excited a lively interest, and was encouraged at the Courts by the establishment of per-
manent bands, the drama, on the other hand, was only admitted as an accessary, and rather
tolerated for the sake of the players, than required as a necessity in itself. Whilst in Eng-
land, France, and Italy, the patronage of Princes and persons of rank began at an early
period to educate professional players out of dilettanti, the practice of dramatic art in Ger-
many was left entirely in the hands of mechanics and school-boys, with whose crude per-
formances the courts rested contented. Only the court fools and merry andrews enjoyed
their protection, and these were sought for. far and wide.2 And yet we must a1low that
by Andreas Hartmann, Vom Zuestande im Himmel vnnd in der Hellen was acted at Torgau before Christian i,
Elector of Saxony. See Mor. Furstenau, Zur Geschichte der Musik und des Theaters am Hoje zu Dresden. 8vo.
Dresden 1861, p. 60.
1
Sec Wilh. W ackernagel, GeJ;chichte etc., p. 458-463.
2
Floegel's Gescldcltte der Ifojnarren. 'William der Geck von Burgundia.' See E. A. Hagen, Geschicltte
etc., p. 7.
SHAKESPEARE IN GERMANY. IX
as soon as improvements were once introduced they were gladly and warmly welcomed,
for we shall see that after the state of the German theatre had been reformed through
foreign influences, it received the most zealous support from the Princes. But the merit
of having endeavoured to ennoble the drama of their own accord, and without any im-
pulse from without, is one to which they have no claim. '
Such was the state of the theatre in Germany at the commencement of the last
decennium of the sixteenth century. Then it was that unexpected aid arrived from a country
kindred alike to Germany by ties of blood and congeniality of spirit, - from England,
where the educated classes were enjoying the almost over-ripe fruits of the dramatic muse.
A weak ray from the sunlight of the Shakespearian drama fell on Germany, and was suf-
ficient to. bring new life and motion into the stagnating elements of the German stage.
From the earliest times the English people were preeminent above all the other
nations of modern Europe for their peculiar aptitude for dramatic entertainments. The
beginnings of dramatic art in England were not earlier than those in Germany,t perhaps
not so early, but the religious plays even at a very early period are essentially distinguished
from those French pieces, which were also adopted as models in Germany, by their greater
1
J. P. Collier, History of English Dramatic Poetry, Vol. i, p. 1, says that no country in Europe, since
the revival of letters, has been able to produce any notice of theatrical performances of so early a date as Eng-
land, and in a note he adds that the plays of Hrotsvita have not been represented. This assertion, we believe,
is altogether erroneous. Hundreds of details in the plays of Hrotsvita themselves show that they must have
been written for representation. This does not exclude the fact that they were also intended for being read
by the Nuns of Gandersheim in place of Terence's tragedies. Magnin, Theatre de Hrosvitlla, introd. p. vi says:
"En effet nous savons a n'en pas douter, que c'est dans une illm1tre abbaye saxonne que furent representee les
drames de Hrosvitha, probablement en presence de l'eveque diocesan et de son clerge, devant plusieurs nobles
dames de Ia maison ducale de Saxe et de quelques hauts dignitaires de la cour imperiale etc." And Ph. Chasles,
. Hrosvitha, p. 247: "Mille details confirment cette assertion de M. Magnin." See also J. Bendixen, Das ultute
Drama etc., p. 13: "And is it then actually the case, that between the Luneburg Heath and the Teutoburg Forest
at the foot of the Brocken, while W odan was following his wild chase on its summit, and Madam Holle haunted
every bush, that the hand of a timid nun of the White Christ was not only among the first to lay her offerings
on the altars of Thalia and Melpomene, but perhaps the very first to raise the curtain of their temple before the
astonished eyes of the German World?" Mr. Edelestand Du Meril, Originu latines du tMdtre moderne, 8vo. Paris
1849, p. 17 et seq. opposes Magnin's opinion, but the arguments which he brings forward for support of his
theory are far from being conclusive. "Le manuscrit, qui est contemporain ... ne contient aucune instruction
seenique, les personnages sont mal designee, les aetes et meme les scenes n'y sont point marques, et l'on y trouve
des indications antipathiques a Ia nature du drame. La scene reste souvent vide et le lieu ou elle se passe n'est
jamais indique; les personnages viennent se m&ler au dialogue sans preparation et se retirent sans raison." These
are strange objections indeed I If they prove anything they speak more for than against Mr. Magnin. Most of
the defects pointed out by Mr. Dn Meril m;y be noticed even in English plays of the sixteenth century and we hope
that he will not deny their having been composed for representation I "ll y a des changements de scene fre-
quents et de grand mouvements d'action qui demandent un temps considerable, et ne sont separes que par quel-
ques mots des autres scenes." All this might as well be said to prove that Shakespeare himself did not write
his plays for representation! "Il eut fallu, dans le Gallicanus, qu'une armee defilat sur le theatre." Why? Did
not Shakespeare too introduce a handfull of soldiers as representatives of a whole army? "Le cadavre d'une
jeune femme n'y est sauve des derniers outrages que par nne corruption prematuree." There is no necessity for
r(.'presenting a premature corruption on the stagl'; it may be fairly left to the imagination of the spectators.
B
X SHAKESPEARE IN GERMANY.
unity of action, and by their striving after n dramatically effective representation of cha-
racter, sometimes indeed rising to an individualisation of original figures, which lay far
beyond the horizon of the art of the Middle Ages, and occasionally reminds us of the
creations of Chaucer.l Here, as in Germany, notwithstanding the fact that the subjects were
biblical, the comic element asserted itself at a very early period, but did not become, as
sometimes in the latter country, the principal object of the whole piece. It was still further
developed in the Interludes, which offered an excellent opportunity for interrupting the
dull march of the Moralities by amusing Episodes, and it was in this way that the religious-
moral play was transformed into the profane drama. It is to this peculiar prominence of
the comic element in its national originality, that the early transplantation of English dra-
matic art to countries inhabited by kindred races is to b'e attributed. To the predecessors
of the merry clown, and afterwards to the latter himself, that symbol of merry old Eng-
land, are Germany and the Netherlands most probably indebted for their first acquaintance
with the English drama.
As early as the year 1417 we meet with English actors on the continent, and indeed
at Constance, where the English Bishops, who attended the great Council, had thre.e plays
performed, namely, 'The Birth of the Saviour,' 'The Arrival of the Saints,' and 'The Mas-
sacre of the Innocents'. Rehearsals had taken place bef9re the Magistrates several days
before the performance itself.2 This remarkable incident in the history of the theatre ap-
pears to have stood in very intimate connection with the visit of the German Emperor,
Sigismund, to England in the year 1416, the object of which was intended to bring about
a peace between England and France. On this occasion Henry v and his guest Sigismun:d
were pr.esent at a play which had the fate of St. George of Cappadocia for its subject.B
' Professor A. Ebert in his excellent essay: Die Mysterien der Townley-Sammlung, in Jahrbuch fiir Ro-
manische und Englische Litteratur, Vol. i, Nos. 1 and 2, 8vo. Berlin 1858-59, was the first to point out these
important advantages of the English .Miracle-Plays. In the same essay he has refuted with great acumen and
unanswerable evidence the opinion entertained by the historians of English Literature, that the English .Mysteries
were based on the French, and has proved, that their development was entirely spontaneous and national. Pro-
fessor Ebert cites traits of a genuine German spirit, which never could have had their origin in France. He
shews moreover with great critical discernment the specifically English character of precisely those points of dif-
ference which raise the English Mysteries, when judged according to their inward worth, so far above the I<'rench.
This national element alone secured the English Mysteries a longer life than was allotted to such pieces in other
countries; for we find them maintaining their ground in England by the side of the completely developed drama,
down to the beginning of the seventeenth century.
J. Lenfant, Ili&toire du Concile de Comtance, 4to. Amsterdam 1714, p. 440. "Les Anglois se signalerent
entre les autres par un spectacle nouveau, ou au moins inusite en -".llemagne. Ce fut une comedic sacree que
les eveques anglais firent representer devant l'empereur le dimanche 31 de Janvier [1417] sur la Naissance du
Sauveur, sur l'Arrive des Mages et sur le Massacre des Innocents. Tis avoient deja fait representer la meme
piece quelques jours auparavant en presence des magistrats de Constance et de quantite de personnes de distinc-
tion, afin que les acteurs fussent mieux en etat de faire bien leur role devant l'empereur." - The same narra-
tive is to be found in Herm. von der Hardt's Magnum Oecumenicum Comtantiense Conailium. 3 vol. fol. Franeo-
furti et Lipsiae 1700.
; ~ "The representation seems to have been divided into three parts and to have been accomplished by
SHAKESPEARE IN GERMANY. XI
The pleasure which this play afforded the Emperor must have been so great that the re ..
presentation of similar things in Constance was intended as a peculiar attention, and it may
.be assumed that they were able to shew him something else, if not something better, than
he could have become acquainted with from the German religious plays, which were also
in full activity at that time.t Perhaps the Emperor saw at Constance the same players as
those who had pleased him so well a year before in London. That they were able to
display a greater degree of skill than their colleagues in Germany may be conjectured from
the fact, that at that time acting was a regular profession in England, whereas in Germany
the actors were still only amateurs. In the z:eign . of Henry vi the profession of an actor
had become completely naturalized, and companies of strolling actors were no longer any-
thing uncommon.
2
Flag-bearers and trumpeters marched before them to announce the time
and place of the performance. The Court and the nobility maintained their troops of
actors, with which bands of music were always connected. Foreigners, and more especially
Germans, were to be fotind among the latter at a very early period. Five Germans, Aus-
trians and Bavarians, were in the service of Richard iii as Minstrels in the year 1483. _In
the month of March of the same year, two of them, Conred Smyth (Conrad Schmidt) and
Peter Skeydell (Seydel?), obtained permission to return to the Duke of Bavaria, and again,
in October, the three others, Henryke Hes, Hans Hes, and Mykell Yonger (Michael J1lnger)
received a similar permission to return to the- Duke of Austria.s They probably made no
secret in their native country, of the wonders of English dramatic art, as they had them-
selves witnessed it. In the same way we also find about the year Germans_'_
among the minstrels _<?!_ viii, 'vhose names are mentioned in a
- -1\18.--in the British .Museum.
4
/ Somewhat later, the disputes which played rather
too great a part on the stages of both countries, offered various points of connection. All
John Bale's pieces were printed in German Switzerland, and when Luther hurled his pam-
phlets against Henry and the question was discussed in Germany, "Whether the King
certain artificial contrivances, exhibiting first "the annyng of Saint George, and an Angel doying on his spores,"
secondly "Seint George ridyng and fightyng with the dragon, with his spere in his hand," and thirdly "a castel
and Seint George and the Kynges daughter ledyng the lambe in at the castel gates." J.P. Collier, History etc.
Vol. i, p. 20, from a chronicle in the Cottonian collection, British Museum, Cotton MSS. Calig. B. ii. See also
(W. B. Rye) The Emperor Sigi8mund at Windsor, A. D. 1416 . . Retrospective Review, New Series, Vol. ii, 8vo.
London 1854, p. 238.
1
In the Records of the Grand-masters of the Teutonic Order at Marienburg a certain "Hannos, the
blind speaker [Sprecher] of the New Roman Emperor" is mentioned between 1399 and 1410. This seems to
indicate that the Emperor retained persons of a histrionic character at his court. E. H. Hagen, Ge&chichte etc., p. 7.
v J.P. Collier, of Dramatic Poetry. Vol. i, p. 23.
a Ibid. p. 34, from Harl. MSS. No. 433.
' MSS. Landsdowne, No. 2. See .J. P. Collier, Hi8tory of the Engl. Dram. Poetry. Vol. i, p. 83. The
Minstrels named in the document are Italians, Germans, Frenchmen and Dutchmen. "Ihon de Bassani, Antony
de Bassani, Jasper de Bassani, John Baptiste de Bassini, Marcus Antonius, Nicholas de l'orrewell [probably Ni-
colas Wohlfahrt], Pellegryne Symon, Antony Symon, Nicholas Andria, Antony Maria, John de Savernnke, Guyllam
Guillam, John de Bovall, Nicholas Puvall, Hanse Hansvest, Haunce Hichhornc, Peter de Welder, 18 mynstrells."
B\!
XII SHAKESPEARE IN GERMANY.
of England or Luther were a liar,"
1
it will have been well known in Germany, that just
this very King had greatly enjoyed a play, in which "the heretic Luther like a party friar
in russet damaske and taffeta", and Luther's wife, the honest Kate von Bora, "like
a frow of Spyers in Allmayn in red sylke" were held up to ridicule.2
It was impossible therefore, but that the fame of the English stage penetrated to
Germany at a very early period. Later, in the time of Queen Elisabeth, when the rela-
tions of England to the Continent had become more numerous, it became good ton among
the German and Dutch Princes and Nobility to pay a visit to England, a privilege, which
up to that time had only been enjoyed by the French and Italians. What a rich intellec-
tual life here unfolded itself to their view, an inteJlectual life, such "that the world had
never seen the like since the best days of Greece!" s Here the theatres were at the height
of prosperity, the great masterpieces, those imperishable ornaments of the human intellect,
were revealed to the people through the medium of a thoroughly cultivated and artistic
stage, and the whole dramatic art had arrived at a degree of development which it had
hardly attained in other countries half a century later.
Of such travellers, as may safely be presumed not to have disregarded the English
theatre, we will only mention a few. Count Frederick of Mompelgard (born Aug. 19, 1557,
died Jan. 29, 1608) who in August 1593 succeeded Duke Ludwig on the throne of Wirtem-
berg, left Mompelgard on July 10, 1592, on a tour of pleasure to England. He went first
to Cassel, to the Landgrave William of Hesse, who stood on a footing of great intimacy
' with Elisabeth of England, and obtained from him a letter of introduction to the Queen.
He embarked at Embden on the 7th of August and after a stonny voyage landed on the
9th at Dover, from whence he continued his journey to London. His suite consisted ori-
ginally of 1. Hans Georg von BrUnighofen, Grand Steward, 2. Johan Docourt, Licentiate
and Ducal Counsellor, 3. Franz Ludwig Zorn von Bulach, Gentleman of the bed-chamber,
4. Hans Jacob von Mnlnheim, also Gentleman of the bed-chamber, 5. Captain Saige, 6. Johan
Bautin, surgeon, 7. Jacob Rathgeb, Secretary, besides seven servants, coachmen and grooms.
Hans Christoph, Hereditary Sewer of Rheinfelden, joined the party on the way; but the latter,
and the two above-mentioned H. G. von BrUnighofen and Johan Docourt, must have returned
on the ground of ill-health, so only five of the suite besides the seven servants arrived in
England with the Count. This party travelled by way of Canterbury, Rochester, and Grave-
send, and reached London on the evening of the lOth of August. Here the French Am-
bassador, de Beauvois, shewed the Count many attentions. The first five days were occupied
in seeing the sights of London, and on the 16th, the Count and his suite, at the invitation
of Queen Elisabeth, proceeded to Reading, where Her Majesty was then staying. Here he
1
(Th . .Murner.) Ob der Ki;nig vsz engel/and ein liigner sey oder der Luther. 4to. Strafsburg 1522.
2
The revells holldgn the X'" day of Novembgr, the xi.t'" ger of our sovragn lord kyn,q harry y viijl". (1528)
. See .J.P. Collier, llistOT'IJ etc. Vol. i, p. 108. From Richard Gibson's account at the Chapterhouse, Westminster.
Friedrich Bodenstedt, Zeitgenossen. Band i. 8vo. Berlin 1858, p. 13.
SHAKESPEARE IN GERMANY. XIU
was received with great honour by the Earl of Essex, who on the following day presented
him to the Queen. A second audience followed on the 18th, and after it, a banquet given
by the Count to the Earl of Essex and the other grandees of the court. On the 19th the
Count accompanied the Queen to Windsor, where he remained till the 21st, and was pre-
sent at several hunting parties and other amusements which were got up in his honour.
Hampton Court was next visited, from whence he returned to London. From the 25th to
the 29th was devoted to an inspection of Oxford and Cambridge, and on the 30th he re-
turned to London, where the intervening days before his retn.rn, which took place on the
4th of September, were passed in amusements of various kinds. Captain Saige, one of the
Count"s suite, was left in London on account of illness. The route chosen for the journey
home was by way of Holland, and on the 19th of October the Count was again in Mampel-
gard.l It is to another companion of the Count's, his secretary, Jacob Rathgeb, that we are
indebted for a description of the journey, which contains many interesting details respecting
England as it was in the days of Elisabeth.
2
Unfortunately the worthy secretary has given
us no information respecting the Count's visit to the theatres, but notwithstanding this omis-
sion, we may safely assume that the Count did not leave them unnoticed. The allusions
to him in the "Merry Wives of 'Vindsor" Act iv. sc. 3 & 5, to which we shall afterwards
refer, would appear to imply that he had entered into some closer connection with the
theatre. Altogether indeed, Rathgcb appears to have only noted what he had himself wit-
1
The following is the passport which the Duke received for his journey back to the Continent, as printed
in the work noticed below:
"Theras this nobleman Count Mombeliard is to passe ouer Contrye in England into the lowe Contryes,
These Shalbe to wil and command you in hePr Maj.
1
name for such, and is beer pleasure to see him fournissed
post horses in his trauail to the sea side, and ther to seeke up such shippinge as shalbe fit for his trans-
portations, he pay nothing for the same, forwich this shalbe your sufficient warrant, so see that you faile not
therof at your perilles. From Bifleete, the 2 of September 1592.
Your Friend.
C. HowARD.
(Locus sigilli.)
To al Justices of peace, Maiors, Bayliffes, and al other her Ma.
10
in especial to my owne officer!!
of the admyraltye."
1
Kurtze vnd lVarhajfte I Beschreibung der Badenfahrt: I lVelche der I Dvrchleuchtig I Jlochgeborn Piirst vnd
Herr l Herr Priderich, Hertzog zu 1Viirttemberg I vnnd Teckh, Grave zu M1imppelgart, l/Err zu I Heidenheim, Ritter
der beeden. Jihralten Kuniglichen. I Orden, in Pranckreich S. Michaels, vnnd Hosen- I bands in Engel/and, etc. In
negst abgelojfe- I nem 1592. Jahr, I Von Miimppelgart aufs, In das weitbe- I riimbte Konigreich Engellandt, hernach im
zu- I ruck ziehen. durch die Niderland, bi/s widerumb I gelm Miimppelgart, ver- I richtet hat. I Aufs I. F. G. gnedigem
Bevelch, von dero mit- I raisendem Cammer-Secretarien [.Jacob Rathgeb] au.jfs kurtmt, von I tag zu tag verzeichnet,
4to. Tiibingen, bey Erhardo Cellio. Anno 1602. With a woodcut portrait of the Duke and other plates.- Re-
issued together with the Duke's Journey in Italy: lVarhajfte Beschreibung Zweyer; Raisen etc. 4to. Ibid., In der
Cellischen Truckerey. Anno 1603. This edition contains a poem of 27 pages in praise of the Duke, by Erhard
Cellius, which is not in the first editinn. The .Tourney in Italy is written by Heinrich Schickhart. The portrait of
the Duke in the second edition is different from that in the first; it is that which adorns the first edition of the
Journey in Italy, Miimppelgart, Jacob Foillet, 1602. Another re-issue of the Journey in Italy bears the imprint:
Zu Tiibingen, bey Erhardo Cellio. lm Jahr, 1603.
XIV SHAKESPEARE IN GERMANY.
nessed, and that he should have accompanied the Count to the theatre is hardly probable.
For it must be. presumed that the Count visited the theatre in the company of some ini-
tiated person, such as perhaps the French Ambassador, or the Earl of Essex, who attended
the Count in London after his return from Windsor, and etiquette would hardly have al-
lowed him to take with him a subaltern such as Rathgeb. That the Count was present at
a representation in Windsor, as some persons have supposed, I do not believe. He only
remained there two days, which must have been entirely taken up by the events recorded
by Rathgeb; for, as is well known, in those times the representations were not given in
the evening, but during the day.l
It appears t h ~ t during this visit, Elisabeth promised the Count to confer upon him
the honour of the Order of the Garter, whenever a vacancy should occur. In the beginning of
1595, the Duke, who had now been some time on the throne, remembered this promise, and
sent Hans Jacob Breuningen von Buchenbach, a much travelled cavalier who was acquainted
with many languages, to the Court of Elisabeth, to request her to keep her word. He had
the first audience on the 6th of April, and was received in a very splendid and gracious
manner,2 but the. investiture of the order was declined under various pretexts. This Hans
Jacob B. von Buchenbach also appears to have been acquainted with Essex, at least he
was sumptuously entertained by hin1, on which occasion a question of preecdence arose
between the Ambassador of the Duke, and Count Philip voi1 Solms, the Ambassador of the
Landgrave Maurice of Hesse, which was decided in favour of the former.s
On the accession of King James, Duke Frederick sent another ambassador to Eng-
land, the counsellor von Buwinghausen, after which he at last received the ardently wishPd
for order, the insignia of which were brought him in October 1603 by a very splendid
embassy under the conduct of Sir Robert Spencer and Sir William Dethik.
4
Of the festi-
vities which took place in Stuttgart on this occasion we shall have to speak hereafter, as
there were both English musicians and actors in the suite of the Ambassadors.
The second traveller of princely rank, whom we have to mention, is Ludwig, Prince
of Anhalt (born at Dessau, June 17, 1579, died Jan. 7, 1650), who had not quite completed
his seventeenth year, when in May 1596 he started on his travels, impelled by the desire
1
J. P. Collier, History of EnglU!h Dramatic Poetry. Vol. iii, p. 37G.
2
In Christoph Friderich Sattler's Geschichte des Herzogthwns lVurtenberg unter der Regierung der Her-
zogen, Vol. v. 4to. Ulm 1772, Beilagen p. 107, will be found the speech of the ambassador addressed to the
Queen, in Italian.
3
Sattler ibid. Vol. v, p. 159 and p. 183-185. - In the year 1594, a certain Stammler, who had been
sent to England by Duke Frederick to buy cloth, had given himself out for an Ambassador at the Court of Eli-
sabeth. It appears that he succeeded in obtaining an audience of the Queen, and that he also reminded her of
the Garter. He was afterwards' sent out of England on account of his disordt>rly conduct. Sattler, ibid., p. 185.
4
It is a singular fact, that on various medals, struck in 15!l11 and lli02, the Duke is already rt>presented
with the- Garter. On the title of Rathgeb's Diary too he is called Knight of the Garter. It therefore would
appear that the Order was granted in 15!\:2 at t h ~ > Duke's visit to England, and that Breuningen applied for the
Insignia only, which however were not sent to the Duke before 1603. See Sattler, ibid., p. 256.
SHAKESPEARE IN GERMANY. XV
of seeing the world. His companions consisted of his brother Hans Ernst who was only'
a year older than himself, and who in 1601 joined in the campaign against the Turks under
the Duke of Mercoeur, Albrecht von Wutenau his governor, and Bernhard von Krosigk
a page, who resembled the prince both in tastes and education. We know with the greatest
exactness, day by day, all the adventures of travels which lasted nearly four years, every-
thing indeed which occupied the mind of an observant young Prince thirsting for informa-
tion, in as as fifty years later, Prince Ludwig composed a descripti?n of his travels
in German rhyme from his carefully kept journal. Provided with letters of introduction
from the Prince's reigning brother, Christian i, to the Earl of Essex, whom however they
did not meet with, the proceeded by the route through Lower Saxony, Bremen,
Oldenburg, and Holland, whence they embarked for London. They arrived at the latter
place on the 23rd of June, and remained there fourteen days. They then proceeded to
Greenwich where the Princes were presented to Queen Elisabeth, thence to Nonsuch,
Hampton Court, Windsor, Oxford, and Cambridge, from whieh place they returned to Lon-
don on the 24th of July, to leave it again by way of Gravesend, Rochester and Canter-
bury, for Dover, where they embarked for Dieppe. That Prince Ludwig was present at
some of the representations of Shakespeare's plays on the London stage, is almost certain.
It is true, in the description of his journey he does not name the plays which he had
seen, but he speaks of four theatres in London, and of the historical pieces which were per-
formed in them. The passage in question in his account of his travels, is as followA.
. . . . . . . . . . Hier besieht man vier spielhiiuserl
Darinnen man fnrstelt die Furstcn, Konge, Keyser
In rechter lebens grOfs', in schoner Kleider pracht,
Es wird der thaten auch, wie sie geschehn, gedacht.
Es wird die Beeren hatz und Ochsen streit erhalten,
Das durch den milfsiggang die hunde nicht veralten,
Die gar zu freudig seind, fein starck und untersetzt,
W odurch sich oftermals der Edelmann ergetzt.
Es wird der Hahnen Kampf auch oftmals angestellet,
Sie werden, wie man wil, im Hause gleich gesellet
Auf einen runden tisch der gantz beschlagen ist
Mit matten; hier gebraucht man tugend, keine list,
1
The Prince notices four playhouses only, but it is a known fact that there were at least seven, nnrl
perhaps ten, Theatres in London in 1596, viz, the Theatre in Shoreditch, the Blackfriars, the Curtain, Paris
Garden, the Globe, the Rose and Newington Butts, and perhaps the Whitefriars, the Rose, and the Swan. The
author's speaking of four only is explained by the fact that not all the theatres were open at that time in sum-
mer, or perhaps the Prince had visited those theatres which were called "Public", and not those which
called "}>rivate ".
XVI SHAKESPEARE IN GERMANY.
Wan jetzt das beissen folgt, und mane he Stunde wehret,
Bis sich das rechte glfick zum sieger hat gekehret,
Das wetten wird gar hoch von vielen angesetzt,
U ud welcher Hahn gewint, dem wird sein Herr
TUANSLATION.
. . . . . . . . . . There are four theatres to see here,
"'Where Princes too, and Kings, and Emperors appear,
In the true size of life, in handsome robes arrayed,
And mention of their deeds, as they befel, is made.
And baitings too of bears, and eke of bulls they hold,
That through a lazy life, the dogs may not grow old.
Which full of spirit are, strong, handsome, and thick-set,
By which the nobleman does oft amusement get.
And fights between two cocks are often got up there,
They're matched too in the house, as one may choose a pair.
Upon a table round, that's covered over quite
With mats, here one employs no art, but virtue's might.
The biting follows now, full many an hour to last,
Till that complete success hath to the vietor passed.
The bets are very high, which many men will lay,
And he is then regaled whose cock has won the day.
The Prince's travels contain moreover other interesting notices of England in the
time of Queen Elisabeth. Especial mention is made of the great number of Germans liv-
ing in London.
A very interesting and exact description of Elisabethan England has been given by
Paul Hentzner, who was tutor to Christoph von Rehdiger, a young Silesian nobleman, nephew
of the celebrated Thomas von Rehdiger, the founder of the splendid library at Breslau
which still bears his name. Hentzner accompanied his pupil on his travels in Germany,
France, England, and Italy.
2
They commenced their wanderings in the year 1596 and
1
The description of the Journey is to be found in Joh. Christ. Beckmann's Accusiones historiae An-
haltinae, fol., Zerbst 1716, p. 165-216. The above passage is at p. 172. - It is entitled: rurst Ludwigs zu
Anhalt Kohten Reisebeschreibung von ihm selbst in Deutsche Verse gebracht. Erste Reise durchs Niederland und
Engelland in Franckreich (1596-97). In fine: Vollendet den 31. des Mertzen Anno 1649. Follows: "'Die Reise
in Italien" (1598-99) p. 216-292. A portrait of the Duke will be found in Beckmann's Hutorie des Piirsten-
thums Anhalt (to which the Accusiones form a supplement). fol. ib. Vol. V, p. 466. - On his Journey and his
life in general see also: F. W. Barthold, Geschichte der Fruchtbringenden Gesellschajt. 8vo. Berlin 184R, p. 29
et seq.
Paulus Hentzner, Itinerarium Germaniae, Galliae, Angliae, ltaliae. N orimbergae, sumt. autoris, typ. A.
Wagenmanni, 1612. 4to. At that time Hentzner was counsellor to the Duke of Munsterberg in Silesia.- Other
editions are: Breslae 1617, 4to. - Norimbergae 1610, 8vo. - Ibid. 1629, 8vo. - Lipsiae 1661, 8vo. -English
SHAKESPEARE IN GERMANY. XVII
continued them till 1600. Their stay in England was in the year 1598, when Hentzner's
pupil was eighteen years old. Sir Horace Walpole says in his preface to the English edition
of Hentzner's travels quoted below: ''The author seems to have had that laborious and
indiscriminate passion for seeing which is remarked in his countrymen." In reality, Rentz-
ncr's work is one of the best accounts of the sights, customs, and manners of Englanrl
under Elisabeth. What he tells us about the theatre is unfortunately not much; but it is
sufficient to shew that the stage had attracted the attention of the travellers.t
"Without the city are some theatres where English actors almost every day repre-
sent Tragedies and Comedies to very numerous audiences, these are concluded with ex-
cellent music, variety of dances, and the great applause of the audience.
Not far from one of these Theatres, which are built of wood, lies the Royal Barge
close to the river &c. . . . . There is still another place built in the form of a Theatre,
which serves for the baiting of Bears and Bulls, they are fastened behind, and wor-
ried by great English bulldogs etc." 2
The ambassadors of German Princes were repeatedly at the Court of Elisabeth, and
there can be little doubt that their reports which lie buried among the State-papers contain
Translation: A Journey into England l;y Paul Hentzner, in th.e year m.d . .rc.viii. (Edited by Sir Horace Walpole.)
8vo. Strawberry-Hill, 1757. - Travel$ in England 1598, to which is now added Sir Robert Staunton's jragmenta
regalia. 8vo. London 1797. - Journey into England 1598. 4to. Reading. At the private press of T. E. Williams.
1807. (50 copies printed.) Reprinted in Dodsley's collection of fugitive pieces. - See also, Beckmann's Littera-
tur der Reisebeschreibungen, Band ii, p. 11 et seq., and, Retrospective Review, Vol. i, p. 16-20. Another edition
is, we understand, in preparation by Mr. W. B. Rye of the British Museum, in conjunction with other foreign
accounts of England at the time of Shakespeare.
1
The year 1598 ill a most important date in the history of the stage and the life of Shakespeare. In
that year Ben Jonson's play "Every Jfan in His Humour" was performed at Blackfriar's Theatre, it is said at
interposition and suggestion, and Shakespeare occupies the head place in a list of the principal
comedians, who represented the dramatis personce. - In the same year appeared the first edition of Love's La-
bour's Lost with Shakespeare's name on the title-page, and Richard ii and Richard iii were reissued with the
author's name, though Andrew Wise, the publisher who issued them, had only a short time previously published
Henry iv without mentioning the author. - A third edition of Lucrece was published in the same year. In
1598 Francis Meres published his Palladis Tamia, the principal source for the chronology of Shakespeare's plays,
and in the same year Richard Barnefidd gave his Poems in Divers Humours, where we read
"And Shakespeare, thou whose honey-flowing veine
(Pleasing the world) thy praises doth obtaine,
Whose 'Venus' and whose 'Lucreee' (sweete and chaste)
Thy name in Fame's immortal book hath plae't,
Live ever you, at least, in Fame, live ever.
Well may the bodye dye; but Fame dies never."
2
The Latin text runs as follows:
"Sunt porro Londini extra urbem Theatra aliquot, in quibus histriones angli Comoedias et Tragoedias
singulis fere diebus, in magna hominum frequentia agunt, quaa variis etiam saltationibus, suavissima adhibita
mnRica, magno cum populi applausu finire solent.
Non longe ab uno horum theatrorum, quae omnia lignea sunt, ad Thamesum Navis est Regia etc ....
Est et alius postea locus theatri quoque formam babens, Ursorum et Taurorum venationibus destinatus, qui a
postica parte alligati, a magnis illis canibus et molossls anglieis . , mire exagitantur" etc.
c
XVIII SHAKESPEARE IN GERMANY.
many notices of great interest for the history of English civilisation. We have &lready mentioned
Count Philip von Solms, Ambassador of the Landgrave Maurice the first of Hesse, a highly
cultivated Prince, who received the sobriquet of "the learned ".1 He is one of the first
German Princes who maintained actors at their courts, among whom there were English-
men, of which subject we shall speak hereafter. It is possible that Count Philip of Sohns
had something to do with it. Landgrave Maurice built a magnificent theatre in Cassel, which
he called 'Ottonium' in honour of his son Otto. A Count Hans Ernst von Solms, probably
a brother of the above, had a comedy performed in the year 1597 at the Court of the
Landgrave Louis of Marburg.2
This Otto (born Dec. 25, 1594, - died Aug. 7, 1617) kept up for many years a
very close correspondence with Henry Prince of Wales, the son of James the first, and of
just the same age as himself, and from whom in 1611, he received an invitation to the
English Court. Otto started on his journey with a considerable suite, among whom there
were: Otto von Starschedel, Privy Counsellor, Caspar von Widemarkter, a colonel, who while
in the service of Henry the fourth of France had already visited the Court of Queen Eli-
sabeth, Dietrich von Falckenberg, Burkard Schetzel, and Hermann ThalmUller, the Prince's
tutor. The Prince first visited Maurice of Orange at the Hague. On the 30th of June
Otto had his first audience of James the first at Greenwich, which was succeeded by an
instructive and amusing visit at the English Court which lasted almost two months. The
description of this journey by an unknown hand is in the library at Cassel. Unfortunately
I have not yet had an opportunity of seeing the manuscript, but to judge from the quo-
tations of Rommel,s it does not contain anything about the stage. In spite of this, it must
1
Landgrave Maurice was himself a dramatic author. He has composed a number of Comedies and Tra-
gedies, mostly in Latin, which are all lost. A few titles only of Latin plays composed by him, have come down
to us. See Christ. v. Rommel, Geschichte von Hessen. Band vi. 8vo. Cassel 1837, p. 400, a passage printed
from an account by Job. Combach in a work called Mausoleum Mauritianum, ii, p. ()(), where the English stage
is mentioned.
2
Rommel, ibid. p. 401, note 120: "1597 schickt L. Ludwig zu Marburg dem L. Moriz die Harnische
und Kleider zuruck, welche ihm derselbe zu einer Comoedia geliehen, die Graf Hans Ernst von Solms mit seiner
Gesellschaft dort aufgefiihrt." - It does not appear whether "Gesellschaft" here means a company of players.
In the latter case, Cuunt Solms would be the first German nobleman who entertained players as a part of his
household.
3
Rommel, ibid. p. 327, speaks only of visits to the churches, feasts of the orders of knighthood, banquets
at Court and at the Lord Mayor's, running at the ring, games of ball at Richmond at Prince Henry's, a journey
to Scotland, and costly presents at parting for Otto and his companions, among whom Stars('hedel and 'Vide-
markter received the honour of knighthood. Otto received a jewel from the King with 120 diamonds, from
Prince Henry four fine horses; from another English nobleman a crossbow for shooting deer, a buck (with tht> word
'Landgrave' engraved on its collar) which they set at liberty, and a "Commemorant" (Carmoran ?) for fishing. The
King, who conversed with Otto on the bad English pronunciation of Latin, and quoted some verses from Ho-
race, went to church with him to celebrate the anniversary of the gunpowder plot, and afterwards touched Reveral
ptrsons for the King's evil. TwC) hundred guards always marched by the side of his carriage, nnd cleared the
I
way with their halberds. The attendant who handed him the wine-cup, performed this office knP!'Iing; on lwing
dubbed a knight, Starschedel answered the King in Latin, Widemarkter in I'rench. Besides the Earl of Lincoln,
SHAKESPEARE IN GERMANY. XIX
be assumed that Prince Otto was present at theatrical representations, for James as well
as Prince Henry were great patrons of the stage. The theatrical life of 16.11 was rich in
incident. Two editions of 'Hamlet' (the fourth and fifth) appeared with Shakespeare's name,
then a second edition of 'Titus Andronicus', without a name, and in the 'Accounts of the
Revels at Court' we find two pieces of Shakespeare, 'The Tempest' and 'The Winter
Nightes Tayle' represented at Whitehall by the King's players.
Duke John Frederick of Wirtemberg, the son and successor of that Frederick, of
whose journey. to England in the year 1592 we have spoken above, sent his eldest brother,
Duke Louis Frederick to England in the year 1608 to endeavour to induce James the first
to join the Protestant Union of the German Princes. Among his followers was that same
Benjamin: von Buwinghausen, whom Duke Frederick had already sent to England on the
occasion of the accession of James the first. Two years later, in 1610, Duke Louis Fre-
derick u.1dertook a second journey to England for a similar purpose and one of his attendants,
his secretary Jacob W urmser von Vendenheym, has written an account of this journey in
French. The original MS. is in the British Museum (Audit. MSS. No. 20001). It is a daily
chronicle of the ambassador's stay at the Court, as also of the events at the Court of James
and at other places. The Diary extends from March 16, 1610, to July 24 of the same
year, and affords several interesting notices of the places visited by the Duke both in
coming and returning. He embarked from Flushing, ~ h e r e an English garrison was sta-
tioned, on Tuesday the 12th of April, and arrived at Gravesend on the following day, when
he was waited on by Sir Lewis Lewkenor, Master of ~ h e Ceremonies, and the next day
conveyed in the Royal barges to London "au logis de l'Aigle noir ". On the 16th, the Duke
had his audience of the King, who was accompanied by the Queen, the Prince Henry, the
Duke .of York (afterwards Charles the first), the Princess (Madame Arabella Stuart) and a
young Prince of Brunswick, at that time also on a visit to James. Several days were after-
wards spent iii receiving and paying visits, and on the 23d the feast of St. George was
kept with the usual ceremonies.
1
Under the date of the 30th of April we find the follow-
ing notice, which is not without interest for the history of the theatre: "S. E. alia au Globe,
lieu ordinaire ou I' on joue les commedies; y fut represente l'histoire du .More de Venise.'' 2
whom Elisabeth sent to Cassel to a christening in 1596, Otto met a Brandenburg ambassador, who presented
the King during the chase with some living wild boars. Otto sat at the side of the Lord Mayor, who was waited
on by pages, his sword hanging against the wall, and at whose banquet an excellent alto sang to the instru-
ments. It is mentioned.' incidentAlly, that at that time a pound of tobaeco cost in London 330 florins. On thl
5th of September 1611, \Videmarkter made his report to the Lamlgrave Maurice, of the journey and safe return
of his son by way of Brussels.
1
See Sir Frederick Madden'!! account of Wurmser's Manuscript in Mr. Staunton's edition of Shak<>speare,
Vol. i. 8vo. London 1858, p. 6l-S8, of which the above is an extract.
2
According to this we must correct what Dr. William Bell, Shakespeare's Puck and his Folkslore. Vol. ii.
p. 251 et seq. says respecting the journey of the Duke. The Author confounds Duke Louis Frederick with the DukP
Frederick to whom Shakespeare alludes in the Merry Wices of Windsor. According to Dr. Bell, it was one and tlw
same person who visited England in 1592 and in 1610. But Duke FrPderick died on the 29th of Jan. 1608. Con-
C2
XX SHAKESPEARE IN GERMANY.
The above few examples are sufficient to shew that the English Theatre in the days
of its prime, could not remain quite unknown and disregarded in Germany. However
meagre may have been the accounts which those travellers brought home with them, and
however narrow the circle into which they may have penetrated, they were nevertheless
sufficient to pave th.e way for the English actors, who towards the end of the sixteenth
century formed the resolution of trying their fortune in Germany, and to bring the English
drama within the German horizon.
Recourse has been had to the most extravagant conjectures to explain this fact, so
remarkable in the German and English dramatic history, and so important in its results for the
German stage. Sometimes we are told that these actors were not Englishmen at all, but young
Germans connected with the Hansa company of merchants in Hamburg, or adventurers, who had
brought translations of the most popular pieces to Germany. Sometimes they are said to be
German amateurs who had gone to London, and had returned with a stock of plays and parts
which they had studied there.l Another supposition is, that these English actors had come
to Germany with the English auxiliary troops who were in the army of Gustavus Adolphus.
2
sequently the conclusions which Dr. Bell draws from the supposed identity of the two travellers, respecting
the date of the authentic version of The Temput, likewise fall to the ground. -Mr. Staunton, in the introductory
note to Sir Frederick Madden's account quoted above, falls into t.he same error of confounding the two Dukes.
- The first journey of Duke Louis Frederick, who was the second son of Duke Frederick did not take place
till the middle of the year. The "Relation Benj. t>on Buwinckhau&en wegen seiner V errichtu.ng in Engelland die
Union der Evang&. Fiirsten betre.ffend" (Account of Benj. von Buwinckhau&en of wllat he did in England concerning
the Union of the Evangelical Princu) bears date Sept. 1, 1608. It is to be found in Sattler, Guchichte des Her-
zogthwns lVurtemberg. Vol. vi, Beilagen No. 5, p. 17-20. Respecting the journey, see ibid. Vol. vi, the work
itself, p. 12.
It may not be superfluous to mention a S'viss traveller, Johann Rudolph Hess, (born in 1588, died in
1655, probably the same who was Director of the Arsenal and member of the Great Council) who must have
visited London about 1614. He no doubt frequented the London theatres as may be concluded by thP fact
that, amongst the books which he has carried home with him to Zurich, there are six plays, viz. 1. Ben .Ton-
son's Volpone, 16l17. 2. A pleasant conceited comedy, wherein a man mag choose a good u'ife from a bad,
1608. 3. The imatiate contesse, a tragedie, 1613. 4. The first and second Part of the troublesom.e Reigne of
Jolin King of England, written by W. Sh., 1611. 5. Shakespeare's Hamlet, 1611. G. (Shakespeare's) Romeo
and Juliet, 1609. All in 4to. One of his books bears the inscription: "Ex libris Joh. Rodolphi Hessii Tigurini.
Constat Londini. 16 .. " (The last two figures are cut off.) - The books are now at the Municipal Library at
Zurich. See Prof. Tycho Mommsen's edition of Pericles Prince of Tyre, a novel by George printed in
1608. 8vo. Oldenburg 1857, p. iii.
1
Deutsche& Theater, herausgegeben "on Ludewig Tieck. 8vo. Berlin 1817. 2 vol. Vol. i, p. XXI\'. To
Tieck belongs the merit of having first directed attention to the English Comedians, but his utterly ungrounded
conjectures have introduced confusion into the question from the very beginning. The authority of his name
occasioned others to repeat his BBsertions without giving them much consideration, for the above-mentioned con-
jectures are to be met with wherever the English Comedians are in question. Even Mr. William J. Thoms, who
was the first person in England to direct attention to these English Comedians and the literary questions connectt'd
with them, accepts 'fieck's speculations without qualification. Mr. Thoms' suggestive essay is to be found in the
1\'ew Monthf.IJ Magazine, ed. by Theodore Hook, Jan. 1841, p. 19-29: On the connection between the early En.qlish
and early (Jerman drama, and on tile probable origin of Sl!alcapeare's Temput, in. a letter to Thomas Amyot Esq.
Zeitung fur die eleganu Welt. 4to. Leipzig 1827. 50.
. SHAKESPEARE IN GERMANY. XXI
Thus, at the very outset, worthless speculations have raised difficulties in the explanation
of an event, which was the. natural result of the simplest facts; and as nobody has taken
the tr-ouble to collect the materials necessary to fathom this important question, nobody
down to the present day has really been able to explain, to what the transformation of
the German theatre, which is unquestionably due to these strolling companies, is indebted
for its origin and progress.
Since the powerful impulse which Shakespeare and his contemporaries had given to
the English stage, the number of the theatres in London had increased very rapidly. A
necessary consequence was a constant increase in the number of persons, who, urged either
by natural inclination or by motives of gain, tried their fortune in these new resorts of
art. This must have given rise to an overfilling of the profession, which considerably ex-
ceeded the real demand, and resulted in a diminution in the emoluments of the actors.
The mediocre and subordinate actors must have suffered more especially from this cause.
Inferior performers were constantly leaving London to seek a livelihood in the provinces,
and when this resource also failed them, they again returned to the capita1.
1
In addition
to this, the unfavorable eye with which they were regarded offered obstacles of another
kind in the provinces, which in London had long been overcome by the popularity which
the theatres enjoyed.
2
At the same time it can have been no secret among these persons
that English talent of every qescription was fully appreciated and well remunerated on the
Continent. English musicians, fiddlers, flutists, trumpeters, to say nothing of English athletes
and riders, had been objects of popular admiration in Germany and the Netherlands since
the middle of the sixteenth century. From 1556 to 1584 the names of English musicians
are constantly met with in the accounts of the Margravine Court in Prussia, to which po-
pular artists of every description flocked in one uninterrupted succession.
8
They are also
mentioned in other parts of Germany. At the Court of Vienna a Flemish actor and his
company appear as early as 1560, and after 1569 we repeatedly meet with Italian come-
dians, and among them with a certain Taborino, who in 1570 was regularly as
1
.J. P. Collier, Ilutory of English Dram. Literature. Vol. iii, p. 437.
""It appears from Mr. Thompson's work on the history of Leicester that, early in the reign of .Elisa-
beth, the corporation discountenanced popular amusements. In 1.)66 they stopped the fees that had usually been
paid to the bearwards, who kept bears for the amusement of the people, and to the players who had frequently
performed in tl1e Guildhall. In the year 1582, they forbade any dramatic performances except they were autho-
rized by the Queen or the Lords of the Privy Council, and then the acting was to be by the Mayor
and his brethren only. This spirit W&."' carried to so great an excess, that the Mayor in 1586 appears to have
provided Lord "orcester's players with a dinner, as an inducement for them to proceed without p1aying" t>tc.
Shakespeare Society's Papers, Vol. iv, p. 145. Art. xvii, Dispute between the Earl of Worcester's players and the
corporation of Leicester, from the Records of that city. By J. 0. Halliwell.
As late as 1597 an act, first passed in 1572, was renewed with additional force, by which the number
of itinerant perfonners was limited; and in 1599 the Earl of Leicester's players could not venture to set out ti.1r
the provincP!', without obtaining a patent from Elisabeth by which they were enabled to perform "comedies. tra-
interludtH ami stage-plays : in any part of the Kingdom.
a K A. Hagen, Geschichte des Theaters in Preufsen, p. 46.
XXII SHAKESI>E.ARE IN GERMANY.
Imperial comedian.! The London actors must also have remembered that Italian players had
performed in London in 1577-78, and that Italians had also met with considerable suc-
cess in France and Spain,2 Why then should not English actors, who need not place less
confidence in their art, also obtain similar successes abroad? In the year 1585, moreover,
such motives received from without an additional impulse, which put in motion the wan-
rlerings of the ac.tors towards the most kindred countries of the Continent. It was in this
year that the Earl of Leicester went to the Netherlanrls at the head of the troops which
Queen Elisabeth sent to the assistance of the United Provinces, then engaged in a rebellion
against Philip the second. Whether the magnificent Earl, who had long maintained a com-
pany of actors at his own cost, hit himself upon the idea of theatrical performances as a
means of enhancing the splendour, which he intended to display in Holland, or whether
strolling players attached themselves to his vast retinue of their own accord, it is sufficient
for us that we know from a letter sent to England by Sir Philip Sydney, and dated Utrecht,
that at least one actor, namely "Will, the Lord of Leieester's jesting player" accompanied the
Earl, and it is propable that others, of whom we know nothing, did the same.
3
1
Ed. Devrient, Guchichte der deutschen Schauspielk1tnst. Vol. i, p. 149.
See Schlager, lViener SJ."izzen. 8vo. Wien 1839, Sitzungsberichte der lViener Akademie vi, p. l. and Ger-
vinus, Geschichte der deutsclten Diclitung. Vol. iii, p. 104.
a See John Bruce's Who was "lVill, my Lord of Leices,ter's juting player?" in the Shakupeare Society's
Papers. Vol. i, 1844, p. 94.- The grounds of our conjecture that Will was not the only player who accompanied
the Earl are to be found in the above-mentioned paper. If, as Mr. Bruce endeavours to shew, we recognize in
this "Will" the player William Kemp, there would be nothing extraordinary in his having attached himself to the
Earl from the mere love of ad\enture, as we know of Kemp that he was a man of a roving spirit, who had also
visited France and Italy. See ibid. p. 93, also J. P. Collier's Shakespeare, edit. of 1844, Vol. i, p. cxxix. That
Kemp also visited Germany is evident from a passage in Sloane MS. 3!.12, fol. 401, dated Sept. 2nd, 1601. See Co-
ventry Plays ed. by Halliwell, p. 4-10. At the end of his paper Mr. Bruce propounds the question, whether Shake-
speare may not possibly have accompanied the Earl of Leicester to the Nt-therlands. Dr. W. Bell, Shakespeare's Puck
and his FollcJJ-lore, 1862. Vol. ii, p. 235 assumes without any sufficient reason that this Will was no other than
himself. A similar assertion is also made by Mr. W. J. Thoms in his paper, Shakespeare ever a
Soldier1 in Notu and Queriu, 2nd Ser. Y ol. vii, 1859, p. 330-351. See also Dr. Bell's article in the Morgenblatt,
4to. Stuttgart 1853, No. 50, lVas Shakupeare ever in Germany? Dr. Bell answers this question in the affirmative,
and assumes that Shakespeare did not return to England with Leic-ester's players, but joined one of the later com-
panies, which went to Germany by way of Holland. We meet with "the Lord of Leycester's players" in 1587 in
Stratford, where they recehed a present of 151 from the corporation. Until more powerful arguments are brought
forward than those produced by Dr. Bell, we must regard this subject as an open question. It appears to follow
moreover from a passage in Stowe's Chronicle, p. 717, which coincides exactly with the date of Sir Philip Sidney's
letter, that the festivities in Utrecht were not. so much dramas in the stricter sense, as spectacles of another
character. "It is there said that the feast was succeeded by daneing, vaulting, tumbling, and an exhibition, pro-
bably of a pantomirnicnl character, termed 'The Foret's of Hercules', which gave great delight to the strangers,
for they had not seen it before.'' Stowe had this description from Segar, the herald, who was present. See J.
Bruce, ibid., p. 92. In a paper published in Wirtemberg, a writLr has recently ventured the ast>ertion that Shakespeare
had made some stay at the Court of Stuttgart. I have not seen the paper in question, but suspect that some wag
or other has amuseJ himself with a myi<tifieation. In all probability the Embassy of James the first to the Court
of Stuttgart in 1603. to which we have alluded at p. XIV, is brought into eonnection with this supposed visit.
Imagine Shakespeare at the summit of his fame, in the same in which Hamlet was brought upon the stage.
contributing to the eonvivial of tht' Stuttgart Court as mt-mber of a second-rate company of players!
SHAKESPEARE IN GERMANY. XXIII
This appears to be established by an event of the highest importance in the history of
the English Theatre, one which has been quite neglected hitherto, although Thomas Heywood
referred to it as early as the year 1612. In his 'Apology for actors' t there is the following
passage, which though often cited has never been properly investigated.
"At the entertainement of Cardinali Alphonsus and the Infant of Spain in the Low
countryes, they were presented at Antwerpe with sundry pageants and plays: the King of
Denmarke , father to him that now reigneth, entertained into his service a company of
English comedians, commended unto him by the honourable the Earle of Leicester: the
Duke of Brunswicke and th.e Landgrave of Hessen, retain in their courts certaine of ours
of the same quality."
. The King of Denmark "that now reigneth," i.e. in the year 1612, in which year the
'Apology for actors' first appeared, was Christian the fourth (1588-1648), and his father, in
whose service the company of English comedians is stated to have been, was Frederick the
second ( 1 [)59-1588). Hence we aiTive at the striking conclusion, that prior to the year 1588
English players must have taken their art to foreign countries, and the interest which this
fact is calculated to excite, is considerably increased, when we prove that this event had
already taken place in 1585, that the actors, (we do not know whether all or only some of
them) who had been sent by Leicester to the King of Denmark, had gone to Germany as
early as 1586, and that among them there were at least two, who subsequently attained a
prominent position on the London stage and who not only were acquainted with Shake-
speare but also stood on an intimate footing with him, and one of whom was probably the
first to embody Shakespeare's clowns before an English audience - no others than Thomas
Pope and George Bryan.
Whether the Danish King dismissed all those actors at once, or whether he only
parted with some of them to Christian the first, the Elector of Saxony, at his request, is
uncertain. However this may be, in October 1586 we meet with five Englishmen, who had
quitted the Danish service, at the Saxon Court. It is true, in the documents now before
us they are called "Instrumentalists''; and this was probably their original and principal pro-
fession. But that there were also actors among them, or that they themselves followed
the profession of acting as well as thltt of music, is proved. not only by the evidence of
Heywood, who calls them comedians, but also by that of one of the documents themselves,
and especially by that of the names of Thomas Pope and George Bryan.
The three following Jocuments are preserved in the Royal Archives at Dresden.
The first two are holographs of Christian the first, the first addressed to King Frederick
the second of Denmark, the second to the Steward, Hans Thilo. The third is the Elector's
decree respeeting the appointment of the Englishmen.2
1
Republished by the Shakespeare Society in 1841, 8vo, p. 40.
~ See Moritz Fiirstenau, Zur Geschichte der 1\lusilc und des Theaters am llofe der Kurjiirsten von Sachsen.
Rvo. Dresden 1861, p. 6U-i2.- The two letters of the Elector have bt>en printed before in Anzeiger j1ir Kunde
der !Jeutschm Vorzeit; 4to. Niirnberg 1859, No. 1.
XXIV SHAKESPEARE IN GERMANY.
"An Se. K()nigl. MajestAt zu Danemark.
Ew. Kanigl. MajestAt Einspanniger, welch en Sie den Englendischen Instrumentisten
zugeordnet, hat Uns Ew. K()nigl. Maj. Schreiben zu seiner Ankunft bei Um zureeht O.ber-
antworten lassen. Dafs nun Ew. Konigl. Majest. Uns auf Unser freundlicb Bitten Uns nicht
allein Instrumentisten freunrllich haben zukommen lassen, sondern auch mit denselben
zuvor vff eine gewisse Unterhaltung vorgleichen vnd ihrer Abfertigung halber so fleissige
Vorsehung haben thun lassen, vnd also derohalben Sich so oft vnd vielmals Unserthalhen
bemuhet, dessen thun Wir Uns gegen Ew. K{)nigl. Majest. ganz dienstlieh vnd freundlich
bedanken.
'Vaidenhain, den 19. October 1586."
TRANSLATION.
To His Royal Majesty of Denmark.
Your Royal Majesty's one-horse carriage which you assigned to the English Instru-
mentalists has duly delivered to us on its arrival Your Royal Majesty's letter. That Your
Royal Majesty at our friendly rC<JUCst have not only been so friendly as to allow these
instrumentalists to come to us, but also have arranged with them beforehand for a certain
maintenance, and have made such careful provisions for expediting them, and have there-
fore with respect to them so often taken trouble in our behalf, for this we offer our thanks
to Your Royal Majesty most truly and friendly.
waidenhain, the 19th of October 1586.
"An den Hausvoigt Hausen Thilo.
Lieber Getreuer: Unser gnadigster Befehlich ist, Du wollest vnsern Englendischen
Instrumentisten von Unsertwegen auferlegen, sich alsbald nach Deiner Amneldung mit
ihren Instrumenten anhero bei Tags vnd Nachts zu Uns zu begeben, vnd die Trauerkleider,
so Wir ihnen machen lassen, mitzuhringen, damit sie allhier darinnen auffwarten konnen;
vnd damit sic der Fuhre halber nicht gehindert werden, wollel't Du ihnen Uul'ert'r Kutsehen
cine, so die Sachen pflegen zu fahren, we1che unter denselben am bet-;tl:'n fortkommen kann,
verordnen, der sie his gegen der Zosse [?] fiihre, Tags vnd Nacht:-;, allda sie zu ihrer
Ankunft Amtsfuhre bekommen werden, auch deml'elben befeh1en, dafs er nach
ihrer Anknnft gegen der Zosse [?) fo]genden Tags vollends ledig hereinfahren soli, vnd
solches dermafsen mit Flcifs bestellen, damit berilhrte Instrumentisten je eher, je Lesser
allhier sein mOgen.
Berlin, den 25. October anno 1586:'
TRA.XSLATlOX.
To the Steward Hans Thilo.
Dear and trusty servant: Our gracious command is, you do on our behalf eommand
out English Instrumentalists immediately after your announcement to 1epair hither to us \\'ith
SHAKESPEARE IN GERMANY. XXV
their instruments by day and night, and bring with them the mourning clothes which we
have had made for them, in order that they may wait upon us in them here; and that
they may not meet with any impediment with regard to conveyan.ce, will you appoint for
. them one of our carriages such as are used to convey things, and whichever of them can
get on the best, which may bring them as far as to the Zosse [?J by day and night, where
on their arrival they shall have an official carriage, also will you tell the coachman that
on the following day after their arrival at the Zosse [?] he is to drive in here quite empty,
and will you diligently arrange everything in such a way that the said Instrumentalists may
be here as soon as possible.
Berlin, the 25th of October, 1586.
BESTALLUNGSDEKRET:
Von Gottes Gnaden, Wir Christian Herzogk zu Sachssen etc. Thuen khuendt kegen
Jeder Mannigklich, Nachdeme Vnsere Iiebe Tomas Konigk (Thomas King], Tomas
Stephan [Thomas Stephen], George Beyzandt (George Bryan], Tomas Papst [Thomas Pope]
vnd Rupert Persten [Pierst?] Aufs Engelandt, Geyger vnd lnstrumentisten, eine Zeittlangk
bei der Konigklichen Wurde zOr Dennemarken gewefsen die Vnfz Ire Kon. W. Zukommen
lassenn, Das wir solche zu Dienst an Unsern Hoff besteldt vnd auffgenommen, V ndt thun
solchs hiemit vnd in crafft des brieffes, Das sie Vnfz getreu vnd dienstgewertigk vnd
schuldigk sein sollen, Sich an Unserm Hoffe wesentlich zu enthalten, Vnd do wir Raisen,
Vns, Vf Vnseren beuehlich Jedesmahls folgen, Wan wir taffel haltten, Vnd sO.nsten so ofte
lnen solchs angemeldet wirdt, mit Iren Geygen vnd zugeharigen Instrumenten, auffwarten
vnd Musiciren, Vns auch mit Ihrer Springkunst vnd andern, was sie in Zirligkeit gelernett,
liist vnd ergetzlichkeit machen, Vnd sich sOnst kegen Vns vorhalten, vnd bezeigen, was
getreuen vleissigen Dienern zustehet, eignet vnd gebO.ret, Welches sie also versprochen vnd
zOgesagt, V nfz auch darO.ber sambtlich einen Reuerfz vbergeben habenn. Dakegen vnd
ZO.ergetzlichkeit solcher Irer Dienste, wollen wir In en Jarlich, so lange diese V nsere Be-
stallung weret, Funfhundert taler, Zu den Vier quatember Zeitten von dem 16. Octobris
negst Vorschienen anzurechnen, Aufz Vnser Renth Kammer, Defzgleichen Jedem Jarlich
ein Kleidt, V nd Viertzigk Thaler zu Hanfz Zinfz, oder herbrigen Geldt vff sie aile Zugleich
reichen, Vnd sie mit freien Tisch zu Hoffe, Auch wenn wir Raisen, freyen fbuer vorsehenn
lassen.
TRANSLATION.
THE APPOINTMENT.
By the grace of God, We Christian Duke of Saxony &c. make known to all men:
'"l1ereas beloved and trusty Thomas King, Thomas Stephen, George Bryan, Tho-
mas Pope, and Rupert Persten [Pierst?] of England, fiddlers and inst.rumentalistR, haw
been a long time with the Royal Dignity of Denmark, whom His Hoyal .Majesty has
allowed to come to us, that we have appointed and received the same into our serviCe
D
XXVI SHAKESPEARE IN GERMANY.
at our Court, and do so hereby, and in virtue of this letter, that they may be trusty and
obliging and dutiful, to demean th<.>mselves well at our Court, and when we travel to fol1ow
us always at our command, and when we hold a banquet to play as often as the same is
ordered them, and attend with their fiddles and instruments belonging thereto, and play
music, and amuse and entertain us also with their art in leaping and other graceful things
that they have learnt, and in other respects so demean and behave themselves towards us
as becomes, behoves, and beseems, true and zealous servants, which they accordingly have
promised and declared, and have also all together given us their bond. On the other hand,
and for the greater delight of such their services, we will pay to them yearly as long as
this our appointment lasts, five hundred thalers at the four quarterly times from the 16th
of October last [1586], out of our treasury, in like manner to each yearly one coat, and
forty thalers for house-rent, or of lodging money, for all of them together, and have them
provided with a free table at court, also, when we travel, with free conveyance.
A separate leaf annexed to the above document bears the signatures of the artists named
mIt, of which we give a Facsimile (see Plate i, No. 1). The German translations facing the
English names have been added by another person. In another decree, which is of no import-
ance for our object there stands, for instance, "Thomas Stephans von Lunden in Engellaudt".t
We need not be surprised that besides music, which at all events was the principal thing, men-
tion is made here only of their "art in leaping and other graceful things that they have
learnt," for under this expression the dramatic art was also understood in Germany at that
time. The term 'Comedian' or 'Player' hardly occurs at all, just because actors by pro-
fession were still unknown. No one will doubt that we have to do here with the Come-
dians mentioned by Heywood. The connection with "certaine of ours of the same quality.,
at the Courts of Brunswick and Hesse, by which are meant actors who were staying at
those courts at the time at which Heywood wrote, accordingly in the year 1612 or imme-
diately before it, confirms the correctness of this conclusion. - Was then Thomas Pope
really the later colleague of Shakespeare? This does not appear to us to admit of any doubt.
No other actor of this name is known to us of that time, and he belongs to the few whose
connection with the LotHian stage can be traced back to a time prior to Shakespeare's
connection with the Blackfriar's Theatre in 1589, for we know that before 1588 he had
taken a part in Tarlton's play of 'The Second Part of the Seven Deadly Sins '.2 The above-
mentioned Englishmen arc not met with again in the Dresden Archives after 1586, although
other 'Jumpers and Dancers' are named at a later period, as for instance in I 588. It is
probable therefore that the Englishmen quitted the Saxon setvire soo11 after 1586, and
' .M. :Fiirstenau, Zur Gescllichte etc., p. 72.
1
2
See J. P. Collier's Jfemoirs of the Principal Actors in the Plays of printed for the Shakl'-
Society, London lti4G, p. 120-:l::!ti. To the Mlmoir of }Jopc I mn iudPhtcd fur all that follow:>
above concerning him. - Thomas Pope is twice mentioned in Ilenslowe's Diary, ed. for the So(',
by J. P. Collier. 8vo. London 1845, p. 109 & 235.
SHAKESPEARE IN GERMANY. XXVH
returned to England. On the London stages Thomas Pope had played the parts of the
'rustic clowns', and there is nothing surprising therefore in the supposition, that at an earlier
period of his life, he had condescended to still more subordinate histrionic arts.t It appears,
that in the year 1593 he belonged to the same company as Edward Alleyn,-z and in 1596
his name stands at the head of the eight Petitioners to the Privy Council for the repair
of the Blackfriars theatre, among whom Shakespeare's name also appears. And again in
1599 he and John Heming represent the company of the Lord Chamberlain's servants,
when they received 30l. for the performance of three plays at Court. In 1598 he had a
part in Ben Jonson's 'Every Man in his Humour', and in 1599 another in 'Every .Man out
of his Humour' by the same author. He died in 1604. As to George Bryan, it is not
quite clear what position he held amongst the actors of the Blackfriars Theatre, but he
evidently belonged to it at the time when Shakespeare was a member of it. Also his con-
nection with the London Theatres may be traced back to a period prior to 1588, as he
also took a part in 'The Second Part of the Seven Deadly Sins'. Chalmers states that
George Bryan "played the Earl of Warwick in 'Henry the Sixth', during 1592"
8
but he
gives no authority for his statement. He probably confounded Shakespeare's plays of
'Henry vi' with the introduction of that King attended by the Earl of Warwick, and othersJ.-- ..
in Tarlton's 'Seven Deadly Sins'. Bryan did act the Earl of Warwick in that piece. Chal-
mers' assertion that Bryan was "certainly dead" in 1598 and that "he did not live long
enough to represent any part in Ben Jonson's 'Every Man in his Humour"' is,
to Mr. J. P. Collier equally doubtful. "The truth is" says the latter "that we are ignorant
when or where Bryan died; but there is good reason to believe that he was living in the
spring of 1600, for we read the following entry in the register of baptisms at St. Andrew's
Blackfriars, which most likely applies to our actor:
George, sonne to George Bryan. 17. Feb. 1599."
Of the other three members of the King of Denmark's Company we possess no
further information. Neither have any particulars been preserved respecting the perform-
ances of this company in Dresden and Berlin. In the latter capital they have probably
only performed as musicians, as they had to appear in mourning costumes. But it is suf-
ficient for us, that we here meet with English actors, who before leaving England must
have been already well-known members of the profession, practising their art in two Ca-
pitals of the German States. Can we suppose that all these circumstances remained un-
1
See above p. xxn, note 3. Lord Leirester"s players too did not decline to act in pantomimes, and if
the company recommended to the King of Denmark by Leicester was connected with the Earl's to the
as we hPlieve it Thomas Pope may have acted in the pantomime described by Rtowe.
2
See Memoirs of Edw. Alle!Jn, Founder of Dulwicb Colll'ge, ed. for the Shakespeare Roc. by .J.P. Ctillier.
London 18!1, p. 2u.
3
See a Memoir of him in Mr. Collier's work named above, p. 129-131. Chahner"s statement is to be
found in Suppl. ApolO[J!J for the Believers in the Shaket!peaTe papers. 8\o. li99, p. 160.
D2
XXXVIII SHAKESPEARE IN GERMANY.
known to the members of the London stage? . Most assuredly not; and ~ h e r e is nothing
to prevent our assuming, that those actors who were anxious to improve their extetnal
position, hit upon the idea of practising their art in foreign countries, an idea which was
still further nourished by the English love of roving. Fortunately, we are not obliged to
content ourselves with these combinations to support our conjectures, but are able to
establish their correctness. The following remarkable letter of Richard Jones, an actor, to
Edward Alleyn, the founder of Dulwich College, is evidence of the truth of our assertion.
"Mr. Allen, - I commend my love and humble duty to you, geving you thankes for
yor great bounty bestoed upon me in my sicknes, when I was in great want: god blese
you for it. Sir, this it is, I am to go over beyond the seeas wt Mr. Browne and the com-
pany, but not by his meanes, for he is put to half a shaer, and to stay hear, for they ar
all against his going: now, good Sir, as you have ever byne my worthie frend, so helpe
me nowe. I have a sute of clothes and a cloke at pane for three pound, and if it shall
pleas you to lend me so much to release them, I shall be bound to pray for you so Ionge
as I leve; for I go over, and have no clothes, I shall not be esteemed of; and by god's
help, the first mony that I gett I will send it over unto you, for hear I get nothinge: some
tymes I have a shillinge a day, and some tymes nothinge, so that I leve in great poverty
hear, and so humbly take my leave, prainge to god, I and my wiffe, for yor health, and
m\stris Allene's which god continew. - Yor poor frend to command,
Richard Jones."!
Here we see an actor, and as we shall shew presently by no means the least im-
portant one of his times, forming the resolution "to go over beyond the seeas with Mr.
Browne and the company" in order to escape from his embarrassed circumstances. But
the letter bears no date. When was it written? Did he adhere to his intention, or, if the
"company" really went "beyond the seeas", when did this happen, where did it go to, and
of what persons did it consist? All these points and several others are cleared up in the
following passport, which bears the signature of the same C. Howard, who a year later
made out the passport for Duke Frederick of Wirtemberg on his return from England.
(See p. xiii.)
"Messieurs, comme les presents porteurs, Robert Browne, Jehan Bradstriet, Thomas
Saxfield, Richard Jones, ont delibere de faire ung voyage en Allemagne, avec intention de
passer par le pars de Zelande, Hollande et Frise, et allantz en leur diet voyage d'exercer
leurs qualitez en faict de musique, agilitez et joeuz de commerlies, tragedies et histoires,
pour s'entretenir ct fournir a leurs despenses en leur diet voyage. Cestes sont partant vow;
requerir monstrer et prester toute faveur en voz pars et jurisdictions, et leur octroyer en
rna faveur vostre ample passeport soubz le seel des Estatz, afin que lcs Bourgmestres des
villes estantz soubs voz jurisdictions, ne les empeschent en passant d'exercer leur dictes
c1ualitez par tout. Enquoy faisant, je vous en demeureray il. tous oblige, et me treuverez
1
From the Alleyn Papers ed. by J.P. Collier for the Shakespeare Society, 1847, 8vo, p. 19.
SHAKESPEARE IN GERMANY. XXIX
tres appareille a me revencher de vostre courtoisie en plus grand cas. De rna chambre a
la court d'Angleterre ce x jour de Febvrier, 1591.
v ostre tres affecsionne a vous
fa yre plaisir et sarv1s
C. Howard." 1
TRANSLATION.
Gentlemen, as the present bearers, Robert Browne, John Bradstriet, Thomas Saxfield,
[Sackville], and Richard Jones, have determined on making a journey in Germany, with the
intention of passing through the countries of Zealand, Holland, and Friesland, and while going
on their said journey, of practising their profession by performing of music, feats of agility,
and games of comedies, tragedies, and histories for maintaining themselves and providing
for their expenses on their said journey. These presents are therefore to request you to
shew and afford them every favour in your countries and jurisdictions, and to grant them
in my favour your full passport under the seal of the states, to the end that the Burgo-
masters of the towns being under your jurisdiction, do not hinder them in passing from
practising their said profession everywhere. In your doing which I shall remain obliged
to all, and you will find me very ready to return your courtesy in greater instances.
Given from my chamber at the Court of England the tenth day of February, 1591.
Your very devoted to doing you pleasure and service
C. Howard.
These two documents put to silence all such conjectures as those mentioned above.
We know now, that the 'English Comedians' were really Englishmen, and also what the
motive was which induced them to leave their native country. There is another conjecture
which has often been hazarded, but which now appears entirely without foundation. It has
been supposed, that the Netherlands were always the original goal of the wanderings of
these strolling players, that they there became connected with Flemish actors, and went
with them to Germany. We now learn the reverse of all this. Holland, Zealand, and
Friesland were only to be visited eu passant, but Germany was to be the main object of
their travels, and it was only as a means of getting there, and of obtaining the necessary
funds for the journey, that they intended to practise their art in the Netherlands. This
appears to me very strong evidence for the assumption that the company went to Germany
in consequence of an invitation. If they expected to meet with encouragement for their
art in the Netherlands, why should they from the very first have directed their attention
to Germany? Besides, the circumstance that the passport is addressed only to the Flemish,
1
The letter is addressed to the States-General of the Netherlands and has been discovered in the Ar-
chives of the Hague by Mr. J. A. de Zwaan Cz. - First published in Mr. L. Ph. C. van den Bergh's "'s Graten-
liaagsche Bijzonderheden," Hague 1857, limo, p. 41. See also Albert Cohn, English Actors in Germany, in the
Athenaeum No. 1652, June 25, 1859, and the same article republished by Mr. W. J. Thoms in Note& and Queriu
1859, July 9. See also Dr. W. Bell, Shakespeare's Puck, etc. Vol. ii, p. 250.
XXX SHAKESPEAUE IN GERMANY.
and not to the German Authorities, appears to favour this VIew. It is most probable that
upon their first leaving England, the actors were already provided with German credentials
which promised them a safe conduct in Germany, and procured them attention from the
municipal authorities. At a future page we shall find Robert Browne, the leader of the
Company, appearing again a few years later in connection with the art-loving _
Maurice, in Cassel_:__The knowledge which we obtain from Lord Howard's re-
of the intended representations is very accurate. Comedies, Trage-
dies, and Histories are to be performed, a designation, from which we may safely couclude,
that the Company took with them the same pieces, which were known upon the London
boards by the same names. The intention of increasing the attraction of their representa-
tions by "musique" and "agilitez" is also to be explained by the practice of that time upon
the London stage.t But we can hardly suppose that all these performances for obtaining popu-
larity were the province of the four above-mentioned actors themselves; we must rather as:-;ume
that the Company took with them several subordinate persons, who at least undertook the
"agilitez ". They might calculate on finding musicians, even Englishmen, on the spot, for
there were a great many of them at that time on the Continent.
Who then were the four friends who formed a party for a journey to Germany?
Two of them at least were actors who must have already acquired a certain reputation in
England. Robert Browne
2
and Richard Jones belonged to the company of the Earl of
Worcester's players as early as 1586, as we learn from the following document taken from
the Records of the City of Leicester.
"Willm Earle of Worcest hathe by his wrytinge, dated the 14 of January, A
0
28
Eliz. Re. lycensecl his svaunts, vz. Robt. Browne, James Tunstall, Edward Allen, Wm. Harry-
son, Tho. Cooke, Richd. Johnes, Edward Browne, Rye. Andrewes, to playe and goe abrode,
using themse}yes orderly, &e. in these words, &c. Tllese are therefore to require all suehe
her highness offyccrs to whom these psents shall cih, quietly and frendly, within yor se-
psincts and corporacons, to pmyt and suffer them to passe w'th your furtheranee,
vsinge and demeanynge yselves honestl)\ and to giYe them (the rather for my sake) sneh
entertaynment as other noble men's players have" &e.3
1
Henry Chettle in his Kind-hearts Dream, 1592, makes coney-catchers complain, that the players "spoiled
their trade" by singing jigs in which they were exposed. - Stephen Gosson in his Plays Confuted in Fhe ActiOn$,
talks of vaulting, tumbling, dancing of jigs, galliards etc. - 'Vith respect to Music pPrformed between the acts
Antony Munday in his Two Italian Gentlemen (about 1584) mentions the different kinds of mnl'lic to be played
after each act, whether 'a pleasant galliard.' 'a solemn 'dump,' or a pleasant ullemaigne.' St>e J. P. Collier.
History etc. Vol. iii. p. 380 and 448.
2
This player and others of the same name seem to have been members of one family. In the Earl uf
Worcester's company we meet with an Edward Browne, und a ""illiam Browne ito named performer of om,
of the characters in Shakerley .Mannion's Holland$ Leaguer, a comedy, 1G:3t, 4to. Sle .J.P. Collier, History ttc.
Y ol. ii. p. :::? I.
3
DixJmfe betwe1'11 the Earl of ll'url'ester's players and the Corporation of Leicester in 1[)86. Ed. hy J.
(). llallhnll. Shakespeare Soc. Papers, Yol. i\, p. 14[1.
SHAKESPEARE IN GERMANY.
A" I
..,,_ ....
XXXI
Robert Browne is most probably the same person, who soon after 1570 married
the widow of Edward Alleyn, the father of the founder of Dulwich College of the same
name. He had already been an actor and a haberdasher at the same time. Edward Alleyn
was the proprietor of an inn, and as the old practice of using inn-yards for theatrical re-
presentations was still in vogue at that time, the prospect of owning the inn may very
likely have been one of the motives which induced Browne to marry Alleyn's widow.
There can be little doubt that .Mr. and Mrs. Browne lost no time in turning to advantage
the histrionic talents of Edward Alleyn, the son, who afterwards became the celebrated
actor, and who in 1599, in conjunction with Philip Henslowe, whose daughter he married,
built the Fortune Theatre; and this again would explain the neglect of Alleyn's education,
of which Fuller complains in his' Worthies'. Moreover Fuller's statement that "Alleyn was
bred a stage player" is in harmony with this supposition.t Richard Jones, the last men-
tioned actor in the above document, stood in very close connection with Robert Browne,
indeed he appears to have been a partner in Browne's theatrical enterprises, for on the
3rd of January 1588-89, Ed\vard Alleyn purchases for the sum of 37l. lOs. 6d., Richard Jones'
share of "playing apparels, play-books, instruments, and other comodities" which had be-
longed to him and Browne, and the latter's step-sons, John and Edward Alleyn, in common.
2
In the year 1590 Browne must also have given up his theatrical connection with his two
Htcp-sous, .for it was in that year that he undertook his first journey to the Netherlands.
The two friends left the Theatrical Company of the Alleyns so very nearly. at the same
time, that we are justified in attributing this step to their having already resolved on their
expedition to Holland. It would follow from this assumption that R. Jones was also one
of the party, although we do not :find him mentioned by name in the following entry in
the town aeeouuts of the city of Leyden. But there is no reason to be surprised at this,
as only Robert Browne is mentioned 41s the leader, and hi.s companions are briefly styled,
'"his fellows''. It is also possible moreover that the undated letter of Jones to Alleyn refers
to the :firHt journey.
"Betaclt aen Robert Brone, Engelsman, ende zynde medehulpers, 'tsamen vyfticn
guldens over geliehe sommc hem toegevoucht voor't verthoonen ende spelen von verschey-
clen eomcdien ende historicn mitsgaders 't doen van verscheydcn sprongen by hems, zoo
voor Burgermeestren alsvoor de gemeente di:o;er state verthont, blijckende by de Ordonantie
van dato vii. Octr., 1590. xv. gl."S
TRA:-iSLATION.
Paid to Hobert Browne, Englishman, and to his fellows, in all fifteen guilders, over
and above the sum of the like amount, granted to him for having acted and played divers
1
S<'e Edward .Alleyn's Memoirs ed. by J. P. Collier for the Shakespeare Society, p. 145.
Ibid. p. 4.
' Navorscher . .J.to. Amsterdam, Vol. viii ( H S 5 ~ ) , p. 7.
XXXII SHAKESPEARE IN GERMANY.
comedies and histories, besides for having made divers leaps, by him performed as well in
the presence of the burgomasters as before the community of this city, as appears by order
of date, Oct. vii, 1590. xv. guilders.l
Robert Browne, and, if we accept the supposition that Richard Jones accompanied
him, the latter also, must have returned to England from this visit to the Continent towards
the end of 1590 or the beginning of 1591, in order to form the company intended for
Germany. The meaning of the passage in Jones' letter to Alleyn: "but not by his meanes,
'for he is put to half a share, and to stay hear, for they are all against his going," is not
clear to us. The words immediately preceding, "I am to go over beyond the seeas wh
Mr. Browne and the company" stand in direct contradiction with them, for according to
them, Browne was the chief person in the enterprise, and how then could he remain at
home, and why should he especially receive only half a share ?
2
In Henslowe's 'Diary' mention is twice made of a player Browne. Edward Browne
whom we meet with in 1599 s is certainly the same person as the Browne we found above
among the Earl of,Vorcester's players. The second mention refers to the year 1596 "Lent unto
them to feache Browne Xs",4. No Christian name is given here, and it is quite possible that
we have our Robert Browne again before us, who appears to have been in England in 1.)96; in
that year a Robert Browne joined the Embassy of the Earl of Lincoln, which Queen Elisabeth
sent to the Court of Cassel to be present at the christening of the daughter of the Land-
grave Maurice, who was named after the Queen. It is probable that Browne had acquired
a knowledge of German, at that time undoubtedly a rare case in England, - and this must
have made him appear to the Earl of Lincoln a very welcome companion on an Embassy
to Germany .. It is also not improbable that Browne on his first journey to Germany, which
1
Notes and Querie&, Sec. Series, Vol. vii, Jan. R, 1859, p. 36. Translated from the Natorscher. Dr. Bt>ll,
Shakespeare's Puck, Vol. ii, p. 250 conjectures that the date appended to Lord Howard's passport ought to he
1()90 instead of 1 [>91 and that the Leyden document refers t,o the sume joumey and to the same com puny as the
passport. I can see no plausible reason fur tbe conjectur<>, und it a fut't that 15!.!1 is the date of the original
document. It is hardly credible that the date should be wrong in an offkial document, but where errors of date
uccur, the '\\Tong year is the preceding one and not the next. At the beginning of a new year a hasty
scribe may put down the date of the old one, hut it would be quite inexplicable that in February 1590 a person
in senses should put do,vn 1591!
2
Malone knew this letter of Jones through a copy in his own possession, without, however, ha,ing the
slightest idea of its importance for the history of the English stage. Mr. Collier also in his preliminary remarks
to this letter in the Alleyn Papers regrets not having any clue to the date of the letter and to the identity of
Mr. Brownt>. The missing clue to both will be found above. It is moreover rather surprising, that it never
occured to Mr. Collier, who published the Alleyn Papers in 1843, thut this Browne, and the Browne mentioned hy
himself in 1 fS.U in the Memoirs of Edward Alleyn, might be one and the same person.
3
The Diary of Philippe Henslowe ed. by J. P. Collier, for the Shakespeare Society, 1845. 8vo, p. 73 .

4
Ibid. p. 78. - It does not appear why Browne and another player 'Fleacher' [Fletcher?] mentioned in
the same passage, were to be fetched.
' From the Hessen-t'a:;sel State-Rel'ord,;. See Rommel, Geschichte von Hessen, Vol. vi, Cassel 11-\Hi.
p. ::190.
SHAKESPEARE IN GERMANY. :X.XXUI
was his second to the Continent, had entered the service of the Landgrave Maurice (who
reigned 1592-1627) as an actor, for that the Landgrave maintained English comedians at
his court, is a fact which we shall prove presently. If we accept this conjecture, we may
easily conceive that Browne, with his knowledge of the Court of Cassel, was able to render
the Earl of Lincoln very valuable services. At all events Richard Jones had returned to
England in 1594, if not earlier, as appears from Henslowe's 'Diary', p. 66. "Sowld Mr.
Richard Jones, player, a manes gowne of peche coler, In grayne, .the 2 of september 1594
to be payd by fyve shillinges a weeke imediatelye followinge &c." From 1594 to 1601 he
is very often mentioned by Henslowe. In the year 1595 his name occurs in a list of players,
which Mr. Collier believes to be that of the principal actors forming the company of the Earl
of Nottingham. He undoubtedly belonged to the company connected with Henslowe and
Edward Alleyn, and as this company for a period of two years, namely from June 1594
to July 1596, while the Globe Theatre was building, either played together with, or at least
occupied the same theatre as, the company to which belonged Shakespeare, it is not im-
probable that Jones came into contact with Shakespeare, and assisted in the representation
of his plays.
Thomas Sackville and . John Breadstreat appear to have occupied a less prominent
position among the members of the London stage. Neither of them is mentioned in Hens-
lowe's Diary, nor have we been able to discover their names among the other orginal autho-
rities respecting the London theatres of those times, which have appeared in print. On the
other hand we have b ~ e n so fortunate as to find both of them in Germany, and of Thomas
Sackville at least we can state with certainty, that he entered the service of Duke Henry
Julius of Brunswick, of whose connection with the English comedians we shall speak more
at length presently.t In all probability the whole company mentioned in Jones' letter and
Howard's passport, appeared on the stage of this Prince in Wolfenbilttel immediately after
its arrival in Germany; and we must here refer once more to the conjectures we have ex-
pressed above, that these actors came to Germany in consequence of an express invitation.
Unfortunately the exchequer-accounts of the years 1590-1601 are missing from the Brun-
swick Court Archives from which the following notices respecting Tho.mas Sackville have been
taken;2 and as Robert Browne, as shewn above, probably returned to England in 1596, and
Richard Jones most certainly did so in 1594, the exchequer-accounts later than 1602 cannot
give us any information respecting them. But, as will appear from the following entries
in those accounts, Thomas Sack ville remained in Germany at least till 1617, and we shall
see indeed that he became completely domiciled at the Court of W olfenbuttel. His name
is spelt very differently at different places, but we may see from all of them that Sackville,
1
This confirllll'! thl' conjeeture I have made in the article, English Actors in Germany, (seep. xxix, note).
that the actors were connected with Duke Henry Julius.
2
For the extracts following on the next page, which have never been published before, I am indthted
to Mr. C. W. Sack of Brunswick, Hegistrar to the Duke of Brunswick.
E
XXXIV SHAKESPEARE IN GERMANY.
and not Saxfield as in Lord Howard's passport, is the correct orthography.! In one docu-
ment of the year 1597 of which we possess no further description, he is called "Thomas
Sackefiel, Princely servant at WolfenbO.ttel ". In the same year, he and another English
actor, who is named Edwardus Wakefiel [WakefieldJ had a quarrel in a tavern in Brunswick.
They had received a commission from a merchant in London "Wilhelm Thouwasen" (evi-
dently a corruption) to draw on a woollendraper in Brunswick for 239 thalers. - The fol-
lowing are exact translations of extracts from the accounts of the Court of Brunswick, as
far as they are still extant.
"1602. Aug. 30. At the verbal command of my most gracious Princess and Lady to
Thomas Sacheviele, according as Her Princely Grace has graciously presented the English
comedians,- 100 thalers.
Thomas Sacheviels at the verbal command of my Princely Grace and Lady to his
bill for goods, on account, - 300 thalers.
1602. Oct. 1. Thomas Sacheviele on account for his purchases for the Princely kit-
chen, surgery, and wardrobe,- 375 thalers 14 gr.
1602. Oct. 2. At the gracious written order of His most Illustrious Highness, to the
Court Tailor, Michael Wolframb, and to Thomas Sacheviele for the purchase of English and
other black garments to the behoof of the funeral of the Princely widow, blessed be her me-
mory,- 5000 thalers." (Wolframb and Sackville were sent to Leipsic for a similar purchase,
and 3737 thalers were paid to them on the 31st of December.)
"1602. Decemb. 28. Edward Wakefield on account of Arnd von Wobersnow [?] having
been accepted by the Princely Exchequer, - 160 thalers."
(From 1603 to 1607, the accounts are missing).
"1608. Feb. 2. At the command of His most lllustrious Highness, to the English Co-
medians as a gracious gratuity, - 100 thalers.
1608. Feb. 27. To the English Comedians as a gracious present, - 30 thalcrs.
To the English musicians, ditto,- 100 thalers.
To Thomas Sackefiel servant, given for three pieces of flesh-colour, and three
of blue silk ribbon, - 11 thalers."
(July 4, similar payments to Sackville.)
From this date to 1614, the accounts are mtssmg; only in 1613, Thomas Sachuell
1s mentioned once in a payment of 180 florins.
"1615. May 8. To the English Comedians who have waited upon us for a time in
our Princely Court,- 600 thalers.":!
1
Mr. W. J. Thoms, when he republh;hed my letter to the Athenamm (see p. xxix, note) in Notes and
Queriu, at once conjectured that Saxfield would turn out to be Sackville. It is evident from the above extracts
and from Sackville's own handwriting as given in a facsimile, that the conjecture was a happy one.
The following names of artists are met with in the accounts of this year, but they wer!' for the most
part musicians under the celebrated Prootorius, who was leader of the Wessel Wessaliensis, Gregoris IInlvPt,
.Jacob Mancino, Isaac Torall, Tonnies Rulgentern.
SHAKESPEARE IN GERMANY.
XXXV
This proves that the English Comedians had left the and had returned again
for a time, a supposition which is confirmed by the entry of a payment of ten dollars, of
the date of Sept. 10, 1614 to the 'Brandenburg Comedians'.
1616. Under Duke Frederick Ulric, Tonnies [sic] Sacheviel is met with in a list of
payments, for 270 florins.
1617. In a list of payments of arrears of salary, Thomas Sachviel, with 2564 fior.
2 gr.
1
The name does not appear again in the accounts after 1617; and it may be con-
jectured that Sackville joined the English Comedians who in 1617 entered the service of
the Elector of Brandenburg. We shall have occasion to refer to them at a future page.
As far as regards John I am able to state nothing more than that he
must also have remained a long time in Germany. I owe the certainty with. which I can
affirm this fact, to a happy accident, which put in my hands a so-called 'Stammbuch' [Album
amicorum] containing the autographs of Breadstreet and Sackville, the former with the date
of Feb. I, 1604, the latter with that of March 24, 1606. For the facsimile of these auto-
graphs see Plate i, No.2 & 3. The place where they were written is unfortunately not given.
John Breadstreet has germanised his name into 'Breidstrass', from which one is tempted
to conclude that his real name was not Breadstreet, but Broadstreet. The orthography of
proper names at that time was by no means fixed, and such an error as that in Lord
Howard's passport was nothing uncommon. The owner of the album was a certain Jo-
hannes Cellarius, born in Nuremberg, Dec. 26, 1580, died in Genoa, April 17, 1619. He
studied law, afterwards became steward to the Barons von Egg, whom, in 1610, he accom-
panied to Holland, France, England, and Italy. After his return he became Syndic of the
city of Nuremberg. The album was commenced in the year 1599. The stamped leather
binding bears the inscription "J. C. N. 1599". It contains a great number of autographs of
celebrated scholars and nobles of the time, with their arms and other emblazonments, most
of them dated from Altorf, Jena, Brunswick, and Nuremberg. The latest are those of the
year 1606. Besides the two mentioned above, some names of other Englishmen 2 are also
to be found among the autographs, only one of which deserves more especial mention here,
as it leads to the conjecture that its author wns also connected with our present subject.
It is that of the celebrated English composer and lute-player, John Dowland, a conteJil-
porary of Shakespeare, whom the latter has immortalized in his 'Passionate Pilgrim.'
If music and sweet poetry agree,
As they must needs (the sister and the brother)
Then must the love be great 'twixt thee and me,
Because thou lov'st the one, and I the other .
.
1
We find mentioned in the same list with him, Ludeke Eimens, Valentin Alslingk, Georg Hoffmeister.
- But it does not appear whether they were actors, or to what profession they belonged.
' e. g. "Henricus Fitus de Bell Anglus, Jenae 26. Novemb. 1603."
E2
XXXVI SHAKESPEARE IN GERMANY.
Dowland to thee is dear, whose heavenly touch
Upon the lute doth ravish human sense;
Spenser to me, whose deep conceit is such,
As passing all conceit needs no defence.
Thou lov'st to bear the sweet melodious sound,
That Phrebus' lute, the queen of music, makes;
And I in deep delight am chiefly drown'd,
Whenas )imself to singing be betakes.
One god is god of both, as poets feign;
One knight_ loves b o t ~ , and both in thee remain.
John Dowland must have visited Germany several times. In the year 1584 he tra-
velled in France, and from thence went to Germany where he met with the most flattering
reception at the courts of the Landgrave Maurice in Cassel, and of Duke Henry Julius of
Brunswick in Wolfenbilttel. Perhaps Dowland is the lute-player whom Henry Julius sends
to the Landgrave, in order that the latter may compare him with the other musicians.
Maurice answers: the former can play good motets and madrigals, the latter is a better
composer.l From Germany Dowland proceeded to Italy. In the year 1595 appeared in
London his 'First booke of songs or ayres of foure parts, with tablature for the lute.'
Shortly after this he repaired to the Danish Court. 'The second book of songs' is dated
from Helsingor, the 1st of June 1600. As the autograph in the album cannot have been
written before 1599, it may be safely assumed that Dowland visited Germany a second
time: in 1603 he had returned to England. About this time appeared his work, 'Lachrimre,
or seven tears figured in seven passionate pavans ', which became so popular, that from
this time Dowland assumed the sobriquet of 'de Lachrimre'.
2
The autograph in the album
therefore must have been written after 1603. As it bears no date, it is possible that it
owes its origin to the visit of Cellarius to England in the year 1610, but this is not pro-
bable, as the album contains no other inscription bearing a later date than 1606, and none
which could have been written in England.
CHAPTER II.
Having now done our best endeavours to transmute the myth of the 'English Co-
medians' into palpable reality, it only remains for us to shew what influence they exercised
upon Gennan dramatic literature and the German theatre generally, both of which, as we have
seen above, were still in their infancy. We may easily form some estimate of this influence
from the fact, that the English comedians were the first professional actors who appeared
1
Rommel, Guchichte von Hessen, Bd. vi, p. 417.
~ The popularity of this work seems to have lasted a very long time, for in Thomas Middleton's comedy
No JVit no Help like a Woman's, 1657, it is alluded to as follows:
"No, thou playest Dowland's Lachrimre to thy master."
SHAKESPEARE JN GERMANY. XXXVII
m Germany. If we only imagine the contrast between these practised members of the _
London stage and the journeyman-mechanics and schoolboys who composed the acting
companies in Germany, we cannot be surprised that the appearance of the former put an
end at once and for ever to the performances of the latter. Even if these did drag on
a miserable existence in some parts of Germany, this was only owing to the c i r ~ u m
stance that the foreign companies, which were at first only isolated phenomena, could
not be immediately known throughout the whole country. But wherever they came, they
undoubtedly bore off the victory. Independently of their services in driving away the old
dramatic subjects, their skill and security on the stage, the greater experience with which
they availed themselves of all their resources, their more correct calculation of effects, in
short all the advantages which the professional artist has over the amateur, must have
procured them a willing audience. Hitherto the performances were not intended for the
sake of the spectators, the performers were themselves the primary object of the plays.
With the English comedians the first and exclusive object was the gratification of the
public.
2
The drama left its narrow local private sphere, and entered a public one, became
an integral part of public life, while the public obtained their rights, and the theatre be-
came a public interest. Now indeed an interest in the dramatic art may be observed among
the German princes; they vie with one another in inviting the foreigners to their courts,
and the first court theatres arise in Germany. The enormous advantages which accrued
to dramatic literature as also to the public from this thorough revolution in all matters
appertaining to the theatre, have either been entirely overlooked or very much under-
estimated by writers on the history of literature. In their blind zeal against the foreign
element, which was thus introduced into the dramatic literature, they regret the loss in
naivete:! with which the native dramatists up to that time had certainly treated the people
very lavishly, but they forgot that by the reflection of this naivete alone, which is always
rather a lively element among the masses, the stage never could become those boards
which represent the world. It is true that with these English comedians scenes of blood
, and horror became quite naturalized upon tlw German stage, that the coarse jokes of the
clown must often have offended the ears of modest maidens, and that the English actors
would have done well to take Hamlet's warning to heart; but what are all these drawbacks
in comparison to the advantages which the dramatic life derived from this invasion of the
theatre? And then for the tales and stories of Boccaccio, Fiorentini, and Straparola &c.
the frivolous subjects of which had passed into the drama, were they not already in the
hands of the people in numerous translations? And were the obscenities of the Shrove-
tide Plays, which surpassed everything that the English had accomplished in the same di-
1
See Ed. Devrient, Geschichte etc. Vol. i, p. 166.
2
e. g. Karl Goedeke, Grundrifa etc. Vol. i, p. 407, who has nothing else to say of the transformation
of the German drama which is owing to the English Comedians, than that with it "the old strict decency was
lost" ('"die alte strenge Ehrbarkeit ging verloren ").
XXXVIII SHAKESPEARE IN GERMANY.
rection, so very remote, that we are justified in laying the corruption of taste to the account
of the latter? The real corruption took place at a later period, when the companies contained
very few English, and the rude soldiery of the thirty year's war had poisoned the Germaif
morals.. It is true, the refinement of the popular taste formed no part of the design of
foreign companies; their sole object was to please the public, and it may be assumed
that to this end they are far likely to have accommodated themselves to the state
of things as they found it, than to have made any very arduous endeavours to introduce
a new taste. For a number of years they travelled from one end of Germany to the other,
and the great popularity which they everywhere enjoyed is an evidence of their having
possessed some other hold on public favour than the coarse excitement of the masses.
Even if had gained nothing more through these innovators than an acquaintance
with the subjects of Shakespeare and of the early English stage, in whatever form they were
presented to the public,- this alone would have been an ample compensation for any loss
in innocence and naivete, for which some writers would like to make them answerable.
The first dramatic author of Germany in whom we can perceive the influence of
the English comedians, is the above-mentioned Duke Henry Julius of Brunswick (born 1563,
died 1613) who was the first to maintain a regular theatre-atlils cour4 the
of which was in all probability contemporaneous with the first appearance of the English
actors in Germany. Henry Julius, like Maurice of Hesse, was one of the most distinguished
princes of his time, who himseli a scholar, paid great attention to all subjects of intellectual
interest. As a child he had been a sort of prodigy, devoted to the arts and sciences from
his earliest years, and the admiration of the learned, while still a tender stripling. At the
age of ten years he argued with great brilliancy in a theological disputation. In the year
1576, when only thirteen years of age, he was appointed by the Emperor Maximilian as
Rector of the University of Helmstedt, which had been just founded, and entered upon his
office with a speech superabounding in learning. Soon after this he occupied the episcopal
residence in the bishopric of Halberstadt. In the year 1589 he succeeded to the throne,
and in 1590 married his second wife, Elisabeth, daughter of Frederick the second, King of
Denmark.
1
Henry Julius entertained a very decided love for the theatre. we may safely
presume that he possessed an intimate. acquaintance with the works of Hans Sachs and
Frischlin, as well as other dramatic writers of the time. During the journeys which he made
to other German Courts a little before his accession to the throne, he probably became
acquainted with their theatrical representations. The manner in which in 1590 he intro-
duced himself to his betrothed is a characteristic trait of his love of theatricals.
2
He left
his attendants behind him half a day's journey from Copenhagen, proceeded to the palace
1
Herman Grim, Theater du Herzogs Heinriclt Julius zu lVolfenbiittel in his Essays, Hannover 1859,
p. 144, makes the Duke marry the daughter of Christian iv. But in 1590 Christian iv was only thirteen years
old. The Princess Elisabeth, who became the wife of Henry Julius, was the sister of Christian iv.
For the narrative following above we are also indebted to Mr. C. ,V. Sack of Brunswick.
SHAKESPEARE IN GERMANY. XXXIX
of Kronenburg in the disguise of a foreign pedlar, and offered all sorts of jewelry for sale.
When the Princess bride wished to pay for the things she had selected, the pedlar declared
they were only to be sold at the price of a bridal night. The answer excited great in-
dignation, and the pedlar was thrown into prison, which, to keep up the farce, he took
very quietly. Upon the arrival of the Duke's suite, but not before, the comedy was brought
to a very merry termination. As may easily be conceived, there were great festivities at
the Danish Court, and as we have shewn above that English actors had already become
quite domesticated there, it may safely be assumed that if any of them were still in Copen-
hagen in 1590, they were not idle on such an occasion. Frederick the second, the father
of the Princess Elisabeth, the bride of Henry Julius, to whom Heywood's information refers,
(see p. xxiii), and who in 1586 sent the English actors to the Elector of Saxony, died indeed as
early as 1588. But Heywood probably only intended to say that Frederick had first invited
the comedians, which does not exclude the supposition that they remained longer at that court.
Under the reign of Frederick the second, and for a short time after his death, under the
reign of the minor, Christian the fourth, a very lively intercourse was maintained between
the Courts of Denmark and England. The Princess Anna, a younger daughter of Frederick
the second, and afterwards therefore the sister in law of Duke Henry Julius, had been
selected as the future bride of James the sixth of Scotland, afterwards James the first of
England. Frederick sent an embassy to Edinburgh for the purpose of opening the nego-
ciations. This embassy must have passed through England and touched London on its route.
Queen Elisabeth threw obstacles in the way of the intended union, as she was anxioUs for
a marriage between James the sixth and Catharine of Navarre. In the mean time the
marriage with the Danish Princess was arranged, and in 1589 James sent an embassy to
Copenhagen to fetch the young bride. The ship which conveyed the Princess, was wrecked
on the coast of Norway, and unfavorable winds obliged her to remain in Opslo, to which
place James hurriecl to consummate his nuptials. In February 1590 James repaired to
Copenhagen with his young wife, and was present at the marriage of Henry Julius, who
had now become his brother in law. This very intimate connection between two princes,
both possessing considerable literary culture, probably exercised some influence on the
wolfenhilttel stage at a later period, after ,James had ascended the English throne. A l s o ~
the visit which Duke Freuerick of Wirtemberg paid the English Court in 1592 may have
had some connection with that stage, for Henry Julius stood on terms of friendly inter-
course with that Prince also, on which point the accounts of the expences of the Court of
Brunswick contain many notices.
1
But whatever may have been the manner in which Henry Julius made the acquaint-
ances of the English comedians, it is certain that he entertained several of them at his
Court shortly after his return, and for no very short period, for we have seen from the
Brunr;wick exchequer accounts that even after 1612, to which year Heywood's notice refers,
1
Communicated by .Mr. C. W. Suck.
XL SHAKESPEARE L . ~ GERMANY.
English actors are still mentioned. After the return of the Duke with his young wife, his
wedding was again celebrated in W olfenbO.ttel, at that time the residence of the Dukes of
Brunswick, on which occasion there was a display of splendour and magnificence such as
had rarely been witnessed before. Banquets and representations .of all kinds took place.
Unfortunately we are not acquainted with any details of these nuptial festivities. Pastor
Voelkerling, the only contemporary chronicler who mentions them, only remarks, that
numerous fencers in great splendour tried their skill with foreign fencers, and that similar
magnificence had never been witnessed before in Germany. Here we must again regret
the loss of the Court Exchequer accounts of the years 1590-1601, as we should probably
have ascertained from them whether foreign actors were present or not. The Duke him-
self was the author of ten plays, nine of which were printed in the years 1593-1594.1
It is probable that some of them had been written at an earlier period, and there is every
reason to conjecture that one of them, and indeed the most important, the 'Tragi-comedy.
of Susanna'2 was acted in 1590 on the occasion of these nuptial festivities. Perhaps
indeed it was composed for this occasion. From the terms with which the prologue
('Ommences, it is evident that a very numerous assemblage of all classes was present. It
1
As far as has been ascertained as yet, all the poetical attempts of Henry Julius belong to the uepart-
ment of the drama. We have no other authorities for determining the time at which they were written, than
the dates of the printed editions. According to these, all the ten pieces with which we are acquainted, were
composed in the years 1593 anu 1594, before Julius had attained his thirty first year. Their titles are as follows:
1. Tragi-comoedia von der Susanna. 1593. (Tragi-comedy of Susanna.) Another ven;ion also published in 159;).
2. Tragoedia von einem Buler vnd Bulerin. 1593. (Tragedy of a lover and his mistress.)
3. Comoedia von einem Weihe. 1593. (Co'medy of a woman.)
4. Comoedia von einem Wirthe. 1593. (Comedy of a landlord.)
5. Tragoedia von einem tngerathnen Sohn. 1594. (Tragedy of a profligate son.)
6. Tragoedia von einer Ehebrecherin. 1594. (Tragedy of an adulteress.) Thert> is a rhyming \'eN<ion of this
play by .Joh. Olorinus Variscus [Job. Sommer]. 1605.
7. Tragica comoedia von einem lVirthe oder Gastgeber. 1594. (Tragi-comedy of a host, or feast-giver.)
8. Conwedia ton einem Edelmann. 1594. (Comedy of a nobleman.)
9. Comoedia ton Vincentia Ladislao. 1594. (Comedy of l'incentio Ladislao.) Of this piece there is a rhyming
version by Elias Herlicius. 1601.
10. Der Fleiscllhauer. (The Butcher.) Published for the first time in Dr. Holland's edition, from the original
manuscript.
A collected edition was published in 1855 for the Stuttgart Literary Society by Dr. W. L. Holland. It
i.- entitled: Die Scha'I.IRfliele des Herzogs Heinrich Julius von Braunschweig nach alten Drucken und Handschriften,
heraURg. von Dr. lVilh. Ludw. Holland. 8vo. Stuttgart 1855.
~ Tragica Comoedia 1/ibeldeha von der Susanna wie dieselbe von zweyen Alten, Ellebruchs halber, fiilschlich
beklaget, auch vmchuldig terurtheilet, aber entlich durch sonderliche Scl!ick'llng Gottu des Almeclltigen von Daniele
errettet, vnd die heiden Alten :urn Tode verdammet worden, mit 34. Personen. Gedruckt zu lVol.ffenbiittel, Anno 11ach
Christi Gelrurt .![. D . .xciii. 8vo. (Tragi-comedy of Susanna, how she was wrongly accused of adultery by two old
men and innocently condemned, but finally saved throu,qh the Grace of God by Daniel, and lww the tzvo old men
were condemned to die.) [The word 'Hibeldeha ', whieh is to be found on the title-pages of all the Duke's p l a y ~ .
means: Henricus Iulius Brnnsvicensis Et Lunehurgensis Dux Episcopatns Halberstadensis Antistes.] In Dr. Hol-
lanu's edition p. 1-169. A second t>dition "'aufs new kiirtzer verfasset." Ibid. M. v. x<.:m. 8vo. In Dr. Hollund's
edition p. 170-208.
SHAKESPEARE IN GERMANY. XLI
r; : f<ft,,,; A .,
begins by addressing the "Most Serene', High-born, Gracious Princes and Lords, also Prin-
cesses and Ludies," and then the "Noble Worships, honorable, leurned, estimable and most
gracious Lords and Squires, and dear friends." The first scene then contains extremely "'
copious and lengthy admonitions how a young woman ought to behave herself towards
her husband. It appears to have been composed for the particular occasion,. and has only
a very slight connection with the piece itself. This is all the more evident from the cir-
cumstance, that a second edition of the same piece, which also appeared in 1593, does not
contain this scene, and that the prologue has received a very different form, through the
omission of the longwinded address to the audience, as also of other passages which had
evidently been intended only for the particular occasion. There is every probability there-
fore in favour of the supposition that the 'Susanna' was the first piece which the Duke
wrote, and as it bears evident traces of English influence, we are justified in concluding
that he had already become acquainted with the English comedians at the time he com-
posed this piece.t The 'Susanna' is a subject which had been repeatedly treated in Ger-
many by others before Henry Julius,
2
and also in England Thomas Garter's 'Commodye of
the moste vertuous and godlye Susanna' had appeared in print in 1578, and had been
entered in the books of the Stationers Company as early as lf>68-1569. The Duke's
piece contains many features of the German and Latin versions but differs from them en-
tirely in the dramatic arrangement. Perhaps these variations may manifest some approxi-
mation to the English play, with which I am not acquainted. It is sufficient to observe
that the Tragi-comedy of the Duke's contains things which had never been introduced be-
1
much of what I have said on the 'Susanna' as well as for the remarks that follows on the position
of the Duke as a dramatic author in general, I am indebted to Herman Grimm, Das Theater fhs llerzogs Heinrich
Julius von Braumchweig, in his "Essays," 8vo. Hannover 1859. I must confine myself to this general mention of
the work, as I should otherwise be obliged to refer to it perpetually. - The Memoir is by far the be.st that has
ever been written on the Duke as a dramatic author, and it is to be regretted that the subject has not received
a more comprehensive treatment at Mr. Grimm's hands. What he has given is more a sketch than an "Essay".
The connection between the Ehebrecherin and the Merry Wives of Windsor, though alluded to by Dr. Holland,
appears to have escaped Mr. Grimm.
2
This subject bad been brought upon the stage as early as the fifteenth century, as appears from a
German piece of that time, the manuscript of which is at Vienna. See Goedike, Grundrifs etc., Vol. i, p. 93.
In 1535 Paul Rebhun composeu Ein geistlich spiel vo der gotfurchtigen vii keuschen Frawen Susanen. 4to. Zwickaw
1536. 8vo. Wittemberg lrJ37. 8\o. Zwickaw 1544. (A religious play of tke god-fearing and chaste maid Su-
sanna.) 1559: Leonard Stockel von Susanna in Tragoeden weise gestellet zu vbung der Jugent zu Bartfeld
in l'ngern. 8vo. Wittenberg 1559. (T/1e history of Susanna, set forth in form of a tragedy for the practice of youth,
at Bartfeld in 1/ungarg.) Joachim Leseberg wrote a 'Susanna' in the Low German dialect, 1609. Another
Su,.,anna' was acted in Bremen as early as 1563, and, as it seems, also in Low German dialect. See Duntze's
Geschichte der freien Stadt Bremen, Vol. iv. 8vo. Bremen 1851. There is a 'Susanna' in Latin by Xystus Be-
tulius (Sixtus Birk), 8vo. Augustre Yindel. 1537, Coloni:e 1538, Tiguri 1508, Coloni:e 1539, Aug. Vindel. no date,
and 1564 - anu by Nicodemus Frischlin 1578. The latter was translated into German by Jacob 1-'rischlin 1589,
8\o, anu by Andreas Calagius, 8vo. Grerlitz 1604. A 'Susanna' in the Danish language was also acted before
Frederick the second, the father in law of Henry Julius, but probably a translation of the Latin of Xystus Retulius:
SWJanna, Comico-tr(lgedia i danske Rim. 4to. Kjobnhaven 1578. The author is Peter Jensen Hegellund.
F
XLII SHAKESPEARE IN GF.RMANY.
fore in any German play, and which evince a knowledge of theatrical requirements which
the Duke could not have derived from any of his predecessors, or from the arrangements
of the German stage of his own times. He has displayed great skill in the manner in
which he has interwoven an underplot with the principal subject, a feat which had not
been successfully accomplished by any of his predecessors or contemporaries, not even by
Jacob Ayrer, who, as will be set>n hereafter, wrote under the influence of the English co-
medians. In Ayrer's works, these episodes advance by the side of the principal action,
without any inward connection with it, while, on the other hand, in Henry Julius, they are
made subservient to the development of the whole piece. But an entirely new character
in the 'Susanna' of the Duke's is the fool, John Clant, who rilso plays the principal part.
Even the name is nothing more than a transformation of the English 'clown'. Merry-
andrews are also to be met with among the Duke's predecessors, but it was first on the
W olfenbO.ttel stage that an independent part was allotted to the clown. Before that time,
it had not been prescribed to the fool, what he had to say; he was not involved in the
action of the piece, but it was left entirely to him to amuse the public in any way he
thought proper, just as in the case of the court-fools outside the theatre. The same liber-
ties which the fool enjoyed in society were also allowed him on the stage; no part was
lli{ll, as representative of the life off the stage,_ he interrupted the action of
the piece, and destroyed the illusion of the spectators. He is rarely mentioned among the
'drama tis personre' of the old pieces. Sometimes he appears as speaker of the prologue, and
sometimes we meet with a marginal note: 'here the fool says something.' But in Wolfen-
bO.ttel the fool belonged to the body of the performers; he no longer interferes in the
action according to his own will and fancy, as a sort of mediator between stage and au-
dience, but, like the other actors, has his own prescribed part to perform. This preme-
ditated introduction of a comic figure is very striking; r but what is. far more so both in
the 'Susanna' and the other pieces of the Duke's, is the dramatic progress of the dialogue,
and the theatrical construction of the action. In these points he imitated no one, for no
one before him understood how to adapt a work for the stage in such a careful and
masterly manner. One thing proceeds naturally out of another, and carries the plot on-
wards; the scenes have their point, - the progress of the intrigue has its ever-increasing
interest. This merit of the W olfenbiittel pieces is so striking, that notwithstanding the fact
that some of them are still extant in the Duke's own hand, notwithstanding the knowledge
which he possessed, and the utter absence of any evidence to shew who besides himself
could have written these pieces, it appears highly probable that some one of the actcl's
must have assisted him in giving his compositions that theatrical finish which evinces a
greater acquaintance with routine, than even Henry Julius, with all his talent, could ever
have given them without a long practical experience of the requirements of the stage. As
far as concerns the 'Susanna' of the Duke, we will only observe that a piece of the
same name belonged to the Repertory of the English comedians, for in 1602 they per-
formed in Ulm a piece 'Of the Prophet Daniel, the chaste Susanna, and the two judges in
SHAKESPEARE IN GERMANY. XLIII
lsrael',
1
and in a poem printed in 1597, referring to the English comedians, which we shall
give at a future page, the 'Susanna' is expressly mentioned. If now Henry Julius really
received the aid and counsel of an actor in the composition of his piece, it cannot have
been from a German, for up to that time, nowhere in Germany had there been the
slightest appearance of any such knowledge of theatrical management as that which appears
in the 'Susanna'. We have therefore good reason to assume the presence of English in-
fluence, and consequently of English actors in Wolfenb1lttel at the time when the play was
composed and performed; for we have no notices of other foreign actors in Germany at
that time, and should hardly be justified in attributing to any others such an influence as
that above-mentioned. If the wedding festivities in Wolfenbnttel took place in 1591, and
not in 1590, on which point there is no certain information, our four wanderers under
Robert Browne's management may have assisted in the performances. We have above seen
one of them in the service of the Duke, and it is highly probable that the whole com-
pany on its first arrival in Germany immediately repaired to the court of Wolfenbnttel. 1
That English actors had been there, long before 1597, (see p. xxxiv), may be safely con-
cluded from a piece of the Duke himself. In the tragedy of 'An Adulteress' which appeared
in print in 1594,2 but may have been written several years previously, we meet with the
following passage in Act II, sc. 3:
Gallichorrea. lch bette es dir Teutsch genung gesagt, wenn du es sonst versteben woltest.
Johan Bouut. Ick bin ein Englisch Mann, ick en son dat dudsch sprake niet wal verstahn.
[ Gallichorrea. I should have told you in plain enough German, if you had been willing to under-
stand it.
John B.mset. I am an English man, I do not well understand any one that speaks German.]
John Bouset, the clown, does not play here the part of an Englishman, but it is
perfectly clear, the words have been put into his mouth only to excuse to the audience
his unintelligible pronunciation. We have already called attention to the fact, that the
jester in the Duke's pieces is a copy of the English Clown.s. This becomes still more evi-
dent, when we consider that a large proportion of the English theatrical jokes turns upon
v. Alvensleben, Allgemeine Theaterchronilc, 1832, No. 158.
1
Tragedia Hibeldeha von einer Ehebrecherin, wie die jren Man drey .iJfal betreucht, aber zu letzt ein schreck-
lich Ende genommen habe. Mit acht Personen. 8vo. Wolfenbiittel 1594. (The tragedy of Hibeldeha, of an adul-
teress, how she betrayed her husband three times, but at last came to a dreadful end.) In Dr. Holland's edition
p. 401-444. A rhyming version has been given by Job. Olorinus V&riscus (Job. Sommer]: Tragoedie ton ge-
schwinder Weiberlist einer Ehebrecherin .... sehr kurtzweilig, bo88ierlich rnd Iustig beschril'ben, vnd v.lfm Braunschwri,qi-
schen Furstlichen Haufs end Festung lVol.lfenbuttel in Prosa agiret. Nun aber au.lf t'ieler Begehr in lustige anmuthige
Reym mit Fleifs gesetzt. 8vo. Magdeburg, Job. Francke, s. a. Preface dated Hi05. (A tragedy of the quick fe-
male cunning of an adulteress ... very amusingly, comically, and pleasantly described, and ]!Ublicly acted in prose,
in the BruMWick Princely llO'UBe and Castle of Wolfenbuttel. But now at the desire of many persons cartj'ully done
into pleasant rhy,nu.) In Dr. Holland's edition p. 555-639.
3
The names assigned t? him are: Johan Clant, Johan Bouset, Bousset and Bouschet. Is Bouset
perhaps a corruption from "bo&&ed"?


XLIV SHAKESPEARE IN GERMANY.
the distortion and misunderstanding of words, a species of artifice which was very largely
employed in the jokes of the Wolfenhnttel clowns.
The connection of the Wolfenbnttel with the old English stage becomes still more
manifest from the general colouring of the Duke's pieces, as, for instance, the 'Tragedy of
a profligate son '.t It is an accumulation of brutal murders. A boy's body is cut open on
the stage, the murderer drinks his blood, roasts his heart on a coal fire, and eats it. Then
he drives a nail into his father's head, strangles his cousin, cuts his mother's throat, and
then at a revel suddenly finds the heads of the murdered upon the dishes lnstead of viands.
Who can help being reminded by this of Titus Andronicus in the first form of the piece,
before Shakespeare had handled the subject, the leading features of which we probably
have before us in the German piece which was played by the English comedians in Ger-
many? - Afterwards the murdered persons appear as ghosts, drive the murderer mad, and
carry him off. Is it possible to read this, without being reminded of Macbeth, Richard the
second, and Cymbeline?
But the Duke's 'Comedy of Vincentius Ladislaus'2 leads us still more directly to
Shakespeare. It contains the rough prototype of Benedick in 'Much Ado about Nothing'.
How very close the connection is between the two pieces will appear from the following
passages.
MucH Aoo ABOUT NoTmNG, AcT I, sc. 1.
Beatrice. I pray you is signior Montanto returned from the wars or no?
Mess. I know none of that name, lady: there was none such in the army of any sort.
Leon. What is he that you ask for, niece?
Here. My cousin signior Benedick of Padua.
Mess. 01 he is returned, and as pleasant as ever he was.
Beatr. He set up his bills here in Messina, and challenged Cupid at the flight; and my uncle's
fool, reading the challenge, subscribed for Cupid, and challenged him at the bird-bolt. - I pray you
how many has he killed and eaten in these wars? But how many hath he killed? for, indeed, I pro-
mised to eat all of his killing.
Leon. Faith, niece, you tax signior Benedick too much; but he'll be meet with you, I doubt
_it not.
Mess. He has done good service, lady, in these wars.
1
Tragoedia. Hiehabdel. Von einem vngeratenen Sohn, welcher vnmemchliche vnd vnerhOrte Mordthaten be-
gangen, auch endlich neben seinen Mit-Consorten ein erbaermlich schrecklich vnd grewlich Ende genommen hat. Mit
18. Personen. Gedruckt zu Woifenbuttel Anno 1.594. 8vo. (Tragedy of a profligate son, who committed inhuman and
unheard of murders, and at last with hi8 consorts came to a miserable, shocking, and cruel end. With 18 persons.
Printed at Woifenbuttel 1.594.) In Dr. Holland's edition p. 335-400.
v Comoedia Hidbelepihal von Vincentia LadiJJlao Sacrapa (sic) von Mantua Kempfern zu Rofs vnd l:!ufs,
weiland des edlen vnd ehrnuesten, auch manhafften vnnd streitbaren Barbarossae Bellicosi von Mantua, Rittern zu
.Malta ehelichen nachgelassenen Sohn. Mit zwulf Personen. 8vo. Wolfenbiittel M.D.XCIV. (Comedy of Yincentius La-
dislaus Satrap of AJanwa, Combatant on horseback and on foot, lawful son of the noble and honourable and war-
like Barbarossa Bellic0$U8 of Mantua, Knight of Malta. With 12 Persons.) In Dr. Holland's edition, p. 507-554.
-Another edition 1599, ibid. 8vo. A rhyming edition is by Elias Herliciua Cicensis, 8vo. Wittemberg 1601. In
Dr. Bolland's edition, p. 641-734.
SHAKESPEARE IN GERMANY. XLV
Beatr. You had musty victual, and he bath holp to eat it: he is a very valiant trencher-man;
he hath an excellent stomach.
Mess. And a good soldier too, lady.
CO.MOEDIA VON V INCENTIO LADISLAO, ACTUS PRI.MI, SCENA PRIMA.
Lakey. Es gehet mir jetzundt eben, als wie man im Sprichwort saget: Wer viel newe Herro
sucht, pfleget sich selten zuuerbessern, Solches befinde ich jetzundt auch. Zuuor hatte ich einen guten
vnd frommen Junckern, Jetzo aber bin ich bey einen gekommen, das ich achier nicbt weis, wie ich
mit jhme daranne bin. Er gibt w1lnderliche vnd seltzame anschlege ftlr, In seinem sinn lest er sich
bedilncken, es sey niemandts klilger als er. Mich soli doch gelilsten, was er hie suchen wil, Ich wuste
ja nicht, was er hie zuschaft'en haben mochte, Es wAre dann, das er sich bier ein zeitlang wolte filr
einen Narren Affen vnd vexieren lassen, Wie solches dann zu Herrn Hofe gemein ist. Er wil beute
bier kommen, wird auch vielleicht nicht lange a us sein, V nd hat mich vorher geschicket jhm die Her-
berge zubestellen etc.
ScENA SECUNDA.
Adrian. Wo wanderstu her Lackey? Wem stehest du zu?
Lackey. Icb stebe meinem Junckern zu. V nd wolte jhm gerne Herberge bestellen.
Adrian. Wer ist dan dein Juncker?
Lackey. Es ist ein stadtlicher vom Adel, vnd ein Kempffer zu Rofs vnd Fues, Sein Name ist,
Vincentius Ladislaus Satrapa von Mantua etc.
ScENA QUINTA.
Lackey. lch weis nicht, was mein Junckcr vor ein seltzamer Man ist. Dan dainit ja jederman
zum anfang bier erfahren moge, das er ein Narr sey, hat er seinen Namen auff einen Zettel scbreiben
lassen, V nd Inir befohlen, Denselben an die Thor zuschlagen. Nun bin ich sein Diener, Ich mus thun,
was er mir beuehlt, Icb wils anschlagen, Was gehets mir die lenge an, Aber mit der weyse werde ich
nicht alt bey jhme werden. (Der Lackey schlegt den Zettel an, darauff stehet gescbrieben, wie volget:
Vincentius Ladislaus Satrapa von Mantua, Kempffer zu Rofs vnd Fues, weilandt des Edlen, vnd Ehrn-
uesten, auch Manhaflten vnd Streitbaren Barbarossre Bellicosi von Mantua, Ritters zu Malta, Ehelicber
nacbgelassener Sohn, mit seinen bey sicb habenden Dienern vnd Pferden.)
TRANSLATION.
CoMEDY OF VINCENTIUs LADISLAus. AcT I, sc. 1.
Seroant. It is with me now, just as they say in the proverb: He who often seeks a new
master, seldom betters himself. That is just what I find now. Formerly I had a kind gentle squire
for a master, but now I am with such a one, that I can't conceive how I am ever to get on with
him. He puts forth such strange and curious projects. In his own opinion be fancies there is no
one cleverer than himself. I should like very much to know what he wants here. I can't imagine
what he can have to do here unless he wanted to get himself laughed at and jeered at for a time as
a fool, as is the common at princes' courts. He means to be here to-day, and perhaps will bo here
before long, and has sent me on before to secure him a lodging etc.
ScENE 2.
Adrian. Where are you going, servant? and whom do you belong to?
Serf'ant. I belong to my master, and should be glad to engage a lodging for him.
XLVI SHAKESPEARE IN GERMANY.
Adrian. Who is your master then?
Se,.,ant. He is a citizen of quality, and a Combatant on horseback and on foot. His name
is Vincentius Ladislaus, Satrap of Mantua, etc.
ScENE 5.
Servant. I don't know what strange sort of man my master is. For that everybody may learn
here at once that he is a fool, he has had his name written on a bill, and ordered me to fasten it up
against the door. Now I am his servant. I must do what he orders me. I will fasten it up; what is it
to me after all? But after this fashion, I shan't grow grey in his service. (The servant fastens up the
bill, upon which there is written as follows: Vincentius Ladislaus, Satrap of Mantua, Combatant on
horseback and on foot, lawful son of the noble and honorable and courageous, of the late warlike Bar-
barossa Bellicosus of Mantua, Knight of Malta, with the servants and horses that attend him.)
The passage in Beatrice's speech 'He set up his bills here in Messina' is happily illustrated
by this scene. Now we know exactly what it was she meant to say. What Beatrice wanted to
make Benedick appear, Vincenti us is in reality: a boastful Bramarbas, whose cowardice is a
match for his bragging, the butt of the jeers of all the world, and in all his adventures always
the dupe, the typical 'Capitano' of the old Italian stage, a quintessence of the lying stories
of all the quarters of the world, all of which however he outdoes in bombast. Such a
coincidence as that apparent in the above parallel cannot be purely accidental; and besides
this, there is another point of resemblance between the two pieces. The real humour of
the scenes between Benedick and Beatrice consists in each of them having been separately
persuaded that the other is in love with him or her. There is a similar incident in Vincentius.
The braggadocio is talked into the belief that the beautiful Angelica is in love with him.
He of course falls into the snare, and the Duke promises that the consummation shall take
place the same evening. A page in disguise represents the bride. The fool prepares the
bed by stretching a sheet over a tub full of water. Vincentius mounts the bed, falls into
the water, and is summarily dismissed with ignominy and disgrace. Slight as the connec-
tion may appear between all this and the charming love passages between Benedick and
. Beatrice, the gist of the intrigue in both cases is the trick played on a man possessing an
exaggerated opinion of his own merits by making him believe that a girl is in love with
him. The Vincentius Ladislaus was unquestionably written and performed long before
'Much Ado about Nothing' which first appeared in print in 1600, and is only to be met
with in the books of the Stationer's Company in that year. ].\lay then Shakespeare have
become acquainted wj.th this piece of the Duke's through the actors on their return to
England, and has he metamorphosed the clumsy braggart Vincentius into the amiable.Se-
nedick, whose apparent frivolity and conceit were not able to resist the promptings of his
heart? Such an assumption could hardly be ventured without better evidence than that
which we have adduced, and there is no other at present forthcoming. A far more pro-
1
On the type of the 'Capitano' who under different forms appears on the stages of all the countries of
Europe, see Herman Grimm, Da8 Theater etc. p. 164-169.
SHAKESPEARE IN GERMANY. XLVII
bable supposition is, that both authors took their matter either from an old English piece
derived from an Italian source, or directly from an Italian source with which we are un-
acquainted. This common origin probably contains both the intrigues which in 'Much Ado
about Nothing' are worked up together, and of which Henry Julius has taken the subor-
dinate one, and made it his principal plot, while Jacob Ayrer, who probably took his
'Beautiful Phrenicia'l from the same piece, has worked up both intrigues. When we come
to the consideration of this piece, we shall treat more fully of the existing sources, and
shall find that there must be some common origin hitherto unknown to us, ~ h e n c e Shake-
speare, Henry Julius, and Ayrer derived their matter.
Still more intimately connected with Shakespeare is the Duke's already mentioned
'Tragedy of an Adulteress', the plot of which entirely agrees with that of the 'Merry Wives
of Windsor'. A man 'Gallichorrea' [Hahnrei, i.e. a cuckold] employs a student to put his
wife's virtue to the test, and endeavours to surprise her, but is always made a fool of
through his wife's cunning, and obliged to beat an ignominious retreat. But he also has
another mortification, for the student, who has no idea that the go-between is really the
husband of his lady-love, always reports to him his successes with the fair one, and the
tricks she has played her husband. For the better comprehension of this piece, and that
the reader may be able to judge of the degree of resemblance between the two pieces,
we annex a short sketch of the plot of the 'Tragedy of an Adulteress'.
Act. ~ sc. 1. Enter Gallichorrea, the merchant. He complains that he has reason to
doubt his wife's fidelity. He wishes for an opportunity to put it to the proof. Scene 2. Enter
John Bousset, the servant, [the clown], Gallichorrea alludes to his wife's infidelity,. and at
last proposes to his servant that he should sleep with her. If he succeed with her, he is
not to suffer any punishment, but, on the contrary, to receive a reward. John Bousset
steadfastly declines this proposal. Act ii, sc. I. Enter Pamphilus, a poor student. He com-
plains of his poverty, and wished he could meet with some goodnatured man in this foreign
town, who would assist him. Enter Gallichorrea, and John Bousset. The former enters
into conversation with Pamphilus, and advises him to try his fortune with the women.
Pamphilus agrees, and Gallichorrea proposes his own wife, but without informing Pamphilus
that she is so. Pamphilus is to tell Gallichorrea the next morning, what success he has
had. Then follows a conversation between Gallichorrea and John Bousset, which however
does not advance the action of the piece. Sc. 4. Gallichorrea and John Bousset. Enter
Scortum, the wife of the former. Her husband pretends that he must go into the country,
and in all probability will not return that night. He then tells the fool that he will con-
ceal himself in a house, and surprise his wife in the middle of the night. Sc. 4. Scortum
says, that she is quite aware that her husband only wants to try h ~ r . She only hopes
that some handsome young fellow may visit her, and when her husband comes home she
will manage matters so that he knows nothing about it, for it is a trade in which she has
1
See p. 77-112 of the present volume.
XLVIll SHAKESPEARE IN GERMANY.
had plenty of practice. Sc. 6. Pamphilus comes before the house, entices the wife out with
his music, and then begs for a night's lodging, which, in the next scene, is willingly granted
him. Sc. 8. Enter Gallichorrea with the clown. The former demands admittance. After
some words have been exchanged through the closed door, the wife opens it, and tells her
husband she did not like to do so at first, lest it might be some stranger who wanted to
deceive her. While they are going into the house, Pamphilus jumps out of the window,
and having stated, that he had been appointed to come again the following evening, runs
away. Act iii, sc. 1 and 2. John Bousset betrays the infidelity of the wife to neighbour
Adrian, who had heard the noise in the night. Gallichorrea joins them, and persuades the
neighbour not to believe the clown. Sc. 3. Pamphilus relates to Gallichorrea his adventure
of the previous night, and how he had escaped when the husband arrived. The wife had
shewn him a hiding-place under the window, and after her husband had searched the house
for some time, she had led him up stairs, and then called out to him in a loud voice,
'Now sweetheart, go, it is time.' This had been the signal agr'eed upon for Pamphilus to
escape unperceived. He then promises to give Gallichorrea an account of his next visit to
the wife. In the next scene the fool derides the husband. Sc. 5. Gallichorrea tells Scor-
tum that he is now going away again, and will not allow himself to be detained by stran-
gers, as yesterday. His wife is very anxious about him, and charges John Bousset to look
very attentively after his master. After they have both left her, she wishes that the young
fellow of yesterday may soon return; she will contrive to outwit her husband, if he should
come back again. Sc. 6. Pamphilus comes, and is admitted into the house. Act iv, sc. 1
-3 Gallichorrea and the fool come before the house again, and demand admitt'lnce. A
conversation follows, just as on the former occasion, and they are admitted. Some time
after, the husband comes out again, and opens the shutter from the outside in order to
discover the lover. The wife comes out to him, and says: "0 Lord, my dear husband,
what are you doing here? I do believe you think I have a lover in the house." Galli-
ch<>rrea confesses, that he certainly does entertain that opinion, upon which his wife an-
swers: "H I did not wish t9 be honest, I would blind you so, that you should know no-
thing about it, not even if you were already in the house." Gallic h.: "How would you
manage that?" Scortum: "I would manage it so. (She covers his eyes with his cloak.)
Do you see that, my dove?" In the mean time, Pamphilus jumps out of the door, and
runs away. Act v, sc. 1. Neighbour Adrian has heard the noise again the night before.
Gallichorrea endeavours to bring him off the right road, but Adrian still believes that Scor-
tum's infidelity is at the bottom of it. Sc. 2. Gallichorrea complains to the fool, that he is
now worse off than before, in as much as formerly he still had his doubts whether his wife
really did play him false, but now he knows that she is no better than she should be,
and yet he must not say so, as he cannot convict her of it; besides, eyerybody would
laugh at him, as be had himself sent the young fellow to her. The fool is of opinion,
that the husband had himself made his wife a whore, which he denies, as she had been
one before, and he had only wished to prove her. In the next scene, Pamphilus agam
SHAKESPEARE IN GERMANY. XLIX
relates to Gallichorrea his adventures of the preceding night, and that he had an assigna-
tion with her for the same evening. Gallichorrea pretends to his wife, that he had received
a message from his brother, calling him away from home in a great hurry, and adds, that he
does not know when he will come home again. Scortum behaves just in the same manner as on
the previous occasions, and determines to deceive her husband a third time. Pamphilus comes,
and is adlllitted. Act vi. Gallichorrea is determined to set fire to the house with a torch,
if Scortum does not deliver up her lover. As she is not able to appease her husband, she
begs him at least to allow her to save her linen, that she may have something to clothe
herself with. Gallichorrea helps her to carry out the cask full of clothes, and then enters
the house again to continue his search. In the mean time Pamphilus jumps out of the
cask, and runs away. Adrian comes to pacify Gallichorrea. The latter is very melancholy
at not being able to find anything. Then follows a scene, in which Gallichorrea reproaches
his wife. His melancholy increases. He then learns again from Pamphilus, how he had
been fooled a third time. Pamphilus declares that he will not return to the wife again,
and takes his leave. Neighbour Adrian learns the whole story from the fool. Gallichorrea
takes his dishonour very much to heart, and goes raving mad. The fool and the neighbour
at last succeed in putting him in chains, and lead him into the house. Scm-tum then is
troubled with remorse at having driven her husband mad, and resolves to take her own
life. Devils come, and strangle her. A moral epilogue concludes the piece.
We add here a few scenes from the sixth act, which place the connection of this
piece with Shakespeare beyond all doubt.
AcT VI, ScENE 1.
Gallichorcea. Scortum. Johan Bouset (tregt zwey Fackeln). Pamphilus. Adrian.
Gallich. Johan kom fort, vnd gib mir die eine Fackel her, die ander aber behalt du.
Joh. Bous. Was wollt ihr mit der Fackel mach en.
Gallich. Ich wil Buren vnd Buben zusammen im Hause verbrennen.
Joh. BollS. Seid ihr toll, was wollt ihr rna chen? lhr werdet die ganze Stadt anstecken.
Galliclt. Da ligt nichts an, kom du nur her. (Als sie vor das Haus kommen klopfet er mit
Gewalt an vnd ruffet gar laut.) Bolla, mach auff, du hast mich nun lang gnug bey der Nasen herumb
geffihrt, ich wil dich nun einmal wider bezalen, lass sehen, hast du den Bulen noch einmal versteckt,
was gilt's? lch wil ibn finden, darumb gedenke, vnd gib ibn mir heraus, oder sihe ich wil dir das
Haus oben dem Kopfe anstecken. (Die Frau komt gar geschwinde heraus gelaufen.)
Scortum. Behfite Gott Man, Was wolt jhr nun anfangen? W ollet jhr mich dann nun gar
Zllm Betler machen? Vnd diese gantze Stadt in Noth bringen.
Gall. Das hilffi nicht darzu, Ich wil kurtz rundt wissen, wo der Bule ist.
Scortum. Ich babe keinen Bulen im Hause, Vnd wollet jhr ja so toll sein, Vnd das Hans an-
stecken? So helfl't mir doch erst meinen I.e in en Zeug herans tragen, Damit wir ja noch etwas he-
halten, das wir anziehen mogen, 'Verdet jhr alsdann eiuen Bulen im Hause finden, So bin ich zufrie-
den, Das jhr nicht alleiu das Han's auziindet, Sondern mir darzu den Hals entzwey schlaget.
Gall. 'Vo ist denn das Zeug?
Scort. Hier stehets im Ham;e im Fals. Vnd ist darzu vngewaschen Zeug.
G
L SHAKESPEARE IN GERMANY.
Gall. Den willen wil icb dir nocb thtm, Aber finde icb aucb darnach jemandts im Hause, so
nicbt darin bescbeiden ist, So wil ich micb dann aucb gar nicht erbitten lassen.
Scort. Das bin ich dann aucb wol zufrieden, Ich wil alsdann auch keine gnade begeren. (Sie
geben ein, vnd der Man bilfft der Frawen das Zeug hinaus tragen, als das gescbehen, spricbt er:)
Gall. Nun wil icb wieder binein gehen, vnd Visitieren. (Gehet binein, inmittelst springet Pam-
pbilus aus dem Fafs beraus, in welcbem er mit dem Zeuge bedecket gewesen, vnd laufft dauon. Adrian
kompt inmittelst darzu gelauffen im Scblaffpelz, vnnd laufft gar geschwiude nach dem Hause, rllfft
vnd spricbt:)
Adrian. Was ist hie zuthun? W ollet jbr nun ewer eigen Hans anstecken, V nd die Stadt in
grundt verbrennen. (Gehet abe.)
ScENE 6.
[Gallichorrea gehet gar trawricb vnd seufftzet, inmittelst kompt Pamphilus gegangen.]
Pamph. Gott grilsse euch guter Herr, Ich wolte euch Vot' aile beforderung dancken vnd mei-
nen abscheit nehmen.
Gall. Wiltu dann nun so daruon.
Pamph. Auff difsmabl ist meines pleibens nicht Ienger bier.
Gall. Gefellt es dir da.nn bier nicbt mebr?
Pamph. Auff difsmahl nicht.
Gall. Bistu gestern wieder an dem ort gewesen
Pamph. Ich bin freilich dar gewesen, Ich meinte der Man hette xmr schier die Leucbte ge-
bracht, als er ein kam.
Gall. Wie gieng denn das zu?
Pamph. Wie solt es zugeben, der toile Narr wolte das Hans anstecken vnd sagt zur Frawen,
sie solt jm den Bulen heraus Iangen. Die Fraw, wie sie solches horte, V erbarg mich in ein Fafs, vnd
warff darauff alt Ieinen gerethe, Lieff darnacb gcschwind zum Man vnd bath, W ann er ja das Haus
anstecken wolte so mochte er doch jbres zeuges schonen, vnd jhr das helffen heraus tragen, Das that
er, vnd trug micb also seiher zum Hause heraus, Als er aber wieder hinein gieng VDd suchte, Sprang
ich heraus vnd lieff dauon.
Gall. 0 ich vngliickseliger Mensch, 0 das ich nie geboren were, Ach das ich our Todt wen,
So dorfften die Leute meiner so nicht spotten, etc.
TRANSLAT10N.
AcT I. ScENE 1.
Gallichorrea. Sc01tum. John Bouset (bearing two torches). Adrian.
Gallick. John, come here, and give me one of the torches. The other you may keep yourself.
John Bous. What are you going to do with the torch?
Ga(lich. Burn whores and rogues together in the bouse.
John Bous. Are you mad? What will you do? You'll set fire to the whole town.
Gallir.h. That does not signify. Only you come here. (When they have come before the house,
he knocks violently at the door, and calls out very loud:) Rolla! Open the door. You have been
making a fool of me long enough. Now will I pay you out for it at last. Let us see; if you have
got your lover hid there again, what does it matter? I will find him, thrrefore mind what I say, and
give him up to me, or look here, I will set fire to the bouse above your head. (His wife comes
running out of the house in a great hurry.)
SHAKESPEARE IN (lERMANY. LI
Sc01tum. God forbid, husband! What do you want to do? Do you want to make a beggar
of me then, and bring the whole town iilto trouble?
Gallick. That's all of no good. I am determined to know without any more pother, where
yout lover is.
Scortum. I have not got any lover in the house, and will you really be so mad as to burn
the house down? At least help me to carry out my linen, that we may keep to put on.
If you then find a lover in the house, you have my leave not only to set the house on fire, but to
break my neck into the bargain.
Gall. "'Where is your linen then?
Scott. Here it stands in the house, in a tub. And dirty linen it is too.
Gall. I will do you that one favour more; but if I then find anybody in the house who does
not belong to it, I will not listen to any more entreaties.
Scort: I am quite satisfied with that. I will not ask then for any favour more. (They go
into the l10use, and the husband helps his wife to carry out the linen. When this is done, he says:)
Gall. Now I will go in again, and have a search. (He goes in; in the mean time Pamphilus
jumps out of the tub, and runs away. While this is taking place, Adrian rushes out of his house in
his night-gown, runs up to the house, shouts out and says:)
Adrian. What is to be done? Will you set your own house on fire, and burn down the
town? (Exit.)
ScENE 6.
[Enter Gallichorrea very melancholy, and sighing Pamphilus joins him.]
Pamph. Good morning, my dear sir. I wished to thank you for all the advancement you
have procured me, and then take my leave.
Gall. Are you going away then?
Pamph. For the present I shall stay here no longer.
Gall. Don't you like the place then any more?
Pamph. Not for the present.
Gall. Were you at the same place again yesterday?
Pamph. 0 yes, certainly, I was there. I thought the husband meant to bring me the candles
when he came.
Gall. How was that?
Pamph. How should it be? The mad fool wanted to set fire to the house, and told his wife
she must give up her lover to him. When the wife heard this she hid me in a tub, and threw some
old linen over me. Then she ran out to her husband, and begged, that if he was determined to set
the house on fire, he would at least spare h>r linen, and help her carry it out. He did so, and so
he carried me out of the house too. But as soon as he had gone in again, I ran away.
Gall. 0 miserable man that I am! 0 that I had never been born! Alas, if I were only dead,
the people could not laugh at me so, etc.
Compare with the above scene:;; 'The Merry Wives of Wind1'or ', Act iii, sc. 3 and 5.
Here we must greatly regret the uncertainty which prevails respecting the chronology of
Shakespeare's plays. The 'Merry Wivei' of Windsor' appeared for the first time in print in
1602, and indeed in a very imperfl'ct fonn, certainly not that in which it came .from Shake-
speare\; hands. It is in Jan. 1601-1G02, that the piece first app('al'fl in the 'Registers of
G2
I. II SHAKESPEARE IN GERMANY.
the Stationer's Company'. We first meet with it in its genuine form in the Folio of 1623.
Johnson places it between 'Henry iv' Part 2 and 'Henry v', therefore about 1598-1599.
Malone places it between Parts 1 and 2 of 'Henry iv', that is to say, about 1596-1597.
Chalmers does the same. Halliwell contended for the assumption that the earliest form
came from Shakespeare's pen, an opinion which he afterwards gave up. Collier rejects
the first form as not genuine. The allusion in Shakespeare's piece to a German Duke,
which we have already noticed, unquestionably refers to Frederick of Wirtemberg, who,
we know, was in Windsor in 1592.1 But this Prince as we have seen above, travelled under
the name of Count Montbeliard. This was not an assumed name; the Duke was really
Count Montbeliard until he ascended the throne, and was even called so in his native
country. If therefore, as some persons have argued, the 'Merry Wives of Windsor' were
written soon after 1592, why should Shakespeare have transformed the Count into a Duke,
as the person alluded to was known to the audience as Count, and not as Duke?
It therefore appears no unjustifiable assumption that the Duke had already succeeded
to that title, when Shakespeare wrote his piece. Soon after his return from his visit to
England, Count Montbeliard succeeded to the Ducal throne. This event, affecting a prince
now personally known at the English Court, was in all probability a subject of conversa-
tion there, and may have suggested to Shakespeare his allusion to the foreigner as Duke.
Or this allusion may also have been occasioned by the Duke's application for the Order
of the Garter in the year 1595. For these reason, we believe we shall be nearer the truth,
if we place this play between the years 1593 and 1596. The 'Adulteress' of Duke Henry
Julius was first printed in 1594. It may have been written and acted one or more years
earlier; but however that may be, the date of its composition and representation are ncar
those of Shakespeare's immortal comedy. Was Shakespeare acquainted with the Duke's
play? Who would like to affirm that? But we may be allowed to observe, that the in-
trigue in the 'Merry Wives' is in many respects more similar to that of the 'Adulteress,'
than the hitherto received source of that play, namely, the tale of the 'Two Lovers of
Pi sa' in Tarleton's 'N ewes out of Purgatory' 1590, which again is a new version of the
Tale of the Ring, in Gio. Fr. Straparola's 'Tredeci piacevoli notti'.
2
A very similar story
is to be found in Giovanni Fiorentino's '11 Pecorone', which has passed into an English
Collection of tales, entitled 'The fortunate, the deceived, and unfortunate lovers', which
Malone asserts already existed in print in Shakespeare's life, although no older edition than
1
Pointed out for the first time by Mr. Charles Knight in his edition of Shakespeare.
The Italian text with an English translation will Le found in ""The first Sketch of Shakespeare's Merry
Wives of Windsor" ed. Ly J. 0. Halliwell. London, printed for the Soc. 1842, p. 112-125, and
Tarlton's Engli8h version, ibid., p. 125-135, and in J.P. Collier's Shakespeare's Library, as well as in Johnson-
Steevens' edition of Shakespeare. - See also Que/len des Shakespeare in Novel/en, Mi.irchen und Sagen, heraus-
gcgeben von Th. Echtermayer, L. Henschel und Karl Simrock. a vol. Berlin 1831. Vol. i, p. 231, and Charles
Simrock's remarks, Vol. iii, p. 221. The latter into English, for the Shakespeare Soc. and ed. by
Halliwell, 1850, p. 76.
SHAKESPEARE IN GERMANY. Llll
that of 1632 in 4to is now extant.t The love-adventures of Falstaff are most undoubtedly
to be referred to this source, but it admits of a question whether there may not be some
intermediate link, which also originating from the same sources, has undergone the same
c h a n g e ~ as those which appear again in Shakespeare's deviations from the Italian tales, and
' which Henry Julius has also adopted. A very important deviation from the above-men-
tioned sources consists in this: that in the play of Henry Julius, the whole action of the
piece originates with the husband, who entertains suspicions against his wife, and desires
to put her virtue to the test. Similarly in Shakespeare's play, Ford endeavours to test his
wife's fidelity by means of Falstaff's intrigues, which he encourages. That Falstaff had al-
ready laid his plans without Ford's intervention, is of very little importance here. This is
managed differently in the two Italian stories. In neither of them is the husband's motive
the wish to try his wife. In one story the husband only wishes to prove to the young
man that his wife is more beautiful than the young man's mother, whom the son had de-
scribed as quite incomparable in this respect, and in the other, the teacher gives his young
pupil, who is ardently longing for some love adventure, the necessary instructions how such
affairs are to be managed; that the pupil should commence his experiments with the wife
of his teacher, is purely accidental, and not owing to the cooperation of the husband.
Another point of coincidence between the 'Merry Wives' and the 'Adulteress', is this: that
the two lovers, in the one case Pamphilus, and Falstaff in the other, are both influenced
by mercenary as well as other motives in their love adventures. Falstaff says of Ford:
"Hang him, poor cuckoldy knave! I know him not. Yet I wrong him to call him poor:
they say, the jealous wittolly knave hath masses. of money, for the which his wife seems
to me well-favoured. I will use her as the key of the cuckoldy rogue's coffer, and there
is my harvest-home." In the 'Adulteress', Pamphilus complains of his poverty, upon which
Gallichorrea answers: "Why you are a fine, straight, well-made young fe1low, and seem to
me as if you were sure to please the women. There are handsome young women in this
town; do you only make acquaintance with them, and you are sure to get money and
clothes enough." It is also to be observed in the 'Adulteress', that the duped husband is
constantly abusing himself as a cuckold [in German 'Hahnrei '] and that in Shakespeare,
Ford does the same. One character in the 'Adulteress', quite independent of the original
sources, is that of Jan Bouset, the servant of Gallichorre8., which has at least great external
similarity with Dr. Cains, as both speak in an unintelligible dialect.2
In the tale of Giovanni Fiorentino, the husband is taken in by his wife twice, in
that of Straparola three times, as in Shakespeare and in Henry Julius. In Giovanni the
lover is concealed the first time under a heap of linen, which the husband quietly passes
by. After he is gone, the wife sups with the lover, who passes the night with her. The
1
Fiorentino's Text with an English Translation in "The jir&t Sketch" etc. p. 86-101 and the English
version of 1632, ibid., p. 101-112. See also Quellen etc. Vol i, p. 201 and Vol. iii, p. 221. Simrock's remarks
in English, p. 76.
11
In the Susanna the peasants use different dialects. The same thing also occurs in Plautus.
LIV SHAKESPEARE IN GERMANY.
second time, the wife puts out the candle when her husband approaches, and in the very
moment that he is about to enter the house, she pushes her lover out of the door. He
thrusts his sword through the heap of linen, and as he finds nobody there, is weB beaten
by his wife's and treated as if he were mad. In Straparola, the first time, the
young man is concealed in a bed, the curtains of which are drawn close, the second time
in a trunk, and covered over with clothes. In this case also the husband passes by with-
out any suspicion, and after he has left the house, the lover slips away. The third time
he is concealed in a cupboard, and when the husband is preparing to set fire to the house,
and the cupboard is also in danger of becoming a prey to the flame:;;, the wife orders it
to be removed to a place of safety, under the pretence that it contains papers appertaining
to her dowry. We see by this how far both authors deviate from Shakespeare and Henry
Julius. Only the concealment in some receptacle, which is also fu1l of linen or clothes has
passed into both pieces. The lesser details in these have more resemblance with each
other than with the Italian tales. In Shakespeare, Ford, in order to fix the fool's cap more
firmly on his head, must himself ask what is in the basket; in Henry Julius, Gallichorrea
is even made to assist with his own hands in removing his wife's paramour to a place of
safety. The tales do not contain a trace of anything resembling Falstaff's disguise as the
witch of Brentford, neither is this episode to be found in Henry Julius; on the other hand,
the second adventure in the 'Adulteress', the spreading out the cloak, that Pamphilus may
escape behind it, has considerable resemblance to a disguise. As many of the above-men-
tioned deviations from the Italian in which Shakespeare and Henry Julius agree, are to be
met with in a German story, I will give a brief sketch of its subject. It is entitled the
Tale 'Of a Goldsmith and a poor Student' in Michael Lindner's 'Rastbiichlein ', 1557 or
1558.
1
}
A goldsmith in a far-famed city suspects his beautiful wife of infidelity, but has never
been able to obtain any proofs of his suspicions. One day, as the goldsmith is standing
in his shop, which is at a considerable distance from his private residence, a poor scholar
or student begs an alms of him. The student is a handsome young fellow, and appears
to the goldsmith a very likely person to put his wife's virtue to the proof. Pretending
therefore not to have any money about him, he directs the student to go to a certain place,
where he will have sweet dalliance with a beautiful woman, and receive plenty of money
into the bargain, but he is on no account to mention the goldsmith's name. The student
promises discretion, and is directed to the goldsmith's wife, who, while the goldsmith re-
turns to his shop to work, sees the handsome youth, admits him, and has her own will
1
Rastbuchlein. Darinn schi:ine kurtzweilige, lecherliche vnd lustige Bossen vnd Fablm, welliche IIystorieu
gleich sein, verfast t'nd beschriben seind, den Feyrenden, oder sonst ruhenden, lieblich zulesen tnd anzulHiren. S. I. e. a.
- Second edition, s. I. M.D. 1. vm. - The tale alluded to is founded on the Italian X ovels. For more details see
Dr. Holland's edition of the Play;; of Henry Julius, p. 874. Henry Kurz p. 144 compares our play with
Hans Snchs" Kuplet Schwieger. - The above narrathe is to be found in Dr. Holland's edition of the Plays of
Henry Julius.
SHAKESPEARE IN GERMANY. LV
with him. Presently the goldsmith comes home. His wife is terribly frightened, and places
the student "outside the shop, on a board, on which nails, sticks, and other things are
generally placed." The husband searches the house in vain, gives it up, and returns to his
work. After this, the wife "finishes her business" with the student, refreshes both herself
and him with sweetmeats, gives him some money, sends him away and begs he will soon
come again. The student relates all this to the goldsmith, who persuades him to go there
a s e c o ~ 1 d time. He does so, is received just in the same manner as the first time, and goes
to bed with her. Before he has left her, the husband comes again, and searches for tlie
student, whom the wife "has hung over a pole, and covered over with some old clothes."
He returns to his shop. The student goes to him again, tells him what has happened, and
is persuaded, though not without difficulty, to go to the wife for a third time. The wife
receives him with greater kindness than ever. But just as "they have finished their busi-
ness," the husband knocks at the door. The wife conceals the student in a great tub, and
throws tl1e "dirty linen" over him. The husband searches in vain, threatens to burn down
the house, the wife begs him to help her first "to carry the dirty linen in the tub out of
the house, that when all the things are burnt, we may have at least a shirt to put on."
The husband and wife take the tub on their shoulders, carry it into the street, and return
into the house again. The student jumps out, and runs away to the goldsmith's shop. The
goldsmith "who was not very particularly in earnest about burning down his house" returns
there too. The student tells him all that has happened. The goldsmith says: "My dear
boy, the woman, with whom you have had to do, is my wife, and itjs I who have been
to the house three times, and asked after you. But even had I found you, I should not
have done you any harm, for all that I have done was only to learn something about the
goings on of my wife." He exhorts the student to silence, and to leave the town. The
student follows his counsel.
The third adventure in Shakespeare's play, the charming scene at Herne's oak, can-
not be referred to anything in the tales, nor in the Duke's piece, and yet the latter also
offers here an external point of connection in the concluding scene, in which the devils
punish the faithless wife with death and eternal damnation, just as Falstaff is thrown into
agonies of terror by the improvised fairy scene as a punishment for his lecherous practices.
The connection of Shakespeare's glorious comedy with the tales as well as with the
'Adulteress' is, as we have seen above, of a purely external nature; but a purely external
motive was sufficient for him to breathe a new life into the crude elements of the mere
outward form, and to produce a poetic whole. Perhaps one of the English comedians on
their return, may have communicated to him the plot of the Wolfenbilttel play. We have
learnt above that in 1594 Richard Jones, and in 1596 Robert Browne, were again in Eng-
land. To attempt to deny that Shakespeare made any usc whatever of these sources, on
the ground of the very different fonn which the subject assumed in his hands, appears to
us a decided mistake. The number of coincidences in the external circumstances is far too
great to justify such a supposition. On the other hand, to seek for models for the internal
LVI SHAKESPEARE IN GERMANY.
construction of Shakespeare's dramas will always be time and trouble thrown away; and
we are far more likely to find the real sources of his dramas if we direct our attention
exclusively to their purely external incidents. And as we know so little of the process of
his intellectual development, the of what he has formed out of these rude tra-
ditional subjects with these subjects themselves, is the only possible method left us of
watching him as it were in the workshop of his genius. The truth is, says Charles Knight
somewhere, that no one can properly appreciate the extent as well as the subtlety of Shake-
speare's invention, its absorbing and purifying power, who has not traced him to his sources.
We have here seen four of the ten of the Duke's plays in connection with the Eng-
lish Comedians and with Shakespeare. It may be further remarked, that also the 'Comedy
of a Nobleman' 1 is probably founded on an old English subject 2 in the ballad from which
Gottfried August Burger took his subject for another ballad two hundred years afterwards.
8
In all the ten pieces, with the exception of the 'Tragedy of a profligate Son', the
clown plays a principal part, and generally speaking we may recognize in them a method
of handling a subject which could only have been learnt from the English Comedians, the
general plan not quite deficient in art, the characters various and real. Only one of all these
j
pieces, the 'Susanna', is biblical, and even in this case it is only the subject which is biblical,
for the method of treating it is altogether secular. It is exprel'sly called a 'Mirror of the
course of the world.' All of these pieces are written in prose, and indeed in a prose, which,
as Gervirius remarks, is incomparably better than all the verses of that time. Even this
prose form is due to tlie English influence, for before the appearance of tlie English actors,
hardly any dramatic author had ventured to write otherwise than in rhyming verses,4 and
how difficult they found it to give them up, appears from the fact, that it was considered
necessary to P,Ut several of the W olfenbfittel pieces into that form, before they ventured to
put them on the stage in other places. In comparison with the awkward management of
the verse, prose naturally allowed a far freer movement, from which the theatrical element,
the representation of these pieces, derived very great advantage. Thus we see the English
influence operative from the first in the case of an author, who possessed more dramatic
talent than all his predecessors, his contemporaries, and immediate successors. It for
this reason also that his contemporaries were less decided in their devotion to the new
1
Comoedia Ilibaldella von einem Edelman, welcher einem Abt drey Fragen aufgegeben. Alit jiinjf Personen.
lVoljfenbiittel 1.594. 8vo. (Comedy of a nobleman who proposed three questions to an abbot. With flu persons.
lVoljfenbiittel 1594.) In Dr. Holland's edition p. 475-505. - Another edition: Magdeburg. Job. Francke. s. a.
(1599). 8vo.
2
With. Wackernagel, Geschichte etc., p. 463, note 7.
3
The same story forms the plot of a German Shrove-tide play of the 15th century: Ein spil t:on einem
Keiser und eim Apt. See A. Keller, Fastnachtsspiele, p.
4
Some few examples only are extant of plays written in proJ'.e. which cannot weaken our argument .
Jacob CamerlandN's liurenwirt, about lr>4:?, is a dramatic of a dialogue in a dramatic form, written
in pro:<t>. In l.'iK3 a prose play '' T"om Raube der Proserpina '' has been acted at Inn,:bruck. Pros<> trnnslations
of TE'renct> cannot be considert>d as t>xceptions to the abon statement. See ibid. p. 464, note 14.
SHAKESPEARE IN GERMANY. LVII
school: while Henry Julius from the very commencement of his career as a dramatic writer
entirely broke with the past once for all, we see Jacob Ayrer still yielding a partial alle-
giance to the time and style of Hans Sachs, and indeed with far less talent and skill than
the latter. One lasting conquest, however, had been secured for the German stage: namely,
that in the place of the biblical and polemical subjects popular ones were now introduced,
such as were already rife among the people in the form of tales and stories, and this must
have amply compensated them for their exclusion from the stage itself. For the new di-
rection of the stage was by no means confined to Wolfenbilttel, but forced its way into
other parts of Germany, although the transition to purely profane subjects did not become
general till a later period, when numerous companies of strolling actors had been formed.
As an instance of this, we will only mention here the 'History of the Merchant of Padua',I
which, as it appears, was acted in Breslau in 1596. This piece has for its subject- the
narrative part of Shakespeare's Cymbeline, but we shall not give it any further considera-
tion here, as it does not stand in any intimate connection with Shakespeare or the old
English stage; on the contrary, its affinity to Cymbeline is entirely referable to the use
made of the same common Italian sources.
There were English Comedians at the_ Court of the Landgrave Maurice of Hesse in
Cassel, at the same time as at the Court of Wolfenbilttel. We have already had occasion
to mention some circumstances respecting them. Considering the great intimacy between
the two Princes, it is probable that the Wolfenbilttel Comedians miD' have been sent some-
times to Cassel; we have seen above that this was at least the case with the musicians.2
Maurice, who was no less fond of splendour than Henry Julius, and also a man of great
cultivation, endeavoured to make his Court a nursery for the refinement of manners. He
appears to have directed his attention to theatrical representations at a very early period, and
before he had had a permanent theatre built,S and maintained professional actors, the pupils
of the Court- and Knight Academy received instruction to qualify them for acting. They
' Eine SchiJne Hutoria, Von einem frommen Gottfurchtigen Kauffmann von Padua, welcher zu Mantua in
beysein anderer Kauffleute, wegen seines lieben frommen lV eibes Ehr vnd fromigkeit, sein Hab vnd Gut verwettet,
gestellet durch Zachariam Liebholdt ton Solberglr. Gedruckt zu Brefslaw durch Georgium Bawman, Anno M.D.:zct'i.
8vo. (A pretty history of a pious godly Merchant of Padua, who at Mantua in the company of other merchants
lost all his property in a tvager on Ids dear wife's honour and piety, set forth by Zachary Liebholdt of Solbergk.)
2
The Landgrave was himself a Peacham, in his Emblems, p. 101, states, that he bas s<>en
eight or ten volumes of motets composed by the Landgrave himself. But when be proceeds to tell us that while
Maurice was staying in London, he kept his own hand there, there must he some mistake; for there is nowhere
any evidence of the Landgrave ever having undertaken any journey to London at all. It is true, at the advice
of Henry the fourth of France such a journey had been intended, and it was with this view that the Landgrave
learnt Enghsl1, and practised it with the Englishmen in his service; but the plan was frustrated by the death of
Elisabeth. Rommel, p. 421-22. In some instntctions which Maurice drew up for some pupil!! of the Knight"!!
Academy whom he despatched on their traveli!, he remarks: "The Italian music is the finest, the exrt>llent,
the French and B<'lgian but mediocre_" Rommel, ibid.
a See ante p. x viii.
H
LVIn SHAKESPEARE IN GERMANY.
once performed a drama in six languages.l Long before the year 1595 there must have
been regular companies of actors engaged at the Court of Cassel, for in 1595 the Landgrave
Maurice writes to John Lucanus, his agent in Prague, that his comedians were then tra-
velling with leave of absence, and that in case they wished to act at Prague he was to
afford them any assistance in his power.
2
We must understand this as referring only to
English comedians, as regular German companies of professional actors did not exist at that
time. In 1597 Landgrave Maurice writes as follows to some unknown personage of princely
rank: "At the request of Your Highness that we would send the arms, suits of mail,
costumes, and whatever else we may have for the performance of the comedy of the Old
Potentates, we have given orders that all such things as we may have at hand should be
forwarded to Your Highness immediately, with the request that Your Highness will let the
comedians so prepare themselves, that in case we ~ h o u l d visit Your Highness we may also
at once gratify our eyes with them."s In the Archives of the Treasury at Cassel there is
a list of the expences of the Court of the Landgrave Maurice during his residence in the
neighbouring palaces in the years 1597 and 1598, in which we meet with the following
entries respecting the Comedians. 4
For boards for the stage for the comedy . 5 thalers.
For six ells of white woollen cloth for the Englishmen for the comedy 2 thalers.
For white clothes for the clown 4 thalers.
A pair of shoes for the fool 4 thalers.
To an Englishman for his pay . 20 thalers.
To the Treasurer, Hengel, to settle with the Englishmen . 300 florins.
To the Italian Jan and his riders twice, together . 150 thalers.
According to a manuscript chronicle of a certain Buch, as early as 1602, Maurice
"tired of the dancing and jumping" got rid of the ''confounded" (i. e. the expensive) English-
men. This, however, cannot refer. to the Comedians, or else there must have been several
companies in succession in the service of the Court of Cassel, for we find English actors
at the Court of the Landgrave till the year 1613. In 1607 his servant informs him that
the Englishmen were dissatisfied with the smallness of their salaries, and had said that they
would now perform their last comedy in Cassel, but he did not know whether this was
meant in earnest or was only a joke. The servant speaks of the comedy to be performed
as that "Of the two British Kings at war, of whom the one takes the son of the other, but
the latter the daughter of the former, prisoner."
5
Here we see that the English Histories
also belonged to the stage library of our Comedians. How far their fame had extended
1
Rommel, Geschichte etc., Vol. vi, p. 400 .
. ld. ibid. p. 402.
3
Id. ibid. p. 402.
' ld. ibid. p. 4H-445.
Id. ibid. p. 401.- This was no doubt an English play. In the course of our observations we shall have
occasion to revert to a drama, which may be identical with the above.
SHAKESPEARE IN 'GERMANY. LIX
appears from the fact, that in the year 1609 John Sigismund, the Elector of Brandenburg,
begged the Landgrave to send him the Comedians for four weeks, to practise their art at
the festivities which he had arranged in honour of the nuptials of his brother, the Admi-
nistrator of Strasburg. The request was of course most willingly complied with.t In 1611
they play in Darmstadt. In 1612 we find them in Nuremberg, where they performed with
great success, as we learn from a contemporary Nuremberg Chronicle.2
Here then do we see two German Princes, both of whom were distinguished among
their equals and contemporaries for their culture and their talents, vying with each other
in a noble emulation to naturalize English dramatic art at their respective courts. But this
remarkable and striking phenomenon could not of course remain confined to the two points
at which it first appeared. At both of these courts, that of Cassel more especially, there
was a very lively intercourse with foreigners, - scholars and artists of all kinds, nobles
and princes feeling themselves attracted by the Landgrave Maurice, who, besides possessing
great intellectual gifts, was extremely fond of splendour and magnificence. His Court was
the scene of a constant succession of visitors consisting of the most eminent personages
of the time. No wonder then that the fame of these actors, whose task lt was to amuse
the visitors with their art, soon spread through all Germany. Indeed we see that before
the- end of the century, the services of the comedians were no longer confined to the
courts but met with a hearty recognition amo,ng the people. It is probable that the success
of the Wolfenbnttel and Cassel companies soon allured others from England, at any rate
we meet with them at other places.
About the year 1597 s there must have been English Comedians at Frankfort on the
Maine, to play during the fair, as we learn from a humorous poem printed in 1597. This
production possesses all the greater importance for our present object, as it gives us some
respecting the outward appearance and doings of the Clown, who of course
constituted the chief- attraction. We accordingly annex the following extracts from it.
1
Rommel, GeschichJe etc., Vol. vi, p. 402.
2
The Chronicle alluded to is written in the beginning of the seventeenth century. See Job. Chr. Sieben-
kees, Materialien zur NiirnbergiBchen Geschichte. Vol. iii. 8vo. Niirnberg 1794, p. 52.
3
In the same year English players were at Utrecht:
"Schenkelwyn, July 31. Sekere Engelsche comedian ten, voor bore speelen opten stadhuyse 8 q.
Fransche wyns."
(July 31. To certain English Comedians for their playing at the Town-hall, eight quarts of French
wine.)
See De Staad8-Kameraars-Rekeningen dienstbaar gemaakt aan de Geschiedenis, in Dodt's Archief voor kerke-
lijke en wereldsche Geschiedeni8Ben inzonderheid ran Utrecht. Deel iii, p. 271. - See also Notes and Queries, Vol. vii,
185::3, p. 114.
These may have been the same players whom we meet at though it is not unlikely that the
latter are identical with Landgrave Maurice's players, who as we have seen above, had obtained his permission
to go abroad as early as the year 1595, and whom he sent, in the very same year of 1597, to some Gl.'rman
Prince. They may have passed through Frankfort on their journey back to Cassel, in order to take advantage
of the assemblage of persons who came from all sides to the Frankfort fair.
H2
LX SHAKESPgARE IN GERMANY.
"Da war nun weiter mein Intent,
Zu schen das Englische Spiel,
Davon ich hab gehort so viel.
wie dcr Narr drinnen, Jan genennt,
Mit Bossen war so excellent:
Welches ich auch bekenn fOrwar,
Dafs er damit ist Meister gar.
V erstellt also sein Angesicht,
Dafs er keim Menschen glcich mehr sicht.
Auff tolpisch Bossen ist sehr gschickt,
Hat Schuch, der keiner jhn nicht trOckt.
In sein Hosen noch einer hett Platz,
Hat dran ein vngehewren Latz.
Sein Juppen jhn zum Narren macht,
Mit der Schlappen, die er nicht acbt,
W ann er da fiingt zu loffeln an,
V nd dOnckt sich seyn ein fcin Person.
Der W ursthiinsel ist abgericht,
Auch ziemlicher mafsen, wie man sicht:
V ertretten beyd jhr Stelle wol,
Dt>n Springer ich auch loben soli,
W egcn seines hohen Springen,
V nd auch noch andere!' Dingen:
Hofflich ist in all' seinen Sitten,
lm tantzen vnd all seinen Tritten.
Dafs solchs ftlrwar ein Lust zu sehen,
\Vic glatt die Rosen jhm anstehen.
Ist sonst auch wol proportioniert,
Scin langes Haar jhn auch was ziert.
Aber ein Kunst die fehlt jhm noch,
V nd spreng er noch einest so hoch,
Welch wol diente zu seinen Sachen :
\Venn er sich konnt vnsichtbar mach en,
N och mehr Gelt er verdienen mocht,
Dann nicht verstcht mich recht,
Hineyn zu diescm Spiele gehn,
Die lustige Comedien zsehen.
_Oder dcr Music vnd Saitenspil,
Zu gefallen, sander jbr viel
W egen des N arren graben Bossen,
Vnd des Springers glatten Hosen." 1
Then it was further my intent,
To see the English play,
Of which I'd heard the say
The fool, 'twas he named Jan they meant,
Was with his jokes so excPllent.
In which I too confess forsooth,
He is a master in good truth:
For so distort his face he can,
He looks no longer like a mnn.
And many a clownish trick he knows,
Wel\rs shoes that don't much pinch his toes.
His -breeches would hold two or more,
And have a monstrous flap before.
His jacket makes him look a fool
With all the blows he takes so cool,
When he the gallant would play well,
And clearly thinks himself a swell.
The clown is skilled 88 well 88 he,
His equal quite, as one may see:
Both know full well to play their part.
I must praise too the leaper's art,
Because so very high he springs,
And also for some other things ..
His manner is so full pf graces
In dancing, and in all his paces,
To see it's really a delight,
And then his bose . too sit so tight.
He's well-proportioned too of limb,
And his long hair looks well on him.
One art he lacks howe'er he try,
And should he jump, oh e'er so high,
Which would improve his tricks, I ween,
If he could make himself unseen.
Then far more money earn he might,
For all men, understand me right,
Do not unto this play repair
At merry comedies to stare,
Or for the music and the lute,
But very many of them do't
To see the fool's coarse jokes and blows,
And leaper's tightly-fitting hose.
1
Marx Marckschi.ffs Nachen, darinn nachgefuhret wirdt, was in dem niichst abgefallrenen Marck-
scllijf etc. 4to. s. 1. 1597, p. 12. - This is a continuation of the same author's ltfarckschiff oder
Jiarckscbijfer Gupriicl1 von der Franckjurter Mefs. 4to. s. l. 1596.
SHAKESPEARE IN GERMANY. LXI
In the course of the poem, as we have already stated above at p. x l i i ~ the 'Su-
sanna' is mentioned as having been performed by the Comedians.
In the year 1599, English actors and musicians played at Hildesheim, and indeed in
the English language. They were probably the Comedians of Duke Henry Julius, who had
come over from the neighbouring Wolfenbuttel.
1
CHAPTER ill.
It is hardly probable that the places mentioned in the preceding chapter were the
only ones visited by the English Comedians. On the contrary, if we now direct our atten-
tion to the dramatic writer already mentioned, Jacob Ayrer, we may safely assume that
among other places, Nuremberg had received them within its walls at a very early period.
At all events what we have already stated is sufficient to shew that the English Comedians
were quite at home in Germany when Jacob Ayrer composed the greater part of his dra-
mas, and that either in Nuremberg or elsewhere he may easily have become acquainted
with the pieces they performed as also with themselves.
Of the circumstances of Jacob Ayrer's life we know next to nothing. All that can
be stated with certainty is, that on the 13th of October 1593 he received the freedom of
the city of Nuremberg, and that he died _there on the 26th of May 1605, as a notary and
proctor to the Court.2 He is supposed to have come to Nuremberg as a boy, without
any means of subsistence, to have s e ~ e d in an iron-monger's shop, and afterwards to
have commenced a similar business himself. When this did not prosper, he went to Bam-
berg, and devoted himself to the desk, where, compelled by poverty, he learnt so much
1
"Im niimlichen Jahre [1599] im Monat September batte man in Hildesheim Englische Schauspieler und
Musikanten, die Vorstellungen in Englischer Sprache gaben." Beitriige zur Hilduheimischen Guchichte. Vol. iii.
8vo. Hildesheim 1830, p. 192. See also ibid. Vol. i, p. 331. - This information, which is the more important
as it mentions expressly that the representations were given in English, was originally derived from a contem
porary Mss .. Chronicle at Hildesheim, by the late Mr. Zeppenfeldt, Curator of the Hildesheim Records (Arehi
varius) in Sonntagablatt 1810, No. 35, 1811, No. 48 and in Mittewochenblatt 1819, No. 45 & 46. All my efforts
to get at the literal wording in the original document, in which my learned friend, Senator Friedr. Culemann of
Hannover, assisted me most energetically, remained unsuccessfuL It seems that the Chronicle to which Mr. Zeppen-
feldt was indebted for the information has disappeared at Hildesheim.
1
Extracts from the Municipal Archives at Nuremberg:
"Jacobus Ayrer, Licentiat, wurde am 13. October 1593, zum Bii.rger in Niimberg aufgenommen
und zahlte 10 fl. Stadtwiihrung."
(Jacob Ayrer, licentiate, was admitted as a citizen of Nuremberg, Oct. 13, 1593, and paid 10 florins
in Nuremberg currency.)
"26. Martii, 1605, starb der Ehrbar Jacob Ayrer der Elter, publicus notarius und der Gerichten
Procurator ins Hexgiisslein."
(Died on the 26th of March 1605 the Honourable Jacob Ayrer the elder, Public Notary and At-
torney to the Court of Justice, in Henlane.)
See WilL Bell, Shalceepeare'a Puck, Vol. ii, p. 287. G. A. Will's NUrnberger Gelehrten-Lmcon, Vol. i,
8vo. Niirnberg 1755, s. v. Ayrer, and Nopitsch's continuation, Vol. i, Altdorf 1802, p. 35.
LXII
SHAKESPEARE IN GERMANY.
through practice and study as to become a proctor to the Court and City tribunal of that
place. . His attachment to the Evangelical faith, however, induced him again to leave the
Catholic Bamberg, and return to Nuremberg. Like Henry Julius, with whose pieces per-
haps he was not unacquainted, he left the path of the religious drama, and addressed him-
self entirely to the people, but did not, like that writer, entirely break with the traditions
of the past in respect of the form. He retained the old verse of Hans Sachs; but what
constitutes .his essential distinction from his Nuremberg predecessor, is the circumstance,
that he wrote all his pieces for the sole object of representation, and in many of his tra-
gedies and comedies displays a degree of skill in theatrical arrangements, and a knowledge
of the requirements of the stage, which must place him far above Hans Sachs in this re-
spect. The arrangements of his. theatre must have been very similar to those of the old
English stage. We shall have occasion to draw attention to this in several passages. His
dramatic works were. not published before 1618, long after his death, and although the
'Opus theatricum'
1
contains thirty tragedies and thirty-six Shrovetide-plays, we possess in
them only a part of his dramas, as promise is made in the preface of forty other "fine
merry comedies and tragedies, religious and profane," which were to follow soon after.
They have never appeared, and only three unpublished pieces have been lately discovered
in the Royal Library in Dresden, together with nineteen other' which are printed in the
'Opus theatricum'. The manuscript is in Jacob Ayrer's own hand.
2
This dis-
' Opm I Theatricum I Dreifsig I Aujsbundtige I schiine Comedien I vnd Tragedien ton allerhand Denck- I wiir-
digen alten Rvmischen Historien vnd anderen Politisclum I geschichten tnd gedichten, Sampt noch andern Sechs tnd
dreifsig I schiinen lustigen vnd lcurtzweil(qen Fafsnacht I oder Possen Spilen, I Durch Weyland den Erbarn tnd wol-
geliihrten Herrn Jacobum I Ayrer, .Notarium Publicum, tmd Gerichts Procuratorn zu Niirmberg seeligen, Aujs I man-
cherley alien Poeten tnd Scribenten zu seiner wei/ tnd luft mit sonderm jleifs zmammen col- I ligirt, tnd in Teutsche
Reimen Spilweifs terfaffet, das man alles Personlich I Agirn kan, SamJii einem darzu gehorigen Register. I Gedruckt
zu .Niinnberg durch Balthasar Scherff en. I Anno MDCX'ITIH. vi, 464 and 167 leaves. fol. ( Opm Theatricum. Thirty
excellent beautiful ComedieJJ and Tragedies of all sorts of memorable old Roman Histories and other Political stories
and poems. Together with other si.x and thirty beautiful merry and amusing Shrovetide or Farce pieces. By the late
honorable and learned Mr. Jacob Ayrer, Public Notary and Proctor to the Court at Nuremberg, collected out of
various old Poets and writer!J with especial indmtry for his own amusement and gratification and composed in Gennan
rhymes for being acted dc. Together with an index appertaining thereto.) - The first 464 leaves contain the
"Comedien vnd Tragedien ", the 167 foUowing leaves are occupied by the "Fafsnacht oder Possen-Spile." At
the end of the work stands "Gedruckt zu Niirnberg, durch Balthasar Scherff. Im Jahr )fDCX." The Shrove-
tide Plays may have been printed in 1610, and the impression of the Comedies and Tragedies, for some reason,
now unknown. may have been delayed until 1618; this however is very improbable. No mention of any such
interruption of the impression is made in the long elaborate Preface, and the wrong date 1610 at the end is
most probably nothing else than a printer's blunder. - Dr. Bell, Shakespeare's Puck, Vol. ii, p. 282 conjectures
that MDcxvm (1618) ought to be MDCVIII (1608), that the latter date indicates the beginning and the date (1610)
at the end, the conclusion of the work. Nothing justifies this conjecture. ender the preface we read "Datum
Niirnberg, den 1. Januarii ... Im sechzellenhundert vnd achtzehenden Jahr", and in the catalogues of the Leipzig Easter
Fair ('Ostermef,.;katalog') the work does not appear before 16111. In the volume for 1618 we find it noticed in
this way: "Opus Theatricum (both parts): !liirnb. bey Michel Kiiljsn vnd Simon Halbm. 1618 in Fol." - A com-
plete list of Ayrer's 69 pieces is to be found in K. Goedeke's Gnmdri.fs etc. Vol. i. p. 412-415.
1
See A. G. Helbig, Zur Chronolo.tJie dPr Schauspiele deJJ Jacob Ayrer, in Literarhistorisches Taschenbuch,
herausg. von R. E. Prutz, 1.>547, 8vo. Hannover, p. 441-444.
SHAKESPEARE IN GERMANY. LXUI
covery is especially valuable, as the date of its composition is attached to each piece,. ac-
cording to which the twenty two pieces of the manuscript were all written between the
years 1595 and 1598. Two Singing plays (Singspiele) were each written in a single day.l
It seems to us almost beyond the shadow of a doubt, that nearly all Ayrer's pieces were
composed after 1593, the date of his return to Nuremberg. Some few, perhaps those which
treat religious and purely epical subjects, may belong to an earlier period. In the preface
to the 'Opus theatricum ', the publisher says: "The late honorable ... Mr. Jacob Ayrer the
elder, Imperial Notary, Citizen and sworn proctor to the Courts at Nuremberg, has during
his life-time, in addition to his no small amount of business, partly private, partly that apper-
taining to his office, after diligent transaction of the same, in his hours of leisure and times
of recreation been pleased to amuse and delight himself with the laudable composition of
poetry, for the which he had an especially excellent genius and a felix, nay a divinum in-
genium.:'2 As mention is made here only of Ayrer's official duties in Nuremberg, we are
justified in concluding, that at least at the time of the publisher, nothing whatever was
known of any literary productions of his belonging to an earlier period, for we gather from
a later passage in the preface that Ayrer's relations were still alive.
1
This enables us to cmtect Koch's statement in his Grundrifs etc., that Ayrer's pieces were composed
between the years 1570 and 1589, as also Tieck's conjecture (Deutsches Theater, Vol. i, p. xviii) that few of them
were written before 1610, which is simply impossible, as Ayrer died in 1605. No less incorrect is Gottsched's
statement in N(jthiger Yorrath, Vol. i, p. 121, that a German translation of Julius Redivivus by Frischlin, printed
in 1585, is from Ayrer's pen. The title of the work alone is sufficient to shew that the translation is by Jacob
Frischlin, the brother of :Sicodemus Frischlin. This is one of Gottsched's numerous uncritical fancies, which was
also adopted by Karl Schmitt in his Jacob Ayrer. Ein Beitrag zur Geschichte des deutschen Dramas. 8vo. Mar-
burg 1851, p. 9. The same writer also draws conclusions respecting the year of Ayrer's birth, which are there-
fore incorrect. Also Dr. William Bell in his Shakespeare's Puck etc., Vol. ii, p. 278 et seq. draws conclusions
from it respecting the time at which Ayrer's pieces were written, which are aecordingly equally unfounded. See
Karl Goedeke's Grundri/s, Vol. i, p. 323 and 411.
The above-mentioned conjecture of Tieck's is principally founded on a passage in the 'Julius Redivivus':
"Das Trucken man erfunden hat Zu Maintz in der fiirnemben Stadt Als nach Christi defs Herrn Geburt Vier-
zehen hundert Viertzig zehlt wurd Hans Guttenberg derselbig hiefs Der das erste Buch trucken liefs Vor Hundert
vnd Siebentzig Jahrn," which may be roughly translated as follows: "The art of printing man invents In the
famous town of Mentz, Fourteen hundred and forty years After Christ on earth appears. Hans Guttenberg the
printer bight, Whose printed book first saw the light, Hundred and seventy years ago." This would certainly
give the date of 1610, but as Ayrer died in 1605, the passage cannot be genuine, but must have been interpolated
by some other hand. This solves Karl Goedeke's doubt as to whether the passage really was interpolated or
not. (Grundrifs, Vol. i, p. 412.) A passage in Ayrer's Shrove-tide play 'Der Konigin Podagra Tyranney' referring
to Hans Sachs shews the date of its composition to have been 1602. See ibid. p. 414.
~ From this passage Dr. Bell bas drawn the extraordinary conclusion that his dramas "were composed
before he (Ayrer) was occupied by public affairs" - while the natural inference is precisely the reverse.
The German Text of the passage is as follows: "Weyland der Erbare ... Herr Jacob Ayrer der Elter,
Kayserl. Notarius Burger vnd der Gerichten albie zu Niirnberg geschworner Procurator ... hat in seinen leb-
zeiten, neben seinen nicht wenig obgelegenen, so wol Ampts als Privat geschefften, nach fleiCsiger Expedirung
derselben, zu seinen miissigen ruhstunden vnd erquickzeiten, jhme belieben lassen, in der Loeblichen Poeterey,
darzu er dann sonderlich einen guten geist vnd Foelix ja Divinum ingenium gehabt, sich selbsten zu erlustiren
vnd zu ergotzen."
LXIV SHAKESPEARE IN GERMANY.
When we consider that according to the notices in the Dresden manuscript Ayrer
must have been a very rapid writer, there seems nothing improbable in the supposition
that all his pieces were composed between the years 1593 and 1605. But however that
may be, many of his dramas bear external and internal traces of English models, and it
does not admit of a doubt, that all Ayrer's literary activity received its direction from his
acquaintance with the English Comedians. Thus we find it remarked in the preface, that
his comedies and tragedies were not alone graceful and pleasant to read, "but that every-
thing was arranged after the life, and so managed, that just according to the new English
m ~ n n e r , everything could be acted and played" ("sondern auch alles nach dem Leben ange-
stellt und dahin gerichtet, das manns gleichsam auf die neue Englische manier und art,
alles PersOnlich Agirn und Spilen "). Hitherto this acquaintance with the English Comedians
has been regarded as a proof, that those pieces which are known to have been produced
under their influence must have been written after the year 1600, in as much as little or
nothing was known of the Englisli actors in Germany before that time. Should any doubt,
however, still exist as to the incorrectness of this conclusion, in spite of the other evidence
we have adduced, the Dresden Manuscript must remove it at once, for in some of the
pieces it contains, the English models are expressly mentioned. Thus we find in the Singing
pieces 'Of the three angry women', and 'The monk in the cheese-basket, to the same tune
as they sing the English Rolant'; ('Von dreycn bosen Weibern', und 'Der Monch im Kess-
korb, Im Dhon wie man den Engelandischen Rolant singt') and in the 'Eulenspiegel, to
the tune to which they sing the English play: Let us bide a while together, &c.' ('Im Dhon,
wie man das Engellandische Spill: Lafst uns ein W eil bei einander pleyben &c. singt '). All
these pieces were composed in 1598. In other dramas, which according to the Dresden
Manuscript were composed before 1598, the Clown appears with a part written expressly
for him, the surest sign of English influence. (See p. xlii.) We are therefore perfectly safe
in assuming that Ayrer was acquainted with the English Comedians as early as 1595, and
where this acquaintance is manifest in pieces, the date of which is unknown, we are not
justified in concluding from it that any of his dramas must have been written later than
1600.
The first five pieces of the 'Opus theatricum' form a cycle of Roman histories which
are partly called tragedies, partly comedies. This distinction is, with Ayrer, a purely external
one: a piece in which deaths occur, is a tragedy, one in which there are none, a comedy,
just as in Hans Sachs. In four of these comical histories, we already meet with the Eng-
lish Clown; and he is only wanting in the first of the five pieces. In the second piece,
written in 1596, he is called '.Jahnn der Bott oder Engellendische Narr' (John the mes-
senger, or the English Clown), in the third, also written in 1596, 'Jahnn der Bott', in the
fourth, written iu 1598, 'Jodel, der Lackey', and in the fifth, 'Jahnn Posset, der Bott'. In
the 'Tragedy of the Emperor Otto the third'l he is called, 'Jahnn der Lackey'; irl the
I OpU8 theat,icum, i. fol. fi5. Tragedia, ron Keiser Otten d e ~ Dritten tnd seiner gemahlin sterben tnd end,
aufs Manlio. (Tragedu of the death and end of the Emperor Otto the third and Ids consort, from Manlius.)
SHAKESPEARE IN GERMANY. LXV
'Tragedy of the Turkish Emperor Mahomet'l 'Jahn der Narr oder Possenreisser' (John the
clown or merry andrew); in the 'Tragedy of the Greek Emperor at Constantinople' 2 'Jahn
der Narr oder Hencker' (John the Clown or Hangman); in the second part of the 'Comedy
of Valentine and Urso'
3
'Jahn der Engelliindische Narr oder Prologus'; in the 'Comedy of
Edward the third, King of England, and Elisa, Countess of Warwick'4 'Jahn Clam', similarly
in the 'Comedy of the King of Cyprus';o in the 'Comedy of the beautiful Phrenicia' 'Jahn
der Kurtzweiler' (John the jester); in the 'Comedy of the two S)"Tacusan brothers's 'Jahn
Panser'; in the 'Comedy of the Beautiful Sidea' (see p. 2) 'Jahn Molitor'; in the 'Comedy
of the Old Gallant'7 'Jahn Grundo der narrische Knecht' (John Grundo, the foolish ser-
vant); and in the. 'Comedy of the two Royal Counsellors's 'John TO.rck der nlirrische
1
Opus theatricum, i, fol. 14 7. Schrockliche Tragedi. Vom Regiment vnnd schiindlichen Sterben des Tiircki-
schen Keisers Machumetis des andern dis Namens, wie er Constantinopel eingenommen vnd gantz grausam tyrannisirt.
(Dreadful Tragedy of the government and disgraceful death of the Turkish Emperor MahO'TMt, the second of the
name, how he took Constantinople, and tyrannized very cruelly.)
1
Ibid. i, fol. 177. Reprinted in Tieck's Altdeutsches Theater, Vol. i, p. 200. Tragedia, Von dem Griegi-
schen Keyser zu Constantinopel, vnd seiner Tochter Pelimberia mit dem gehengten Horatio. (Tragedy of the Greek
Emperor at Constantinople, and his daughter Pelimperia with the hanged Horatio.)
3
Ibid. i, fol. 272. Comedia Ander Theil, Von Valentino vnd Vrso aufs der Beschreibung Wilhelmi Zilij
von Beern in V chtland. (Comedy, Second Part. Of Valentine and Orson, from the account of William Zilius of
Bern.)
' Ibid. i, fol. 384. Comedia vom Konig Edwarto dem dritte difs Nainens, Konig in Engel/and, vnd Elipsa
Herrn Wilhelm Montagy Gemahl, ein geborne Griijin von Varucken [Warwick]. (Comedy of King Edward the third
of the name, King of England, and Elisa, wife of Lord William Montague, by birth Countess of Warwick.)- The
same plot has been dramatised before in Germany: Elisa. I Ein Newe vnd llU8tige Comoedia, Von I Edvardo dem
Dritten I dieses Namens, Konige in Engel- llandt, Vnd Fraw Elisen I einer gebornen Griiffln von lVarwitz, Gestelletl
Durch I Philippum nraimern von I Dantzigk, B. R. D. I Summu crede nefas, animam ftferre pudori, I Et propter t.'itam,
t'iuendi perdere causas. I Gedruckt zu Dantzigk, durch I Jacobum Rhodum. 11591. 12mo. (Elisa, a new and merry
Comedy of Edward the third of the name, King of England, and Lady Elisa, a born Countess of Warwick, set forth by
Philip Waimer of Danzig.)- This comedy has been represented at Danzig in 1591 by pupils of the Gymnasium,
whose names are given on a separate leaf. In the preface the author mentions Bandello as his principal source.
It is Novella 37 in Parte II of Bandello's novels. The comedy however deviates from the novel in many respects.
Ayrer does not seem to have been acquainted with "'"aimer's play. Whether he knew the Old English 'Edward
the third', ascribed to by some writers, is a question well worth investigation.
6
Ibid. i, fol. 397. Comedia Vom Konig in Cypern [Flavius] wie er die Konigin in Franckreich [Clareta]
bekriegen wolt, vnd zu der Ehe bekam. (Comedy on the King of Cyprus how he wanted to make war against the Queen
of France, and obtained her in marriage.)
6
Ibid. i, fol. 424. Comedia von zweyen Briidern aufs Syracusa, die lang einander nicht gesehen hetten, vnnd
aber von gestalt vnd Person einander so ehn(lich) wahren, das man allenthalben einen vor den andern ansahe. (Co-
medy of the two brothers of Syracuse, who had not seen each other for a long time, and were so like each other in
figure and person, that everywhere they were mi8laken for each other.)
7
Ibid. i, fol. 443. Comedia von einem A.lten Buler t:nnd lVucherer, wie es jhme auff der Bulschafft ergangen,
vnd wie er seines lVeibs lieb prooirt. (Comedy of an old paramour and usurer, how he prospered in his loves, and
how he put his wife's love to the proof.)
8
Ibid. i, fol. 453. Comedia von zweyen Fiirstlichen Riithen die aile beede vmb eines gewettes willen vmb ein
lVeib Bulten, vnnd aber an derselben statt mit zweyen tnterscliiedlichen Mtigden betrogen worden. (Comedy of two
Princely counsellors, bot/1 of wltom courted a woman for a wager, instead of whom they got two different maids.)
1
LXVI SHAKESPEARE IN GERMANY.
Knecht'. Similar designations occur in the Shrove-tide plays, but in some of them the
clown is not introduced. In 'The Tyranny of Queen Gout'l he is called 'Jahn Klan der
Engellendisch Narr und ist ein Arzt' (John Clan the English Clown, a physician). Two of
the Shrove-tide plays are entirely devoted to the Clown: the 'Carnival Play of the English
John Posset (Bossed?) how he behaved in his service'2, and the 'Shrove-tide Play of the
lost English John Posset.'s
If these externals alone point imperatively to the Old English Theatre, the subjects
themselves which were chosen by Ayrer offer still more irrefragable evidence of his intimate
acquaintance with it. Thus in the 'Tragedy of the Greek Emperor at Constantinople and
his daughter Pelimperia with the hanged Horatio' we have a new version of the 'Spanish
Tragedy', the original very closely, and indeed in all probability taken from the
oldest form of this remarkable piece, which was afterwards remodelled by Thomas Kyd,
and only appeared in print in 1602. But even Kyd's later form is supposed to have been
played some years earlier on the London stages. Considering the great importance of the
'Spanish Tragedy' for the old English stage, it is a very interesting circumstance that for
various reasons, which it is not necessary to mention here, Ayrer's 'Pelimperia' appears
rather to have followed the first form of the piece which is entirely lost, and a translation
of which is very much to be desired. In the present work we are obliged to reserve our space
for pieces bearing more directly on our subject. In the 'Spanish Tragedy' as in the 'Pelim-
peria', a play is introduced within the play, just as in 'Hamlet', and as Gervinus has remarked,
Ayrer's arrangement of the stage in this scene forcibly reminds us of the old English ar-
rangement. In the next place, in the 'Comedy of the King of Cyprus', we meet with a
subject probably taken at an earlier period by the English Dramatists from Bandello, which
as it appears in connection with Gervase Markham, made use of in 1608, or
shortly before, in his 'Dumb Knight'.4 That Ayrer got this subject from the English Co-
medians appears to be established by the fact, that among the pieces which the latter
played in Germany, and of which we shall have occasion to speak at a later page, there
is one entitled: 'Ein Iustig Pickelheringsspiel darinnen er mit einem Stein gar lustige Pos-
sen machet' (A merry play of the Clown, and of his merry tricks with a stone), which
almost agrees with the comical episode in the 'King of Cyprus'. In the same manner also
1
0pu8 theatricum, ii, fol. 38. Comeducher Prozefs, Action vnd .An/clag wider der Konigin Podagra Tyran-
ney, mit angehenckter DefeMion, bifs zu .Aufsgqng des Procefs. (Comedy suit, action, and accusation against the ty-
ranny of Queen Gout, with defence anne.xed, to the end of the suit.)
"Ibid. ii, foL 110. Reprinted in Tieck's Deutsches Theater, Vol. i, p. 184-199. Ein Fafsnachtupill von
-dem Engelenduchen Jann Posset wie er sich in seinen diensten verhalten, in .defs Rolandts Than. (A Shrove-tide play
of the Engluh Jann Posset, how he behaved himself in hu service, to Rolandt's tune.)
3
Ibid. ii, fol. 114. Ein Fa/S'Mchtspil der verlohren Engellenduch Jann Posset. (A Shrove-tide play of the
lost Engluh Jann Posset.)
4
The Dumb Knight. An hi&torical comedy, acted sundry times by the children of the Revels. 4to. 1608;
4to. 1633. Entered on the Stationers' Registers, Octob. 6, 1608. Reprinted in Dodsley's Collection of Old Plays,
Collier's edition, VoL iv.
SHAKESPEARE IN GERMANY. LXVII
the two comedies 'Of an old paramour', and 'Of two princely Counsellors' have a great
similarity with the farce 'Of the beautiful Maria and the old cuckold' in the 'English Co-
medies and Tragedies', of 1620;1 and in the 'Comedy of King Edward the third' we meet
with the quarrelling scenes between the clown and his wife, which are also to be found
in the 'Comedy of Queen Esther and the proud Haman' in the same collection. Other
pieces of Ayrer's, the subjects of which were also represented on the old English Theatres,
but of which we cannot state with certainty that Ayrer derived them from that source,
are as follows: 'A Tragedy of the reign and lamentable death of the Turkish Emperor
Mahomet.' According to Henslowe's Diary, a play entitled 'Mahomet' was acted in August
1594, and George Peele has also composed one on the same subject, entitled, 'The Turkish
Mahomet and Hiren the fair Greek.'
2
A play called, 'Valentine and Or&on', by Anthony
Munday and Richard Hathwaye, was performed in London in 1598. It is perhaps. the same
as that which is entered as an Interlude in the Books of the Stationer's Company as early
as May 1595. We also find 'Valentine and Orson, a famous history' in their books in March
1600. The 'Comedy of the two brothers of Syracuse' agrees almost entirely with the
'Comedy of Errors', a subject which was familiar to the English stage long before Shake-
speare, for in 1576 a 'Historic of Errors' was played in Hampton Court. But Ayrer may
have written his piece after Plautus. A closer comparison might determine whether he
took his subject from the latter or from an English source. It has been already observed
that the Clown is introduced in this piece.
Of Ayrer's thirty-six Shrove-tide plays it is stated in the preface to the 'Opus theatri-
cum ', that "the invention is altogether new, and entirely his own." It must be confessed,
that not one of these pieces can be traced to an English Original, but, on the other hand,
Ayrer could only have taken the general character of them from the English Comedians,
to whom the English jigs with singing and dancing must have come quite naturally, as they
furnished them the best opportunity of amusing the public in spite of their foreign idiom.
1
It may be observed here, that also Duke Henry Julius's Comoedia von einem Weibe wie da88elbige jhre
Hurerey fiir jhren Eheman verborgen, mit 6 Pers. Wolfenbiittel 1593, in Dr. Holland's edition p. 261-295, (Co-
medy of a woman, how she concealed her lechery from her husband. lVith 8ix persons) treats the same subject. The
two pieces of Ayrer's appear to have been worked up later into one by some unnamed author: Die Bu.hlerische
Geselklchaft. Das ist: Zwey annehmliche erfre:uende Comudien, die erste von einem alten Buhler, dem u auf seyner
Freyerey seltsam ergangen ist; und die andere von zwey verbuhlten Riihten, so listiger Weise mit zweyen Miigden sind
betrogen worden. Im jetzigen Jahr verne:uert mit anweisenden Figuren. s. 1. e. a. 8vo. (The amorous party. That
is: two amusing agreeable comedies, the first of an old lover, who met with strange fortune in his wooing; and thtJ
second of two amorous counsellors, how they were cunningly deceived by two maids. Renewed in this pruent year;
with e:eplanatory jiguru.) Gottached's Nothiger Vorrath, Vol. i, p. 182. Gottached places this piece in the year
162::!.
Never published. It is alluded to in the Merrie Conceited Juts of George Peele, 1627, where it is termed
a "famous play". Pistol's exclamation, "Have we not Hiren here?" is supposed to refer to it. One of the
characters in Ayrer's play is "Hircavena die schlin Jungfrau" and another "Isidorus der Cardinal so ditJ l!istori
buchrieben" (Isidorus the Cardinal who has described thi8 History). This latter character reminds that of Gower
in Shakespeare's Periclu.
LXVill SHAKESPEARE IN GERMANY.
As we have already observed, the mere names of some of these farces of Ayrer's shew
that he had derived his manner from the English actors, a fact which is also very evident
from the part of the clown, who in Ayrer's pieces, as well in the tragedics and comedies
as in the farces and singing pieces often appears with a whistle, just as the English Clown
often does with a drum. Tieck conjectures that the Shrove-tide play, 'The vanquished
Drummer' is an English far<;e. It may be so, but there is no known English piece from
which Ayrer can have copied, though the manner certainly is altogether English.
Having thus given a general sketch of the relations of the whole of Ayrer's dramatic
career to the old English stage, we now proceed to the consideration of two of his pieces
which stand in direct connection with Shakespeare.
AYRER'S COMEDY OF THE BEAUTIFUL SIDEA.
(See p. 1-76.)
We give this piece complete in the German Original with an English translation
annexed, not merely to promote the knowledge of Ayrer through one of his best pieces,
but still more for the purpose of placing more eas'ily within the student's reach the only
drama extant, which points to the origin of the plot of Shakespeare's 'Tempest'. Since
Tieck directed attention to this piece in 1817, his conjecture that it is based upon ail old
English piece now lost, which Shakespeare also made use of in the 'Tempest', has been
quoted by all the commentators, but according to all appearances none of them have become
acquainted with the complete piece itself. English critics have probably been deterred by the
difficulties of the old German style. The piece is now offered in an accessible form, and
every one is able to judge for himself of the extent of its affinity to the 'Tempest'. That
this affinity cannot be purely accidental, must be admitted at once by every attentive reader
who is acquainted with the manner in which Shakespeare used the crude elements of his
sources, but whether the common source of both authors is a drama, a legend, or a tale,
will remain unsettled until the source itself has been discovered. Ayrer's piece has a tho-
roughly legendary character. The apparently historical personages are not to be met with
in history. A Prince Ludolff of Lithuania has existed just as little as a Prince Leudegast
of the Wiltau. The Wiltau is a fabulous name; the nearest approach to it is wilna, but it
does not appear that the latter has ever been so denominated. History has no record of
any Polish Princess (Julia) who was engaged to be married to a son of a Prince of Wiltau
(Engelbrecht). LudQlff says to Sidea 'May Jove &c.' and also in other passages the heathen
gods are introduced. 'Heathen clothes' are expressly prescribed for Ludolff and Sidea, a
direct proof that Ayrer placed the action in an ante-christian period. We thus find our-
selves entirely on fabulous ground, while on the other hand, in the comic scenes, the tone
and style of his contemporaries and a spirit of narrowminded localism are found to pre-
dominate, quite in the manner of the old German dramatists.
Ayrer is not the inventor of this subject; he has had either a legend or a play
SHAKESPEARE IN GERMANY. LXIX
before him. A proof of this is to be found in the first Act, where Leudegast says of Prince
Ludolff:
W eil der zenkisch Herzog Leupold
Den Krieg und Zank hat also holt, &c.
Duke Leupold so loves strife and brawl,
That now he's challenged us to fall &c.
No Duke Leupold appears throughout the whole piece, and the mention of one in
this passage is a confusion of names which can only be explained by the supposition of a
somewhat careless use of the original sources. It is true, in the introduction of humorous
scenes and episodes this piece has many points of resemblance with the old English Theatre.
But we have seen that all Ayrer's dramatic compositions after a certain date were under
this influence, and this resemblance alone therefore is not sufficient to enable us to con-
clude, as Tieck has done, the existence of an old English Drama with the same subject.
A circumstance of far greater importance is the fact, that the ideal arrangement as well
as the single scenes and passages in both pieces display a most unmistakeable resemblance.
Ayrer's removal of the action into the region of fable is a feature to which we have already
alluded. In both p i e c ~ s then we have two hostile princes, of whom the one (Prospera or
Ludolff) practises the arts of magic to get the son of the other into his power, in both
pieces this prince has a spirit in his service, through whose power the enemy's arms are
rendered innocuous, and lastly, in both pieces an attachment is formed between the only
daughter of the one prince, and the captive son of the other, which is eventuAlly the means
of bringing about a reconciliation between the hostile families. Both pieces are based on
the idea of a retributory justice. If these points of resemblance in the fundamental structure
of the two pieces are in themselves sufficient to exclu,de all possibility of an accidental
coincidence, the numerous external points of agreement in the course of the two pieces
must remove the last shadow of a doubt. In the one piece as in the other, the captive
son of the prince is obliged to pile up logs of wood, and in both pieces this . scene leads
to the attachment of the lovers. In the 'Tempest', Act i i ~ sc. 1, Ferdinand says:
My mistress, dearest,
And I thus humble ever.
To which Miranda answers:
My husband then?
Again in the 'Beautiful Sidea', Act i i ~ we find:
Engelbrecht.
J a dasselbe solt ihr trauen mir
Und ihr solt auch mein Gemahl sein.
Sidea.
Bistu denn mcin?
Engelbrecht.
Ja.
Side a.
So bleib ich dein.
Engelbrecht.
Thou mayst place all thy trust in me,
And thou as consort soon be mine.
Sidea.
.A.rt thou then mine?
Engelbrecht.
Yes.
Sid ea.
Then I'm thine.
LXX
SHAKESPEARE IN GERMANY.
In the 'Tempest', Act ~ .sc. 2, Ferdina.nd says to Miranda:
0 I if a virgin,
And your affection not gone forth, I'll make you
The Queen of Naples.
and similarly in the 'Beautiful Sidea', Act iii:
Engelbrerht. Engelbrecht.
Ja ich wolt mich eur Lieb ergeben I would to thee my service give,
Zu dienst mit Leib vnd auch Leben i1nd ever love thee while I live;
V nd euch zu einer Filrstin machen. 'lbou shouldst a royal station grace.
Again we may compare the same scene 'in the 'Tempest', where Ferdinand draws
his sword to defend himself against Pr9spero, and in ,which he ''is charmed from moving"
with the passage in the 'Beautiful Sidea' Act ii, in which Ludolff disarms Engelbrecht and
his attendant by magic, and the latter is obliged to confess,
Mein Wehr kan ich nicht herauss bringen I My sword, sir, in its scabbard sticks;
Ich glaub das sie bezaubert sey. I I think it must enchanted be.
In the same manner, the scene in the fourth act of the 'Beautiful Sidea', in which
the devils dance, reminds us forcibly of the 'Tempest', Act iii, sc. 3, in which the spirits
with dance and mops and mowes carry out the table. - In Runzifall the devil, we have,
in spite of all dissimilarities, the counterpart to Caliban, who indeed is not the evil one
himself, but cine of his progeny :
Prospero. Thou poisonous slave, got by the devil himself. Upon thy wicked dam, come forth!
(Tempest, Act i, sc. 2.)
Just as Alonso institutes a search for Ferdinand in the 'Tempest', so does Prince
Leudegast' in the 'Beautiful Sidea' for his lost son, Engelbrecht.
We will, however, not anticipate any further, but will rather refer the reader to the
piece itself for the numerous points of resemblance which we have not yet mentioned. "The
origin of the plot of the 'Tempest' is for the present a Shakespearian mystery," are the
words with which Mr. Hunter begins his dissertation upon that play. "That mystery I
consider as solved" is Mr. ,V, J. Thoms'
1
assurance after having read Ayrer's 'Beautiful
Sidea'. For our own part we cannot speak with so much confidence, for although in the
Sidea, we possess the only link of connection between such source and the 'Tempest', we
have not yet arrived at any certainty respecting the source itself. If we agree with most
of the commentators that the 'Tempest' is one of Shakespeare's later works, there cannot
be the slightest doubt that Ayrer's piece was written long before the 'Tempest'. In all
those cases in which we are acquainted with the sources from which Ayrer derived his
plots, we see that he almost always retains the original names for his principal persons:
and as it is highly improbable that these, for the most part purely German, names should
have occurred in an English drama of the sixteenth century, we cannot place much con-
1
On the conne.xion betwun the Early English and Early German Drama. New Monthly Mag. 1841, Ja-
nuary, p. 26.
SHAKESPEARE IN GERMANY. LXXI
fidence in the suggestion that any such work was the common source of the two plays in
question. Ayrer appears rather to have worked after some German original, and this may
have come to light in England in the form of some metamorphosis or other. Neither is
it impossible, or even improbable, that Ayrer's piece itself may have come to Shakespeare's
knowledge through the medium of comedians who had returned to England,
1
a conjecture
which would only become utterly untenable, if an earlier English composition of the same
or very similar contents should ever be discovered.
AYRER'S COMEDY OF .THE BEAUTIFUL PHJENICIA.
(See p. 77-112.)
At the first glance at this piece we see that it bears a very close to
Shakespeare's 'Much Ado about Nothing', and that this resemblance is not confined to the
seripus portions of the two pieces, the principal features of which may be traced to Italian
sources, but that also the humorous scenes between Beatrice and Benedick, the sources of
which have hitherto been sought in vain, find their counterpart in the 'Beautiful Phre-
nicia'.2 Tieck, who again was the first to point out the connection of this piece with 'Much
Ado about Nothing', has quite overlooked this circumstance, and yet is it precisely in these
portions of the two pieces that the points of agreement are the most calculated to enable
us to draw a conclusion respecting the source of Shakespeare's play. It is truly remarkable
that just in these two pieces the connection between the comic episodes should have escaped
Tieck's notice, while on the other hand he considers the comic scenes in the 'Sidea', which
r.eally have no connection whatever with anything in the 'Tempest', as a proof of some
common dramatic original.
We have already (p. xliv) called attention to the relationship between Benedick and
the Vincentius of Duke Henry Julius. The same elements are also to be met with in Ayrer's
piece, although in an entirely different form; as that which in the former constitutes the
principal action, is only an episode in the latter, the part of Vincentius being here assigned
to the clown John. Externally indeed the two characters have nothing in common, but
their dramatic significance is the same, and their adventures lead us to Benedick and Bea-
trice. The resemblance of Ayrer's episode with that of Shakespeare is apparently a very
distant one, and yet again a very close one as soon as we disregard the persons and scenes,
and only pay attention to the means employed by both authors for attaining the same
1
Edward Cellius, among others, speaks of such English Comedians returning to England, in his de-
scription of the festivities which took place at the Court of Stuttgart in the year 1603, on the occasi.on of the
already mentioned English Embassy. "Paucis ab binc annis in Germaniam nostram Anglicani musici dictum ob
finem expaciati, et in magnorum Principum aulis aliquandiu versati, tan tum ex arte musics, histrionicaque; sibi
favorem conciliarunt, ut largiter remunerati domum inde auro et argento onusti sint reversi." Equu auratm
Anglo- Wirtembugicus. 4to. Tubingae 1605, p. 229.
This has already been noticed by H .. Grimm in his above-mentioned essay on the Theatre of Duke
Henry Julius. For many of the observations respecting the connections between the 'Phamicia' and 'Much .Ado
about Nothing' that follow in the text, we are indebted to that work.
LXXII
J .; '
'"'"t.
object. The gist of Shakespeare's intrigue consists in the joke of making Benedick believe_
that Beatrice is in love with him, and persuading Beatrice that Benedick is in the same
case with regard to herself. Let us now compare this with John's first adventure in the
'Beautiful Phrenicia'. He is in love with Anna Maria; his master offers to woo her for him
in his name, and deceives him into the belief that she shares his affection. Hence arises
the scene, in which the fool is made such a miserable dupe. Considered simply by itself.
so distant a resemblance would not justify any conclusion respecting a common source.
But here there is an additional circumstance, which decidedly favours such a conclusion.
The foundation o Shakespeare's as well as Ayrer's piece is unquestionably Bandello's tale,
i'
'Como il S. T_i;m_l?reo di Cardona essendo col Re Piero d'Aragona in Messina: s'"'innamora di
Fenicia Lionato.' i This story contains nearly all the leading features of the principal action,
the love affair between Claudio and Hero in Shakespeare, and that between Timbreo and
Phrenicia in Ayrer. Of the humorous underplots in both pieces, the tale does not contain
the slightest trace.
Now we must remember that the two humorous couples of lovers stand in no re-
lation whatever to the principal action in the two pieces. In Shakespeare indeed they are
1
There is a French version of Bandello's tale by Belleforest. German 1m1tations of it, of the sixteenth
and se\enteenth century, are mentioned below. 'Vhether Ayrer knew the first two or not, is a matter of indif-
ference, as No.2, and probably No. 1, contains nothing which is not also in Bandello and Belleforest.
1. Mauritius Brand, Phoenicia. Eine schone, ziichtige, liebliche vnd gedechtnifswiirdige History waa maBBen
ein .Arragonischer Graff de Colison lfich in eine edle vnd tugentreiche lficilianische Jungfraw Phoenicia genannt, ver-
liebt. 4tu. Danzig 1594. (Phrenicia, a beautiful, chaste, delightful and memorable history, how an .Arragonian Count
of Colison Jell in love with a noble and virtuous Sicilian virgin, named Plumicia.) - 2. Phoenicia. Eine Liebliche
vnd Gedechtniswirdige History, was massen ein Arragonischer Gra.ffe de Colisan, lfich in eine Edle tnd Tugentreiche
Sicilianische Jungfraw Phoenicia genandt, verliebete. Vnd waa denselben in Heyrath vnd Freysachen wiederjahren,
welchei; billig ein Spiegel lVeiblicher Ehr vnd Zucht mag genennet werden. .Allen Zuchtigen vnd Ehrliebenden Frawen
vnd Jungfrewlein zwn .. Yewen Jahre beschrieben, durch JJ[auritium Brand. 8vo. Magdeburgk bey Joh. Francken, s. a.
[circa 1600]. (Phrenicia .A delightful and memorable llistory !foe. .And what bejel them in marriage and in courting
which may rightly be called a mirror of maidenly tirtue and honour. Written for all chaate and honorable ladie8
and virgins for the new year.)- 3. Lieb: Tugendt vnd E!trn-Spiegel, rermittels Herrn Timbrei von Cardona Lieb,
gegen Phoeniciam Lionati, dero unmderbaren begegnw;sen vnd mdlicher Ehevollstreckung, von Herrn Francisco Belk-
jorest in E'rantzusischer: t:nd anjtzo aus derselben in Teutscher Sprach vorgestellet vnd jerner adorniret durch lVoif-
gangum Seidelum. 12mo. Hof, Matth. Pfeilschmidt, 1624. (Lol'e, rirtue, and Honour's mirror .. set forth in
French by Bel/ejorest, and now done into German language by TV. Seidel.) - 4. The same version by W. Seidel,
12mo. Coburgk, in der Furstlichen Druckerey, durch Joh. Forckel, in Yerlegung Friederich Gruners, 1627.-1 have
not seen No. 1 and quote from Koch, Grundrifs, Y ol. ii, p. 245. who again refers to Catal. Bibl. Sclncabianae,
Part ii, p. 269, and from K. Goedeke, Grundrifs etc., Vol. i, p. 413. I do not know therefore whether this ori-
ginal edition varies from No. 2, and whether it also contains the addition to the title "Mirror of maidenly virtue
and honour", If then Ayrer has certainly taken his title from it; if not, then the addition to the title of
No. 2 has been taken from Ayrer. - There is also a Latin versi-on of the same subject, unless the title in
Clessius, Elenchw; consummatislfimus librorum etc. Vol. ii, 4to. Franeof. 1602, p. 241, is ffi(rely a translation of the
German one :K o. 2. According to Clessius it is entitled: Phoenir:ia: llistoria de comite de Colisan ex Arragonia
amatoria erga virginem ex Sicilia, nomine Phoenicia. 8vo . .Magdeburg 1600. - There is also a late dramatic version
of the subjl'l't: l\latthaei Kranirh, Comodia von einem Grmen ton Coli san mit 26 Personen zu agiren. 8vo. Erffurdt.
hey ,Job. Birrknern (1620 or 1G:H). See Schaubiihne, Vol. iv, p. 43.
SHAKESPEARE IN GERMANY. LXXIII
interwoven with the external incidents in the most charming manner, but even with him
they have no influence on the development of the principal action of the piece. In Ayrer,
of course, anything like an internal connection with the main plot is quite out of the
question. Is it possible tht'n that two authors, when using the same tale, should add
to it a new element so very similar in the two cases? We must confess, this appears
to us quite inconceivable. In our opinion, either in Italy' or in England a dramatic piece
was founded on the novel, that Shakespeare, Henry Julius, and Ayrer were all acquainted
with it, and that this piece contained a comic episode, which Shakespeare and Ayrer,
each in his own way, interwove with the main plot, but which Henry Julius has de-"
tached, and worked up into a separate comedy by itself.l If this piece should ever come
to light, we shall certainly find in it the origin of Shakespeare's allusion in Act i, sc. 1:
"He set up his bills here in Messina, and challenged Cupid at the flight &c." Does not
also the mention of Cupid and Vulcan at the opening of both pieces confirm this con-
jecture? In Shakespeare, Benedick says:
"Cupid is a good hare-finder, and Vulcan a rare carpenter";
and in Ayrer, Cupid says of himself,
Mein Vatter der zornig Vulcanus For Vulcan now my wrathful sire
Der hat mir etlich Pfeil geschmit. Has a few arrows forged for me.
In Shakespeare also, the connection of the fool with Cupid in Beatrice's speech:
... "and my uncle's fool, reading the challenge, subscribed for Cupid and challenged him at
the bird-bolt" reminds us of the fool in Ayrer's piece, who is struck by Cupid's arrow.
Then it must also be observed that the scenic arrangements in both pieces agree in the
most remarkable manner. In both we have a dance, a serenade, and the scene at the coffin,
but it must be confessed that the elements for it are to be found in the tale. But a careful
comparison of the latter itself with otir two pieces affords the most striking proof that
there must have been some intermediate member between it and them. In the tale, Girando,
in determining on the shameful act of treachery against Timbreo, is influenced entirely by
a feeling of jealousy. In the same manner, in the episode in the fifth book of Ariosto's
Orlando furioso, which Bandello has certainly made use of, and which also supplied the
subject of 'The History of Ariodante and Geneuora', a drama acted in London as early
as 1582, jealousy is the sole motive of the Duke of Albania. This is not the case either
in Ayrer or in Shakespeare. In the former, Gerando meditates some rogue's trick against
Tymborus, because he has become too powerful and influential. Afterwards he appears to
put forward his admiration of Phrenicia as a mere pretext for his revenge on Tymborus,
for up to that time, there is no mention in the piece of any love affair between himself
and Phamicia. Again in Shakc!'peare, the Bastard does not act from motives of jealousy,
but only from a feeling of general discontent. This makes his depravity appear all the
greater, and his treachery to Claudio all the blacker. Gerando in Ayrer stands in uo
1
See Herm. Grimm, Das Theater etc.
K
LXXIV SHAKESPEARE IN GERMANY.
relations to Tymborus, just as in Shakespeare the Bastard has not the slightest connection
with Claudio, who is most immediately affected by his treachery. In Ayrer Gerwalt, who
invents the knavery, like Borachio in Shakespeare, is only the tool of another, to please
whom, or in whose commission as it were, the trick is executed, this other being Gerando
in Ayrer, and in Shakespeare the Bastard. In Bandello, on the other hand, the jealous
Girondo is also the inventor of the plan by which Timbreo is deceived. Another very
point in which the two plays from the tale, is the following: In Bandello,
the deceit is practised by means of a servant of Girondo, who is disguised to represent
the pretended lover of Phamicia, and climbs into a room at a window which is left open
day and night, and at which Phamicia is in the habit of appearing occasionally. This is
sufficient to make Timbreo consider the suspicions which had been suggested to him, as
well founded. The impostors do not appear at the window of the room, neither is there
any conversation carried on between them. In Ayrer, the fool John is put into woman's
clothes, and appears as Phrenicia walking hand in hand with Gerwalt, her supposed lover,
in her father's garden, and conversing with him. Timbreo sees them from his hiding-place,
and hears their lover's talk. Similarly in Shakespeare, Margaret puts on Hero's clothes,
and carries on a lover's conversation with Borachio, which Claudio hears from his hiding-
place in the garden. Act iii, sc. 4 in Shakespeare's piece begins with a conversation between
Hero and Margaret about the wedding-dress. Similarly, in Ayrer, the scene in which her
intended marriage with Timbreo is broken off, is preceded by a conversation between Phre-
nicia and her parents respecting her trousseau. The resemblance between the two pieces is
very striking in the scenes, in which it is resolved to allow Hero and Phrenicia to be con-
sidered as dead, in order to bring their innocence to light. In these scenes in Ayrer, the
action advances in a somewhat compressed and dramatic style, while in Bandello he would
have had a model which could only have encouraged his natural inclination to represent
everything with great circumstantiality and numerous digressions. Bandello is extremely
diffuse here, and makes Fenicia address a long-winded speech to the bystanders, who on
their part also break out into very edifying lamentations. In these scenes, both in Shake-
speare and Ayrer, the hope is distinctly expressed, that the pretended death of the slan-
dered maiden may awaken the remorse of her lover, and eventually end in their happy
union. This feature is altogether wanting in Bandello, and it is at the same time an im-
portant characteristic in the two dramatists, because in the principal catastrophe of the
piece it points out the germ of the reconciliation, and softens the tragical character of the
scene. The expectation of a reconciliation which is thus raised in the mind of the specta-
tor justifies moreover the progress of the piece as a comedy. After the treachery, which
has been practised against Phamicia, has been discovered, the prime movers in the criminal
act, the Bastard in Shakespeare, and in Gerwalt Ayrer, disappear. This feature is also
wanting in the tale.
'Much Ado about Nothing' appears to have been written either in, or about, the
year 1600. Francis Meres does not mention it in 1598, but the first Quarto was published
SHAKESPEARE IN GERMANY. LXXV
in 1600. Ayrer's piece may have been written either earlier or later. As long as the
chronology of his dramas is not established with greater certainty than has been hitherto
the case, it is impossible to express any opinion respecting the priority of either author
with regard to the two pieces in question.
It may be mentioned in conclusion, that Starter, a Dutch dramatist of the seventeenth
century has also taken the same subject for one of his pieces.! But Mr. J. 0. Halliwell is
decidedly wrong in asserting that Starter copied Shakespeare,2 as also Dr. W. Bell in his
statement, that the Dutchman's piece was founded on Ayrer's.s The truth is, that in Star-
ter's piece there are no traces either of 'Much Ado about Nothing' or the 'Beautiful Phre-
nicia', and that there is every appearance of his having taken his subject directly from
Bandello's tale or an early imitation of it. It is true, he also introduces comic personages
who speak in the Frisian dialect, but they have nothing in common with the humorous
episodes, either in Shakespeare or Ayrer.
CHAPTER IV.
In the course of our investigation up to this point, we have been able to distinguish
three companies of English Comedians, who started from England; Of!. their travels as early
as the sixteenth century. With the beginning of the seventeenth century these strolling
companies beco.me inore and more numerous, and no longer confine themselves to the
courts of princes, but extend their wanderings to every part of Germany in which they
may expect to find a sufficient interest in their art.4 It is true, some companies still con-
tinued to make the court of some art-loving prince their head-quarters, but even these led
a migratory life, and it appears that they made the permission to do so, one of the con-
ditions in their engagements. We have already observed something of the kind in the
case of the Cassel Comedians. (See p. lix.) Besides the courts of Brunswick and Cassel,
which, as we have already seen, entertained English actors till far into the seventeenth
1
J. I. Starters I Blyeyndich-Truyrspel, I van I Timbre de Cardone I ende I Fenicie van MesBine, I Met een
Vermaecklijck Sotte-Clucht van een I Advocaet ende een Boer op't plat Friesch. I Tot Leevwarden, I Voor Jan Jan-
sen Starter, Boeckvercooper by de Brol, I in d'Engelsche Bybel. Anno, 1618. 4to. 42 leaves. In rhyming verse.
The Argument "lnhout des Spels" appears to be a condensed narrative of Bandello's novel.
2
See .Athenreum, April 21, 1862.
3
See Dr. W. Bell, Shakespeare's Puck etc., Vol. ii, p. 285. Dr. Bell founds his argument on the identity
of the dramatis personae in Ayrer's and Starter's plays, but he overlooks that the same names are given to those
per,.onages in Bandello's novel.
4
This is confirmed by a curious pas!lage in De Bry's India orienta/is, Pars xii, fol., Frnncof. llil:-!,
p. 137. "Vigesimo primo t'jusdem mensis die rex iterum Anglorum navem petiit, magna stipatus mulierurn ca-
ter\a, quae ornnes mimae erant, actrices comaediarum, et saltatrices. Solent autcm hae mulier<>s agrnine facto
oberrare per provincias et oppida, a<>turae comaedias, ut Angli ludiones per Germaniam et Galliam vaguntur, vehentes
secum omnis generis vestes et instruments histrionics, pro exigentia fabularum quas I usurae sunt, in quibus fre-
quentissima sunt argumenta belli, amoris, et cjusmodi."
K2
LXXVI SHAKESPEARE IN GERMANY.
century, it was more especially the courts which manifested the
most active theatrical life.
The company to which Thomas Pope and George Bryan belonged, probably dissolved
itself as early as 1587, for we meet with both of them in England before 1588. The taste
for the English theatre had so completely established itself at the Saxon court, that it
maintained its preponderance till far into the seventeenth century. Indeed, even after the
influence of the French Theatre had obtained the mastery throughout Germany, the pieces
which had been introduced by the English Comedians were not entirely banished from the
Dresden stage, and we even meet with isolated cases of English actors long after the
German companies had supplanted the English ones. In the course of our narrative we
shall arrive at the astonishing fact, that the Germans became acquainted with the greatest
masterpieces of Shakespeare through the medium of the stage, nearly a century and a half
before any other nation except of course the English.
The Electress Dowager of Saxony, Sophia of Brandenburg, daughter of John George,
Markgrave of Brandenburg, (born 1568, married to Christian I in 1582, a widow in 1591,
died 1622) appears while still young, to have taken a peculiar interest in the English drama,
and the English Comedians. In October 1600, several Englishmen, ["etzliche Engelender"]
played a comedy before her and the young princes at the palace, for whieh they received
the sum of 7 5 florins. In the same year there were also English Comedians at Memmingen,
as appears from the following extract from a chronicle of that town: "1600, den 27. und
28. Hornung, hielten Engelander Comedien allhier auff dem Saltz-Stadel, gab Person
4 kr."
1
( 1600, Feb. 27 and 28, some Englishmen performed comedies here on the Saltz-
Stadel, each person paid four kreuzers.) In June 1601, some Englishmen played again at
the Court of Dresden, for which they received a hundred dollars gratuity ["Verehrung"]
and florins as payment.2 They must therefore have come to Dresden as strangers,
and -were not in the Saxon service. Perhaps they were the same who had played at
Memmingcn; perhaps also they had come from Brunswick or Cassel on leave of absence.
In 1602 some English Comedians performed at Ulm a play 'Of the Prophet Daniel, the
chaste Susanna, and the two judges in Israel'. (See p. xlii). There must also have been
some English actors in Amsterdam about this time, for an incident related by Heywood in
the 'Apology',
3
of which we shall speak more at length at a future page, refers to them.
Hepvood expressly calls them "A well knowne company of our English comedians'', a
that actors or' reputation attached themselves to these companies. In September 1603,
Lord Speuser and Sir William Dethick, Garter King-at-arms, were sent to Stuttgart by
.James the fir:-;t, to bring Duke Frederiek the Insignia of the Order of the Garter. (SeC'
p. xiv.) The Ambassadors displayed a great deal of splendour and magnificence, and among
their suite they had some English musicians and actors, - "Four excellent Musicians with
1
Chrbt. Shorer, Memminger Chronik etc. 4to. Dm 1660, p. 115.
Fiir,.;tenau. Zur Geschicllte etc., p. 76.
' Etl. by the Slwkespeare Society, p. ;)8.
SHAKESPEARE IN GERMANY. LXXVll
ten other assistants." t A great banquet took place after the delivery of the Order to the
Duke, and this was succeeded by representations given by the "Royal English Music, which
the illustrious royal ambassadors had brought with them to enhance the magnificence of
the embassy and the present ceremony, and who, though few in numbers, were eminently
well skilled in the art. For" continues the chronicler of those festivities, "England pro-
duces many excellent musicians, comedians, and tragedians, most skilful in the histrionic
art; certain companies of whom quitting t h ~ own abodes for a time, are in the habit of
visiting countries at particular seasons, exhibiting and representing their art principa11y at
the courts of princes. A few years ago, some English musicians coming over to our Ger-
many with this view, remained for some time at the courts of great princes, their skill
both in music and in the histrionic art having procured them such favour, that they re-
turned home greatly rewarded, and loaded with gold and silver."
2
A dance followed the
banquet, and then "the English players made their appearance, and represented the sacred
history of 'Susanna' with so much art of histrionic action, and with such dexterity, that
they obtained both praise and a most ample reward." s
The following year, (1604] we meet with a company of comedians in Holland, under
the direction of a cert..'lin John Woods [Wood?J.4 The following extract from the Minutes
of the Council of the city of Leyden [Gerechtsdag-boeken] refers to them.
Sept. 30, 1604.- "Die van de Gerechte opt voorschry,en van Zijne Exe en versouc yan Jan
\V oodtss, Engelsman, hebben toegelaten ende geconsenteert dat by geduyrende deze aenstaende jaer-
marct met zijn behulp zal mogen speelen zeecker eerlick camerspel tot vermaeckinge van der gemeente,
mits van yder persoen (comende om te bezien) nyet meer te mogen nemen nochte genyeten dan twaelf'
prnn., ende vooral betaelen tot een gootspenning aen handen van Jacob van Noorde, bode metter roede,
vier guld. om ten bebouve van de armen verstrect te worden."
TRANSLATION.
The magistrates, at the command of his Excellency, and at the request of John Woodtss, an
Englishman, have permitted and consented that he, with his company, during the approaching fair,
1
A description of the festivities has been given by Erhard Ccllius, entitled Eques auratus Anglo-lVirtem-
bergicu&. 4to. Tubingae 1605. Tlw above passage is to be found at p. 120: "Quatuor excellentes musici, una
cum decem ministris ali is.''
~ Id. ibid. p. 229. "Music a Anglicana Regia e. quam Regius illustris Legatus ~ e c u m ad Lcgationis et
actus huius magnificentiam adduxerat: non ita multos quidem sed exccllenter in hac arte versatos. Profert enim
multos et praestantes Anglin musicos, comoedos. tragoedos, histrionicae peritissimos, e quibus interdum aliquot
consociati :;edibus suis ad tempus relictis ad ex teras nation<>s excurrere, artemq'; sunm ill is praet'!ertim Principum
aulis demonstrare, ostentarcq'; consneverunt. Paucis ab hinc atmis in Germanium nostrum Anglicani musici
dictum ob finem expaciati. et in magnorum Principum aulis nliquandiu versati, tantum ex nrte musica, histrioni-
cnq'; sibi favorem conciliarunt, ut la.rgiter remunerati domum inde auro et argento onusti sint reversi." See also
Notes and Queriu, Vol. iii, p. 21.
3
Id. ibid. p. 244. "Histriones Anglicani mature prodibant; et sacrae Snsannae historiam tnnta nctionis
histrionicae arte, tanta dexteritate representabant, ut et laudem inde et praemimn amplis8imum reportarent.''
' A John wood, clerk, is mentioned in an arbitration-bond r<>specting certain disputes bPtween Hen-
slowe and a person named Abr. Wall. See Allegn papers ed. by J. P. Collier for the Shakespeare Society,
184-3, p. 49.
LXXVill SHAKESPEARE IN GERMANY.
may play certain decent pieces for the amusement of the people, provided he take no more than twelve
pennings from each person coming to see, and, above all, pay to Jacob van Noorde four guilders, to
be applied to the use of the poor,l
Another company appears in Leyden in January 1605, provided with a letter of
recommendation from the Elector of Brandenburg, dated the 1Oth of August 1604. We
are not aware at what time this company had entered the service of the latter; but it is
clear that it was under the direction of a certain John Spencer, for in the same year (1605]
he is recommended by the Elector of Brandenburg to the Electress of Saxony. The identity
of' these companies is beyond all doubt. The following is an extract from the Leyden
Minutes.
Jan. 6, 1605. - "Op't versouck aen die van de Gerechte gedaen by de Engelsche Comedyanten
om te mogen spelen: staet geappostilleert. Die van de Gerechte deser stadt Leyden gesien in haer
vergaderinge opt Ra.edthuys der voors. stede, de favorable brieven van Recommandatie ende testimo-
niael van den Forst van Brandenburch van de x Augustij des jaers XVI vier, mitsgaders t consent
by Zyne Ex' van Nassau verleent den xxij Decembris laest verleden, Es disponerende opt versouc int
blanc van df'zen, hebben voor zoo veel in hem is, de Engelsche Commedianten ende musicyns toonders
in dezen, conform haer versonc toegelaten binnen deser stede te mogen spelen en haer consten doen
ouffenen cnde vertoonen ter gewoenlycke plaetse te weten opten groten hoff onder de bibliotecque,
dewelcke hem toonders mits dezen ten eynde voorseyt, belast wert te werden ingeruymt, Ende dit al
voor den tyt van veertien dagen eerstcomende, en mits, voor den jegenwoordige gracieuse tof'latinge,
geyende ten behouYe van de gemeene huysarmen dezer stede een somme van twaelf gulden van xl groot
tstuck. Aldus, gedaen opten vi January XVI eii vyft'. My jegenwoordich en is get. J. van Bout."
TRANSLATION.
On the request to the magistrates of the English comedians to be allowed to perform, was
decided: The magistrates of this city of Leyden, having seen in their assembly in the Town-House of
the aforesaid city, the favourable letters of recommendation and testimonial of the Prince of Branden-
burg of the lOth Aug., 1604, as well as the consent granted by his Excellency of Nassau, the 22nd
of Dec. last, have permitted the English comedians and musicians, according to their request, to per-
form and exercise and exhibit their arts in the accustomed place, namely, in the great court under the
library; and this for the space of fourteen days, pro,ided they, for this gracious gi,e
twelve guilders of forty groats a-piece to the poor of this city. Done on the 6th Jan., 1605. Me pre-
sent; and signed J. van Bout. 2
We cannot ascertain when .John Spencer came from England to Germany, but he
must have been some time in the service of the Elector of Brandenburg when he re-
ceived the letter of recommendation in August 1604. It is supposed that he had been
obliged to leave his uative country on account of his attachment to the Catholic Churcb.3
He remained in Germany for a considerable number of years, and became one of the most
celebrated managers of companies. In the course of our narrative we shall meet with him
agam at different places till as late as the year 1 G 14.4
1
See Bijblad 1853, p. xl, and Notes and Queries, Yo!. vii. lfi53, p. 360.
To be found at the same place as the preceding one.
3
!-iee Hurter, Ferdinand der Zweite, Theil iii, p. 313.
4
A Gabriel Spenser i:,. mentioned in various places of Henslowe's Diary. In 1Mt7 he belongt>d to the
SHAKESPEARE IN GERMANY. LXXIX
In May 1605, the company proceeded from Leyden to the Hague, at least it is highly
probable that it is the same company which we meet with at the latter place. It appears that
several representations were given there during the fair. The States General were angry that
this had taken place without their having been previously informed, summoned the actors
to appear before them, who then alleged in their defence, that they possessed a licence from
the Prince Stattholder, had obtained permission from the Magistracy to give representations
for eight or t c ~ days, and received three stivers as the price of admis.sion; upon which
they were prohibited from continuing their performances after the expiration of the week
they had then entered upon. The following document, which is now published for the
first time, refers to these circumstances.
Extract uit bet Register der Resolutien van den Hove van Holland, van den 2" October 1602
tot den 28 Maart 1608. A. Duyck, Griffier.
"1 0 May 1605. Wert vcrhaelt van de Engelse camerspeelders ende dat die fonder virlof van
den Hove bier speelden ende wert den Procureur-Generael gelast te vernemen mit wiens last ofte con-
sent sy speelen; by refereert dat se acte van consent van syn Excellencie hebben ende toelatinge van
den magistraet van den Haegen. Wert verstaen dat men se sal ontbieden in decleine earner ende
selfshoiren, om daer de acte te lien. Sy gecommen wesende seggen acte te hebben, ende toelatinge
voor 8 ofte 10 daegen van den magistraet te hebben, ende met heur consent te nemen van elck per-
foin 3 stuvers; exhiberen naer de acte in forma, wert heur gevraecht waerom sy geen consent van den
Hove en hebben versocht. Sy verclaeren fnlcx niet geweten te hebben van noode te wesen. Einteleyck
wert verstaen dat se niet Ianger als dese weecke en fullen mogen speelen, ende her fulcx aengeseit."
TRANSLATION.
Extract from the Register of the Resolutions of the Court of Holland, from the 2nd of October
1602 to the 28th of March 1608. A. Duyck, Clerk to the Court.
10. May 1605. It is reported of the English actors, that they played without the permission
of the Court, and the Procurator General is commissioned to inquire with whose authority or consent
they play. They answer that they have acted with the consent of His Excellency and the permission
of the Magistracy of the Hague. It is agreed that they shall be summoned to the little saloon, to
hear them ourselves, and there to see them act. When they have come, they say that they have acted
and have received permission from the Magistracy for eight or ten days, and with their consent to
take from each person three stivers. After they have exhibited their acting in form, they are asked,
why they had not endeavoured to obtain consent from the Court. They declare not to have known
that it was necessary. Finally it is agreed that they shall not be allowed to play longer than this
week, and that this shall be notified to them.
According to this, the company must have left Holland, and have returned to Prussia;
for about September and October 1605, we meet them at Elbing and Krenigsberg, where
Earl of Nottingham's players, and in 1598 he was killed by Ben Jonson in a duel in Roxton Fields. See Hen-
stowe's Diary p. 98. - In 1631, a certain John Spenser addressed an admonitory letter to an unnamed Lady
who was present on the occasion uf the performance of the 'Midsummer Night's Dream' on Sunday, Septemb. 27,
1631, in the house of John Williams, Bishop of Lincoln, in London. The letter is found amongst Bishop Laud's
papers in the Library at Lambeth Palace. The Bishop of Lincoln and many persons of rank who were present
at the play, were fined by Laud. See J.P. Collier, Hi8tory etc. Vol. ii, p. 27-36. Has our catholic player
turned. Puritan?
LXXX SHAKESPEARE IN GERMANY.
they gave .several representations before the Duchess Mary Eleanor, as appears from the
following extracts from the Royal Archives in Krenigsberg.
Elbing. Rathsrecess. Session vom 14. Sept. 1605.
"1st beliebet den englischen Comodianten wegen dessen, dafs sie vorgestern einen Erb. Rath zu
Gefallen agiret 20 Thlr. zur V erehrung zukommen zu lassen. Daneben aber auch ihnen zu untersagen,
dais sic nunmehr zu ag1ren aufhoren sollen in Anmerkung sie gestern in der Comodie schandbare
sa chen furgebracht."
Ausgabe- Register, fol. 127.
"7 5 Mark vff begehren Meiner gst. Furs tin vnd Frawen etc. der Herzogin in Preussen etzlicben
Englischen Comedianten, welche vor lhr fiirstl. Gnd. agiret, zweimal getanzet vnd mit einer lieblichen
Musica vfgewartet, gezahlt den 3. Octob." [1605].

Elbing. Decree of the Council. Session the 14th of Sept. 1605.
In consideration of what the English Comedians acted the day before yesterday for the plea-
sure of the Honorable Council, it is hereby resohed to award them a gratification of 20 thalers. Further,
seeing that they yesterday represented disgraceful things in their comedy, it is decreed that they shall
not act any more.
Register of Expences. Fol. 127.
7 5 Marks at the desire of my gracious Princess and Lady etc. Duchess of Prussia, to some
English Comedians, who acted, danced twice, and performed delightful music before her Princely Grace,
paid the 3rd of Oct. 1605.
Whether the company remained any longer in East Prussia or repaired for a short
time to the Court of Berlin, is a question we are unable to decide. At all events it must
have gone to 'Mecklenburg soon after, for it appears from a petition presented by it to
the Council of the town of Rostock, which has been found in the town-archives and which
1s here annexed, that in March 1606, the company had already been there some time.
An E. E. Rath.
Ernuheste, Achtbare, Hoch vnd W olgelerte, Hoch vnd W olweist>, E. E. vnd hw. sem vnsere
gehorsame Dienste, mit besonderem fleifse znuor, grolsgnnstige gepietende lie be 1Herrn,
Fur E. E. vud hw. vns bifs dahero bezeigte vberaus gro{se vnd vilfeltige gunst vnd befoderung,
in dem das ";r nun allhie eine geraume Zeitt, von E. E. v. hw., grofsgunstiglich geduldett, vnd vn-
senn geringen vennugen vnd kunst nach, mit vnser Music auch geistlichenn vnd weltlichenn Historien,
commedien vnd tragedienn, gemeiner Stadt, dienen mugen, vnd sonsten, Dafitr sein wir gegen E. E.
v. hw. nicht alleinn dienstliches hochstes fleisses da.nckbar, sondern wollen dasselbe auch umb E. E.
vnd hw. mit vnserm geringen gebete, vnd Diensten, Zuuordieuen vnd sonsten Zuruhmen wissen,
Vnd ob wir also woll billig, E. E. vnd hw. vber gedachte bezt>igte gro1se Yielfi:>ltige gunst md
befoderung' femer womitt nicht beschwerenn solltenn, weil aber dennoch, vns hiebeuohr in anuern
Stettenn Da wir auch gewesen, vnsers vorhaltens halbPn allhie, E. E. vnd hw. vrkundt, in andt>rn be-
nachbartteu Steten vnd sonstenn furzulegen habenn, Alishitten wir demnach auch dienstliches hoehstes
fleilses: [ weil wir vns ie ohne ruhm zumelden auch allhie still vnd eingezogenn vorhalttenn, auch nicht
anders dan was liehlich vnd wol anzusPhenu vnd znl10ren gewesen, agirt ''nd musicirt] E. E. vnd hw.
wollen vber vorige vns bezeigte grosse gunst Ynnd befoderung, ferner auch noch in diesem so grofs-
guustiglich ersclwinen, vnd vnsers vorhaltenns halbenn, vns eine vrkundt vnt(r gemeiner Stadt insiegell
grolsgilnstiglich mittheilen vnd zukomn;enn lassenn, vud wir seinn es vmb E. E. vnd hw. mit vnsern
SHAKESPEARE IN GERMANY. LXXXI
geringenn Dienstenn vnnd sonstenn wie vorgemeldett hinwider Zuuordienenn Zum hochstenn gefliefsenn,
Datum Rostogk denn 31. Martij 1606.
E. E. vnd hw. gehorsame,
Marggrefen von Brandenborgk Diener
Engelsche Commedianten.l
TRANSLATION.
To the most honourable Town Council.
Right honourable, high and well learned, high and well-wise Gentlemen, to your honours and
high mightinesses our most humble services, with particular esteem before. High-favouring, commanding,
beloved Gentlemen, - As your honours and high worthies protected us until now with the greatest
and most exceeding favour and advancement, considering also, that we were suffered here for a con-
siderable length of time, to execute our music and religious and worldly histories, comedies and tra-
gedies, as far as our art would permit, and serve this town, for which we are not only indebted and
thankful with all our power to your honours and high worthies, but will also show our thankfulness
by our humble prayer and services, and testify it elsewhere as we can; and though we should not
further molest your high worthies, considering all that high favour and advancement; but as in other
towns, where we performed before, we used to receive a certificate of our demeanour under the com-
mon town's seal, we beg most humbly and respectfully - [as we may say, without glorifying ourselves,
that we used in this town, too, always to live quietly and retired, and to execute our music and plays
only so as they may be looked at with pleasure and honesty],- your honours and lligh worthies may
extend their favour, until now shown to us, as to give us a certificate of conduct under the common
town's seal, and we are your honours' and high worthies' most humble servants, with the most pro-
found respect. Datum Rost{)gk, 31 Martii, 1606. Your honours and high worthies' most obedient,
The Markgrave of Brandenburg's servants,
the English Comedians.
we must now return to Holland. On the 8th of June 1606, some English Comedians
received permission from the Stattholder to play for a few days in the Hague. It is pro-
bable that they also performed in other towns of Holland, for as we meet with them again
at the Hague in April 1607, we must assume that they also passed the intervening period
in that country. We here subjoin the documents referring to this subject, which have not
been published before, and which are taken from the 'Register of the Resolutions of the
Court of Holland'.
"8. Juny 1606. Den Procureur Generael wert aengeseit dat de Engelsche commedianten eenige
daegen sullen mogen speelen volgens 't consent van syn Excellencie.
23. April 1607. Wert den Procureur Generael belast de Engelsche commedianten te verbieden
naer W oensdaege toecommende bier in den Haege niet !anger te speelen, immers tot te kermisse toe-
commend e. Den 26 is heur by apostille verboden meer te spelen en den Gcnerael belast toe te sien.
27. April 1607. 'Vert den Procureur belast, enz Item dat by zal spreecken met syn Exccllencie,
ten einde deselve aen de Engelse commedianten geen consent en verleene om te speelen tegen tverbot
van den Raide heur op gisteren schriftelijck gedaen."
1
See H. W. Baerensprung's Geschichte des Theaters in Mec/clenburg-Schwerin. 8vo. Schwerin 183i, p. 11,
ami Albert Cohn, Old English Actors in Germany, Athenmum 1850, No. 1185, p. i38.
L
LXXXll SHAKESPEARE IN GERMANY.
TRANSLATION.
8. June 1606. It is notified to the Procurator General, that the English Comedians shall be
allowed to play some days according to the consent of His Excellency.
23. April 1607. The Procurator General is instructed to forbid the English actors to play any
longer here in the Hague after next Wednesday until the next fair. On the 26th they are forbidden
to play by a notice, and the Procurator General is instructed to see to it.
27. April 1607. The Procurator General is instructed etc. Item: that he shall speak with his
Excellency to the end that he shall not give the English actors any permission to play against the
prohibition served to them yesterday in writing by the Council.
We cannot easily believe that these are the Brandenburg Comedians again, for it
appears to follow from the Rostock Petition that they had the intention of remaining some
time longer in Mecklenburg. It is indeed possible that they were not very successful at
the latter country, and therefore started soon afterwards on their way back to Holland, where
they had met with great encouragement only a short time before. In the year 1608, the
Authorities of the Hague issued a special proclamation prohibiting all representations, of
whatsoever sort they might be, as scandalous and injurious to the community, so that there
was an end to all theatrical performances at that place for some years.
There can be no doubt that it is the company which we meet with
again in July 1607, offering their services in Elbing. But this time their application is
refused, on the ground that it is "a tax upon the citizens", although a certain Brake], re-
siding in Elbing, probably an English merchant, interested himself in their behalf. At last
they obtained permission to give private performances either in Brakel's house or else-
where, a permission of which they no doubt availed themselves. This is the only instance
of such performances in private houses, in connection with the English Comedians. We
subjoin the document from the Krenigsberg Archives.
Elbing. Session vom 16. Juli 1607.
"Englandische Comodianten halten heftig an, etiam intercedente Brakel deputato, ihnen zu ge-
statten ihre Spiele. W eil es aber eine Schatzung der Burgerschaft ist und die jetzigen traurigen Laufte
solches nicht zugeben wollen, hat ein Erb. Rath beschlossen, ihnen es abzuschlagen. Doch wofern der
Herr Deputat, oder jemand anders ihres Spiels privatim begehren wiirde in seinem Hause, konne es
gestattet werden." t
TRANSLATION.
Elbing. Session of the 16th of July, 1607.
The English Comedians urgently entreat that they may be permitted to perform their plays,
deputy Brakel also interceding for them. But as this is a tax upon the citizens, and the present
melancholy state of affairs will not permit it, the Honorable Council has resolved to refuse their re-
quest. Should however Mr. Deputy Brakel or anybody else wish them to perform privately in his
house, they have permission to do so.
After this the English Comedians appear to have entirely deserted Prussia for some
years. In the year 1609, the Elector finds himself obliged to request the Landgrave Maurie<'
1
Elflinger Anzeiger 1827, No. 99. -E. A. Hagen, GeJJchicl!te etc. p. 53. All the preceding and following
documents from the Royal Archives at Krenigsberg are taken from Mr. Hagen's interesting and important work.
SHAKESPEARE IN GERMANY. LXXXIII
of Hessen to let him have his comedians for four weeks, that they might play at the festi-
vities given in Berlin on the occasion of the marriage of his brother. (See p. lix.) It
appears that the Prussian company had gone to Austria, for in the years 1607 and 1608,
English Comedians under the management of John Spencer performed almost every day
during the winter at the court of the Archduke at Gratz.
1
In November 1608 we meet
with a certain W. Pedel in Holland, who is expressly mentioned as an Englishman in the
JUinutes of the Council of Leyden. The document in question is as follows:
"Op te Requeste daerby den voorn. 'Willem Pedel, versochte aen die van de Gerechte der
stadt Leyden omme te mogen speelen verscheyde fraeye ende eerlicke spelen mettet lichaem, sonder
eenige woorden te gebruycken, stout geappostileert: Die van de Gerechte deser stadt Leyden hebben
voor zoe veel in hem es, den thoonder toegelaten ende geconsenteert, Iaten toe ende consenteren mits
desen binnen dezer stede inde Kercke vant Bagynhoff te mogen spelen voor de gemeente ende syne
speelen verthoonen, mits dat by hem daervan zalt onthouden geduyrende t'doen van de predicatien van
Gods woorts, en dat de arme W eesen alhier zullen genieten de gerechte helfte van de incomende
proffyten, en dat zulcx int geheel zullen werden ontfangen en gecollecteert by een persoon daertoe
bij M"" yan de Arme \V eesen te stellen en de committeeren. Aldus gedaen op ten xviij Nov. 1608." 2
TRANSLATION.
On the request by which the aforesaid W. Pedel petitioned the authorities of the city of Ley-
den to allow him to exhibit various beautiful and chaste performances with his body, without using
any words, was determined: The authorities of this city of Leyden have and allowed the
exhibitor to perform in the church of the Bagynhoff within this city, provided be cease during the
preaching of God's word, and that the poor orphans here have half the profits, and that they be re-
ceived and collected by a person appointed by the masters of the poor orphans. Done on the 18th
N Oember, 1608.
In the year 1609 we find again a company of English Comedians at the Court of Dres-
den, where Christian the second orders that they should receive a payment of 500 florins.
And again in the following year, [1610] 11 Englishmen, who had acted some comedies
before the Electoral Lady, received 114 florins 6 groshen.a It is in all probability these
eleven Englishmen who played &om the 6th to the lOth of June 1610 at the festivities held

in celebration of the marriage of the Princess Eva Christine with the Margrav:e John
George of Brandenburg, as we learn from an unprinted description of that feast.4
"6. Juni .... Und nach dem Naehtessen [wurde] von Engellendem (so hievor auch zue Stuet-
gardt gespihlt) ein Comoedi aus dem Amadis agiret. - Den 9. Nachmittag ein andere Comedi von
obgemelten Engcllendern gespihlt. Sonntag den 10. nach dem Mittag-Imbifs im Schlofs-Hof' ein Fecht-
Sehuel gleich darauf wider ein Comedi agirt."
1
Karl Weifs, Die 1Viener Haupt- und Staatsaktionen. 8vo. Wien 1854, p. 36.
1
See Navorscher, Deel III, 1853, p. 17. Notes and Queries, Vol. VII, 1853, p. 114.
3
Moritz Fiirstenau, Zur Geschichte etc. p. 77.
4
Beschreibung der Vermiihlungs-Solennitiiten PrinzestJin Even Christinen mit Marggr. Joh. Georgen zu Bran-
denbur,q, in Jii,qerndorf An. 1610. - Sec Friedr. Carl v. Mosen, Kleine Schriften, XI, p. 371-427.
L2
LXXXIV SHAKESPEARE IN GERMANY.
TRANSLATION.
June 6 . . . . And after supper, a comedy from the Amadis was played by the Englishmen (who
had also played before at Stuttgart). - June 9. In the afternoon another comedy was played by the
above-mentioned Englishmen. Sunday the lOth. After dinner a fencing-match iu the palace-court,
immediately after which another comedy was acted.
Of the performances at Stuttgart, mentioned in the above passage, there is no re-
cord extant.
In the Autumn of the same year another company appears at the Hague. The above
mentioned prohibition must have ceased to be in force, for by a resolution passed on the
24th of Sept. 1610, the Authorities of the town grant them permiss.ion to play on Monday,
Tuesday, Wednesday, and Thursday, on the condition of their paying 20 florins to the use
of the poor. On the 29th of the same month, this permission is extended for a further
period of eight days.
"Extract uit bet Register der Resolutien van den Hove van Holland, van den 17 April 1608
tot den 10" Mei 1617. A. Duyck, Griffier.
24. September 1610. Seeckere Engelse commedianten wert geconsentecrt te spelen, manedach,
dinxdach, woensdach ende donderdach mits betaelende aen de diaconen voor den armen 20 pond, son-
der anders ofte Ianger te spelen op arbitrale correctie."
TRANSLATION.
Extract from the Register of the Resolutions of the Court of Holland of the 17th of April 160R
to the lOth of May 1617. A. Duyck, Clerk to the Court.
24. September 1610. Certain English actors receive permission to play Monday, Tuesday,
Wednesday, and Thursday, paying 20 pounds to the guardian of the poor, but not to play otherwise
or longer on pain of punishment.
In Kamigsberg the English actors appeared again in the year 1611, at the court of
Prince Albrecht Frederick. They are probably the same who entered the service of the
Elector John Sigismund in 1611. Here we meet once more with John Spencer, who had
gone back to England or to Holland, and indeed at the head of nineteen actors, and sixteen
musicians.t They receive on the 30th of November 1611, according to the deed of their
appointment, 720 Marks; and a suit of clothes is also made for them, consisting in part of a
cloak of white English cloth, trimmed with black silk braid, and lined with red. On the 30th
of August 1611, John Sigismund left Berlin for Krenigsberg, for the purpose of receiving the
investiture of the Duchy, which was to take place on the 15th of November. He stopped
at the frontier until he proceeded on his journey to Warsaw. The actors accompanied the
Elector to Ortelsburg, and their d1esses were sent after them in a "baggage-waggon" (RO.st-
wagen). After the investiture had taken place, he made his public entry into Krenigsberg
on the 26th of November; and in the following year, a very grand representation, 'The
Turkish Triumph-comedy' is given, "the Theatre in the old grand saloon" is covered with red
lining-cloth, and the City of Constantinople is built for the comedians. All sorts of work are
' See C. M. Pliimick<', Entwurf einer Thsatergeschichte von Berlin. 8vo. Berlin 1781, p. 34, and E. A.
Hagen, GeiJcl!icbte etc. p. 4X.
SHAKESPEARE IN GERMANY. LXXXV
necessary for this purpose. For the preparation of a cloud "blue body-colour and black can-
vas and fringes" are required. David Rose, the court-painter, hands in a bill for 117 marks
42 shillings. The wardrobe is rich and costly. Blue, red, and white cloth, gold border, 70 ells
of red silk, 50 ells of red cord, Monks' dresses, 18 large and 17 long plumes, a sword with
a gilt hilt, and a wooden shield are purchased. Four death's heads, carved work and turned
work, are delivered by the court-turner and two carvers. Fourteen instrumentalists have
"assisted in the comedy of Constantinople". In addition to their regular salary the come-
dians received particular gratuities, and it happened more than once that they had to be
ransomed out of the inns and taverns, John Spencer at the head of them. All these state-
ments are founded on documents and accounts in the Royal Archives at Komigsberg. They
are printed literally in E. A. Hagen's 'Geschichte' etc. p. 53-58. As Hagen's work was
printed for private circulation,. and is therefore comparatively little known, we subjoin those
extracts w h i c ~ bear on our present subject, just as they stand in the originals:
"30 Mark den Englischcn Commedianten welche ftlr vnserm gnedigsten Filrsten vnd Berm
BEn. Albrecht Friederichen &c. eine Commediam agieret vnd getanzet, zur V erehrnng gezahlt den
23ten Juli (1611.) - 720 Mark den Englischen Commedianten vf Rechnung der Bestallung an 400 Tblr.
zu 36 Gr. den 30. Novemb. 1611.- 150 Mark den Englischen Commedianten als dieselbe nach Ortels-
burg verreiset vf Rechnung den 7. Octob. 1611. - (Ist ihnen von Cburfiirstl. Gnaden erlassen. 1612.)"
TRANSLATION.
30 Marks as a gratuity to the English actors, who acted a comedy and danced before our
most gracious Prince and Lord, Henry Albrecht Frederick &c., paid the 23rd of July 1611.- 720 Mark
to the English actors to the account of their salary of 400 tbalers at 36 groshen, paid the 30th of
November 1611. - 150 Marks paid to the English actors on account, on occasion of their travelling
to Ortelsburg, the 7th of October 1611. (This debt was remitted them by His Electoral Grace in
1612.)
Then follow the order of John Sigismund directing that dresses should be provided
for the 19 English actors, and 16 instrumentalists, dated Ortelsburg, 16 Oct. 1611 ; the
answer of the counsellors that this has been done, 24 Oct. 1611, the list of the cloths
which had been purchased, as also their destination, and lastly a list of different sums
expended for the actors, as well as for the various articles necessary for the performance!'.
Among them are the following items:
"7 Mark 12 sh. Hans Tanapfel Bildschniltzer hat 4 Todtenkopfe und ein Schild zur CommP-
dia geschnOtzct.
Christian Salbert Messerschmidt bat filr die Commediar.ten cin Schwerdt mit einem verguldeten
Gefafs gPmacht. 7. Febr.
1080 Mark Johann Spencem Commedianten an 600 Tblr. zu 36 Gr. so ibm nocb vf den von
lhr ChurfOrstl. Gnaden getroffenen Contract restiret, empfing er selbst 4. Febr.
124 Mark 4 7 sh. Vor Brennholz durcb die Commedianten erkauft. 26. Mai.
6 Mark Zins von 18 grolse und 17 lange Federbilscbe, so der Andreas Komer zn der tilrki-
schen Triumph-Commredien geliehen. 17. Juny.
23 Mark 9 sh. vor allerlei Holzer Drehwerk durch die Commedianten beim Hofdreber bestellt.
1. July.
LXXXVI
SHAKESPEARE IN GERMANY.
81 Mark 33 sh. vor blaue Leibfarbc und schwarz Leimet [Leinwand] und franczfsen, Alles
zur Wolken zu der Triumph-Commedia. den.1 Meister Dietrich zahlt. 21. Aug.
87 Mark 39 sh. vor allerlei Sehnitzwerk zu der Triumph-Commedia durch Alexander Crause
Bildschniltzer. 21. Aug.
Ill Mark 15 sh. vor allerlei Tischlerarbeit zu der Triumph-Commedia dorch Christoph Dosin
gefertigt. 21. Aug.
117 Mark 42 sh. Dauid Hose Hofmaler fllr allerlei Arbeit, so er vf Churfllrstl. Befehl den
Commedianten gefertigt. 16. Oct.
26 Mark 9 sh. Auslosung Ihr Churfilrstl. Gnaden Comediant Johann Spenser welcher vom
28. Oct. his vf den 8. Novemb. 1612 bei Christoph Hertlein gelegen.
47 Mark 48 sh. Auslosung der Churfilrstl. Comedianten etc. 23. Jan.
47 Mark 48 sh. Auslosung der Churftirstl. Comodianten welche Anno 1612 bei Hans Jacob
gelegen etc. 13. Marz.
30 Ehlen (Futtertuch) zu Milnchs-Kleider, noch 81 Ehlen rott futter Tuch das teatrum zu
belegen im alten grofsen Saal.
25 Ehlen flechsen Leimbt [Leinwand] den Commodianten zur erbanong der Stadt Constantinopel
- (w1d noch andere ahnliche Posten zu gleichem Zweck).
1613. 1229 Mark 24 sh. Johann Spenczem Commoedianten an Seiden-Waaren von Heinrich
Klebe ausgenommen, an 683 Thaler a 36 Gr. welches ibm in Berlin an seiner Besoldung soil gekilrzet
werden.''
TRANSLATION.
7 Marks 12 sh. Hans Tanapfel, carver, has carved four death's heads, and one shield for the
comedy.
Christian Sal bert, cuttler, has made a sword with a gilt hilt for the comedians, the 7th of Febr.
1080 Marks, being about 600 thalers at 36 gr. to John Spencer, comedian, balance which was still
due to him on the contract made with his Electoral Grace, he received himself on the 4th of Febr.
124 Marks 47 sh. for firewood bought by the actors, May 26.
6 Marks for the hire of 18 large and 17 long plumes lent by Andrew Kremer for the Turkish
Triumph Comedy. June 17.
23 Marks 9 sh. for various articles turned in wood, ordered of the court-turner by the actors.
July 1.
81 Marks 33 sh. for blue body-colour and black canvas and fringes, all for the cloud for the
Triumph Comedy, paid to Master Dietrich, Aug. 21.
87 Marks 39 sh. for Yarious carvings for the Triumph Comedy, made by Alexander Crause,
earver. Aug. 21.
Ill Marks 15 sh. for various artides of joiner's work for the Triumph Comedy, madP by
Christopher Dosin. Aug. 21.
117 Marks 42 sh. to David Rose, court-painter, for Yarious works executed by him for the
actors, at the command of the Elector. Oct. 16.
26 Marks 9 sh. as ransom of,His Electoral Grace's comPdian, John Speucpr, who had lodged
with Christopher Hertlein from the 28th of October to the 9th of NovembE'r 1612.
47 Marks 48 sh. as ransom of the Electoral comedians etc. Jan. 23 .
. 47 Marks 48 sh. as ransom of the Electoral comedians, who had lodgE>d with Hans Jacob in
thE> year 1612, etc. March 13.
30 Ells (lining-cloth) for monk's dresses, also 81 ells of red lining-cloth for covering the theatre
in the old great saloon.
SHAKESPEARE IN GERMANY. LXXXVII
25 Ells of flax linen for the comedians for the building of the city of Constantinople - (and
various other similar items for the same object).
1613. 1229 Marks 24 sb. to John Spencer, comedian, for silk goods received from Henry Klebe,
part of 683 t\Ialers at 36 grosh. which is to be deducted from his salary in Berlin.
In April1613 the Englishmen were dismissed, and received a letter of recommenda-
tion from John Sigismund to the Elector of Saxony, dated GrO.nnig, 16 April, 1613. It 1s
preserved in the Dresden Archives, and is as follows:
"Es hat sich gegenwirtiger Engliscber ComOdiant Johann Spenzer, eine Zeit her in unsern
Diensteu aufgehalten uud sich in seiner unterthinigsten Aufwartung dergestalt erwiesen, dafs wir darob
ein gnidiges Gefallen getragen. W eon er aber nunmehr andere Oerter zu besucben und unter andern
auch seine Kunst und Comodien in Dresden ansehen zu lassen gemeint, haben wir ibm diese unsere
Commendation mitgehen wollen. Ersuchen Ew. Lbd., Sie geruhen ibm nicht allein auf ein W ochen
vier oder mehr, ein solcbes zu vergonnen, besonderem [sondem] ibm. auch sonst aile Gnade zu er-
weisen." t
TRANSLATION.
Bearer of these, the English comedian J obn Spencer, has been a considerable time in our ser-
vice, and in his humble waiting on us has so borne himself, that we have derived a gracious pleasure
therefrom. But when be purposed to visit other places, and among the rest also to exhibit his art
and his comedies in Dresden, we have wished to give him this our recommendation. We request
Your Highness will be pleased not only to give him permission to do so for four weeks, or more, but
also to shew him all favour in other respects.
The company cannot have remained long in Dresden, for we meet with it in N urem-
berg as early as June 1613, on which subject a contemporary chronicle of Nuremberg gives
some information.
"1613. Sontag den 27. J unj, vnd etliche Tage hernach aufs Eines Erbarn Raths grofsgtlnstigen
erlaubnifs, haben defs Churfilrsten zu Brandenburg Diener vnd Engelische Comoedianten schOne Co-
medien vnd tragodien von Philole vnd Mariane, Item von Celide vnd Sedea, Auch von Zerstorung der
Stitte Troia vnd Constantinopel, vom Tilrcken vnd andere Historien mehr, neben zierlichen tintzen,
lieblicher Musica, vnd anderer Lustbarkeit, im Halfsbrunner Hof allhie, in guter teutscher Spracb in
kostlicher Mascarada vnd Kleidungen agirt vnd gehalten, hat erstlich ein Person 3 Oreutzer, vnd letz-
lich 6 Creutzer zozusehen geben muefsen, darnmb sie ein grofs V olckh ibnen zugelauffen, vnd mit
sich hinweg gebracht haben." 2
TRANSLATION.
1613. On Sunday the 27th of June and a few days follo"'ing thereon, with the gracious per-
mission of the Honorable Council, the Elector of Brandenburg's servants and English Comedians have
acted and held beautiful comedies and tragedies of Philole and Mariane, also of C .. lide and Sedea,
also of the Destruction of the city of Troy, and city of Constantinople, of the Turk, and other such
histories, besides graceful dancing, lovely music, and other entertainments, here in the Hailsbrunn Court,
1
M. Fiirstenau, Zur G&chichu etc. p. 76.
1
l<'rom a Ms. chronicle of the city of Nlll"emberg by Stark. See Job. Chr. Siebenkees, Materialien zur
.Niimber!JUchen G&chichte, VoL iii. 8vo. Niirnberg 1794, p. 52-54. In Lersner's Chronica der Reicl.utadt Frankfurt
a. M. Fol. Frankfurt 1706, this visit of the English Comedians is mentioned as having been paid to Frankfort,
which is evidently a mistake, as there is no place called "Hailsbronner Hof" in that city.
LXXXV ill SHAKESPEARE IN GERMANY.
in good German language, in rich masquerade and costumes. At first each person had to give three
creutzers, and latterly six creutzers to see it, which caused a great crowd of people to run after them
and to follow them.
As we learn from the same chronicle, English actors had already appeared in N u-
remberg the year before; but this was the company of the Landgrave of Hesse, which had
come over from Cassel. (See p. lix.)
From Nuremberg John Spencer proceeded with his company to Regensburg, and
played before the Emperor and the assembled Diet.l In September 1614, we meet with
the "Brandenburg Comedians" at Wolffenbtlttel (see p. xxxv), and the same year an English
aL>tor obtained permission from the Town-Council to play in Brunswick. He played on
, two successive evenings, but on the third evening had no audience ("kein Volk", literally,
no people) as the notice runs, and the Council granted him one thaler as compensation.
2
There can be no doubt that John Spencer was the actor in question.
It appears that the Elector John Sigismund could not get on very long without
\ English actors, for after he had dismissed one company in 1613, a new one is engaged in
[March] 1614, as we learn from a decree of appointment made out for the bro-
thers William, Abraham, and Jacob Pedel, Robert Arzschar, [Archer?] Behrendt Holzhew,
LWoodhew?] and August Pflugbeil. The first four received 100 florins each, besides their
board at court gratis, and two suits; the two others received only 100 florins between
them. The salaries were to be paid quarterly, and the suits to be ma<.le by the Court-
tailor. The actors engage "to wait constantly and with all faithful diligence on the Elector
on his travels, and at his court, and to shew themselves cheerful and willing, and allow
themselves to be employed in their art according to the ability of each, respectively, iu
jumping, acting, an<.l other amusements, whenever called upon to do so, and in the be!-it
way that they are able, so that His Electoral Highness may take a gracious pleasun
therein."s
This engagement was not of long duration, for as early as Easter 1615, the brothers
Pedel, Holzhew, and Pflugbeil were dismisse<.l. But Arzschar remained at his post ti1l the
16th of May 1616, but then he was also dismissed with a sum of 250 thalers as settlement
of his claims. \Ve have already met one of the brothers, William Pedel, in Holland m
1608. (See p. lxxxiii.)
There was a third company m Holland about the same time, for on the 9th of
1
See Schlager, Ueber das alte Wiener lloftheater, in Wiener S/dzzen, Vol. iii. 8vo. Wien.
2
Adolph Glaser, Geschichte des Theaters zu Braunschweig. 8vo. Braunschweig 1861, p. 13.
3
C. M. Pliimicke, Entwurj einer Theatergeschichte von Berlin. 8vo. Berlin 1781, p. 36-37. The German
Text of the above quoted passage in the appointment runs as follows: "Den Churfiirsten jedesmal bei Reisen
oder im Hoflager treuen Fleisses zu warten, und sich in ihrer Kunst, nach eines jeden Geschicklichkeit mit Sprin-
gen, Spielen und anderer Kurzweil, auf Begehren, ufs Beste sie es immer zu W ege bringen kunnen,
unverdrofsen und willig zu erweisen und gebrauchen zu lafsen, alfo dafs S. C. D. darob ein gnediges Gefallen
tragtn kunnten.
SHAKESPEARE IN GERMANY. LXXXIX
October 1612, some English actors obtained permission to play for fourteen.days from the
authorities at the Hague.l
To give a connected account of the wanderings of the different companies, and
especially of that of our John Spencer, it was necessary to interrupt the chronological
order in our narrative, and we must now revert to the year HH 1, in order to mention a
most remarkable incident which occured in that year. Unfortunately we are able to do little
more than state the naked fact itself, as all our endeavours to obt.ain the document which
establishes it have been unsuccessful. Landgrave Philip of Butzbach, Uncle of Landgrave
George the second of Hesse-Darmstadt, made several journeys in North Germany in the
year 1611, and among other places also visited Halle, where he was present at some splendid
banquets at the Court of the Administrator of Magdeburg, with which theatrical represen-
tations were connected. In a letter which he wrote from this place, probably addressed
to his nephew George the second, he states that he had seen a German Comedy 'The .Jew
of Venice' taken from the English. ("Teutsche Komedia der Jud von Venedig, aufs dem
engelandischen.'')
2
It is hardly necessary to observe that this refers to Shakespeare's
'Merchant of Venice', as Thomas Dekker's 'Jew of Venice' was not entered in the Reg-
ister of the Stationer's Company till 1653, long after the death of the poet was never
printed, and never acted during the poet's life; at least there is no allusion to its being
acted or being known earlier than 1653. On the other hand Shakespeare's 'Merchant of
Venice' was known by the title of 'The Jew of Venice'; for under the date of July 22,
1598, we find in the Register of the Stationer's Company the following entry: "James Ro-
bertes, A booke of the Marchaunt of Venyce or otherwise called the .Jewe of Venyse."
Although, as we shall see presently, there is every probability that at least one piece
of Shakespeare's, and that one, Hamlet, had been acted in Germany long before this, yet
is the above the earliest authentic .evidence that Shakespeare's masterpieces had been re-
presented on a German stage during the poet's life-time, - certainly one of the most glo-
rtous incidents in the history of the German Theatre. Of the company which played at
1
Register der Resolution etc. "9. October 1612. DEngelsc commedianten wert geconsenteert 14 daechen
te. speelen, sonder schandael ende sonder consequentie."
1
This remarkable fact was first mentioned by Mr. E. Pasque in the 'Muse, Bliitter fur er118te und lieitere
Unterlialtung,' herausgegeben von Driixler-Manfred. Vol. I, p. 156. The author collected his valuable articles in
this periodical, under the title: 'Gescliichte der Jfusik und de8 Theaters am Hofe zu Darmstadt, aus Urkunden dar-
gestellt von E r ~ ~ S t Pasqui. Erste Abtheilung, Periode von Georg I. bis Ludu--ig VI., 1567-1678. 8vo. Darmstadt
1853. 64 pp. This work was printed for private circulation. Of the second part, there appeared only from p. 65
to 104. The continuation is to be found in the Muse 1854, Yol. iii p. 205-208, Vol. iv p. 629-726. I applied
to ~ f r . E. Pasque in the hopes of obtaining a copy of the letter of the Landgrave Philip of Butzbach which is
in the Darmstadt Archhes. But in spite of all the trouble which Mr. Pasque kindly took in my behalf, it was
impossible to obtain access to the letter, which unfortunately he had not copied on first discovering it, ns the
information it contained possessed only a secondary interest for him at that time. Since then the Darmstadt
Archives have been arranged, and there are so many bundles of papers to be looked through to find the letter,
that this has not been possible as yet. But the statements given above are perfectly authenticated, and the
letter is undoubtedly extant in the Darmstadt Archives.
Ill
XC SHAKESPEARE IN GERMANY.
the Court at Halle, or any other circumstances connected with the theatre there, nothing
whatever is known. Perhaps the papers referring to the Court of the Administrator of
Magdeburg may be discovered in one of the Royal Prussian Archives. If the Exche(_1uer
accounts are still extant, we may feel quite certain that they will afl"ord ample evidence
that the English actors played there also. It is our firm conviction that they alone can
have acted the 'Jew of Venice' in Halle.l
In the year 1612, or shortly before, there was a company of English actors in Brus-
- sels. They are alluded to by Heywood: "The Cardinali at Bruxels hath at this time in pay
a company of our English comedians." 2 These arc perhaps the same players who, accord-
ing to an entry in the 'Gerechts-dag-boeken' of the city of Leyden acted there in or about
1614.3 English actors must have been known also in Amsterdam in the year 1615, as appears
from the following passage in G. A. Brederode's drama, 'Moortje' Act iii, Sc. 4:
"Ick ma.ch soo oock by geen reden-ryckers zijn: 1 To stay with rhetoricians I've no mind:
Want ditvolckjewilsteets met allen menschen gecken, I The fool they'll play with men of every kind,
En sy kunnen als d'aep haer afterst niet bedecken; And, like the ape, exhibit what's behind
Sy seggen op haer les, soo stemmigh en soo stijf, ; With gests so stiff their lesson they rep<'at,
Al waer gevoert, gevult met klap-hout al haer lijf! 1 You'd swear with staves their bodies were replete!
W arcn 't de Engelsche, of andere uytlandtsche ' Heard you the English and other strangers sing?
Die men hoort singen, en soo lustigh siet dantse Saw you their jolly dance, their lusty spring?
Dat sy suyse-hollen, en draeyen as cen tol: How like a top they spin, and twirl and turn?
Sy spreken 't uyt eaer geest, dees leeren't And from the heart th('Y speak - ours from a roll
uyt een rol." must learn .... 4
A Frankfort versifier, in the year 1615, speaks of the English actors in a less flat-
tering manner:
"Die Englische Comedianten
Raben mehr Leuht deii Predicanten
Da lieber 4. stund stehn Mren zu
Dan ein in die Kirch, da sie mit Ruh
Flux einschlaffen auff ein hart banck,
Dieweil ein stund in felt zu lang,
V nd Agieren doch so schlecht sachen
Das sie der possn offi selbst lachen,
Folk like to see the English play,
Far more than hear the parson pray;
Four hours rather stand and hear
The play, than one in church appear,
Which seeming long, soon peaceful sleep
On oaken bench will o'er them creep.
And yet these actors play such stuff,
They must themselves oft laugh enough,
1
The Prince who filled the office of Archbishop and Administrator of the Bishopric of Magdeburg was
Christian William of Brandenburg, born 28 Aug. 1587, died 1 Jan. 1665. He occupied that place from 1598
to 1631. His wife was Dorothea of Brunswick, born 8 May 1596. daughter of Duke Henry Julius, the dramatic
author. The marriage took place June 16, 1615. This indicates a friendly intercourse between Christian william
and Henry Julius, which may have existed some time before the former married the latter's daughter. If so, the
players who acted at Halle may have been those in the pay of the Duke. We have already seen that it was
not uncommon for the Princes to send their players to each other.
v Heywood's .Apology for .Actors, ed. by the Shakespeare Society, p. 60.
3
Navor&cher, Deel iii, p. 17.
Navorscher and Note& and Querie&, Vol. vii, 1853, No. 180, April 9, p. 361.
SHAKESPEARE IN GERMANY.
Das siefs Gelt vonn den Lenten bringen
Zu sich, vor so narrische dingen,
Der Narr macht lachen, doch ich weht
Da ist Keinr so gutt wie Jan begehtt,
Vor dieser zeitt wol batt gethan,
J estzt ist er ein reicher Handel1sman." 1
To think a man his money brings
To them, to see such foolish things.
True, at the clown we laugh, and yet
He's not half so good as John, I bet,
Whom we have seen here long ago;
He n ~ w is a rich John &. Co.
XCI
We shall be justified in concluding from the above lines the presence of an English
company in Frankfort-on-the-Maine in the year 1615. But we have a perfectly authentic
account of a very numerous company of English actors in Cologne in that same year, in
a manuscript in the British Museum' (Harl. 3888.): "The Evangelic Fruict of the Seraphicall
Franciscan Order. Centnr. 5. Ab Anno Domini 1600 ad ann. 1628. Dublinij elucubravit.
P. N. Archibold Capucinus a
0
1628." It is an account, in the form of a chronicle, of all
the conversions and castings out of the devil effected by the Capuchins, and other amusing
stories, in which we certainly should not have expected to find any matter for our here-
tical investigations. And yet we must feel truly grateful to the pious Father Francis N u-
gent, that he allowed our Thespian friends to enjoy the good fortune of returning to
the bosom of the only saving church, for it is to his zeal that we are indebted for the
knowledge of a fact of considerable interest for our subject. The worthy Capuchin records
under the date of 1615, as follows:
"Twentie fowre Stage players, arrive out of lngland at Collen: all .Inglish except one Ger-
manian and one Dutchman. All Protestants. Betwixt those and father Francis Nugent disputation
was begunne and protracted for the space of 7 or eight dayes consecutively; all of them meeting at
one place together. The chiefs among them was one N. Spencer, a proper sufficient man. In fine,
all and each of them beeing clearlie convinced, they yielded to the truth; but felt themselves so drie
and roughharted that they know not how to pass from the bewitching Babylonian harlot to their true
mother the Catholic church, that always pure and virginal sponse of the lamb" etc.
After this the narrative proceeds to state how Friar Nugent preached a sermon to
them, and then fo1lows the story of the "one Gern1anian ", who dies as a good Catholic.
VvT e may conjecture from this, that the attempt to convert the Englishmen was unsuccessful
after all.2 We have here a second actor of the name of Spencer. John Spencer, it will
be remembered, is alluded to as a confessor of the Catholic faith at a much earlier date.
In the following year, 1616, English actors again appear in Prussia, and this time
in Danzig. The Counsel allows them to play eight comedies, but they are "not to repre-
1
Ein lJiscurfs ton der Frankfurter Mease, t.nd jhrer r:nderschiedlichen Kauffleuten gut tnd biij11. 4to. s. I.
1615, p. 8.
w Hunter, New Illustrations of Shakespeare. Vol. ii, p. 231, also relates this story, but incorrectly places
it in the year 1613 instead of 1615. The Chronicle moreover is continued to the year 1645, apparently by the
same hand, although 1628 stand:; on the title-page.
M2
XCII SHAKESPEARE IN GERMANY.
sent any unchaste pieces" and are only to take three groshen entrance-money for each
person.
1
In 1615, John Sigismund, the Elector of Brandenburg, had dismissed his second
company of English actors, and about 1617 Squire Hans von Stockfisch (probably a thea-
trical nickname) a favourite of the Grand Chamberlain, Count Adam of Schwartzenberg,
received a commission from the Elector to procure a third company from England and the
Netherlands.2 Unfortunately we know no particulars about this company. We can only
assert with safety that Squire Hans executed the commission which had been entrusted to
him, for in the year 1620 he addressed a petition to Count Schwartzenberg, in which he
begs for the payment of his yearly salary, as also of 1000 thalers in addition, which he
asserts that he had spent in procuring the foreign actors. The Elector George 'Villiam,
who was the successor of John Sigismund, decrees in answer to this under the date of
Koenigsberg, 4-14 March, 1 620, that the arrears shall be paid, in case the petitioner can
prove that he had really disbursed the thousand thalers in the affair of this company of
comedians, "which had been last in Berlin;" but as he had been credibly informed that this
was not the case, and that "the certificate given in his favour by the comedians, which he
had presented, had been surreptitiously obtained", his claim must be dismissed. It clearly
follows from this, that the actors were no longer in Berlin in March 1620. On the other
hand we gather from a complaint addressed by George William to the Magistrates of Berlin,
and from the answer of the Magistrates, that in 1623, "foreign actors" were again in Berlin,
8
but we do not know whether they were Englishmen; it is only certain that they were not
in t h ~ service of the Court. George William was a pietist, and did not favour the theatre.
In 1618, at the command of the Elector, the English. actors proceeded from Berlin
to East Prussia. They played in Elbing, Balge, and Koenigsberg, were eighteen in number,
and had Hans von Stockfisch at their head. In the accounts of the Electoral Court, we
find the following entries connected with their stay there.
"19 Mark Sein vf gnedigen Befehl lhr. Churfilrstl. Gnaden einem Stockfischen welchen Ihr
Churfi\rstl. G. nachm Elbing Comoedien (Comoedia.nten) von dannen anhero zu bringen abgefertigt
haben an 50 Thalern zu 36 Gr. gezahlt. 17. Maerz.
112 Mark 30 sh. haben lbr Churfilrstl. Dchl. den Englischen Comoedianten zu den vorhin
empfimgenen 50 Reichsthalern nochmals zur V erehrung zu gebcn gst. beuohlen, welche sie empfangen
den 8ten November.
1
Loschin, Geschichte Danzigs. 8vo. Danzig 1822. Vol. i, p. 388. It is also mentioned there, that in 1615
two "Brandenburg Comedians" were permitted to give seven comedies, provided they take not more than 2 gr.
from t-ach spectator; in Hi23 the entrance fee is raised to 4 and in 1643 to 9 gr. - but we are not told whether
these companies were English or German.
~ C. M. Pliimicke, Entwurf etc. p. 34. - K. Goedcke, Grundrifs etc., Vol. i, p. 408 wrongly assigns this
event to the year 1607. Pliimicke distinctly says "wenige Jahre vor des Churfiirsten Tode" (a few years be-
fore the Elector's death) and as John Sigismund died December 23, 16.19, the appointment cannot have taken
place in 1607; besides, the Elector only succeeded to the throne in 1608.
3
C. M. Pliimicke, Entwurf etc. p. 41-43.
SHAKESPEARE IN GERMANY. XC ill
An die Oberriitbe des Herzogthums Preufsen. Von Gottes Gnaden Johann Sigismund etc.
Wir hahen den Comoedianten, welche wie euch hewust, zu vnterschiedenen mahlen, vf vnser gnedig-
stes Begehren, in vnserm Gemache zu Konigsberg vnd Balge agiret, fur ihre gchapte muhe, eins vor
alles, zwei Hundert gulden Polnisch hewilligct, Befehlen euch demnach hiermit gnedigst, Ihr wollet
ihnen solche 200 gulden, a us V nser Renthkammer also vort entrichten lassen etc. Datum Elbing den
20. Juny 1619.
150 Mark. 18 Englischen Commedianten welche vor Ihr Churftlrstl. Gnd. etzliche Comme-
dien agiret, gezahlt den 22. Juny (1619)."
TRANSLATION.
19 Marks, at the gracious command of His Electoral Grace, being 50 thalers at 36 groshen,
to a certain Stockfisch, whom His Electoral.Grace sent to Elbing to bring from thence the English
Comedians, paid March 17.
112 Marks 30 sh. which His Electoral Grace has graciously ordered to he given to the Eng-
lish Comedians as a second gratuity, in addition to the 50 rixthalers which they have previously received.
Paid November 8.
To the High Counsellors of the Duchy of Prussia. We, John Sigismund, by the Grace of
God, etc. have granted, once for all, two hundred Polish florins to the actors for their trouble, who,
as is well known to you, have at different times at our gracious command, acted in our apartments
at Koenigsberg and Balge, and hereby graciously order you accordingly to pay them the said 200 florins
out of our treasury. Dated Elbing, June 20, 1619.
150 Marks to 18 English Comedians who acted several comedies before His Electoral Grace,
paid June 22, 1619.
We have already seen one of our strolling companies in Danzig in the year 1616.
After having been dismissed from that place, they appear to have proceeded to the neigh-
bouring country of Poland, but before commencing this journey, they must have played at
the Archducal Court at Gratz in Moravia. This is the second company we meet with there.
From Poland they proceeded to Breslau, to the Court of the Archduke and Bishop Charles,
with whom they had become acquainted at- Gratz, to which place they again returned
with a letter of recommendation from the Duke to the Stadtholder of Moravia, Cardinal
von Dietrichstein. \Ve gather all these circumstances respecting their movements from the
letter itself:
"Dem hochwi\rdigen Filrsten vnserm freundlichen geliebten Herro vnd gutten Freundt, Herrn
Frantsen der Heiligen Rom. Khirchen des Tituls Sti. Silvestri Cardinalen von Dietricbstein, BischoYen
zue Olmiitz, Rom. Kay. May. geheimen Rath, auch deroselhen Konigreich vnnd Erbliindern protectori.
V nsere freundtliche willige Dienst, was wir sonsten mehr liebes vnd guethes vermogen zuevorn.
Hochwnrdiger Furst, freundtlicher geliebter Herr vnnd guether Freund, V nnfs hahen an Euer Ldn.
gegenwerttige Engelliindische Comoedianten verschrifftlichen zue reccommaudiren, vnd dahin zuebefor-
dem gehorsambist angelanget, damit ihnen von E. L. verlaubet werden mochte, in dero Statteri Ihre
geschickligkheit vnd Comicos actus zue exerciren;
Wan wir vns dan zueruckh wol eryndern konnen, dafs noch bei weilandt vnserer geliebsten
Frawen Muetter hochehr- vnd Lobwiirdigsten angedenckhens, lebens Zeiten, eben dieselhe Personen
zue Griicz, ihre Comedien, gancz Erhar vnd zichtig, mit der V nserigen allerseits genedigistenn gefallen
vndt hegnilgen verrichtet. An Yezo aher aus Pohln, darin Sy dergleichen hci lhrer Konig!. mdt Ldn.
XCIV SHAKESPEARE IN GERMANY.
eczlich Mouat Lang exhibiret mit Koniglichen recornmendationcn vndt guetten Zeugnus, zue YUB an-
khommen, vndt sich gehorsambist angegeben habenn.
Diesemnach wir gedachten Comodianten, diese Ihnen zue erspriifslichen genaden, gemeinte re-
eommendation, an Euer Ldn. nicht wol verwiedern mogen, Ewer Ldn. hiemit freundtlichen crs"Q.chende,
dieselbte Ihn.>n, m.>hrbemelte Perschonenn, zue aller gewogenheit, vnd genaigtem willen ,on vnsert-
wegen wollten freundtlicben endfl'ollen sein lassen, damit Sy demuttigst verffiinn mochtenn, das vnsern
bei Eucr Ldn. freundtliche Interuentionen, angenehmbe vnnd kriifftighe wi1rgligkheit gefunden, vndt
Sy sich Euer Ldn. hinwiederumb freundtlichen Zuerwiedern wier yeder Zeit gancz willig sein vnd
verbleiben wollenn. Geben in vnser Stadt Neifs denn achtczehenden tag Martij im Sechczehenden-
hundcrt vndt Sicbenczebcnden Jahre,
Carl von Gottesgnaden Ertz Hertzog zu Oessterreich Hertzog zue Burgundi etc. Bischoffe zue
vnnd Brefslaw Graffe zue Tirol.
Eucr Ldn. Guthwilliger vndt gctrcuer Freundt
Carl m. p."'I

To the Right Reverend Prince, our friendly and beloved Lord and good friend, Master Franz,
of the Holy Romish Church, of the title of St. Silvester, Cardinal von Dit>trichstein, Bishop of 01-
mutz, Privy-Counsellor of His Rom. Imp. Majesty, also Protector of the Kingdom and hereditary do-
minions of the same.
First (we offer) our friendly and willing service and whatever else of good and kind we may
have in our power. Most Reverend Prince, friendly and belo,ed lord and good friend. English Comedians
bearers of these presents, have respectfully requested us to ghe them a written recommendation to
Your Highness, and to assist them to the behoof that it might be permitted to them by Your High-
ness to practise their skill and comic plays in Your Highness residenee.
when we remember that, during the life-time of our late most beloved lady mother of high
and praiseworthy memory, just these same persons have performed their comedies at Gratz, quite ho-
norably and decently, always with our most gracious pleasure and satisfaction, but that now they have
come to us with royal recommendations and good testimonials from Poland, where they han some
months long exhibited such comedies at their Royal Highnesses, and have respectfully announced
themselves;
'Ve may not well for the above reasons refuse them the desired recommendation to Your High-
ness for your salutary fitvour, kindly hereby requesting Your Highness will allow the same often-
mentioned persons to be recommended on our part to all favour and good will, to the end that they
may humbly learn, that our friendly intervention with Your Highness may have found a powerful
and agrePable realization, and Your Highness on the other hand may count on our b(ing at all time!<
willing to make a friendly return. Given in our town of Neiss, the 18th day of March in the year
1617.
Charles by the Grace of God Archduke of Austria, Duke of Burgundy etc., Bishop of Brixen
and llreslaw, Count of Tirol.
Your Highness'
'V ell-inclined and faithful friend
Charles, m. p.
1
The original letter is to be found at B1-iinn in the Archives of the States of Moravia, Boczek collection,
No. 12265. See .Notizenblatt der histor.-statist. Sektion der K. K. ltfiihrisch-Schlel!ischen Gesellschaft zur Bfjorde-
rung des Ackerbaues, der Natur- und Landeskunde, 1858, No. 3, a paper by Jul. Feifalik. See also Elwert, Ge-
schichte. des Theaters in Miihren, p. 26.
SHAKESPEARE IN GERMANY. XCV
In the same year, some English actors, under the management of a certain John
Green, played before the Emperor Ferdinand the second.l They were probably the same
company, but we have not been able to ascertain any particulars respecting them.
In the summer of 1617 we again meet with a company of our friends at Dresden,
where they must have already been engaged for a considerable time in the regular service
of the Elector, John George the first, for on the 16th of August, 1617, Hans George von
Osterhausen, the Marshal to the Court, reports to the Elector, that the actors have been
very urgent in their entreaties for a leave of absence, which, in his opinion, it were as
well now to grant them, "partly because they have themselves requested it, and partly
because if they remain here longer, the expence of their maintenance and other things will
be considerable.'' At the same time he asks for instructions as to how much he is to pay them
by way of settlement. The Elector answers, under the date of Honstein, Aug. 17. "In as
much as the ladies do not desire that they should play any longer before them," the
Marshal "may institute a search in the Exchequer, how much in the year 1609 (see p.lxxxiii),
and since then during our present reign at different times, has been given to such persons."
The result is to be communicated to the Electress Dowager, and her opinion on the sub-
ject is to be heard, after which the Marshal is to make such a settlement with the actors
"that they shall have no ground for complaint.'' The Marshal answers under the date of
Dresden, August 19, that the Electress has fixed the sum at 300 thalers, which has ac-
cordingly been paid them. "Besides this, what they had consumed at their landlord's, be-
fore they had been supplied with their meals at Court, and whatever else they had required
and used in the way of rooms, closets, and beds, amounted to 120 florins, which is also
paid by the treasury."2
Thus the new dramatic art had made its way through the whole of Germany, and
it is not surprising that now Germans also devoted themselves to the profession, entered
into connection with the foreign actors, and formed independent strolling companies. The
foreigners had now to support the competition of the natives; the latter had made them-
selves masters of the dramatic subjects which had been introduced by the former. Then
there was the unspeakable misery occasioned by the war, then just commencing, which was
destined to devastate all Germany for thirty long years. All these circumstances must have
contributed to check the stream of emigrating English actors, and although we often meet
with strolling companies under the name of "English Comedians," even till late in the cen-
tury, we must assume that in many cases only a minority of the members, frequently in-
deed only the managers, were Englishmen, and in many others, that only the name was p r e ~
served as being an attractive advertisement. The question that has been often suggested,
whether it is conceivable that plays were performed in Germany at that time in the English
language, will engage our attention at a future page. It is sufficient to remark at present,
that as we have already seen in the course of our narrative, Germans, and perhaps Dutch-
1 See K. Weirs, Die Wimer Haupt- und Staatsactionen. 8vo. Wien 1854, p. 37.
t M. Fiirstenau, Zur G68chichte etc. p. 77.
\
,
XCVI SHAKESPEARE IN GERMANY.
men also joined the English actors, that the latter only employed the English language,
when they had found no native colleagues, and then only at first, for as many English
actors remained a great many years in Germany, there is nothing extravagant in the as-
sumption that they gradually made themselves acquainted with the German language.
The theatre had already begun to be felt as a general necessity, and although the
interest in it had somewhat languished during the war, enough had been done to enable
the actor's art to maintain its ground in spite of all storms. But it could not attain any
fuller development. This could only have been accomplished by permanent stages, the
erection of which was of course prevented by the fury of war; and dramatic art, in which
the national element was only just beginning to manifest itself, might consider itself fortunate
that its young blossoms were not entirely trodden to death. We will now give a brief
summary of all that we further know respecting those companies which appeared under
the denomination of English Comedians.
Two curious broadsides, the one of the year 1621, the other without a date have
come into our hands, undoubtedly referring to a company of English Comedians which had
been staying in the neighbourhood of Prague and replete with political allusions to the Bohe-
mian troubles. \\
7
e cannot arrive at any further conclusions from these obscure documents,
a description of which we subjoin below.l The succeeding seven years form a gap in the
annals of the English Comedians. Whether they actually disappeared from Germany, or whether
it is purely accidental that we possess no information respecting their movements during
this period, is a question 'vhich we cannot decide. It is certain, however, that even during
these seven years, members of the London stage repaired to the Continent to escape from
their painful situation at home. This is distinctly proved by a passage in a tract published
in 1625, entitled, 'The Run-away's answer', in which some players and other persons de-
fended themselves against the reproaches, which Thomas Dekker in his pamphlet, 'A Rod
for Run-aways', had hurled against all those persons who had fled from London for fear
of the plague. "We can be bankrupts (say the players) on this side and gentlemen of a
company beyond the sea: we burst at London, and are pieced up at Rotterdam."
2
It may
be conjectured therefore, that the actors who emigrated at that time, generall'y made Hoi-
1
1) Englischer Bickelhering, jetzo ein vornehmer Eysenhiindeler I mit A.rt, Beyl, Barten gen Prage jubilierende 1
Anno I Jetzt Jet:t zV haVen sJe seJne TaifeLn Mit BelL VnD Barten. Phal. 47. . 6. (1621.) Begins: In einem
Buch auff einem Blat I Steht: Varietas delectat I Das heist soviel als: bleiben nicht I lV as man gewesen mach t
Iustig I etc. Ends.: A de icll mU8s gehn lauifen flugs I Elte dann ich diese Mefs verseum I Glock drey mufs ich zu Prage seyn. '
fol. Yvith an engraving bt'tween the title and the text. I have seen another impression of the same broadside,
with the initials Schl." at the end. 2) EngelandMcher Bickelhiiring, welcher jetzund als ein vor- I nemer Handler
vnd Jubilirer, mit allerley Judenspiefsen naclt Franckfort I in die Mefs zeucht. I Begins: Ejn alt Spriichwort, be-aser
terdorbn I Sey ::ellen mal, dann eins gestorbn I etc. Ends: Jhr seyt fiir mich, ich bin jiir euch I Jch hoff, ich woll bald
toerden reich, I Fnd euch die Spie.fs nicht mehr zutragn, I Sondern auif einem starcken lVagn, I Euclt Spiefs zufiihrn
mit solcher men.q, I Defs d'lVelt ml{(s werden drob zu eng. I
fol. With an engraving at the top.
2
See J. P. Collier's Jfemoirs of the principal actors in tlte plays of Shake$peare. Printed for the Shake-
speare Society. 8vo. London 1846, p. 142.
SHAKESPEARE IN GERMANY. xcvn
land the goal of their travels, and perhaps this choice was partly owing to the presence
there of King Frederick of Bohemia, previously Frederick the fifth, Prince Palatine, who
had fled to Holland in 1621. When the Prince Palatine married the Princess Elisabeth,
the eldest daughter of James the first, he remained a considerable time in England, and at
the nuptial festivities Prince Henry's players had often acted before him at \Vhitehall, .on
which occasion, among other pieces, Shakespeare's 'Much Ado about Nothing', 'The
Tempest', 'The Winter's Tale', 'Othello', and 'Julius Cresar' were performed. After the death of
Prince Henry in 1612, his players entered the service of the Prince Palatine, a proof that
he was in some way connected with the theatre.
In the years 1626-27, the theatre at the court of Dresden displayed an unusual
amount of life and activity, and we know the pieces day by day which were performed
by actors, who called themselves English Comedians. We shall return to these records
in our next chapter. It will be sufficient to remark here, that the list of plays,
which we probably possess quite complete, comprises almost exclusively wellknown
English plays, and among them four of Shakespeare's tragedies. The actors accom-
panied the Elector to Torgau, where, on the 1st of April, 1627, the marriage was cele-
brated between the Princess Sophia and the Landgrave George of Hesse-Darmstadt They
were dismissed on the 6th of May. At Torgau the actors were lodged in private houses.
and we learn their names" from a list of their quarters, but unfortunately in most cases
only their Christian names.
"Robertt: Pickelheringk mit zwei Jungen. (Pickelhering with two boys.) Jacob der
Hesse. (James the Hessian.) Johann Eydtwartt. Aaron der Danzer. (Aaron the dancer.)
Thomas die Jungfraw. (Thomas the maiden.) Johann. Wilhelm der Kleiderverwahrer.
(William the keeper of the wardrobe.) Der Engelender. (The Englishman.) Der Rothkopff.
(The red-haired.) Vier Jungen. (Four boys.)"
The Englishman was probably the manager of the company; all the others may have
been Germans. Moreover a German company, one of the oldest, under the management
of a certain Treu, who visited Berlin repeatedly in the years 1622-25, is stated to have
played at Torgau on this occasion; and the first German opera, Daphne, composed by the
celebrated Henry Schntz, was also performed.
1
The next notices respecting dramatic per-
formances at the Saxon Court refer to the years 1630-36, but it does not appear whether
English actors took any part in them. In the beginning of 1630, among other things,
mention is made of a tragi-comedy, 'Isabella, Krenigin von Klein-Britannien' ('Isabella, Queen
of Little Britain.')2
The actors who were dismissed from Torgau in 1627 may perhaps have gone the
1
M. Furstenau, Zur Geschichte etc. p. 100,- Amongst the Musicians of the Elector there were several
Englishmen, one of whom, John Price, deserves special notice. He was one of the most celebrated flute-player,;
of his time. See Mersenne, Harmonie universelle. fol. Paris 1636. He was appointed Musician to the Elector
on the 23d of April 1629, with a salary of 300 thalers a year. -A dancer, George Bentley, is mentioned at thE>
same court in 1652, and an Instrumentalist, John Dixon, ln 1663.
v M. FurstE>nau, Zur Geschichte etc. p. 101.
N
XCVIII SHAKESPEARE IN GERMANY.
following year to Nuremberg, where we meet with English Comedians in 1628. In April
they acted a piece entitled 'Der Liebe Sufsigkeit verendert sich in Todes Bitterkeit'
(Love's sweetness turned into Death's bitterness:. We learn this from a very curious
broadside, a sort of play- bill, which is preserved in the town-library of Nuremberg. As
it js the only document of the kind with which we are acquainted, we give a facsimile
of it. (See Plate ii.) We learn from it the manner in which the actors made known their
arrival in foreign towns. What piece it is, that was designated by the above name, is more
than we have been able to discover. The title would suit 'Romeo and Juliet' remarkably
well.
1
The same or some other company ofEnglish Comedians appeared at Nuremberg in July
1628, and applied for permission to play for a few days. They wished to take three "batzen"'
the price of admission for each person, but on the second day the Council reduced it to
six creutzers, of which they only received the half. They were allowed to play Tuesdays,
Wednesdays, and Thursdays, for two weeks in successioh, but not till after vespers on such
days as might be feast-days_. Mter the expiration of this time, they repeatedly begged for
a prolongation of their licence, alleging that they had bought a great many things, and
had spent all their money, but they were refused. Several German companies made a
similar application before the end of the year, and with a similar result.:?
In April 1629 we again. meet with a company of English Comedians at the Hague.
The Magistrates, as on the former occasion, grant them permission to play at the fair, for
which they have to pay 30 florins to the Orphan Asylum. On the 23rd of May, and again
on the 24th of December of the same year, the permission is renewed, and at the same
time the "Tennis-court" in the present Hoflaan is assigned to their use.s
An interruption of ten years occurs here in our respecting the English
Comedians, and indeed it would appear that the war, which had now extended itself over all
Germany, prevented the companies from visiting that country. The evidence of a contem-
porary is to this effect :
"Die sen Monsieur Pickelhaering haben die Englandischen erstmalen in Deutschland eingefllhret,
da es noch in guten Wohlstand war, und jedermann gernc mit Comoedien und anderen Aufzilgen sicb
helustiget, welches nicht mehr viel gcschehen wird." 4
TRANSLATION.
This Monsieur Pickelhaering was first introduced into Germany by the English while it was
still in a state of prosperity, and everybody liked to amuse himself with comedies and other repre-
sentations, which is now no longer the case.
Towards the end of l 639, English Comedians are again mentioned in the Koenigs-
1
The above mentioned Bromlside has been first made known by Mr. F. E. Hysel, in his valuable work,
Das Theater in .1..Viirnberg von 1612 his 1863. 8vo. Niirnberg 18G4. Mr. Hysel kindly sent me the facsimile which
accompanies the present work.
3
F. L. v. Soden, Kriegs- und der .A"iin1berg vom Ende des 16ten Jahrhunderts
bi8 zur Schlacht bei Brei.tenjeld, 7. -17. Sept. 1631 . . Zweiter Theil. 8vo. Erlangen 1861.
"
1
L. Ph. C. van der Bergh, 'S Gravenhaag'sche Byzonderheden, p. 21.
4
Illuminirter Reichs vnd lVelt- Spiegel. 4to. s. l. 1631.
SHAK'F.SPEARE JN GERMANY. XCIX
berg accounts, for a sum c;>f 150 thalers. They and their trumpeters were conveyed by
water in two boats to the Electoral Palace at Brandenburg. t In the year I G43, English
Comedians were at OsnabrUck, at the time of the Congress for the negociations between
. Austria and Sweden. On their leaving the place, the Town-Council gave them a testimonial
to the effect that they had acted their Tragedies, Comedies, and Pastorals to the satisfaction
of those who had witnessed them. 2
From November 1644 till about February 1645, there was a company at the Hague.
One of the documents in an action brought by a certain Vincent \Vodroff, an English shoe-
maker (' E!lgelsch Schoenlapper ') against the members of the company is still extant. It
has never been published before, and though the greater part of it does not bear on our
present subject, we subjoin it below.s Five of the company are mentioned in it by name:
Jeremias Kite, William Coeck [Cook], Thomas Loffday [Loveday], Edward Schottue] [Scott-
well], and Nathan Peet [Pate].
1
E. A. Hagen, Geschichte etc. p. 60.
2
Vehse, Geschichte der geistlichen Hoje. Vol. iii, p. 102.
8
Extract uit het Register der Dingtalen van den Hove van Holland, van den 30"" January 1645 tot den
laatsten Maart daaraanvolgende. C. Rollant, Grijjier.
"Vincent 'Vodroff contra d'Engelsche Commedianten.
Op ten dach van huyden compareerde voor den HoYe van Holland! Maerten Deym, procureur van
Vincent w odroff, Engels schoenlapper albier in den Haghe, requirant, ende exhibeerde den voorseiden Hove
zeeckere obligatie by Jeremias Kite, William Coeck, Thomas Loffuay ende Euuart Schottuel, aile Engelsche com-
medianten, tsamen ende elcx int bijsonder onder behoorlijcke renunchiatie gerequirrrrden op den vi .. deser maent
January voor Notaris ende getuygen gepa.<!seert, versoeckende daerop conuemnatie; waerop Gerrit Vinck als
procureur van de gerequireerdens verclaerde volgende zyne speciale procuratie in de voorseide obligatie geex-
presseert dnt by int voorseide versoeck consenteerde. Gehoort welck versoeck ende const-nt ende gesien dezelve
obligatie alhier geinsereert.
Op huyuen den vi .. dach der maent van Januario 1645, compareerden voor my Ferdinande Molckman
upenbaer notaris by den Hove van Hollan!, geadmitteert, in 's Gravenhaghe residerende, ende voor de getuygen
naergenoemt, Jeremias Kite, William Coeck, Thomas Lofday ende Eduard Schottuel, aile Engelsche commedianten,
ende becenden tsamen ende elcx van hen int by sonder wei ende deuchulyck schuluich te wesen aen Vincent
W odroff, Engelsch schoenlapper alhier en den Haghe woonachtich, de somme van drie hondert twee Karoli ):till-
dens drie stuyvers, spruytende ter zaecke van \erteerde montcosten, cnmerhuur, ende andere nootelycke behoeften
by hen commedianten, met henluyden medege11ellen, als Nathan Peet met een jongen off zynE"n soon ende hen
comparante daervoor zyluyden hen zyn sterck maPckende, daervan zyluyden d'een d'nnder wei zullen weten te
vinden, aile genooten binnen den tyt van thien off elff weecken lestleeden ende metten anderen finalyck affge-
rekent van alles tot nu toe, dewelcke voorseide 11umme van II guldens III stuyvers zyluyden commeuianten
te zamen ende elcx van hen int bysonder aen den voorseiden Vincent W odroff off den thoonder van desen zyn
actie hebbende beloven te betalen altyt t'zynen vermanen, onder tvrrbant nm hen evendieps toebehoorende
commediants kleederen alles met den aenkleven van dien niet uytge;oondert t>nde voorts generalyck hunnen per-
soonen en goederen, roerende en onroerende, hebbenue ende vercrygende, ge<'n van dien uytgesondert, subjecte-
rende dezelve enue de keure vandien aile Heeren Hovenrechten ende Techteren, renunchierende ten desen eynde
van 't beneficie van der divisien ordinis den borgen tot voordeel verleent, ende van aile andere be-
neficien, zoe de rechten dicteren dat ue generale renunchiatie van geender waerden en zyn ten zy saecke uat de
speciale ,oorgaen. Ende tot meerder ,an tgeene vool"l!eit is soo hebben zyluyden comnwdianten
tsamen ende elcx van hen int bysonder onwederroeptlyck geconstitueert Cornelis Pieck, Gerrit Vinck ende :Maerten
Deym. aile procureurs voor den voors. Hove van llollant ende Hoogen Raeue in Hollant te samen ende elcx
van hen int bysonder, omme henluyden commedianten te samen ende elcx van hen int bysonder inne den in-
N2
c SHAKESPEARE If$ GERMANY.
From the 14th to the 25th of July 1650, a company of 'Electoral Saxon Comedians'
played some English comedies in the Town-hall at Zittau.l
On the lOth of November 1G50, the Emperor Ferdinand the third published a letter
of safe conduct for a company of English Comedians, to the following effect:
"Wir Ferdinand der Dritte, von Gottes Gnaden etc. bekennen offcntlich mit diesem Brieff und
tbuen kund allermanniglich: demnach Uns Furweiser dieses, 'Vilhelmh Roe, Johann 'Vaide, Gedeon
Gellius [Giles?], Robert Casse sambt ihren Mitconsorten engelliindische Comoedianten, unterthiinigst
zu vernehmben gegeben, wasmassen sie nunmehre eine ziembliche Zeit hero an unterschiedlicher hoher
Potentaten Hofe, wie auch anderer Orten bin und wieder, allerlcy lustige Spiel vnd kurzweilige Co-
moedien offentlich exhibirt und gespielt haben, unterthiiniges bittend, dais Wir ihnen solche allhie in
Unserer Kaiserlichen Residenzstadt gleichfalls auf eine Zeit lang zu agiren gnadigste Erlaub-
nifs ertheilen wollten, und Wir uns darein (jedocb dass sie sicb dabei aller Unehrbarkeiten, sowol in
W orten als Actionen allerdings enthalten soil en) allergniidigst bewilliget: - als haben U ns sie darauf
ferneres gehorsambst angezeigt, wie dafs sie nunmebr von dannen abzureisen, und besagte ihrer Pro-
fession unterschiedlichen anderen Orten, sowohl in dem heiligen Romischen Reich, als andern Unsern
eriJlicben Kouigreichen, Fiirstenthumben und Landen zu ilben und zu treiben Willens waren, und dero-
wegen U ns zu desto besserer und unverhinderlicherer Fortsetzung dieses ibres V orhabens, umb Unser
allergniidigste Hilf, Frei- und Sicherheit alleruntertbanigst gebeten.
'Nann Wir dann gnadigst angesehen, solcb ihr diemntbig gehorsambste Bitt, besonderlich aber
erwogen, dais sie die Zeit nber, so Wir ihnen alhier in unserer Stadt Wicn und darilber auch in
unseren Kaiserlichen Hof selbsten, ihre Comodien zu spielen gnadigst bewilliget, sich darinnen also
verbalten dass U ns einige Klag wider Sie nicht vorkommen: als haben "\Vir mit wohlbedacbt{'m Muth,
gutem Rath und rechtem Wissen ihnen obgenannten Comodianten diese Kaiserliche Gnad gethan und
Freiheit gegcben, dais sie solche ihre vorhabende Profession aller Orten, sowohl in dem heil. Rom.
Reich, als auch anderen Unseren Erbkonigreichen, Flirstenthumben und Landen unverhindert Miin-
niglichs exerciren, treiben und sich derselben gebrauchen mogen; ihnen auch vor Niemands, wer er
auch seye, Kein Eintrag, lrrung, oder V erhindernifs zugefilgt werden; jedoch dafs sie sich dabei aller
Ebrbarkeit befleissen, auch aller unziemblicher Reden und Actionen gewiJslich enthalten sollen.
Gebicten hierauf allen und jedem Churfursten, Fo.rsten, Geist- und \Veltlichen, Pralaten, Grafen,
Freyen, Herren, Rittern, Knechten, Landmarschallen, Landhauptlcuten, Vicedomben, Burggrafrn, Vogten,
PflegPrn, Verwesern, Amtboten, Schultheifsen, Bilrgermeistern, Richtern, Riithen, Blirgern, Gemeinden,
und sonst allen andern Unsern und des Reichs, desgleichen Unserer Erbkonigreich, Furstenthumben
und Landen, Unterthanen und Getreuen, was \Viirden, Stands und Wesens sic seynd, ernstlich und
festiglicb mit diesem Brief, und wollen: dafs sie mehrbenannte engelliindische Comodianten- Com-
pagnia, sammt ihren Leu ten, Pferdcn und Sachen nit allein allcr Orten und En den, zn Wasser und
houden van desen by den voorseiden Hove van Hollant ende Hoogen Raede in Hollant goetwillichlyk te Iaten
condemneren ende betalen aile de costen, dewelckc hieromme zullen werden gedaen, gelyck te samen endc elcx
van hen int bysonder nu en t'allen dagen van waerden te houden aile tgeene by heur voorseide Procureurs te
zamen ende elcx van hen int bysonder hierinne gedaen ende gevordert zal werden, onder tvcrbant ende renun-
chiatic als hiervooren verhaelt, alles zonder bedroch. Aldus gedaen ende gepasseert ter presentie van Lambert
Piett>rs van Outheusden, biersteecker ende Salomon de Paris, Engelscoopman, woonende alhier in den Haghe,
als getuygen, die de minute van desen, bencffens de voorseide commedianten hebben ondertheyckent. Onder stout
Quod attestor ende was ondertheyckent Ferd. Molckeman, Notaris publicus.
Heeft tvoorseide Hoff de voornoemde gerequiree1drns gecondemneert cnde condemneert henluyden mits
descn omme de voorseide obligatie te volcomen ende achtervolgen naer hare forme ende inhoudeu. Actum den
xi January 1645. Present, Francken ende Kinsrhot."
1
Pescheck, Gucldchte von Zittau. 8vo. Vol. ii, p. 348.
SHAKESPEARE IN GERMANY. CI
zu Land frei, sicher und unverhindert durchkomben, passiren und repassiren, ihnen auch in allen
V orfallenheiten, wo es vonnothen, geziembenden V orschub leisten uud allen geneigten berordersamben
Willen erwaisen, sondern auch sie bei dieser U nscrer ihnen ertheilten Gnad Freiheit uud V erwilligung
ruhig verbleiben, deren aller Orten frei und ungehindert geniessen, gebraucheu lassen, darwider mit
beschweren, noch defs jemands Andern zu thuri gestatteten in kein W eis noch weg, das meynen Wir
ernstlich.
Mit Urkund dies Briefs besiegelt mit Unserem anhangenden InsiegeJ, der gehen ist in Unserer
Stadt Wien den zehenten Monatstag Novembris nach Christi .... Gcburt im 1650sten, Unserer Reiche
des Romischcn im vierzehnten etc., des hungarischen tm fUnf ~ d zwanzigsten, und des bobOmischen
im drei und zwanzigsten J abre.

TRANSLATION.
(gez.) Ferdinand.
(L. S.)t
We Ferdinand the third, by the Grace of God etc. publicly declare and make known to all
men by these presents: After the bearers of these, William Roe, John Waide, Gideon Gellius [Giles?],
Robert Casse and their compani<'ns, being English Comedians, had most humbly given us to under-
stand how that they for a considerable t i ~ e past had publicly exhibited and acted all sorts of amusing
plays and entertaining comedies at the Courts of various high potentates, as also at other places,
humbly beseeching that we wo:uld likewise grant them our gracious permission publicly to act such
things for a certain time in our Imperial residence, and we graciously granted them the said permission,
(yet only so that they should entirely refrain thereby from all improprieties as well in their words as
in their actions) whereas they have now further humbly announced to us, that they are desirous of
leaving this place and of practising and exercising tiHir said profession in various other places, as
well in the holy Roman Empire as in our hereditary Kingdoms, Principalities, and countries, and to
this behoof for the better and freer prosecution of this their intention, have humbly begged our aid,
permission, and protection.
Graciously regarding this their humble and respectful petition, but more especially taking into
consideration, that all the time in which we have graciously permitted them to act their comt>dies here
in our city of Vienna, and yet more, in our Imperial Court itself, they have comported themselves in
such manner that no complaints have been made against them; We, with due consideration, good
counsel, and right knowledge, have shewn them this Imperial grace, and given them licence, that they
may without hindrance publicly exercise, carry on, and use this their intended .profession in all places,
as well in the Holy Roman Empire as also iu our hereditary Kingdoms, Principalities, and coun-
tries, and that they suffer no damage intended or otherwise or impediment, nevertheless so that they
behave themsehC's quite honorably therein, and surely abstain from all unseemly speeches and words.
Hereupon we order all and every, the Electors, Princes, spiritual and secular, Prelates, Counts,
Barons, Lords, Knights, Squires, Landmarshals, Captains general, Vicegerents, Burgraves, Prefects,
'V ardens, Administrators, Stewards, Bailiffs, Burgomasters, Judges, Counsellors, Citizens, Commonal-
ties, and all other lieges and subjects of ourselves and of the Empire, as also of our hereditary King-
dom, Principalities and lands, of whatsoever dignity, rank, or character they may be, seriously and
solemnly by this letter, and decree : that they not only allow the often-mentioned company of English
Comedians, together with their people, horses, and effects to pass and repass at all places, by water
1
As we do not possess a literal transcript of this document, we are obliged to print it from a text
publbhed by Mr. J. M. Schottky in Unterhaltungen jiir daa Theater- Publikum, herausgegeben von Aug. Lew ald.
8vo . .Miinchen 1833, p. 135, where the orthography is modernised. See also Der Freimiithige. (A Periodical.)
Berlin 1833, No. 144.
en SHAKESPEARE IN GERMANY.
and by land, freely, safely, and without hindrance, and in all emergencies where it may be necessary,
afl'ord them all convenient aid, and render them all assistance and good will, but also allow them quietly
to enjoy this grace, freedom, and permission granted to them and to use the same at all places freely
and without hindrance, nor complain against the same, nor allow qthers to do so in any manner or
wise: this is our serious will.
In "Witness of this letter, sealed with our seal attached thereto, given in our City of Vienna
the tenth day of the month of November in the sixteen-hundred and fiftieth year after the birth of
Christ, in the year of our sovereignty, the fourtl'enth of the Roman Empirl', the twenty-fifth of the
Kingdom of Hungary, and the twent:y-third of the Kingdom of Bohemia.
(signed) Ferdinand.
(L. S.)
This company was at Prague the following year, and, in a memorial addressed to
the Royal Statholder and dated the 15th of December 1651, complained: "That at the
lately issued gracious prohibition of your Most Noble Excellency and Grace they have
ceased to act, and in as much as the maintenance of the company costs a great deal they
have incurred no small expense, thus besides this, a great part of their clothes and pro-
perty had been previously stolen and lost." In order to be able to bear these misfortunes
more easily, the travelling artists beg to be allowed to play also the next four days of
Advent, and declare in concJusion, that formerly at Vienna, they had "exercised their pro-
fession" en'n during Lent, before Cardinal von Dietrichstein and the Archduke Leopold of
Austria. A few days later, after their request had been granted, they apply for permission
to exhibit their performances and to act for three weeks longer after the next Christmas
holidays, alleging theu approaching departure for Vienna as a reason for their request,
remarking by the way, "in consideration that two masters among our company are devoted
to the Roman Catholic religion, and that we in other respects also use all decency both
in words and actions.''
On the 21st of July 1652, a certain John B<lsslin or G<lsslin of Basle advised that
permission should be given to the English players "to act their comedies." The request
was granted for fomteeu days, but only on condition that they did not take more than
two shillings for admission from each person. Upon this, on the 18th of August, the
company offered in honour of their gracious masters "to hold a curious comedy, if they
were only informed of the day and the time." The Council agreed, fixed the following
day at three o'doek for the commencement of the play, left it to their chief officers to
award such "gmtuity .. to the company of. actors as they might deem proper, and further,
granted the company permission to perform comedies for one week, but nothing objec-
tionable.
Encouraged by these first performances in Basle, Joris Jolifus "English and Roman
Imperial Conwdiau ., sent au application from Strasburg to the Council of Basle in the be-
ginning of 16fJ4, with the tempting assurance "that with his well-practised company, not
only by means of good instrudive stories, but also with repeated changes of expensive
eostume:', ami a theatl'e decorated in the Italian manner, with beautiful English music and
SHAKESPEARE IN GERMANY. CIII
skilful ("rechten")I women" he would give universal satisfaction to the lovers of
In spite of all these fine promises, the request was refused.
The English actors could never obtain permission to perform in Znrich. The pro-
tocol of the Council says "they were simply refused permission". Texts from the Scrip-
tures, passages from the Fathers and modern instances were cited against this love of play-
going, and it was proved that sometimes on days when plays had been performed, thun-
derstorms had arisen when the sky was clear and had destroyed both buildings and fruit,
fires had broken out and could hardly be extinguished, and persons who had played the
devil had never been happy afterwards. 2
The above-mentioned Joris Jolifus is undoubtedly the same person, who under tht>
name of George J eliphur, English comedian, received 15 florins in Vienna on the 15th of
May 1653 acting a comedy with his colleagues before their Majesties". a
At \Vindsheim on the Maine, on the 9th of March 1656, "the tragedy of Charles
Stuart the English King, how he was taken prisoner by his parliament, condemned, and at
last beheaded by the axe", was played ''by English comedians". 4 In the course of the
same year, some English Comedians came to Dordrecht in Holland. fi
In 1 G59, a certain Joseph Jori appears at Vienna, who calls himself an "English
and Heidelberg comedian", and offers with his company to represent "such notable comedies
and tragedies as that the like had never been seen in Germany before, or ever acted by
others". The Council reports on his petition to the government, and is of opinion that
"although one cannot derive any good from such comedies, but, as is well known, idleness
and scandal of all sorts are only increased by them, moreover money, which any how is
very scarce at present, is taken out of the country, we leave it to Your Grace's pleasure
to decide whether Your Grace will advise His .Imperial Majesty, that the petitioner may
perhaps be allowed to practise his performances next year during the Carnival, or whether
the same shall be dismissed altogether". 6
From the 11th of April 1660, the English comedians play again in Zittau, and in-
deed four times with the most clamorous applause. 7
As late as 1683, Grimmelshausen, the author of the celebrated 'Simplicissimus' makes
mention of the English players in his 'Wonderful Birdsnest'. "At that time, a company of
English actors haJ arrived in the town, who wanted to return home from thence, and were
only waiting for a fair wind in order to sail. I obtained from them a terrible devil's mask etc." s
1
This is one of the earliest notices of women performing on the German stage.
' Anzeiger fiir Kunds der deutschen Vorzeit. 1855, p. 231. An article by Meyer von Knonau. From the
Municipal Mirmtes of the city of Basle.
a Karl W eifs, Die Wiener Haupt- und Staatsactionen, p. 36.
4
Archiv fiir Geschichte und Alterthumskunde des Obermainkrei8u. Vol. i, part 1. Bvo. Bayreuth 1831.
From a Ms. chronicle of the city o.f Windsheim.
Navorscher, Dee) iii, p. 17.
6
Schlager, Wiener Slcizzen aU& dem Mittelalter. Neue Folge. 8vo. Wien 1839, p. 252.
7
Pescheck, Guchichte fJOn Zittau. Vol. ii, p. 348.
8
(H. J. Christ. v. Grimmelshausen), Des wunderbarlichen ... Vogel-Nestu fernere Fortsetzung [ Anderer
CIV SHAKESPEARE IN GERMANY.
Similar notices occur at this time and even later, but possess comparatively little
interest for us, as the designation of the companies and the pieces they performed as
English is only a reminiscence, and can no longer be referred with certainty to any real
English origin. It is indeed, a remarkable fact, and a proof how deeply the English Theatre
had taken root among the people, that in order to obtain from them a welcome reception,
it was considered necessary to retain such designations at that period of deep humiliation
for Germany after the Peace of Westphalia, when the French disregard of nature, which
had corrupted German morals and manners, had also taken possession of the stage.
CHAPTER V.
We have not as yet been able to make more than a mere occasional mention of
the acting stock of the English Comedians; it is now time however that we should speak
more at length of the pieces by which the transformation of the German stage was effected.
Hans Sachs had already adopted an English subject for one of his best pieces; at a later pe-
riod Henry Julius and Jacob Ayrer wrote almost exclusively after English models, which had
been brought them by the English players; and at the Courts of Cassel, Dre8den and Berlin we
have seen English taste exercising a preponderating influence, and subjects taken from English
history represented on the stage. With the increasing number of English companies which
occurred in the beginning of the seventeenth century, English subjects began to prevail upon
the German stage, and a number of these pieces has been transmitted to us by means of a
collection of 'English c6medies and tragedies' printed in 1620, and professing to be the
acting library of the English Comedians. But however important this collection may be as a
speaking evidence of the influence of the English actors in effecting a transformation of the
German stage, it cannot convey to U@ any conception of the dramatic art of the actors
themselves. It is rather an evidence of the manner in which English subjects at that time.
were remodelled under German hands; and even in this respect its evidence is only of
limited importance. For we have to do here with the adaptations of uneducated s p ~ c u l a
tors, whose object was to spoil the market for the English, and to appropriate their sub-
jects for the benefit of German companies, who had begun to compete with the English
at an early period. It is impossible to imagine for a moment that the' English actors them-
selves made this collection, as has often been asserted. This supposition is principally
based on a false interpretation of the concluding passage of the preface, which is as follows:
"As then in our times the English Comedians, partly by their pretty inventions,
partly by the gracefulness of their gestures, often also by their elegance in speaking, obtain
great praise from persons both of high and low condition, and thns active clever minds
take a delight in and a fancy for such inventions, to exercise themselves therein, therefore
Theil). 8vo. s. l. Gedruekt Im Juhr 1683, p. 579. - See also the same work in A. , .. Keller's edition of Grim-
ml'lshausen's Simplicissimus. Yol. iv. 8vo. Stuttgart 1862, p. 654.
SHAKESPEARE IN GERMANY. cv
have we been desirous to gratify them in this matter, and to print and publish these co-
medies and tragedies for their benefit; and as we shall perceive that they are agreeable
and acceptable to them, more of the same shall soon follow them. In the mean time we
hope they may be willing to make good and profitable use of these, and be contented
with them." 1
The sentence "therefore have we been desirous to gratify them &c" has been referred
to the actors, but both this sentence and all that follows refer to the "minds" which take
a delight in such "inventions," which, strictly considered, involves a confession t>f piracy.
It is almost impossible that the foreigners should ever have thought of publishing these
pieces to satisfy the curiosity of the public, when that very curiosity was precisely the
most powerful feeling which attracted the public to their performances. There is moreover
abundant internal evidence to shew that these pieces are not an authentic text, but have
been merely taken down in a hurry from the mouths of actors. In many places the
Iogue breaks off abruptly with an '&c.', without the sentence coming to an end, or its mean-
ing being. clear, - a striking proof that the writer either did not catch the conclusion,
or did not understand it. Sometimes also there is a confusion among the characters, as
for instance in 'Tittls Andronicus', which is a strong argument in favour of our view. We
possess therefore in this collection nothing but the subjects of the pieces which had been ,
brought over by the English players, not the pieces themselves in the form in which they
were played. So far from it indeed, the pieces had been corrupted by rude bands to such
an extent, that hardly the mere skeleton was left, and it is not consistent therefore either
with justice or sound criticism to attempt to draw any conclusions from these pieces re-
specting the theatrical merits of the English Comedians. If we allow that the English brought
these pieces to Germany, as indeed we must, why should they have put them on the stage
in such a cruelly mutilated state? Or are we perhaps to form such a very low estimate
of the German spectators at the courts and elsewhere, as to assume that the actors were
obliged to banish all poetry from their plays, in order to adopt them to the inte!Ject of
their audience? But even if we would place the intellectual level of the educated classes
of those times so very low, - which we have no reason to do, - we should still have
to seek elsewhere for an explanation of the manner in which these pieces have been
treated; for the actors might always have felt quite sure of exciting a sufficient
interest in their audience by the purely external incidents, by what we call plot and action,
and need never have taken the trouble of recasting their pieces in another form. If, again,
1
The German Text of the passage run!J as follows: "Wann dann zu vnsern Zeiten die Englischen Co-
moedianten, theils wegen artiger Invention, theils wegen Anmuthigkeit jhrer Geberden, auch offters Zierligkeit im
Reden bey hoben vnd Niederstands Personen mit grosses Lob erlangen, vnd dardureh viel hutige vnd wackere
lngenia zu dergleicben inventionen lust vnd beliebung haben, sich darin zu iiben, Also hat man jbnen hicrinnen
willfahren, vnd diese Comoedien vnd Tragedien jbnen zum besten in Druck geben wollen, da man
nun vermercken wird, dafs sie jbnen lieb vnd angenehmb, sollen derselben bald mebr darauff folgen, voter dessen
wollen sie diese niitzlich vnd. wol gebrauchen, vnd jhnen gefallen lassen."
0
CVI SHAKESPEARE IN GERMANY.
we assume that the collection altogether does not contain the pieces which the English
Comedians had acted, and that the title and preface, which assert this, were only put out
as a bait, the recasting of these English subjects would still only have been possible on
the supposition that the editors had the printed English pieces before them, - and then
this corruption and mutilation are quite inexplicable. There remains therefore no other
alternative than that at which we have hinted above: illiterate scribes wrote down from
memory what they had heard from the actors; the skeleton of the outward incidents which
had remained in their memory was then filJed up with a dialogue of their own compo-
sition, and in this manner pieces were fabricated, which contained nothing more of the
originals than the mere outline.
A direct proof of the correctness of this view is to be found in the fact, that in
almost all these pieces certain stereotype phrases are constantly recurring, indeed whole
scenes have been transferred from one piece to another. Some of the jokes and tricks of
the clown are repeated in the comic scenes of the different pieces. The clumsy hand of
these workmen has moreover quite obliterated all traces of higher art in the dramatic
treatment, in which the worst English pieces of that period far surpassed the best German
ones, and has brought these pieces down to the level of the contemporary German pro-
ductions. Their want of skill appears most strongly, in their utter ignorance of dramatic
combination. There is no inward connection among the parts; we see a succession of
moving incidents, adventures of all sorts, intended to excite the interest of the spectators,
to gratify their curiosity and their love of spectacle, or to tickle their risible muscles, but
all these incidents are merely placed side by side without any internal unity, and it is left
to the spectator to form his own picture of what is going on in the minds of the persons
concerned. The latter always appear in the climax of some affection, either joy or pain,
anger or despair. The language has its ever-reeurring stereotyped forms. The charaetert'
say: "Now will I do this," and afterwards "Now I have done that." The real dramatie
action, even when brought with all its details before the eyes of the spectators, a_s, for
instance, the throat-cutting business in Titus Andronicus, must also be spoken of as hav-
ing been done; - the drama could never entirely emaneipate itself from the form of nar-
rative.1 It is impossible that the English actors, who must have been acquainted with thl
stage of their native country, could ever have acted in that way. But that illiterate Ger-
mans, such as the editors of the 'English Comedies and Tragedies', should have ignored
all the deeper significance of these pieces, and should have attended only to the outward
incidlnts, cannot be regarded as anything extraordinary, when we consider the
of the German dramatic muse of that period. That the English actors offered somethinp:
bette1 than what was so highly lauded in those collections as their property, appears at
once tiom the intellectual impulse which cultivated minds received from them. Valentiu
Andreae, who wrote between the years 1602 and 1620, composed two Latin plays, in order,
1
See BJ. Devrient, Ge&chicllte etc. Vol. i, p. 14)5.
SHAKESPEARE IN GERMANY. CVII
as he himself says, to compete with the English Comedians.t A similar confession is made
by John Rhenanus, a physician who had travelled in England, and who since 1610 had
been in the service of the Landgrave Maurice of Cassel, to whom in 1613 he dedicated
a comedy entitled 'The battle of the senses'. He says in his preface, that among the
writers and performers of comedies of that time, the English maintained the first place
as regards both composition and action; that they understood how to uae prose and verse
alternately, according to the nature of the subject, and that the actors were not ashamed
to receive instructions from the poets &c; that they (the Germans) should endeavour to
emulate them. He had now ventured to make this crude attempt, and begged Maurice's
judgment of it, which had more weight with him than a thousand others.
2
John Cam. Merck in the preface to his version of the Latin piece 'Beel', by Xystus
Betulius, which he had put into verse, also speaks of the English players in terms of
praise. He says that, to confess the truth, he was by no means dissatisfied with the man-
ner of the English actors, but that in his new version he had been anxious to follow the
old traditional custom rather than his own taste. a It is true, Gumpelsheimer, in his work
published in Strassburg in 1612, in which he recommends academicians to frequent
the theatres on account of the very great advantage to be derived from them, does not
mention .the English players by name, but it is clearly the English whom he means when
he says, that for invention and representation they surpass everything that had been seen
in Germany, up to that time. We should undoubtedly find a great many similar favour-
able judgments respecting the performances of our strollers, if we to t:ansack the
literature of the times for that purpose.
As the collection in question possesses great interest with reference to our subject,
we shall now proceed to give a description of it.
Title: "Engelische.Comedien vnd I Tragedien I Das ist: I Sehr SchOne, I herrliche vnd
aufserlesene, I geist- vnd weltliche Comedi vnd I Tragedi Spiel, I Sampt dem I Pickelhering, I
welche wegen jhrer artigen I Jnventionen, kurtzweilige auch theils I warhafftigen Gefchicht
halber, von den Engellandern I in Deutschland an Koniglichen, Chur- vnd Fiirft- lichen Hofen,
auch in vornehmen See- vnd I Handel StAdten feynd agiret vnd gehalten I worden,
vnd zuvor nie im Druck aufs- I gangen. I An jetzo, I Allen der Comedi vnd Tragedi 1
' The two Latin plays alluded to are 'Esther' and 'Hyacinthu!!'. See Joh. Val. Andrea I.Jichtungen. 8n1.
Leipzig 1786, in trod. p. xxxii, and also his autobiography: Selbstbiographie Joh. Yal. Andrea, berun,.gegeben von
Seybold. 8vo. Winterthur 1799.
2
The comedy has never been printed. The MS. is in the Electoral Library at Cassel. See Chr. v. Rnrnmt>l.
Geschichte von Hessen, Vol. vi, p. 497-98.
a Beel. Eiue Geistliche Co-mico-Tragoedia. Erstlich aus dem teut&chen Exemplar Xysti Betulrii in die latri-
niAche Sprach tertiert . . . 1\'unrnehr aber widerumb inn Teut&che Reimen tberlegt durch Joh. Cunr. ltfft"clcium.
nm 1615.
4
' Quanrnm plausibilem exartitmc>m Germnnine nostrae impnnant, tt>:oltntnr. monstrat txperitntia.''
Gumpel!!h<'imer"s Gymnasma de e.rercitiis academicorum. Argt>ntornti 1612. See E. A. Hagc>n. Geschicllte etc. p. H.
02
CVIII SHAKESPEARE IN GERMANY.
habern, vnd Andern zu lieb vnd gefallen, der Gestalt I in offenen Druck gegeben, dafs fie
gar Ieicht daraufs I Spielweifs widerumb angerichtet, vnd zur Ergetzligkeit vnd I Erquickung
des Gemiiths gehalten wer- I den konnen. I Gedruckt im Jahr M. DC. xx. I 384 leaves. 8vo. s. I.
(English Comedies and Tragedies, i. e. Very fine, beautiful and select, spiritual and
worldly Comedy and Tragedy plays, with the clown, which on account of their fanciful
inventions, entertaining and partly true histories, have been acted and given by the English
in Germany at Royal, Electoral, and Princely courts, as well as in the principal Imperial-
Sea- and Commercial towns, never before printed, but now published to please all lovers
of Comedies and Tragedies, and others, and ip. such a manner as to be fit to be easily
acted for the delight and recreation of the mind).
Contents: 1. "Comoedia Von der Konigin Esther vnd hoffertigen Haman."- Comedy
of Queen Esther and haughty Haman.
2. "Comedia. Von dem verlornen Sohn in welchen die Verzweiffelung vnd Hoff-
nung gar artig introducirt werden." - Comedy of the Prodigal Son in which Despair and
Hope are cleverly introduced.
3. "Comoedia Von Fortunato vnd seinem Seckel vnd Wflnschhfltlein, Darinnen erst-
lich drey verstorbenen Seelen als darnach die Tugenden vnd Schande eingefilhret
werden." --:- Comedy of Fortunatus and his purse and wishing cap, in which appear first
three dead souls as spirits, and afterwards the virtues and shame.
4. "Eine schone luftige triumphirende Comoedia von cines Koniges Sohn a.ufs Engel-
landt vnd des Koniges Tochter aufs Schottlandt." - A beautiful, merry, triumphant Comedy
of a King's son from England and the King's daughter from Scotland [Serule and Astrea].
5. "Eine Kurtzweilige lustige Comoedia von Sidonia vnd Theagene.'' - An enter-
taining, merry Comedy of Sidonia and Theagene.
6. "Eine schone luftige Comoedia von Jemand vnd Niemandt."- A beautiful merry
Comedy of Somebody and Nobody.
7. "Tragaedia. Von Julio vnd Hyppolita." - Tragedy of Julius and Hyppolita.
(See p. 113- 156 of the present work).
8. "Eine sehr klagliche Tragaedia von Tito Andronico etc." (See p. 157-236 of the
pl-esent work).
9. "Ein luftig Pickelherings Spiel, von der schonen Maria vnd a.lten Hanrey:' - A
merry jest with the clowns, of the beautiful Mary and the old cuckold.
10. "Ein ander Iustig Pickelherings Spiel, darinnen er mit einem Stein gar lustige
-Possen machet." - Another merry jest with the clown, in which be makes merry pastime
with a stone.
"N achfolgende Engelische Aufziige, konnen nach Belie ben zwischen den Comoedien
agiret werden." - The following English interludes may be acted at pleasure between
the Comedies (acts). All in verse, and most of them with musical notes. Five pieces
without titles; the following are the persons represented in each of them:
11. Wife, Husband, Pickelherring, Boy, Soldier. - 12. Aliud. Pickelherring at Am-
SHAKESPEARE IN GERMANY. CIX
sterdam, I have been. - 13. The Blanket-washer. Husband, Wife, Neighbour. - 14.
Wife, Pickelherring, Servant-maid, Magister, Student.- 15. Nobleman, Pickelherring, Wife,
Husband.
A second edition: "Zum Andern mal gedruckt vnd corrigirt. Gedruckt im Jahr
M. nc. XXIV." 8vo. - Exactly the same contents.
No 1 of the first collection is a subject which had been very often treated on the
old English stage. In 1561 there appeared 'A newe Enterlude drawen oute of the holy
Scripture, of godly Queen Hester, very necessary, newly made and imprinted this present
Yere 1561, at London by Wyllyam Pickerynge and Thomas Racket.' 1 This piece is partly
a biblical drama, partly a Morality; Vice is curiously enough represented by a jester, Hardy-
dardy. Different from this, and probably with more resemblance to our pieces is a piece
mentioned in Henslowe's Diary: 'Hester and Ahasuerus', which was acted by the Lord
Chamberlain's players on the 3rd of June 1594. Of these, as is well known, Shakespeare
was one. Again, an interlude was written in the seventeenth century, entitled 'Ahasuerus
and Esther.' It is ascribed to Robert Cox, and is to be found in Kirkman's 'Wits or Sport
upon Sport,' printed in 1672.
In the German piece, the clown is called Hans Knapkitse. He has the same con-
test with his wife for the mastery as Jann Posset in Ayrer's 'Edward III.' He is a carpenter,
who builds the gallows for Haman, and hangs him upon it. "In this shadow" says Tieck
we may always recognize the dramatic poet who has stage-effe<;ts at his command, so that
the management and connection of the scenes betrays a very different spirit to the histo-
rical pieces of Hans Sachs, or those which Ayrer composed without any foreign modeJ.2
No. 2 certainly has an English model, for, as Tieck justly observes, it is well put
together and clearly executed. 'The Prodigal child' is a piece mentioned in 'Histriomastix'
in 1610, and as early as 1568 a piece entitled 'Prodigality' was acted at Court, but this
in all probability was a Morality.
The third piece in this collection, the 'Comedy of Fortnnatus,' is interesting, because
perhaps it enables us to conclude what was the original form in which this apparently
very popular piece was played upon the old English stage. In Henslowe's Diary we find
the piece continually mentioned between the years 1595 and 1599. "The 3 of February
1595, received at the first part of Fortunatus iijli." It is probable that a second part ap-
peared shortly after, for it is afterwards mentioned in Henslowe simply as ''Fortunatus."
But in November 1599, a new version of this piece was written by Thomas Dekker: "Re-
ceived of Philipp Hinchlow, to pay Thomas Dekker, in earnest of a. booke called the hole
history of Fortunatus, xxxxs." The piece was played at Court the same year, on which
occasion Dekker was obliged to make an alteration, as appears from two other entries in
1
See J. P. Collier History etc. Vol. ii, p. 253.
1
Deutsche& Theater, Vol. I, preface. - Hans Sachs wrote a play called 'Hester', and there is also an
old Dutch play treating the same subject, and io which Haman is hanged. See Floegel, Guchichte der komischen
Litteratur, Vol. iv, p. 339.
ex SHAKESPEARE IN GERMANY.
Henslowe. Dekker's version was printed in 1600. Tieck's conjecture, that the subject was
known on the stage long before 1595, does not appear to have any foundation. But we
may see from what has been already stated how popular this piece must have been from
1595 to 1600, and how natural it was that it should recommend itself to the notice of the
English actors who came to Germany at that time. It is impossible however to determine
with certainty whether it was played in Germany in its first form or in that of Dekker's
version, for when we consider the coarse and arbitrary treatment of the German
the absence from the German piece of certain touches which are found in Dekker, cannot
be admitted as any evidence. The conclusion therefore, which Tieck would draw from the
German form of the piece respecting that of the English one before Dekker's version, ap-
pears somewhat hazardous. Just as in Dekker, the scene lies partly in the Dominions of
the Sultan, partly in England. When the scene is changed, Andalosia says "Now I am in
London" ("Nun bin ich zu Lunden") It is worthy of remark that in this piece the clown
(Pickelhering) has no regular written part, but whenever he enters we always find "Here
the clown acts something", a certain proof that the editors of this volume were still in the
old leaven.
The fourth piece seems to shew external traces of an English model, but we have
not hitherto been able to discover what that model was. The English Prince is named
'Serule,' the Scotch Princess, 'Astrea'. England and Scotland are at war; during the battle
the Prince becomes enamoured of the enemy's daughter, and takes advantage of a truce
to obtain aceess to her in the disguise of a fool. One of the characters is named Runcifax,
a master of the black art, which strongly reminds us of 'Runcifall the Devil,' in Ayrer!'
'Beautiful Sidea'. Tieck says: "This comedy is one of the oldest." Upon what grounds this
assertion is founded., does not appear, unless perhaps Tieck may have known the English
prototype. The other perl'ons represented are the King of England, the King of Scotland,
and an attendant.
Accorcling to Tieck 'Siclonia and Theagene' is the weakest piece in the collection,
and shews few traces of an English origin. In addition to the characters from which the
piece takes its name, there are the following: Calarissis, Sidonia's father, Chrasilea her
mother, Nausidus, an old paramour, Cnemon, a peasant, a boy, and Alcke a maid. We may
remark here, in passing, that a piece entitled 'Theagines and Chariclea' was played at the
English Court as early as 1574.
The sixth play, obl'erves Tieck, is one of the most remarkable, on account of the
boldness with which it mixes up ancient English history with allegory. Arcial and Ellidor
are alternately driven from the throne, during which changes the parasite always torments
aml !:'eoffs at the fallen qupen, while the honest K obody is accused of al1 manner of vice:-,
prineipally by the rascally Somebody, although he is really the most virtuous, un:;elfish,
aiHl gemrous character. The satire is very palpable, but is popular and well-sustained.
Tukeu as a, whole, the piece has its merits, notwithstanding the jargon in which it is
written. It:- Engli:o>h prototype is and Someltody, with th( true Chronide History
SHAKESPEARE IN GERMANY. CXI
of Elydure, who was fortunately three several times crowned Kinge of England. Acted by
the Queen's Servants.' 4to. s.l. (circa 1603). The principal characters of the German piece
are: Marsianus and Carnie}, two Counts, King Arcial and his Queen, King Ellidor and his
Queen. Somebody (Jemandt), Nobody (Niemandt), Nothing, Nobody's servant, Nothing at
all, Nobody's boy (Gar nichts, Niemandt Jung).t
The next two pieces of the collection are printed in the present work, together
with an English translation:
THE TRAGEDY OF JULIDS AND IDPPOLYTA.
(See p. 113-156.)
At the :first glance at this piece we recognize the strong resemblance which the
story bears to the principal plot in Shakespeare's 'Two Gentlemen of Verona.' We are
acquainted with the source of the underplot in Shakespeare's play, Julia's love to Proteus,
in the Story of Felismena in the second book of Montemayor, but the source of the trea-
chery of Proteus to his friend has not yet been discovered. Here now we have a drama
based upon this conflict, and if we may trust the title of our collection, which is simply
called 'English Comedies and. Tragedies,' we must assume the existence of an English play
from which the German has proceeded. Such a play has not yet been brought to light,
and it appeared to us all the more necessary for that very reason to make our readers
acquainted with the German piece in its entirety. The small amount of dramatic skill which
this composition displays, is no ground for denying the existence of an English model, for
of all the pieces in the collection, just this one has evidently been the most mutilated, as
appears from the manner in which at many places the dialogue is abruptly broken off in
the middle. Indeed there is every reason to conjecture that this piece is only a fragment
constituting only an episode in a more comprehensive subject, as Tieck justly observes. If an
English piece with a similar plot should ever be discovered, it will probably turn out to be a
far more complicated composition; but we shall find in this, as in all other cases, that Shake-
speare only borrowed from his sources the outward sketch of his sublime creation. For no
inferior poet of his times could ever have conceived the beautiful contrast between Valentine's
generous confidence, and Proteus's treacherous vacillation, and yet none but the work of
an inferior poet could ever have passed into such utter oblivion. Our German piece has
of course no trace of this beauty. Its snbject is nothing more than the conflict of friend-
ship with love, and the victory of passion over good faith. But in this it is the only
dramatic counterpart to Shakespeare's play; and to this- circumstance alone is it imlLhted
for our attempt to rescue it ftom oblivion.
' A Dutch play Yemant Bn Niemant by l!!uac de Vus, 4to. 1661 is probuLly 1111 imitutiun from till' (;Pr-
man piec!'.
cxu SHAKESPEARE IN GERMANY.
THE TRAGEDY OF TITUS ANDRONICUS.
(See p. 157-236.)
Titus Andronicus, though inferior in dramatic merit to all the other plays of Shake-
speare, nevertheless betrays numerous traces of his genius. But apart from these it must
always possess a peculiar value for the critical lovers of the great poet, as an evidence
of the manner in which at the commencement of his splendid career, he accommodated
himself to the then existing customs of the theatre, and the taste of the public as he found
it at the time. It is well known that this piece passed through several forms before it
assumed the one in which it appears in the folio of 1623. The Editors of the latter have
added an entire scene which is wanting in the quarto editions, and the quartos do not
present the piece in its original form. Whether Shakespeare found the piece already in
existence and produced a new version of it, or whether he was the first to treat this sub-
ject at all, is a question which we cannot. discuss here, and which probably will never be
decided; but every circqmstance is of considerable importance, which enables us to arrive
at any conclusions respecting the original form of the piece. Now in our German 'Lam-
entable Tragedy' we have the play in all probability, in a form copied from the first de-
sign. But the coarse feeling, which was interested in the mere external action alone and
not in the dramatic development, has prevailed in the treatment of this as well as almost
all the other pieces in the collection, for the principal object has evidently been to reduce
the p _ i ~ e to the smallest possible compass. Thus it is, that motives such as the feigned
madness of Titus, who suggests to the Empress the idea of a disguise, are passed over in
silence, an omission not at all extraordinary in such a version as this. We cannot make
the original piece responsible for these absurdities, but if we disregard them, the original
form of Shakespeare's tragedy, as Tieck has already observed, may still be distinctly seen
to glimmer through. No notice has hitherto been taken of a circumstance in the German
piece, which enables us to fix with tolerable certainty the date of the English one. In
the year 1591, a piece entitled 'Titus and Vespasian' was performed on the London stage.
i It must have been very popular, for from the 11th of April 1591 to the 15th of January
1593, it is very frequently mentioned by Henslowe. In Shakespeare's 'Titus Andronicus'
there is no V espasian; no one therefore could ever imagine that the piece alluded to by
Henslowe was the original form of the Shakespearian piece. A far more probable sup-
position is, that the subject must have been the destruction of Jerusalem, during the reign
of the Emperor Vespasian, by his son Titus. But in our German Titus Androilicus, a
Vespasian is one of the principal characters. It is a fictitious, and no historical personage.
In the beginning of the piece he appears as the partizan of Titus Andronicus, for whom
he claims the throne of Rome, but towards the end he is suddenly transformed into his
son and avenger, who at the conclusion obtains the crown, - one of those instances of
a confusion of characters to which we have already alluded, and which are strong evidence
of the carelessness with which this German version of the piece was made. We may
IN GERMANY. CXIll
safely assume that this Vespasian, like all the other characters of the German piece, was
taken from the original 'Titus Andronicus,' and thus we should have to acknowledge that
'Titus and Vespasian' as the original on which Shakespeare's play was founded. In his
first mention of it, under the date of April 11, 1591, Henslowe designates it on the margin
with ne, which, with him, always signifies a piece given for the first time. This nearly
agrees with what Ben Jonson says in the Introduction to his 'Bartholomew Fair,' first
acted in 1614: "He that will swear 'Jeronimo' or 'Andronicus' are the be:-;t plays yet, shall
pass unexpected at here, as a man whose judgment shows it is constant, and hath stood
still these five-and-twenty or thirty years. Though it be an ignorance, it is a virtuous
and staid ignorance; and next to truth a confirmed error does well." Ben Jonson's twenty-
five years, which in 1614 had elapsed since the time when Titus Andronicus first came
out, would give the date of 1589. He might easily have made an error of a couple of
years, as it was not his object in the above passage to fix a date. On the 23rd of Ja-
nuary 1593, the piece is first mentioned under the name of 'Titus Andronicus', and again
with the addition ue; it is probably therefore the recast of the piece, as we have it in the
folio of 1623. It was first published in 1600 without Shakespeare's name.I
All the succeeding pieces in the collection of the 'English Comedies and Tragedies'
are undoubtedly of English origin, but when we consider the extremely arbitrary treat-
ment that has been the lot of these farces, which are much further removed from their
models than the greater pieces, we must despair of ever discovering the English originals,
most of which are probably no longer extant. In the five "English Acts" we have at any
rate genuine English Jigs, in rhyming verse, which were half sung half spoken, and, as in
England, were performed between the acts, or at the end of the piece.
In the year 1630 a second collection, professedly of 'English Comedies and Trage-
dies'2 was published, but it contains little English matter. 'Silvia and Aminta' is a new
1
An old Dutch imitation of Shakespeare's 'Titus Andronicus' is: Aran en Titu8, of lVraak en JVeer-
wraak: Trevrspel van Jan Yos. 4to. t'Amstelredam 1641. Not Jess than eleven editions of it had been publislwd
by the year 1661, and even after that date it maintained its popularity on the Dutch stage. Salomon van Rusting
gave a version of it in 1712, and Jacob Rossenu another in 1716. For a comparison of the Dutch and th(
English play see W. Bilderdijk, Bydragen tot de Tooneelpof::y. 8vo. LeydPn 182:1, p. 13-!JO. - See also Albert
Cohn, Old En,qlish Actors in Germany, Athenreum 1850, July 13, p. 738, and Id. Shakespeare on the early Ger-
man sta.fJe, Athenreum 1851, Jan. 4, p. 21, where more particulars about Dutch imitations of the 'Titus Andro-
nicus' are to be found.
2
Liebeskampff, oder Ander Tlleil der Engelisclten ComOdien vnd Tragodien, in welclten sehr 8Chrine aufser-
lesene Comodien vnd Tragodien zu bejinden vnd zuvor nie in Druck aufs,qe,qan,qen. Gedruckt im Jahr 1630. 8vn.
1. c. (Conflict of lor:e, or the second part of the English Comediu and Tragediu, in which are found most excellent
and select Comedies and Tragedies, ner:er printed before.)
1. Comoedia r.on Jlacht des kleinen Knaben Cupidinis. (Comedy of the little boy's Cupid power.)
2. Comoedia r:on Aminta vnd Sill'ia. - 3. Cmnoedia ton Prob getrewer Lieb. ( Cmnedy of the trial of true
lote.) - 4. Comoedia !'On Koenig Mantalor's vnrechtmiifltigen Liebe f'nd derselben Straff. (Comedy of King Alan-
talor's unlawful love and its punishment.) - .'). Singe Cmnoedie. (Singing Cmnwy.) - G. Singe Comoedie. -
7. Tragi Cmnedia. - 8. Tragoedi vnzeitiger Vorwitz. (Tragedy of untimely curiosity.)
p
CXIV SHAKESPEARE IN GERMANY.
#
verswn of the Aminta of Tasso, but it may possibly have been based on the English Pastoral
of the same name by John Reynolds, which appeared in 1628. The last piece in the vo-
lume is founded on a tale of Cervantes 'El curioso impertinente ', and, as Tieck observes,
often follows the Spanish text with literal exactitude. The pieces of this collection have
a very different general physiognomy from the old English pieces of the first; and even
when the subjects may be of old English origin, the traces of the models are entirely
effased, and can no longer be distinguished. The language is in the stilted style which was
the fashion of the literature of the times, and displays the same coquetry with learning.
The Clown has constantly scraps of Latin in his mouth, and grace of expression is sought
for in the admixture of numerous foreign words. The Clown is introduced under various
names: he is called 'Hans Worst', 'Schriimgen', 'Schampitache' [Jean Potage]. The com-
positions are flat, and to seek for dramatic effect in them, of which some of the pieces
in the first collection are not quite destitute, is out of the question. A third collection in three
volumes appeared in 1670. It is entitled 'The Scene of English and French Comedians'
('Schauplatz Englischer und Franzt'>sischer Comoedianten'). All the English pieces it con-
tains are taken from the first collection. It also contains a few pieces of the second
collection, and the remainder of the work consists in French pieces after Moliere and others.l
It would be an error to imagine that in the first of these three collections we pos-
sess the entire stage library of our English Comedians. Through the care of an officer of
the Dresden Court, a catalogue has been preserved of the pieces which were acted there
by the English Comedians in 1626.2 The following is a literal transcript of it:
1
Schaubuhne vnd Franzos. Comodianten au.ff welcher werden vorgestellt die scho118ten vnd neue-
sten Comodien, so vor wenig Jahren in Frankreich, Teuuchland vnd anderen Orten .... seynd agirt tnd pra&entirt
worden. 3 vols. 8vo. Frankfurt 1760. Vol. i. 1. Amor der Arzt. - 2. Die ComOdia ohne Comodia. - 3. Die
ko"stliche Liicherlichkeit. - 4. Der Hahnrey in der Einbildung. - 5. Die Halmreyinn nach der Einbildung. -
6. Die Eyjrende mit ihr selbst. - 7. Antiochus, eine Tragicomodia. - 8. Die buhlha.ffte Mutter. - 9. Damons
Triumphspiel. - Vol. ii. 10. Von Sidonia vnd Theagene.- 11. Der Verliebten Kunstgrif!e.- 12. Lustiges Pickel-
hiiringsspiel, darinn er mit einem Stein gar artige Possen macht. - 13. Von Fortunato seinem lViinschhutlein tnd
Seckel.- 14. Der unbesonnene Liebhaber.- 15. Die grossmiithige Thaliklea. - Vol. iii. 16. Vom Konige Ahasvero
vnd Esther vnd dem ho.ffartigen Haman. - 17. Vom verlohrenen Sohn in welchem die Verzweifelung vnd die Hoff-
mmg !Jar artig introduciret worden. - 18. Von K5nigs Mantalors vnrechtmiissiger Liebe. - 19. Der Geitzige. -
20. Von der Aminta und Sylvia.- 21. Macht kleinen K1Ulben Kupidinis. - 22. George Dandin oder der ver-
wirrte
(TI1e stage of English and French Comedians on which are represented the most beautiful and newest come-
dies as they have been. acted and represented a jew years ago in Germany, and other places. 3 vols. 8vo.
Frankfurt I 670. Vol. i. 1. the physician. - 2. The Comedy without comedy. - 3. The precious absurdity.
- 4. The in imagination. - 5. The Cuckoldess in imagination. - 6. The woman in a with her-
self. - 7. Antiochus, a tragi-comedy. - 8. The wanton mother. - 9. Damon's Triumph-play. - Yol. ii. 10. Si-
donia and Theagene. - 11. Lover's tricks. - 12. A merry clown's play, in which he performs right merry
tricks wit!t a stone. - 13. Fortunatus' wishing cap and purse. - 14. The thoughtless lover. - 15. The generous
Thaliclea. - Vol. iii. 16. King Ahasverus and Esther and the proud Haman. - 17. The reprobate son, in which
and hope are prettily introduced. - 18. King unlawful love. - 19. The miser. - 20. Aminta
and Silcia. - 21. The power of the little boy Cupid. - 22. George Dandin, or the puzzled husband.)
I am inuehto.>d for this valuable communication to Mr . .Moritz Fiirstenau of Dresden. The catalogue,
which is written by the above-mentioned officer, is in an Almanac, published by Mag. Johannes Kretzschmer, 8\o.
SHAKESPEARE IN GERMANY. cxv

''May 31. Dresten. Ist der Haupt Vogell abgeschossen vnd Landgraf Georg Koenig
worden, auch haben die Engelender eine Comoedia von Hertzogk von Mantua vnd den
Hertzogk von Verona gespielt auff den steinern sahl." (May 31. At Dresden. The great
wooden bird has been shot down, and Landgrave George become King of the marksmen,
and the English have represented a comedy of the Duke of Mantua and Duke of Verona
in the Marble- hall.)
.Junius 1. Dresten. Ist eine Comedia von der gespielt worden. (A comedy of
2.
4.
5.
6.
8.
9.
11.
20.
21.
24.
25.
27.
28.
Julius 3.
5.
7.
9.
11.
13.
Christabella acted.)
Ist eine Tragoedia "o11 Romeo "11d Julietta gespielt worden.
Ist eine Comoedia von Amphitrione gespielt worden.
1st eme Tragicomoedia von Hertzogk von Florentz gespielt worden.
1st eine Comoedia vom K5nig in Spanien vnd den Vice Roy in Por-
tugall gespielt worden.
1st eine Tragoedia 1.:011 Julio Cuare gespielt worden.
1st eine Comoedia von der Crysella gespielt worden.
1st eine Comoedia vom Hertzog von Ferrara gespielt worden.
* 1st eine Tragicomedia von Jemandt vnd Niemandt gespielt worden.
(Tragi-comedy of Somebody and Nobody)
1st eme Tragicomoedia von K5nig in Dennemark vnd den K5nig in
Schweden gespielt worden.
1st eme Tragoedia "on Hamlet einen pri11tzen ill Dennemarck gespielt
worden.
1st eme Comoedia von Orlando Furioso gespielt worden.
1st eine Comoedia von den Koenig in Engelandt vnd den Koenig in
Schottlandt gespielt worden.
1st eine Tragoedia von Hieronymo Marschall in Spanien gespielt worden.
* 1st eine Tragicomoedia von dem Hamann vndt der Koenigin Ester
gespielt worden.
1st eine Tragoedia von . der Mitrtherin Dorothea gespielt worden.
1st eine Tragoedia von Dr. Faust gespielt worden.
Ist eine Tragicomoedia vor.1 einem K5nigk in Arragona gespielt worden.
* 1st eine Tragoedia von Fortunato gespielt worden.
1st eine Comoedia von Josepho Juqen von Venedigk gespielt worden.
Hi26. Such almanacs were often used as diaries. It contains the memorandum: ''No.2, 1626, ckr jungen Jlerrn,"
was probably therefore in the possession of the sons of John George the first, and the notes will therefore havE'
been made by an officer of the court of the young princes. In the same volume there are al'!o the
for 1621 to 1625, 1627 to 1630, but with the exception of that for 1627, which contains the statements referring
to this year, which will be found above, p. cx,ii, we meet with no notes in them of any interest fur our present
subject. The handwriting is the same in both almanacs. -All these statements ha\e been kindly communicated
to me by Mr. Filrstenau.
P2
CXVI SHAKESPEARE IN GERMANY.
Julius 22. Dresten. 1st .eine Tragicomoedia von den behendigen Dieb gespielt worden.
- 23.
- 31.
Augustus 2.
29.
Sept. 4.
6.
15.
17.
19.
22.
24.
26.
29.
Oct. 1.
4.
19.
22.
29.
Nov. 5.
Decem b. 4.
(Tragi-comedy of the dexterous thief) [worden.
1st eine Tragicomoedia von einem Hertzogk von V enedig gespielt
Ist eine Tragoedia von Barrabas, Juden von Malta gespielt worden.
1st eine Tragicomoedia von dem alten proculo gespielt worden.
1st eine Tragoedia von Barrabas, Juden von Malta gespielt worden.
(See July 31.)
1st eine Comoedia von Hertzogk von Mantua vnd den Hertzogk von
Verona gespielt worden. (See May 31.)
1st eine Tragicomoedia von dem alten proculo gespielt worden.
(See Aug. 2.)
1st eine Tragicomoedia von Hertzogk von Florentz gespielt worden.
(See June 5.)
1st eine Tragicomoedia von den behendigen Dieb gespielt worden.
(See July 22.)
1st eine von Konig in Spanien vnd Vice Roy in Portugall
gespielt worden. (See June 7.)
1st eine Tragicomoedia von den behendigen Dieb gespielt worden.
(See July 22 and Sept. 17.)
Ist eine Comoedia von Hertzogk von Ferrara gespielt worden. (See
June 11.)
1st eine Tragoedia Lear, Kiinig in Engelandt gespielt worden.
1st eine Tragoedia Romeo Julietta gespielt'worden. (See June 2.)
1st eine Tragoedia von der Ma.rtherin Dorothea gespielt worden.
(See July 5.)
1st eine Tragicomoedia von Gevatter gespielt worden. (Tragi-comedy
of the God-father).
* 1st eine Comoedia von Sohn gespielt worden.
Ist eine Comoedia von den Koenig in Engelandt vnd den Konig in
Schottlandt gespielt worden. (See June 27.)
1st eine Comoedia von den Graffen von Angiers worden.
1st eine Comoedia von Josepho Juden von Venedigk gespielt worden.
(See July 13.)
1st eine Tragoedia vom reichen Mann gespielt worden. (Tragedy of
the rich man.) 1
1
Another officer has still preserved some notices on these performances., without naming the performed
pieces. His notices are found in a similar almanac entitled: Alt tmd New Schreibcalender au.ff das Jahr M.D. c. xxvt,
mit 1
1
'/eifs gerechnet durch Simone1n Partlicium von Spitzberg etc. 8vo. Erft'urdt, Martin Spangenburgk. (Old and
new writing-almaooc for the year 1626, purposely counted by Simon Partlicio von Spitzberg.) As his notices
contain some additional information, we subjoin them here:
SHAKKSPEARE IN GERMANY. CXVII
The following items refer to. the year 1627:
Dresden. Febr. 2, 4, 8, 14, haben die Comoedianten gespielet. (The Comedians have acted.)
- 15. Haben die Engelander abermalfs agieret. (The English have acted again.)
In April 1627 the Court removed to Torgau on occasion of the wedding festivities
to which we have already alluded, and the actors accompanied them.t
The * annexed to four of the above pieces denotes that they are to be found in
the 'English Comedies and Tragedies'. Perhaps also the 'Comedy of the King of England'
is identical with No.4 in that collection,- perhaps it is the same piece which was played
in Cassel in 1607, entitled, 'Two Kings of Britain at war'. (See p. lviii.) The 'Comedy of
Amphytrion' was probably one based on Plautus. At a later period J. Dryden and L. Eckard
treated the same subject. The Comedy of Orlando Furioso was probably Robert Greene's
piece of that name. In the Tragedy of Hieronymo we have again the 'Spanish Tragedy',
a subject which had also been handled by Ayrer.2 The 'Tragedy of Doctor Faustus' is
undoubtedly Christopher Marlowe's 'Tragicale Historie of Doctor Faustus'. The 'Comedy
Majus 29. Pfingstmontag. Zu Drefsden Stillager. Haben die Englische Comedianten unter der Abendt-
malzeit im Kirchsahl eine Comediam gespielet. (The English Comedians have represented a comedy at supper
in the room near the chapel.)
Majus 31. Quatember. Zu Drefsden Stillager. Hat der Rath alhier ein Vogelschiefsen gehalten. Auch
haben die Englische Comedianten uffn steinern Sahl eine Comediam gespielet. (Quarters at Dresden. Shooting
at a wooden bird. The English Comedians acted a comedy in the Marble-Saloon.)
Junius I. Nicodemus. Zu Drefsden Stillager. Haben die Comedianten abermahlfs agiret. (The Come-
dians acted again.)
Junius 2. Marcellus. . . . 1st von den Englaendern ein Tragoedia gespielet worden. (A Tragedy acted
by the Englishmen.)
\Junius 4. Trinitatis .... Haben die Co.medianten agiret vnd Michael Molichs Sohn sambt ein Engelander
getanzet. (The Comedians have acted, and Michael Molich's son and an Englishman have performed a dance.)
(June 5, 7, 8, 9, 11, 20, 21, 24, 25, 27, 28. The Englishmen acted again.)
Junius 29 .... Auch ist einer von den Englischen Comedianten heute friihe zu Drefsden gestorben. (This
morning one of the English Comedians died at Dresden.)
Julius 3. Spielten die Englander wieder. (The Englishmen acted again.)
1
The officer to whom we are indebted for the above catalogue of the pieces performed, has made the
following notes of the performances in the Almanac of 1627.
5. Aprilis. Zu Torgau Stillager. Raben lhre Churf. D.(urchlaucht) abermabls im Coburgischen zu Mittag
taffel gehaltenn vndt hernacher den Comedianten zugehOrtt. (In Torgau quarters. Their Electoral Highnesses
have again dined in Coburg, and afterwards heard the comedians.)
6. Aprilis. Haben die Chur- vndt Fiirstliche Personen abermahls den Comedianten zugehOrtt. (The
Electoral and Princely personages have again heard the comedians.)
8. 9. Aprilis. Spielten die Englander wieder. (The English actors played again.)
13. Aprilis. Haben die Chur- vndt Furstlicben Personen ein Bogenschief.sen gehalten vndt uffn Abendt
der Musicalischen Comedian zugehOrtt. (The Electoral and Princely personages have held a shooting match with
the bow, and in the evening heard a musical comedy.) [Daphne, see Fiirstenau.]
(April 24, 25, 28. The English actors played again.)
6. Majus. Haben die Comoedianten gespielet vndt darauff von Ihrer Churf. D. Ihre Abfertigung erlanget.
(The comedians have played, and afterwards received their dismissal from their Electoral Highnesses.)
1
The same play must have been very popular on the Dutch stage, as we know three editions of a Dutch
version of it by Adrian van der Bergh: Jeronimo Marachalck van Spanje, Treurspel. 4to. 1621, 1638, and 1644.
cxvm SHAKESPEARE IN GERMANY.
of Josephus a Jew of Venice' is probably a piece, of which a MS., hitherto quite unknown,
is in the Imperial Library at Vienna, and is entitled, 'A Comedy, called the wisely pro-
nounced judgment of a female student, or the Jew of Venice', ('Comoedia genandt dass
wohl gesprochen Urtheil eynes weiblichen Studenten, oder der Jud von Venedig'). It ap-
pears to be a mixture of Shakespeare's 'Merchant of Venice', and Marlowe's 'Jew of Malta'.
The name of the Jew is Barrabas, as in Marlowe, but there are passages in the last act
which coincide exactly with passages in Shakespeare's play, and the three lovers who woo
Ancilla, the daughter of a counsellor, and her indecision, remind us of the story of the
caskets.! It is also possible that this play is a version of Thomas Dekker's 'Jew of Venice,
which appears to be irrecoverably lost. The following piece, the 'Tragedy of Barrabas,
the Jew of Malta', is of course Marlowe's piece.2 It is hardly necessary to observe that
the pieces printed in Italics, are Shakespeare's Romeo and Juliet, Hamlet, King Lear, and
perhaps Julius Cresar.
It is worthy of remark that many of these plays maintained their ground for many
years on the Dresden and other stages. In the years 1631 and 1632, 'Orlando Furioso',
'Julius Cresar', and a 'Tragedy of Prince Serule and Hyppolita' (probably No. 4 in the col-
lection of 'English Comedies and Tragedies') were performed again.3 On the occasion of
the marriage of Prince John George II. with Magdalene Sibylla of Brandenburg, an
English Comedy was performed on the 5th of December 1638.4 On the 11th of Sep-
tember 1646, we have again the 'Prodigal Son', and on the 12th, the 'Comedy of the
proud youth, Eucasto', undoubtedly an echo of the English play 'Every Man', on the
15th of October, "Romeo and Juliet', on the 17th of the same month, the 'Tragedy of
the rich man and the poor Lazarus', unquestionably the same piece as that which . stands
last in our catalogue of 1626; on the 4th of November 1651, the 'Comedy of the Duke of
Mantua, and the Duke of Verona'. On the 5th of December 1652, "the English Comedians
acted a comedy of the Emperor Diocletian and Maximinus with the shoemaker." An Eng-
lish piece, entitled 'Dioclesian', had been played in the Rose Theatre as early as 1594. At
a later period Beaumont and Fletcher wrote a play on the same subject, entitled 'The
Prophetess' (licensed in May 1622, printed for the first time in 164 7 ). On the 1Oth of
December 1652, the same actors played a piece, 'Of the four royal brothers in
and 'Somebody and Nobody'. The English Comedians are again mentioned in 1659. In
March, they act the 'Farce of Pyramus and Thisbe', in June, 'King Lear and his two
daughters', in November, a 'Comedy of the four resembling brothers, and the noble stranger,
"as the Englishmen had translated them". On the 26th of February 1661 we haYe the
1
I owe this information to Mr. Joseph Haupt of the Imperial Library, Vienna.
An early Dutch version of Marlowe's piece is: Joodt mn Malta, ofte door .Moordt, Tretr-Spe.l.
(;ergmt door Gysf,ert de Silfe. 4to. Tot Leyden, 1645.
3
Mor. Fiirstenau, Zur Geschichte etc. p. 102.
' See Ant. Week, Der ... Residentz- und Haupt- Vestung Drl',f.Yden Beschreibung und rorstellung. fol.
1680, p. 370.
SHAKESPEARE lN GERMANY. CXIX
'Tragi-comedy of the Moor of Venice', which is of course Shakespeare's Othello. The Co-
medies of 'Amphitrione' and 'The old Proculus' were again produced in 1663, as also in
June 1664 'Orlando Furioso ', and in February 1665 'Ahasuerus, Esther and Haman'. In
the year 1671 we meet again in Dresden with two Englishmen, whom we have already
met with above in 1650: Gideon Gellius [Giles], and John Bapt Waydt, of whom the former
is here entitled Master of the exercises, the latter, Comedian. In the year 1672 the Electoral
Family made some stay in Torgau, and the comedies of 'Christabella', and 'Chrysella' were
again revived. In February of the same year, 'Peter Squenz, a comedy' was again per-
formed in Dresden. In 1674, we meet with 'Josephus, the Jew of Venice', in 1676, 'King
Lear of England', in 1678 'Christabella' again, also 'Amphitrion', 'Romeo and Juliet', the
'Old Proculus', and a piece which had not been mentioned before, the 'Comedy of the
angry Catharine', a version of Shakespeare's 'Taming of the Shrew', to which we shall
have occasion to refer at a later page. ,
The representation of these plays was by no means confined to the Dresden stage;
on the contrary it is an ascertained fact that they became the property of all the companies
throughout Germany. We know for instance the acting library of a c o m p ~ y , which soon
after 1650 addressed a petition to Duke Gustavus Adolphus of Mecklenburg Schwerin, who
resided at Gustrow, that they might be allowed to wait on him 'with some . actions in the
English manner'. They had already performed several times in the town. Among the
pieces which they had with them, we find 'Of the proud Haman, and the humble Esther',
'The quarrel between England and Scotland', 'The beheading of the King of England', pro-
bably the same piece we have already met with in Windsheim,
1
1656, 'Diocletian', 'Julius
Cresar ', the 'Martyr Dorothea', and others.2 In this manner we find that these English
dramatic stories had made the round of all Germany, and we are justified in asserting that
they were in complete possession of the German stage of the seventeenth century. Besides
these new versions with which we have become acquainted through the first part of the
'English Comedies and Tragedies', some others have also been preserved, two of which we
present the reader in a complete form, and with an English translation annexed: an old
German 'Hamlet', and a 'Romeo and Juliet'.
1
Andreas Gryphius wrote a Tragedy: "Ermordete Majestat oder Carolu.s Stuardu.s KOnig t1on GrojB-
Britannien" which must have been a different piece, as it was only composed in 1663.
1
H. W. Barensprung, Vermch etc. p. 26-27. All the members of the Company were Germans. At
the head of it stood "Caspar Stiller mit seiner fraw, als meister, aus Hamburg" (C. S. with his wife, as man-
ager, from Hamburg).
cxx SHAKESPEARE IN GERMANY.
FRATRICIDE PUNISHED, OR PRINCE HAMLET OF DENMARK.
(See p. 237-304.)
There can be no doubt that there existed a far older German version of this piece
than the one with which we are acquainted; and the latter is probably only a weak copy
of the former, which will have stood in the same relation to the original form of the
German piece, as the pieces of the 'English Comedies and Tragedies' to the form in which
they were originally acted in Germany. About the year 1665, this piece was performed
by the V eltheim company, but it is of a much older date than this, for we find it in the
Dresden stage-library in 1626, and even then it was no new piece, as there is every reason
to believe that it had been brought to Germany by the English players as early as 1603.
The piece most nearly to that fonn of Shakespeare's Hamlet which we find in
the Quarto of 1603ftAs in the latter, so also here Polonius is called Corambus; and notwith-
standing the very modernized form of the prologue, it bears so completely the stamp of the .
old English stage, that as Mr. Will. Bernhardy observes "we are tempted to assume that Hamlet
must have appeared on the English stage in an earlier form than that of the Quarto of 1603,
and that the German piece is a weak copy of the earlier form, little as the genius of the great
poet appears in it, even in this later version.
1
But what is most particularly striking is the
contrast between the prologue and the matter of the play itself. Almost all poetice motion has
disappeared from the latter, which presents us with nothing more than a mere dry skeleton of
the Shakespearian piece, while the prologue, in spite of all its coarseness, has many curious
poetical touches and expressions, which curiously enough, remind us of the modes
of expression in Shakespeare and his contemporaries. It is notorious that the older Eng-
lish pieces often had prologues in the form of dialogue, and that the introductory words
were not always spoken by one person alone, as in the old German Theatre. These pro-
logues have often been lost because it was not considered worth while to have them
printed; but often also, especially at a later period of the English stage, no prologue was
written, because the practice was considered pedantic, and even Shakespeare had already
spoken against it in his 'Romeo and Juliet'. The persons of the prologue were generally
allegorical and mythological characters, but were sometimes also taken from everyday life,
or from history. Thus in the 'Spanish Tragedy', Revenge and the Spirit of Andrea appear
as prologue, but at the same time they are spectators and speaking characters throughout
the whole of the piece. In Marston's 'Antonio and Malcida', a very remarkable piece, evi-
dently written in imitation of Hamlet, the persons of the prologue are the characters in
1
This opinion was first expressed by Mr. William Bernhardy in an well deserving perusal. and
Pntitled: "Siiakespeare's Hamlet. Ein literar-historisch kritischer rersuch." We follow him in the argument given
above for the establishment of this conjecture. Mr. Be;nhardy's essay is to be found in Hamburger literarisch-
kritische Blatter 1857, No. 49-103. At the conclusion, Mr. Bernhardy promises a thorough critical ime;;tigation
of this interesting subject, which however be has not yet given us. It is to be hoped that he may still fulfil
this promise.
SHAKESPEARE IN GERMANY. CXXI
the piece itself, and its subject is the distribution and description of the different parts. In
that excellent old comedy, 'Wily beguiled', the persons of the prologue consist of an actor
ami a conjurer. In 'Locrine ', Ate is the prologue, and in 'Pericles', the poet Gower. The
prologue, moreover, of the old German Hamlet contains mystical and allegorical personages,
and this circumstance as well as some turns of expression, which forcibly remind us of
English poets, and some harsh un-German constructions appear to establish the foreign
origin of the piece, and that it is a translation. Thus the expression ''Queen of silence"
(Konigin der Stille) remi11ds us of a passage in 'Lust's Dominion', Act i:
spotless night
Empress of silence, and the queen of sleep.
Not less striking is the similarity of the address "Woman of ill fortune" ( Unglilcks-
frau) to the lines in Act iii, sc. 5,
And I the mistress of your charms,
The close contriver of all harms.
and we cannot but remember that also Shakespeare in 'Macbeth' Act ii, sc. 5 speaks of
"black Hecate's summons". Also the turn of expression in the prologue "in order that
those who swim in the sea of murder", ("damit diejenigen, welche in der Mordsee
schwimmen ") and the words of Night, "I soar above" (" lch fahre auf") may be compared
with Henry vi Part I, Act iv, Sc. 7, "And in _that sea of blood my boy did drench", and
Macbeth, Act iii, Sc. 5, "I am for the air". Single passages in the German piece shew
that an edition of the original must have been used which contained passages that are in
the folio, but not in the first quarto, while other passages prove incontrovertibly, that pre-
cisely this quarto must have been the source employed by the translator. Thus, for in-
stance, the Ghost says to Hamlet, "Mark me, Hamlet, for the time draws near when I
must return to whence I came" and concludes his speech with the words "Thus was I
robbed of kingdom, wife and life by this foul tyrant". The forr;ner is evidently taken from
the words which the Ghost uses in our accepted text of Hamlet:
My hour is almost come,
When I to sulphurous and tormenting flames
Must render up myself.
while the latter passage corresponds exactly to the order in which the Ghost mentions the
same things in the original,
Thus was I sleeping by a brother's hand
Of Crowne, of Queene, of life, of dignitie
At once deprived etc.
As the has the entire piece before him in this volume, it will not be neees-
sary to call attention to tlw numerous passages, which, in spite of its dilution by unskilful
hands, place its early origin beyond all doubt. In other places we can distinctly perceive
the hand of the remodeller, who kept in view the circumstances of the theatre of his own
tinfe, and which have given the tone to many passages. His utter want of skill is suffi-
Q
i
CXXII SHAKESPEARE IN GERMANY.
ciently prove.d by his introduction of the comic characters, the peasant Jens and Phan-
tasmo, the fool, both of whom are altogether out of place in the piece. The manner in
which the scenes taken from Shakespeare's tragedy have been vulgarized, the coarse hu-
mour which has been mixed up with the serious incidents, the box on the ears which the
ghost gives the sentinel, and other absurdities, must of course be laid to the account of
the revisor, just as in the case of the 'English Comedies and Tragedies', and not to that of
the actors who first brought the piece to Germany. A remarkable reminiscence, which
enables us to form a conclusion respecting the age of the piece, is Hamlet's relation of an
incident connected with the players in Act ii, Sc. 7. There can be no doubt that this is
the incident which, whether fact or fiction, is introduced in the tragedy entitled 'A Warn-
ing for fair women', written a little before 1590. In that piece as in this, the advantage
of theatrical representations is intended to be proved. The passage is at the end of the
p1ece:
'
In Hamlet,
"A woman that had made away her husband,
And sitting to hehold a tragPdy
At Linne, a town in Norfolk,
. Acted by players travelling that way,
\Vherein a woman that had murdered hers,
Was ever haunted with her husband's ghost,
The passion written by a feeling pen,
And acted by a good tragedian,
She was so moved with the sight thereof,
As she .cried out, the play was made by her,
And openly confessed her husband's murder:' I
Act ii, Sc. 2, Shakespeare alludes to a similar incident, perhaps the
I have heard
That guilty creatures, sitting at a play
Have by the very cunning of the scene
Been struck so to the soul, that presently
They have proclaim'd their malefactions;
For murder, though it have no tongUf, will speak
With most miraculous organ.
same.
Heywood, in his 'Apology for actors', relates the same story, and adds that it had
occurred "at Lin, in Norfolke" at the performance of the 'History of Fryer Francis' by the
players of the Earl of Sussex. But then he relates a similar incident which is stated to
have happened at the performance of the 'Four sons of Aymon' by English comedians at .
Amsterdam. 2
"Another of the like wonder happened at Amsterdam in Holland. A company of our English
comedians (well knowne) travelling those countryes, as they were before the burgers and other the
chiefe inhabitants, acting the last part of the four Sons of Aymon, towards the last Act of the history.
1
See J. P. Collier, History etc. Vol. ii, p. 438.
8
See the Shakespeare Society's reprint, p. 58.

SHAKESPEARE IS GERMANY. CXXIU
where penitent Rinaldo, like a common labourer, lived in disguise, vowing as his last pennance to
labour and carry burdens to the structure of a goodly church there to be erected; whose diligence
the labourers envying, since by reason of his stature and strength, bee did usually more work in a
day than a dozen of the best (bee working for his conscience, they for their lucres) whereupon by
reason his industry had so much disparaged their living, conspired among themselves to kill him,
waiting some opportunity to finde him asleepe, which they might easily doe, since the sorest labourers
are the soundest sleepers, and industry is the best preparative to rest. Having spy'd their opportu-
nity, they drave a naile into his temples, of which wound immediately he dyed. As the actors handled
this, the audience might on a sodaine understand an outcry, and loud shrike in a remote gallery, and
pressing about the place, they might perceive a woman of great gravity strangely amazed, who with a
distracted and troubled braine oft sighed out these words: "Oh my husband, my husband!" The play
without further interruption proceeded: the woman was to her owne house conducted, without any
apparant suspition; every one conjecturing as their fancies led them. In this agony she some few
dayes languished, and on a time, as certaine of her well disposed neighbours came to comfort her,
one amongst the rest being churchwarden: to him the sexton posts, to tell him of a strange thing
happening to him in the ripping up of a grave: See here (quoth he) what I have found; and showes
them a fair skull, with a great nayle pierst quite to the brain-pan: But we cannot conjecture to whom
it could belong, nor how long it has Iaine in the earth the grave being confused, and the flesh con-
sumed. At the report of this accident, the woman, out of the trouble of her afllicted conscience, dis-
covered a former murder; for 12 yeares ago, by driving that nayle into that skull, being the head of
her husband, she had treacherously slaine him. This being publickly confest, she was arraigned, con-
demned, adjudged and burned. But I draw my subject to greater length than I purposed: these
therefore out of other infinites I have collected, both for their familiamesse and latenesse."
It is not a little characteristic of the stage at that time-, that the actors . who first
performed the German Hamlet did not rest satisfied with the mere allusion as they found
it in Shakespeare, but related the incident itself. whether the p a s s ~ g e refers to tiie .. inci-
dent in Norfolk or to that in Amsterdam, it is a striking evidence that Hamlet was trans-
planted to the German stage at a very early period. The later revisor transferred the
scene to Strasburg, as being nearer to his audience. It is probable that the company for
which this new version was adopted, had come from Strasburg, where we have already
seen English players in 1654. (See p. cii). We are inclined to believe that the first form
of the version of the piece now before us was made about that time, but that the form
in which it is here presented to the reader, and in which it has experienced many altera-
tions and dilutions, is to be ascribed to a more modern hand.
TRAGEDY OF ROMEO AND JULIET.
(See p. 305-406).
\Ye liave no evidence to shew that this piece was ever performed in Germany earlier
than 1626, and the version now before us is probably to be attributed to a somewhat
earlier date. The employment of Alexandrines is a proof that it cannot have been. made
before the introduction of that species of verse by the Silesian poets. The places mentioned
Q2
CXXIV SHAKESPEARE IN GERMANY.
at p. 375 of the present impression give no clue as to the place where the play was first
produced, but dialect and orthography point to South Germany or Austria. Neither
have we here the authentic text of the piece as it was played by the English Come-
dians, but a version calculated for the requirements of the stage at a later period, in
which the English element was but very slightly represented in the companies, perhaps
indeed was little more than a reminiscence. The reader will perceive at once that
this piece did not proceed from any of the numerous sources on which the Shake-
spearian tragedy is based. On the contrary, it is Shakespeare's play, almost scene for
scene; many passages indeed are literal translations. Though certainly against the in-
tention of the editor, there are even instances in which really poetical passages have
slipped in from the original unobserved, the poetry of which, however, can only be dis-
cerned after they have been divested of the jargon in which he has clothed them. But
the reader will easily perceive how he has compensated himself for such mistakes,
by the omission of all the finer motives of this magnificent tragedy, as also by the inser-
tion of comic scenes which are utterly devoid of taste, and by their disgusting coarseness
obliterate even the very small amount of tragic feeling of which this author is capable.
But the treasure of poetic thought contained in this sublime fiction is so inexhaustible,
that notwithstanding the mutilated form in which it is presented to us, we can still imagine
that it must have excited immense interest in a German audience of the seventeenth
century.
1
The third ptece of the English stage library of the Dresden company of actors
that has come down to us, is at the same time the earliest iUlpression of a German version
of an entire Shakespearian piece, and is dated 1672. It is an imitation of the 'Taming of
the Shrew,' under the title of "Art above all arts, the taming of a shrew &c."' The Ger-
man Public however had become acquainted with Shakespeare's comedy at a much earlier
date. A piece called: "The surprising marriage of Petruvio with the wicked Catharine" was
1
A Dutch piece must be mentioned here which most probably is in close connection with the German
one: I. Strvys I Romeo I en I Ivliette. I Op de Reghel: I .Naer een te hooghen vaert, en vlucht te seer verbolghen, I
Plack dickmael in't ghemeen een haeste valte volghen. I Ghespeelt op de Amsterdamsche Ca1ner, op Kermis, A
0
1634.1
t'Amsterdam, I Voor Dirclc Cornelifz Houthaeck, Boeckvercooper op de I Nieuwe-zijds Kolek, in't Bourgoens Cruys.
Anno 1634. I 4to. Black letter.
2
Kunst uber alle I Kiinste I Ein biis Weib gut ZU machen. I Vormahls i Von einem Italiiinischen I Cavalier
practiciret: I Jetzo aber I Von einem Teutschen Edel-man gliicklich nachgeahnet, I und I In einem sehr lustigen Pas-
sen- I vollem .Preuden-Spiele I fiirgestellet. I Samt I Angellencktem, sin.qenden I Possen- Spiele I Worinn I Die unnotige
Eyjersucht ei- I nes ~ [ a n n e s artig betro- I gen wird. I Rapperschweyl I Bey Henning Lieblern 1672. I 12mo. (Art
abote all arts, the Taming of the Sllrew, formerly practised by an Italian Cavalier, but now happily imitated !Jy a
German Nobleman, and represented in a rigl1t merry Droll. Anne.red is a Singing-Droll, in whicll the unnecessary
jealousy of a husband is prettily deceived.) 238 pp., the last unpaged contains a poem: Erkliirung des Kupfer-
Tittels. Pages 231-237 are wrongly paged il31-337. The printed title is preceded by an engraved one: Kunst
iiber alle Kunst. Ein b,jf weib I guth Zu machen. I Infra an engraving representing a Cavalier shutting the mouth
of a snake-haired fury with a fox-tail. The 'Kunst iiber aile Kiinste' ends on p. 217. At the foot of the same page
SHAKESPEARE IN GERMANY. cxxv
represented by students of the Gymnasium at Zittau in March 1658 and mai have been
brought to Germany by the English Comedians, long before that date. The piece has not
come down to us,t but from the very title of it we may guess that it followed Shakespeare
more closely than the version of 1672, in which the names of the characters are altered
according to the own taste of the author, whereas in the older version the names of the
principal, and perhaps of all the other, characters of Shakespeare's piece _are preserved in
their original form. The author of the 'Art above all Arts', in an address to the reader,
alludes to frequent representations of the piece on the stage, before he undertook his own
version of it:
"Kind reader. I can say of this comedy that it belongs to another, and yet is also
mine. It belongs to another, because it has not only been often represented by comedians
on the stage, but also because the plot, the old names and phrases shew him who has
seen it and heard it before, that it is of Italian origin. I can call it mine, because I have
begins the Singing-Droll: Singendes I PouenJJ]Jiel I Die doppelt betrogene I EyferBUcht vor- I stellend. (Dom Johannes,
Dessen Frau, Mons. Pickclhering, Seine Liebste, Don Jean von Brabarey, Cavalier.)
This is the description of the copy belonging to the Imperial Library at Vienna, which most kiJtdly was
sent to me at Berlin at my request. - Another copy, formerly in the possession of Gottsched, is at the Grand-
ducal Library at Weimar. It wants the lower part of the title-page with the place of printing and the date,
which Gottsched, and Goedeke after him, fancied to be Rappersdorf 16.52. No bne had seen the Vienna
copy. When Dr. Reinhold Koehler, Librarian to the Grand-ducal Library at Weimar, told me, that he
intended to publish a reprint of the 'Kunst iiber alle Kiinste' from the Weimar copy, considered to be unic!ue;
I drew his attention to the Vienna copy, and from him I learn that they vary in many points. Dr. Koehler's
reprint, with the corresponding scenes of Shakespeare's comedy and many notes, will be soon before the public.
Judging from Dr. Koehler's former publications, we have reason to expect a most careful and valuable work, to
which. I beg to refer the reader who wishes for more particulars respecting the 'Kunst iiber aile Kiinste'.
1
The earliest and indeed the only source to which it can be traced is Gottsched, Nothiger V errath etc.
Vol. I, p. 210, where it is mentioned, under the date of 1658, in conjunction with three other pieces. "Vier
Schauspiele. i. Androfilo oder gottliche lVunderliebe. - 2. Sylvia oder wunderthiitige Liebe. - 3. Der kliigliche
Bezwang. - 4. Die wunderbare Heurath Petruvio mit der bosen Catharine, den .5. 6. 7. Martii auf dem Zittauischen
Schauplatze vorgestellet. Gott glb Delner Crlstenhelt FrieDen bier, Dort SeLigkeit. M. C. K. R. S. P."
Gottsched it appears, took it for granted that the four pieces were printed and that Christian Keimann, at the
time Rector of the Gymnasium at Zittau, is the author of them. He is mistaken in both conjectures. It is almost
certain that 'The surprising marriage' has never been printed. After I had ascertained that none of the prin-
cipal libraries of Germany is in possession of it, I addressed myself to Dr. A. Tobias, the librarian to the Mu-
nicipal Library at Zittau, who not only informed me that no such piece is extant in the library, which moreo\er
has received Keimann's and hii! son's collections of books, but at the same time kindly mentioned the circum-
stances which evidently have misled Gottsched in his conjecture. The four pieces have undoubtedly been repre-
sented at Zittau by the students of the College, and it was a custom on such occasions to print programs of
the performances, containing the ''argument" of the pieces, which by way of invitation were sent to the ~ f u n i
cipal authorities. Such a program of the performances of the 5th, 6th and 7th March 1658 may have come
under Gottsched's notice, and as Keimann, the author of it and the superintendent of the performances, had
put his initials to it, Gottsched took him for the author of the plays themselves - a mistake which is the
more pardonable, llS Kcimann was indeed a dramatic author, of whom several pieces arc preserved. None of
the four picces however, ascribed to him by Gottsched, is his. A list of his works is to be found in H. J.
Kimmel, Cliri&tian Keimann. Ein Beitrag zur Geschichu des ZittatUr Gymnaaiu1118. 4to. Zittau 1856.
CXXVI SHAKESPEARE IN GERMANY.
composed it for its clever style, and have altered it as it pleased me out of my own head,
and have added to it, just as the rapid fancies suggested to me, without much puzzling
my head about it." 1
We learn from this address that in or immediately before 1672 the piece was still
given by the Comedians with the original names of the characters, and as we have the
author's own confession, that he altered it "as it pleased him out of his own head", we
may fairly assume that it was brought before the Public in its genuine Shakespearian
shape. Even in its altered form, in which it is before us, it follows Shakespeare almost
scene by scene, and also the dialogue may, in a great many instances, be retranslated into
Shakespeare's text without many deviations from the language of the German imitator.
The manner in which the latter has acquitted himself of his task, places him far above
those of his predecessors with ,whom we have had to deal in the preceding pages, and
though under his hands too, nearly all the more delicate charms of the Shakespearian muse
have disappeared, it must be admitted that he possesses a certain amount of dramatic power.
The following list of Dramatis Personae in, and extracts from the German piece will convey
an idea of the spirit in which it has been composed and the abilities which are at the
command of its author:
Personen dieses Freuden- Spiels.
Der g<>duldige Hiob in des from men Socratis Rosen, Y orrednt>r.
Herr Theobald von Grifl"lingen .
Juugfer Catharina Hurleputz
Jungfer Sabina Siipmiiulchen
Veit Schnitzer, Diener.
Sibilla Fliihpeltz, Cammermagd.
drssen beyde Ti)cbter
Herr Hartman Dollfedrr, ErbJSas ?.urn "\VUrbelwind, Jungfer Catlsarinen Freyer
Ludolf 'Vurmbrand, Diener.
Herr SPhaJStian ,on t_Tnnrmiigen
Hrrr Alfons ,on Nt>stlingen, ein zeitlang Pin verkleidet>r Musicus
[Baptista.
[ Catharina.
[Bianca.
[ Petruch&o.
[Grumio.
., Edellente nod
[ Gremao I Mitbuhler
[Hortensio\ bey Jnngfer
Sabin en.
1
'' Leser. Von diesem Freudenspiele kann ieh sagen, dafs es eines andern und doch auch
mein seye. Eiu<:>s amlem ist I'S. wei! es nicht allein schon offt von CQmoedianten auft" dem Rchauplatz fiir ge-
stellet worden. sondern aueh die Erfindung. alte N ahmt>n, und Redensarten. deme, so I'S zuvor angesehen und
gehiiret, zeigfn, dafs es von ltalianischem Ursprunge: Mein kann ich es nennen, dieweil ich solchs, wegen seiner
artigfn Manier. gefa,.s!'t, und anfs m.>inem Kopffe, wie es mit gefallen, gt>iind.>rt. und hinglschrieben, nach dern
ef! die g<'schwinden Einfiillt>. ohne Kopff br.>chen gl'geb!'n." - the celebrated translator of Shake-
speare -(See H'illimn Shakespeare's Schauspiele. Neue Ausgabe. l-on Joh. Joach. Eschenburg. Vol. i\. 8vn.
Ziirich 177[>, p. who pointed out the first the connection of the German piece with Shakespeare's comedy,
is puzzled hy the words "that it is of Italian origin and doubts whether there may br an old Italian piece
extant from which both authors may ha,e copied. Such a po!;ition however cannot b.> maintained for a moment.
The evidt>nt conclusion from the above pas!lage is this: that the bad been given to the author by the Co-
medians, und ns the English origin of it was unknown to him, he condud<:>d the Italian origin from the Italian
names of tht' Eschenburg himself has felt the weakness of argument. for he points out phrases
and whieh c:m only have been tran8lated from the English.
SHAKESPEARE IN GERMANY.
Herr Adrian von Liebenthal, der !iltere . .
Herr Hilurius von Liebenthal, der Jilnger, Jungfer Sabinen Freyer, und der
verkleidete Herr Johannes . .
Felix Vielwind, Cammerdiener, und verstellete Jilngere von Liebenthal
Fabian Affenschwantz, Diener
Frau Eulalia von Hohunk Wittib, Herr Alfons Vertraute . .
Mag. Blasius Nasenweis, Rector paganus, der verstellete Aeltere v ~ m Liebenthal
Meister Fritz Fingerhut vom Kratzenberg, kunstreicher Schneider und Kleider-
macher. .
Matz Trilmper, wohlbestellter Ofenschnrer und Feuerverwahrer .
Faulwamst, Immernafs, Schlingenstrick. Drei Diener so nur ein Wort red en.
Act II.
(See Shakespeare's 'Taming of the Shrew'. Act II, sc. 1.)
[Vincentia.
[Lucentio.
[Tranio.
[ Biondello.
[Widow.
[Magister.
[Tailor.
[Curtis.
CXXVII
Cat h. Bekenne mir bier also bald und rund heraus, welchen du unter deinen Buhlern am
liebsten habest, und spare mir ja die \Vahrheit nicbt: Oder ich will deines Fells nicht schonen.
Sab. Glaube mir, als wie der Wahrheit selbst, dafs unter allen Manns-Personen, so mir zu
Gesichte gckommen, noch keiner in mein Hertz genomml'n (ist).
Cath. Auff eine Lilge gehoret eine Maulschelle (schligt sie). Du lose Katze hast du dich
nicht an Alfons vergaffet?
Sab. Ich gedencke meine Schwester du liebst ibn, wann dieses i,st, sey nur zufrieden. lch
will dir ibn herzlich gern tlberlassen.
Cath. 0 ich sehe nun wohl, dein Ehrgeitz und Ieichter Sinn trachtet naeh Reichthum ...
Sab. Du thust mir grofs nnrecht, wie in vielen Dingen. W ann es um seinet \Villen ist, dafs
du mir so feind bist, kanstu deinen Sinn wohl ii.ndern. (Cath. bindet ihr die Hinde.) Aber was
fangst du doch ftlr Kurtzweil mit mir an.
Cath. Ich sehe wohl, die Jungfer will gekurtzweilet seyn. Wart, (schlagt sie) wann dieses
dann Kurtzweil ist, so ist alles andere Kurtzweil gewesen.
Theob. Wie nun, du rasendes Thier? Was ist bier zu thun'? Was ist dies ftlr ein boshafl\er
Muthwill; wer hat dir die Macht gegehen fiber dies arme Kind wtltherisch zu herrschen? Ich glaube
du wilst gar zu einem Henker an ihr werden, du boshaftter Schinder. Gehe hinein mein Kind, und
bleihe von diesem Lindwurm. (Sab. weint.)
Cath. W ollet ihr mich noch aufhalten, mich an ihr zu rechen? Ich sehe nun, dais ich gantz
bey auch auisgethan bin, diese untO.chtige aber euer Augapfel ist, den man nicht anrilhren darf .
. . . Doch nein sie mufs einen Mann haben, der ihr auffwartet:, ... darmit ich ihr zu Ehren auff der
Hochzeit barfuls tantzen moge.
TRANSLATION.
Cath. Confess then to me openly and at once, which of your suitors dost thou love the best,
and be not sparing with the truth, or I shall not spare thy hide.
Sab. Believe me as the truth itself, that of all the men I ever set eyes on, not one has yet
been taken into my heart.
Cath. To a lie belongs a box on the ears. (Striking her.) Thou loose cat, hast thou not
got foolish about Alfonso?
Sab. I think, sister, thou lovest him. If this be so, be quite at ease. I will most gllldly
leave him to thee.
Cath. Oh, I see now, thy ambition and trivial mind aim at riches ...
cxxvm SHAKESPEARE IN GERMANY.
Sab. Thou art very unjust to me in this as in many things. If it is on his account that
thou art so angry with me, thou canst change thy mind. (Cath. binds her hands). But what jest
is this that thou wilt play with me?
Cath. I see indeed, the maiden will be jested with. (Beating her). If this then is jest, then
has all the rest been jest.
Theob. How now, thou mad animal! \Vhat is to be done now? What malicious insolence is
this? Who has given thee the po'Yer to domineer so fiercely over this poor child? I believe thou
really wishest to be her executioner, thou malicious hangman. Go in my child, and keep away from
this dragon. (Sabine cries). . . .
Cath. Will you prevent me from having my revenge on her? I see now that I am quite put
aside by you, hut this good-for-nothing is the apple of your eye, whom one must not touch ... but
no, she must have a husband to wait on her . . . that I may dance barefoot at her wedding in
her honour.
Act ll.
(See Shakespeare's 'Taming of the Shrew'. Act I, sc. 5.)
Hart"'. Wann mir recht ist, so ist diese Herrn Alfons Behausung. Du, schlag einmal an.
Wurmb. Was schlag? Wann, was soli icb schlagen? Sehe ich doch niemand. Hat euch ja
auch niemand leid gethan, den ich schlagen milfste.
Hartm. Schelm ich sage scblag an, und schlag nur stark an.
Wurmb. Dieses ist abermahl eine Ursach, pro more, vom Jauer, meinen Buckel auf schlA.gen
zu beschweren. Soli ich euch scblagen? Da behute mich St. Niclas fnr.
Hart. Narr icb sage dir, da schlag mir an, und stark genug, oder ich will dir deinen schel-
mischen Kopf zersehlag<>n.
Wurmb. Ich gedachte wohl, das Lied wilrde in solchem Thon aushalwn. Mein Herr hat
gewifs cinmal Lerm in seinem Kopffe, und haben jhm die das Gehirn zerwuhlet. Ich soli
jhn schlag<>n? der Tenffel schlagen jhn. Ja, wann es nicht uber mich aufsgienge.
Hartm. Ich sehe wohl die Glocke will nicht Iauten, ich ziehe denn den Schwengel. lch wil
dir die Ohren reck en, und sehen ob du kanst fa, sol, Ia, sin gen. (Er ziehet jim bey den Ohren bin
und her.)
Wurmb. Mordio, Mordio, Lerm in allen Gassen. Helfio, Helfio! Mein Herr ist dem V erstand
entlauffen, und wil sich bey mir aufhalten.
Hartm. Leichtfertiger Vogel, willtu nun singen?
TRANSLATIOX.
Hartm. If I am not mista.ken, this is Signor Alfonso's house. knock once.
Wul'mh. Knock what? \Vhen, what shall I knock? I do not see anybody. Nobody has donP
you any injury that I must knock him.
Hartm. Rogue, I tell you, knock, and knock hard.
Wurmb. This is another cause according to the custom of Jauer, to get a load of blows upon
my back. Shall I knock you? St. Nicholas forbid!
Hartm. Fool I tell thee, knock there for me, and hard enough, or I will knock that roguish
head of yours to pieees.
Wurmb. I thought that would be the end of the song. My master has certainly got a noise
in his head, and the have been rummaging in his brain. I beat him! The devil may give
him a beating, if it do not pass over me.
Hartm. I see that the bell will not ring, until I pull the clapper. I will stretch your ears
for you, and see whether you can sing fa, sol, la. (Pulls him backwards and forwards by the ears.)
SHAKESPEARE IN GERMANY.
CXXIX
Wurmb. Murder! murder! an alarm in all the streets! Help, help! My master has run away
from his senses, and wants to lodge with me.
Hartm. You mad bird, will you sing now?
Act IV.
(See Shakespeare's 'Taming of the Shrew.' Act. IV, sc. 5.)
Bartm. Nun wollen wir den alten Herrn Theobald wacker O.berfallen. Wie scheinet der
Mond so hell, wir haben gewifs V ollmond.
Cath. Der Mood? Ei Schatz, es ist ja die Sonne.
Hartm. Was Sonne, soli ich wieder nicht recht sehen, Wurmbrand die Pferde aus dem Wirths-
hause. Wir miissen bei diesem Mondesschein wiedrum zurilcke, welcher so gewifs scheinet, als meines
V atters Sohn in meinen Hosen steckt.
Alf. Sagt doch wie cr will. Jhr wifst ja seinen Sinn.
Cath. Nun so bleibe doch bei diesem Mondesschein bier.
Hartm. Ich sage es noch. einmal, es ist der Mond.
Cath. Ich sehe es nun selbst, dafs es nicht anders ist.
Hartm. Nun irrest du dich doch, es ist ja die gesegnete Sonne.
Cath. Gott lasse es dann die Sonne sein. Ich bin wohl zufrieden, lasset es ein Wachslicht,
Stern, Fackel, oder was ihr wollet sein.
AI(. Der Bruder kann nun gemachlich die W a.fl'en niederlegen das Feld ist schon erhalten.
TRANSLATION.
Hartm. Now will we come in upon the old Sir Theobald. How bright the moon shines I It
must surely be full moon.
Cat h. The moon I Why, love, it is the sun.
Hartm. 'Vhat, the sun! So again I cannot see right! W urmbrand, bring the horses out from
the inn. 'V e must turn round and go home again by this moonlight, which is shining now as surely
as that my father's son is in my breeches.
AI(. Say as he wishes. You know his humour well enough.
Cat h. Well then, remain here by this moonshine.
Hartm. I repeat it once more, it is the moon.
Cath. I now say myself, that it is nothing else.
Hartm. Now you are wrong though; it is the blessed sun.
Cat h. God let it be the sun then; I am content, let it be a waxlight, star, torch, or what you will.
Alf. My brother may now quietly lay down his arms. The field is already won.
Many of the phrases and turns of expression bear on the face of them evident traces
of having been translated from the English; and these passages are so numerous, and for
the most part are such a literal translation of Shakespeare's text, that it may be safely
asserted, that a German version of Shakespeare's 'Taming of the Shrew' in its original form
had been placed in the author's hands.l The deviations from the original in the piece
before us are, as we have seen, his own work, and not that of the players. The piece
ofl'ers many points of connection with others from the library of the English Comedians.
1
Simrock's conjedure, that the 'Surprising marriage of Petruvio' etc. was the original from which the
author altered his piece, is plausible enough. See QueUen des Shakespeare etc. Vol. iii, p. 241.
. R
cxxx SHAKESPEARE IN GERMANY.
for instance, the "Sword dance" ("Schwerd Tantz") is mentioned (p. 38) which is also
introduced at the conclusion of ',Julius and Hippolyta.' At p. 126 we find the same play
on the words "rapier" and "warm beer" (''Rappier" and "Warmbicr'') as in the German
'Hamlet' (p. 299). Also English expressions, such as "Ruffian" at p. 80 have been retained.
Several seem to point to a South-German origin: p. 83, "But as my affair has
so far gone on well, I must go to Frankfort" ("Aber weil nun meine S:tche so weit richtig,
muss ich nach Franckfort"). Hartman-Petruchio is a native of Worms. But then Hanover
is also mentioned ( p. 57): "It is also fair-time at Hanover" ("zu Hannover ist es auch
Markt"). Scraps of French and Latin are of frequent recurrence. We have seen above
from the at the conclusion, that the piece has been often acted, and there cannot
exist a doubt that the 'Comedy of the angry Catharine' which was performed in Dresden
in 1672, is identical with the piece before us.
At a later period, Christian Weise also chose the same subject for his 'Comedy of
the angry Catharine' ("Die base Catharina"), which was petformed in Zittau in 1705.
1
Everything in this piece is so flat and common-place, that it is hardly possible to recognize
a trace of Shakespeare in it. Incidents which are not found in Shakespeare's comedy have
heen added, and the dialogue has no connection with Shakespeares text. We should have
been inclined to imagine that Weise was entirely unacquainted with Shakespeare's play, if
the names of his characters, Baptista, Catharine, Bianca, had not corresponded with
those in the 'Taming of the Shrew.' He could not have taken them from Straparola's
tale in the 'Piacevoli Notti,' as the names in it are different. It may be taken for granted
therefore that Weise had seen the piece acted somewhere in Germany, and perhaps at his
native town Zittau, in its first form, and then wrote his comedy from it, which is of far
inferior merit to the 'Art above all arts.' The late date at which it was composed renders
it unnecessary for us to consider Weise's piece more at length.
The Comedy of the clowns in Shakespeare's '.Midsummer Night's Dream' must have
come to Germany before 1636, as the 'Absurda Comica, or l\fr. Peter Squenz'2 of Andreas
1
Two Ms. copies of it are at thP Municipal Librnry nt Zittau, one of which was kindly sent me Ly
Dr. A. Tobias. The piece has never been printed.
' .Absurda Comica. Oder Herr Peter Squentz, Schimpff Spiel. 8vo. s. l. e. a. (circa 1660). Two editions
probably printed in the same year. Reprinted in the collective edition of Gryphius's works, 8vo. Breslau 1698,
in Tieck's Deutsches Theater, Vol. ii, and in G. Bredow's edition 8vo. Rreslau 1823. - There has been a good
deal of dispute about the first invention of the story on which the Interlude of the Clowns in the 'Midswnmer
Dream' is founded. Henry Schmid (Nekrolog der deutschen Dichter, Vol. i. 8vo. Berlin 1785. p. 122) main-
tains that it is of French origin, but he has not brought forward the proof which he promised. Bredow (in th'
work mentioned above, p. 103), Warbler (J'orlesungen uber Deutsche Literatur, 8vo. Frankfurt 1818, Vol. ii, p. 60)
and H. L. Voss (ShakeJJpeare's Dramat:Mche lVerke, Vol. i, p. 505) contend that the older play from which Gry-
phius copied was composed in imitation of a German farce. The given above will dearly shew that
Gryphius's pieee is dPrived directly from Shakespeare. Aceording to Bredow, Peter Squeuz was from an early
period a current designation of a clown.- A parody of Gryphius's piece is Christian Weise's Neue Parodie einu
. Peter Squenzu von Iauter .Absurdu comici8, in ZittaUl8clteJJ Tlieatrum, 8vo. Zittau 1683.
SHAKESPEARE IN GERMANY. CXXXI
Gryphius' (born 1616, the year of Shakespeare's death, died 1664, a hundred years after
Shakespeare's birth) is an imitation of it, which the author confessed to. have taken from
a version by Daniel Schwenter, who died in 1636. His piece, which appears to be lost,
must have been very popular, as may be concluded from Gryphius's 'Address to the reader'
which is as follows:
"Kind and honoured reader. Mr. Peter Squeuz, now no longer unknown in Ger-
many, and in his own opinion greatly celebrated, is here presented to you. Although his
ideas may not all have quite so much point as he vainly imagines to himself, they have
nevertheless till now been accepted and laughed at in different theatres, not without the
special favour and amusement of the t'pectators. For which reason then, persons have
been found here and there, who have had neither shame nor scruple to give themselves
out for his father. . . . But that he may no longer have to thank strangers for his origin,
know that Daniel Schwenter, who has deserved well of all Germany, and is well practised
in all sorts of languages and mathematical sciences, first brought him upon the stage in
Altdorf, from which place he wandered further and further, till at last he met my dearest
friend, who equipped him better, added to him some new characters, and had him repre-
sented together with one of his tragedies, to the eyes and judgment of all. But as he
was afterwards quite forgotten by him, more important affairs engrossing his attention, I
have been so bold as to demand him fr.om the library of my said friend, to have him
printed, and sent to you, my gentle and most honoured reader."
Tieck's conjecture that Schwenter wrote his Peter Squenz after the interlude of
"Bottom the Weaver," is altogether false, as Bottom the Weaver was not printed till 1660,
and certainly not played mucp before that Nothing can be more probable than that
piece was brought to Germany by the English Comedians. a farce
must have been especially suitable for their object. That the whole of the 'Midsummer
Night's Dream' belonged to the acting stock of the Comedians, is very unlikely. On the
contrary, they probably only took from it the comedy of the clowns, a!> may also have
been done occasionally in England. That Gryphius's piece is derived direi.tly from Shake-
speare must be evident to everybody at the first glance. It is almost the same arrange-
ment, scene for scene, and hardly one of Shakespeare's jokes has been omitted. The few
following passages may serve as a specunen:
Act I.
Pickclhiiring. Aber saget Herr Peter Squenz. Hat der Lowe auch vie] zu rcdcn?
Peter N Pin, der Lowe mufs uur brnllen.
Pickelhiiring. so wil ich der Lowe sPyn, denn ich Ierne nicht gerne viel nuswendig.
Peter Squen:.. Ey nein! Mons. Pickelhiiring mufs ein Hauptperson agiren.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Krichl. Ja mich dunket aher, es soltc zu Iauten, wenn ein grimmiger Lowe IH'r-
eingesprnngC"n klime, und gar keiu 'Vort sagte, das Frauenzimmer wurde sich zu heftig entsetzeu.
R2
CXXXII SHAKESPEARE IN GERMANY.
Klotz George. Ich halte es auch dafilr. Sonderlich ware rathsam wegen schwangerer Weiher,
dafs ihr nur bald anfanglich sagtet, ihr waret kein rechter Lowe, sondern nur Meister Klipperl, der
Schreiner.
Kricks. Kilmmert euch nicht darum lieber Schwager, Herr Peter Squentz ist ein gescheidener
Mann, er wird dem Lowen wol zu reden machen.
Klipperl. Kilmmert euch nicht, kilmmert euch nicht, ich wil so lieblich brilllen, dafs der Konig
und die Konigin sagen sollen, mein liebes Lowichen briille noch einmal.
Peter Squenz. Lasset euch unterdessen die N iigel fein lang wachsen, und den Bart nicht
abscheren, so sehet ihr einem Lowen desto iihnlicher. . ... Der Kirchen-Lehrer Ovidius schreibet,
dals der Monden geschienen babe, nun wissen wir nicht ob der Monde auch scheinen werde, wenn
wir das Spiel tra.giren werden.
Kricks. Dem ist Ieicht zu helfen, wir milssen im Calender sehen, ob der Mond denselben
Tag scheinen wird.
Klotz George. J a, wenn wir nur einen batten.
Meisler Lollinger. Hier babe ich einen, den babe ich von memes Grofs- Vatern Muhme
ererbet &c.
Kricks. Hort, was mil: eingefallen ist, ich wil mir einen Pusch urn den Leib binden, und ein
Licht in einer Laterne tragen, und den Monden tragiren, was diincket euch zu der Sachen?
Peter Squenz. . .. Wie werden wir es mit der Wand machen? . . . Piramus und Thisbe
milsst;n mit einander durch das Loch in der Wand red en.
Klipperl. Micb dilncket, es ware am best en,. man beschmierte einen urn und um mit Leiln-
wellern, und steckte ibn auf die Biihne, er milste sagen dafs er die Wand ware, wenn nun Piramus
reden soli, milste er ihme zum Maule, das ist zum Loch, hineinredeu. \Venn nun This be was sagen
wolte, milste er das Maul nach der Thisbe kehren.
TRANSLATION.
Clow11. . .. But tell 'Us Master Peter Squenz, has the lion much to speak?
Peter Squenr.. No, he has only to roar.
Pickelhiiring. Well, then let me be the lion; for I don 't like having to learn much by heart.
Peter Squenz.. Oh no, M. Pickelharing must act a principal part.
Krick&. Yes, but I rather think it would sound too awful for a furious lion to come in bound-
ing upon the stage, without saying anything; the ladies would be too much frightened.
Klotz George. I think so too. On account of the pregnant women particularly, it would be
advisable, to say at the beginning that you are no lion at all, but only Master Klipperl, the joiner.
Kricks. Don 't be afraid of that my denr brother in law, Master Peter Squenz is a clever
man, he is sure to make the lion speak.
Klipperl. Don 't be afraid of that; I will roar so charmingly that the King and Qtwen shall
say: My sweet lion, pray roar again.
Peter S q u e u ~ . Let your nails meanwhile grow nice and long, and do not have your beard
shaved, and you will resemble the lion all the more. . . . Ovidius, the Ecclesiastic, says, the moon did
shine, but we don 't know whether the moon will shine when we shall act the play.
Kricks. That is easily managed, we must refer to the Calendar, and see if the moon will
shine on tha.t day.
J(lotz George. Yes, if we only had got one.
SHAKESPEARE IN GERMANY. cxxxm
Master Lollinger. Here I have one; it is a. legacy from my grandfather's aunt.
Kricks. Listen to what has occurred to me! I will tie a plush round my body and carry a
light in a lantern, and thus represent the moon; what do you think of that?
Peter Squenz. How shall we do for a wall? ... Pyramus and Thisbe must talk together
through the chink in the wall.
Klipperl. I ihink it would be best to paint one of you with lime-water and to put him on
the stage. He would have to say, he was the wall; and when Pyramus is to speak into his mouth,
he must speak into the chink, and if Thisbe should want to say anything he would have to turn his
mouth to Thisbe. .
Compare with the above scene, Shakespeare's Midsummernight's Dream, Act I, sc. 2,
and Act III, sc. 1.
Towards the end of the century, Michael Kongehl, a German Poet, (born 1646, died
1710). directed his attention to Shakespearian subjects. We have from his pen the 'Phoonicia
awakened from death'
1
and 'The innocence of the innocently accused Innocentia.'2 The
former handles the plot of 'Much Ado about nothing', the latter, that of 'Cymbeline'. Kon-
gehl has probably not known Shakespeare, and yet there are many passages differing from
the tales, from which we should feel inclined to conclude that he did not derive his sub-
ject directly from Bandello or Boccaccio, but that there were some dTamatic intermediate
links from which he copied. Perhaps he may have seen similar pieces acted by the com-
panies of

His 'Phoonicia' agrees with Ayrer's piece as far as to the courtship of
Tymbor, but the characteristic comic scenes as also the characters of Venus and Cupid
are omitted. In the place of Venus we have here Tisiphone "a Fury from Hell" (see the old
German 'Hamlet'), who makes Gerando her tool for the destruction of Phoonicia. In other
respects the progress of the two pieces is very nearly the same, only that Kongehl is nearer
than Ayrer to Bandello. Similarly in Kongehl's 'lnnocentia' there is nearly everything which we
find in Boccaccio's tale, on which Shakespeare's 'Cymbeline' is based, and yet there are
deviations also here which, like the whole management of the piece, would lead us to
suppose he had some dramatic model.
We may here remark that the Imperial Library at Vienna contains a number of
.MS. dramas of the seventeenth century, several of which are new versions of English pieces,
which me must also reckon as having belonged to the library of the English players.
To one of these MSS. we have already had occasion to refer (p. cxvii). Another without a
1
Die vom Tode erweckte Phiinicia. Eine anmuthige Sicilianische Guchicht in Mnem Mischspiel ( Tragicv
Comoedia) auf die Schaubiihne. gebracht. 8vo. Konigsberg s. a.
Der unschuldig buchuldi,qten lnnocentien Unsclmld. Eine nachdenlcliche Genuesische Geschiclit in einem
.Mischspiel (Tragico Comoedia) auf die Schaubiihne gefiihrt. 8vo. Ibid. s. a. - Gottsched, Notlliger Vorrath, Vol. i,
p. 243-244, and after him K. Goedt>ke, Grundrifs Vol. ii, p. 519, mention the ylar 1680 as the date of the im-
pns!:!ion of both piect>s, whieh however cannot have bt>en printed before 1682 U.'!l Kongehl calls him!'ldf on the
title-pages '' Churflirstl. Branden b. S1eretarius ", a dignity which be acquired only in 1682.
3
The old German play of 'The Merchant of Padua' (see p. lvii) may have been known to Kongehl.
CXXXIV SHAKESPEARE IN GERMANY.
title, (MS. Suppl. 1136) treats the subject which forms the second part of Shakespeare's
Winter's Tale. Dimas, the son of Damon, the shepherd, plays here the part of Autolycus.
Then we have a 'Merchant of London,' undoubtedly John Ford's 'London Merchant,' and
the 'Honest Mistress', which is of course Thomas Dekker's "Honest V\
7
hore ', and was :first
printed in 1664. In addition to these there is a copy of the date of 1755, of a probably
much older piece, 'Phaeton,' perhaps a late imitation of Dekker's lost drama of this name.
I have not seen these manuscripts,t as I did not hear of them till the present work was
nearly through the press.
A Fragment of some English verses, falsely described as part of a l\loral Play,
which first came to light in Germany a few years ago, and consists of a single leaf in
folio, printed, as it appears, from a block, has also been brought into connection with
the English Comedians.
2
There is no other argument for this assumption than the circum-
stance that this fragment appears to have been printed on the Continent. We quite agree
with the following remarks of Mr. Henry Bradshaw a: ''The fragment cannot be considered part
of a moral play, or any such production. If any one will glance at the various lists of John
Lydgate's works, he will see enough to show him that this is a set of stanzas on the seven
theological virtues, written most probably for scrolls to be put above or beneath figures
representing these virtues on the wall of a room, or in some such position as many of
Lydgate's verses are known to have been". The Fragment also belongs to a period, {the
reign of Henry VIII or Mary) when there were no strolling companies of English actors on
the Continent of which we have any knowledge.
In conclusion, we have to make a few observations as tow how these English players
\ performed. Various surmises have been made concerning the language in which they de-
livered themselves before the German public, and till very recently writers of note have
considered it doubtful whether the English language was used in those performances
on the German stage. It will be remembered that even the nationality of the English
Comedians has been considered till lately an open question; but we trust that the facts
alleged in the preceding pages have definitely set at rest all misgivings on this point, and
if the contemporary evidence we have brought to light should have still left any doubt respect-
.ing the language employed, a document which we are enabled to adduce will conclusively
settle that point also. We find the following entry in Rl'lchell's Chronicle of the city of
Munster (edited by Job. Janssen, Munster 1852):
"Den 26. Novembris (1599) sindt alhir ange-
. kommen elven Engellender, so alle jungi und rasche
Gesellen waren, ausgenommen einer, so tzemlichen
althers war, der alle dinge regerede. Dieselben ,
On the 26th of November 1599 there arri,ed her>
eleven Englishmen, all young and lively fellows,
with the exception of one, a rather elderly man,
who had everything under his management. They
1
1 am indebted for a descriptive l i ~ t of them to Mr. Joseph Haupt of the Imperial Library. Vi<.>nna.
~ See Atl!enamm, 1856, Sept. 6, No. 1506. Dr. W. Bell, Shakespeare's Puck ttr. Vol. ii. p. :W8.
3
See Le Bibliopl!ile illustre. 1. Decemb. 1863, p. 141.
SHAKESPEARE lN GERMANY. CXX."{V
agerden vif Tage uf den riidthuse achter-einandern J acted on five successive days five difFerent come-
>if verscheiden comedien in ihrer engelscher Sprache. dies in their own English tongue. They carried
Sie hetten bi sich vjelle verschieden instrumente, I with them various musical intruments, such as
dar sie uf speleten, als Iuten, zitteren, fiolen, pipen lutes, cithern, fiddles, fifes, and such like; they
uud dergelichen; sie dantzeden vielle neuwe und danced many new and foreign dances (not usual
frommede dentze (so bier zu Iande nicht ge- in this country) at the beginning and at the end
pruechlich) in anfang und Ende der comedien. of their comedies. They were accompanied by
Sie hetten bei sich einen schalk<'s naren , so in a clown, who, when a new act had to commence
duescher sprache vielle bBtze und geckerie machede and when they had to change their costume, made
under den ageren, wann sie einen neuen actum many antics and pranks in German during the perfor-
wollten anfangen und sich umbkledden, darmidt . mance,by which he amused the audience. They were
chr das volck lachent machede. Sie waren von I licensed by the Town-Council for six days only, after
den rade vergeliedet nich als ses taghe. which time they had to depart. During those five
Do die umb waren. mosten sie wedder wichen. days tltey took a great deal of money from those
Sie kregen in den vif tagh en von den, so es horen ' who wished to hear and see them, for every per-
nod sehen wolten, vielle gel des; dan ein jeder son had to give a [Bremen?] shilling to each of
moste ihnen geben zu jeder reise einen schillinck." them at their departure.
This may have been the same company which had performed in the English language
at Hildesheim in 1599 (see p.lxi.). It is probable that all these English players soon acquired a
familiarity with the Gennan language; or that they associated themselves with Germans and
then merely undertook the managing part of the performances. As early as 1600, Landgrave
'Maurice of Hesse, in an agreement with his English players, stipulated that at his demand
they should arrange such comedies, tragedies and histories as he or they might wish to be
acted on the stage.t Thus we also find at a much later period, in 1659, that the English
Comediamr at the Dresden Court had to provide German translations of the plays which
they intended to act (see p. cxviii). That those who settled in Germany acquired a pP-r-
fect mastery of German language, may be concluded from the facsimiles of the autographs
of Thomas Sackville and John Breadstreet, to be found in the present work. The above
extract shows moreover that German Janguage was not altogether excluded from
performances enacted in English. It . is most likely that the part of the clown was usually
given by a German, who frequently availed himself of his privilege to interpret to the
German audience the foreign idiom of his fellow-players. We learn further from the
passage in !Mchell's chronicle that the performances were opened and conc1uded by music
and dancing. The intervals between the acts were not always filled up by the jests of
the clown, but more frequently by music, as we are told by Michael Prretorius,
2
one of the
principal writers on music at that time:
.... "Und gleich wie in comedien jedem Actu ,
eine feiue liebliche Musica Instrumentalis, mit cor-
1
netten, Violen oder andern dergleichen Instrumen- j'
ten umbwechselnde, bisweilen auch mit Vocal-
. . . . So it is also done in comedies, where
a sweet and lovely Musics instrumentalis is per-
fi>rmcd between the acts, with cornets, fiddles, and
other similar instruments, varying sometimes with
1
See Rommel, Geschichte von Hessen, Vol. VI, pag. 401.
a Michael Praetori11s, Syntagma Musicum. 4to. Wittenbergae 1615, pars III, p. 110.
CXXXVI SHAKESPEARE IN GERMANY.
Stimmen angeordnet und von den ltalis lntermedio
wird; Damit unterdessen die personatae
personae sich anders vmbkleiden uud zu folgendem
Actu praepariren, auch etwas respiriren und sich
erholen konnen" etc.
vocal music, called by the Italians, in
order that the personatae personae might be en-
abled to change their to prepare them-
selves for the next acts and to recreate them-
selves.
The variety and brilliancy of the theatrical costume of the English Comedians has been
noticed by another weU-known writer of the period, John Sommer, commonly called Johannes
Olorinus Variscus, who in his work "Geldtklage" 1 thus reflects on the luxury- of his con-
temporaries:
"Da mtlssen die Kragen mit Perl en besetzet
werden, vnnd wird ein solcher Pracht gesehen,
dass sie einber gehen, wie die Englischen Como-
dienspieler in Theatro."
Their collars must be set with pearls, and such
a display of finery is indulged in, that they
strut along like the English Comedians in the
theatre.
These were the actors, who, as the earliest representatives of the English stage
abroad, initiated the Germans into dramatic art and, when Shakespeare was still living, trans-
ferred his works on German ground; but nearly a century elapsed after the English Co-
medians had disappeared, until Shakespeare's name appeared in Germany. The Ga1lomania
which infected the nation, exhausted by the thirty years' war, and corrupted its morals,
gradually destroyed the effect of English influence and interrupted for a long time that
development of free art, so auspiciously begun under an early impulse, received
from the representatives of the old English stage. - It was only in an indirect manner
and most probably without any acquaintance with Shakespeare himself, that Andreas Gryphius,
the only dramatist of note in the seventeenth century, became indebted to English
models for the vast superiority which he attained over his contemporaries.- Shakespeare's
name occurs for the first time in Germany in Morhoff's "Unterricht von der deutachen
Sprache und Poesie", 1682, but the author at the same time confesses. himself per-
fectly unacquainted with his works. We next meet with Shakespeare's name in' Barthold
Feind's "Gedanken von der Opera" preceding a collection of his poems, 1708; but all that
hs has to say of Shakespeare is, that according to "M. le chevalier Temple" some
persons, on hearing a reading of the tragedies of "the famous English tragedian Shakespeare",
could not help sobbing loudly and shedding floods of tears. As .late as 17 40 the name
of Shakespeare could appear in the works of the learned Bodmer in the guise of "Saspar''
- the best proof that he knew Shakespeare only from hearsay. The first who was fa-
voured with the gift of appreciating Shakespeare to a certain extent was a Baron von
Borck, Prussian ambassador in London, who in 1741, translated 'Julius Cresar' into German
Alexandrines, a very creditable performance for that time, which however was taboed by
Gottsched and his school. But what must have been the mortification of the latter, when
he saw his disciple John Elias Schlegel, the dramatist, so much appreciating Shake-
1
Job. Olorinus Variscus, Ethnographia mundi, pars IV, Geldtklage. 8vo. Magdeburgk (1614) p. 4i2.
SHAKESPEARE IN .GERMANY. CXXXVII
speare as to admit his superiority over Gryphius; and this he really did m a periodical
founded by Gottsched himself, the blind worshipper of French taste. A few other
faint voices made themselves heard in praise of Shakespeare; the boldest of these be-
. longs to a writer in a periodical "Der Englische Zuschauer" 17 42, who had the courage to
confess that he would much rather read any play of Shakespeare, however "irregular",
than any of the most "regular" productions of the leading school. A few persons only,
however, could boast of so intimate an acquaintance with Shakespeare, and for a series
of years the latter continued to remain almost unknown in Germany. In Zedler's large
Cyclopredia, 1743, Shakespeare is mentioned as having achieved great skill in poetry,
''although he was no great scholar", and as having had "some subtle controversies with
Ben Jonson, to the advantage of neither of them"; and even in 1751 the learnd Jacher,
in his "Gelehrten-Lexicon" copied this luminous dictum with .the only addition: "He had
a humourous turn of mind, but sometimes could be also very grave and excelled in
T d
. "
rage tes.
It was reserved for Lessing, the great regenerator of the German drama, to impress
his countrymen with the genius of Shakespeare and with the conviction that a conscien-
tious study of his works was the only means of rescuing the drama from total decline.
The enthwsiasm with which the Germans responded to this call of their greatest critic,
and the results since. obtained by them in the field of Shakespearean literature, are suffi-
ciently well known; and it cannot be denied that no other nation has ever made a foreign
poet so completely its own, as the Germans have done in the case of Shakespeare.
I
s
ADDENDA.
Pag. lix. The Company of English Comedians whom we meet at Frankfort in 1597 appears
to have visited Stuttgart in the same year. Pfaff, Geschichle der Stadt Stuttgart, I, p.
116 relates: "A regular company of actors came to Stuttgart for the first time in
May 1597; they were Englishmen, who performed during seven days before the court, and
in recompense received from Duke Frederick I 300 florins, besides having their expense:,;
defrayed." Duke Frederick I, it will be remembered, had visited England in 1592.
Pag. xcvii. According to the Besckreibung des Stadt- vnd Direktionsbezirke:t Slutlgart, her-
ausgeg. eon dem K. Statist. Topogr. Bureau. 8vo. 1856, p. 417 there was a company
of six English Comedians at the Court of Stuttgart in 1625, who held a permanent ap-
pointment. One of them was John Price who is spoken of as early as 1609, and who
received a salary of 270 florins, besides his expenses at court, clothing, and other emo-
luments. Other names. given are John and David Morell, and John Dixon.- We have
met with one John Price, a celebrated musician, at the Dresden court. See p. x c v i ~ note.
The company to which he belonged in 1609 must have been the one which performed
at Dresden in the same year, and which in June 1610 performed at the festivities men-
tioned at p. lxxxiii. A company of Englishmen "who had also played before at Stutt-
gart" is expressly mentioned in the quotation from an unpublished MS. given at
p. l x x ~ i i i .
Pag. cvii. Another acknowledgement of the superiority of the English Comedians by a
contemporary author will be found in Daniel von Wensih's Oralio contra Britanniam.
delivered at Tiibingen in 1613: "Nee diu est cum plerique artifices in Anglia peregrini
et exteri et aurifabri Landini pene omnes fuernnt Germani: Anglis interea gulae volup-
tatibus .... et rebus nihili, atque ad eo histrionae jugiter operam dantibus; in qua !tir
profecerunt, ut jam apud nos Angli kistriones omnium maxime deleclant etc. - (Nor is it
long since that the majority of artisans in England were aliens and foreigners, and the
goldsmiths in London were nearly all Germans. Meanwhile the English have given
their constant attention to culinary pleasures and to trifles, but also constantly to the
histrionic art, in which they have attained to such perfection that the English players
delight us the most of all etc.) See Fr. Achillis Ducis Wilrtemberg. Consultatio de prin-
cipalu inter prof'incias Europae kabita Tttbiugae in illuslri collegio. 4to. Tubing. 1613.
For these addenda I am indebted to Mr. W. B. Rye of the British Museum, who
is in the possession of valuable materials respecting Foreign travellers in England nnder
Queen Elizabeth and the subsequent reign.
PART II:
TEXTS .

..
COMEDY OF THE BEAUTIFUL SIDEA
BY JACOB AYRER OF NUREMBERG.
(CIRCA 1 ~ 9 ~ . )
In JAcoB AYREn's Opus theatricum, Nuremberg l<i18, in-fol., the BEAl"TU'l:L SmEA occupies folio 433
recto, col. 2, to folio 442. It is entitled:
<!romtbia
1Jnn htr rdJontn
.jibta
1
mit te bir1 JU jrtr
ngangtn, ,-u
16. $)rrr onrn, Vnll
5.
(COMEDY OF THE BEAUTIFUl. SIDEA, AND WHAT BRFEL HER TIU. THE TIME THAT SHE GOT MARRIED.
WITH 16 PERSONS AND IN 6 ACTS.)
The play has he<n reprinted in: Deutsches Theater. HeraiL .. von Ll'DEWW Tu:cK. El'l!ter Band.
Berlin 1817, in-Svo, where it occupies pages 323 to 36;).
A considerable want of care itS perceptible in Tn:cK's edition which, in many places. deviates from the
original impression. )\early all the deviations are printer'tS blunders, no tditorial alterations. Grammar and Or-
thography have been equally disregarded, syllables and words and indeed in one instance a whole line. have been
omitted.
In the present impression of the German text the originnl has been strictly followed, ev<'n in its irre-
gularities and punctuation.
COMEDIA
VON DER SCHONEN SIDEA.
Folgen die Personen in difs Spit. '
LUDOLFF der FUrst in Littau 1
SJDEA aein Tochter 2
LEUDJJ:OABT der Fllrst in der Wiltau 8
I seine zwen Rlhte :
E:coJJ:LBRECHT derz F11rsten Sohn 6
F Alii!LUS aein Jung 7
JuLL\ derz Fllraten in der WUU! fremde Jungkfrau 8
JAH!i MOLITOR der Muller 9
ROLLUS der Bauer
DntTBRICII der Schuster
FilCELIA sein W eib
AolfES derz Schusters Tochter
ELA derz Baum Tochter
RUPRKCHT der Postbott
RuNCIFALL der Teuffel
ACTLTS PRIMUS.
3
10
11
12
18
u
15
16
RUPRECHT m:R PosTPOTT geht ein, tregt ein Brieff in
einer kluppen vnd S.
Schweigt still vnu hUrt mir ein weng zu
Ein absag Brieff ich bringen thu
Von Leudegast dcm grofsmechtigen Fiirsten
Der wil Ludolffen den gediirsten
Vberziehen mit grosem Heer
Sehen das er sein horhmuth wehr
V nd will auch nicht ehr lossen ab
Bifs er jhn gar vertrieben hab
W eil jhm so iibel ist mit friut
Helt kein V ertrag vnd Biindnuf11 nit
Darumb will ich euch allen rathen
W o jhr nicht kommen wolt zu schaden
So stb ein jeder zu dem sein
Sie zihen schon vom Berg herein
COMEDY
OF THE BEAUTIFUL SIDEA.
Persons represented:
LuDOLFF, Prince of Lithuania.
S!DEA, his daughter.
LEUDBOABT, Prince of the Wiltau.
FRAlCCISCUI l .
ELBHAUs, ' hs two counsellors.
ENGELBRECHT, the Prince's son.
FAHULU81 his boy.
JuLIA, the Prince in the Wiltau's foreign lady.
2
JouM MoLrroa, the miller.
Roi,J.us, the peasant.
DIETRICH, the shoemaker.
FlliELIA, his wife.
AoNKB, the shoemaker's daughter.
ELA, the peaunt's daughter.
RUPRKCJrr, the postman.
RuNCJF.,Lr,, the devil.
ACT I.
Entl':T RcPRECIIT, THE POST!.IA:"', bringing a letter in a
clip.
Be silent all and list to me:
I bear high words of enmity
From Leudegast, the mighty king,
'Vho means an armed host to bring.
Attack Ludolff, that man of greed,
See how pride s.tands him in his neeu.
Nor leave him till the recre11nt yield,
And vanquished fly the battle field.
Foi peace with him is nought but ill;
Ht neitlwr pact nor treaty will.
If therefore you would grief escht>w,
This counsel I would give to you:
Let each unto his own look well.
E'en now they rush from hill and fell.
1
In the 'Opus theatricum' all the lists of Per1on11 rq1rumud are at the end of each play.
A Princess of Poland.
1
All the designations of acts are placed at the end of eaeh act thruughout the 'Opus theatricum'.
' vnd S. - i. e. uod sagt, and "'!!' The arne not<>, or the letter S only, i appended to all the chorllcters' names in the
Opus theatricum'.
t
7 COMEDY OF THE BEAUTIFUL SIDEA. 8
Da.rumb mufs ich eylendt Postirn
V nd disen Brieff halt Praesentirn
[Er geht ab.
Kompt RoLLUS DER BAuR schlegt in die hend
J a der Dieb hat zu vil gemiitzt
Ich hab das Meel geknetten jetzt
Es gehn mir ja schir zwen Laib ab
So weng ich lang nicht bachen hab
Vnd wenn ich jetzt den Dieb ergriff
lch jhn mit Fiusten alsbalt anlieff
W olt jhm das Meel vom Ha'lfs rab schlagen
JABN MoLITOR geht ein in gestallt eines Mullners
Sieh Rolle mein, ich mufs dich fragen
W er ist der dort so eylend Reit
V nd sag mir auch was es bedeut
Er fiihrt ein Brieff in einer kluppen
RoLL us
Du Dieb das dich ankumb die schnuppen
Was hab ich nach dem Reuter zu fragen
Hor Miiller thu mir das vor sagen
W arumb stahlstu mir von mein Meel
JAHN MOLITOR
Ich habs nit than bey meiner Seel
ROLL US
So hats aber dein W eib than die Hur
JAHN MoLITOR sagt gar ernstlich
Ey nein mein Metz die nim ich nur
Aufs deinem Sack von deinem Korn
V nd was das selbig mehr ist worn
Aber vom Meel nim ich kein staub
RoLL us
Ja dasselb ich auch gar wol glaub
StihL'Itu vii Korn aufs dem Sack raufs
So wird dest weniger Meel daraufs
Defs ich bin heut wol worn innl'n
Hab kaum zehen Liiib bachen kiinnen
Der jhr doch solten zwolff worden sein
JAnN MoLITOR
Hor wann du die Liiib macbest klein
So kanstu jhr wol achtzehen bachen
RoLL US
Kom her vnd lern mich Haufslaib machen
Vnd spott mich noch wol auf.., darzu
Ein rechter arger Dieb bistu
Von dem kombt niemand vnbetrogen
JAHX ;\fOI.ITOU
Ey das ist auff mein Seel crlogcn
lch bin nicht nlzeit in der Miihl
Wie kont ich dann stehts nemen zu dl
And therefore must I post away,
This letter to present to-day.
[Exit.
Enter RoLLUS, THE PEASANT, clasping hi& hands together.
Yes, the thief has cribbed too much;
I have the meal just kneaded, such
Should give at least two good loaves more.
So little I ne'er baked before.
And if I now could catch the thief,
My fists should bring him soon to grief
Till from his neck the flour ran.
Enter JoHN MOLITOR in the form of a miller.
Tell me, my Rolly, if you can,
Who's riding there so fast away?
And what it means, I pry-thee, say,
He bears a letter in a clip.
RoLL us.
You thieft Pox take you! What's the rip.
And rider too indeed, to me?
Hark, Miller, tell me honestly,
Why of my meal so much you stole?
JOliN MOLITOR.
I? not a jot! Upon my soul.
RoLL us.
Your wife has done it then, the whore.
JoHN MoLITOR, very earnestly.
Oh no, my measure, never more,
From out your sack of corn I take,
And just whatever more it make.
But of the meal, - no jot, no jot.
RoLL Us.
Aye, as for that, I doubt it not.
For if the corn you freely steal,
The less remains to grind to meal.
I'm up to that, my man, to-day.
Could scarcely bake ten loaves, I say!
Though twelve there should have been in all.
JoHN MoLITOR.
Why, if you would but have them small.
Eighteen at least you well might mak1.
Rm.Les.
Rallo! You'd ttach me how to bake,
And cut your jokes upon me too!
A rPgulur vile thief are you,
Who never fail to pluck your bird.
JOHN MOLITOR.
Xow that's a lie, upon my word.
I am not always in the mill;
How can I then the flour pill?
9 COMEDY OF THE BEAUTIFUL SIDEA. 10
. So hab ich Iauter gar from Knecht
Die thun den Bauren nit vnrecht
Zu mahl wann sie jhn was verehrn
Drumb mag ich dir nit mehr zuhOrn
Es mocht sich zu weit reissen ein
[Juzt drommet man,
RoLLUS
Hor hOr frembt Leut im Lande sein
Ich wi1 gehn zu den meinen sehen
Das mir kein schaden thu geschehen
[Sie gtlln ab.
LUDOLFF geht ein mit SIDF..A seiner Tochter in Ileidnischen
kleidern mit zwegen Trabanten, setzt IJich vnd sagt zornig.
Sidea Iiebe Tochter mein
wir Bottschaft gwertig sein
Was der Fiirst in Littau wird sagen
Dem wir sein Gsanden hahn erschlagen
Dem vnser gmiith nit gfelt gar wol
Dann vnser hertz steckt zorens vol
V nd so, balt wir es kiinnen fiigen
So woll wir jhn mit gwalt bekriegen
V nd treiben von sein Leut vnd Landen
SxoEA
Herr Vatter nichts guts thut mich anden
Wir haben vns wol fiir zuschauen
Dann keinem Feind ist nicht zutrauen
Darzu ist vnser F eind auch starck
1st darzu sehr listig vnd arck
Dorfft vns mit gegen wehr begegen
Dar zu alles vngliick anltgen
So hett wir den schimpft' allezeit
Von wegen der vermessenheit
Die wir bifsher haben begangen
Doch mag eur Lieb auch raht empfangen
Von jhren wol verstendigen Riihten
Die solch sach bafs erfahren theten
Als ich arme junge J ungfrau
LUDOM'F
Trabant balt zu der Pforten schau
Seind Leut draufs die fur vns
LaCs sie nur rein das wir sie h0n1
Ein Trabant geht kin thut au.ff, so /compt Rt'llUo:cnT IJER
PosT BoTT tregt ein Brief in einer /cluppen, neigt sick vor
dem FiirBten
Rt"PRECHT
Durchleuchtigster Furst ich bin ein Butt
Gefreyt Yor aller gfahr vnd noht
Gleich wol so bitt ich vmb genad
Hertzog Leudegast mich her ggchickt hat
My men are in the pious way,
Won't cheat a peasant, no, not they;
Especially if tipp'd before;
And therefore I will hear no more.
The thing might get beyond a joke.
[Drumming tuitkout.
RoLLt'S.
Hark! hark! I fear that's foreign folk.
I'll go and mind my chattels all;
Lest any damage me befall.
[&eunt.
Enter LL'DOLFF with SIDEA, hiB daughter, in heathen costuTM,
with two attendant&. LU'DOLFF Bits down, and says an,qrilg:
Oh daughter sweet, my own Sidea,
The answer now must soon be here,
What will the prince in Littau say,
That we his envoy dared to slay.
Our spirit liketh him not well,
For anger doth our bosom swell.
As soon as we can war prepare,
He'll taste our mettle then and there.
We'll drive him from his land, we will.
SIDEA.
My heart forebodes, sir, nought but ill.
We for ourselves may well take heed;
For who would trust a foe indeed?
Besides our enemy is strong,
And cunning in devising wrong,
Perhaps may offer opposition,
And lead us on to our perdition.
And thus, my father, would our name
Be covered with undying shame
For those presumptuous acts of thint>.
Oh, rather may thy heart incline
To those, who can with counsel aid
Far better than a simple maid,
Men, whose experiPnce is great.
Ln>OLFF.
Attendant, look ihou to the gate,
Admit all who an audience seek;
We'll hear them, let ti1Pm freely speak.
The attendant opens the door. Enter RUPRECHT, THE I'ml'r-
MAN, carrying a letter in a clip, and makes obmance to
the Princs.
RmItECIIT.
:Most noble Prince, I come to thee.
As envoy from all danger free,
But still your grace I'd humbly cravl'.
Duke Leudegast the missive gave,
ll
COMEDY OF THE BEAU1'IFUL SIDEA. 12
lm zorn mit diesem absag Brieft'
Was der inhalt gibt sein begrieft'
FCusT LUDOLFF nimbt den Briejf mit zorn aufs der
kluppen, liest den vnd sagt zornig
Dein Furst der ist vns leiden gut
Sag wenn er hab eins H(lden muth
V nd will vns lernen kennen bafs
Thu er was er sich gliisten Iafs ..
Wir wolln alhie seiner warten
In der mafs schlagen auff die schwarten
Das er sbl sein hochmuth verstehn
V nd du magst deins wegs wol fort gehn
Oder wir wolln dir fiifs machen
Ruprecht der Bott neigt sich vnd gellt ab, der Furst
sagt weiter.
Nun miifs wir auch thun zu den sachen
Vnd ein gewaltigs Heer bestelln
Dem Fiirstn sein hochmuth dempffn wolln
SmEA sagt kleglich
Ach jhr Gutter last euch erbarmen
Es ist zu thun nur vmb mich armen
Ach thuts nicht Iieber Herr ,. atter mein
Lt:DOLFF
Halt nur das maul es mufs doch sein
[Abgan,g jltr alter.
Kompt m;u Fi'HST IN DER Wn.TAl' mit FRAN-
Cisco vnd EI.E:\!ACS sein zweyen Riihten geriist
LErHEGAST
W eil der zenckisch HertZog Leupolt
Den Krit-g vnd zanck hat also holt
Dm; er vns fordert in sein Land
So seit nur bchertzt allesand
Last vns erlangen Gut vnd Ehr
Kein Fried treft' wir mit jhm nicht mehr
So lang wir vnd er thut Ieben
'Vir haben vns darein (rgdJen
Das die Feindschafrt so lang soll hlt.>iLen
Bifs einer den andtrn thu vertrPiben
Von seinem Fiirstenthumb vnd Land
FHAxnscrs
Darzu sind wir geriist alsand
V nd haben vns schon drein ergeben
Daran zu setzen LPib nul Leben
Y nd alles was von no ten t hut

Ja t+as Lehn, den Leib. auch das Gut
Ynd alles das I'O wir wrmiigen
". t>nden wir ah< an zu bekriegen
Dlm stoltzen Fiirsten in Littau
In wrathful mood. This hostile letter
Informs thee of the import better.
PRINCE Ll1DOLH, frowning, take8 the letter out of the
clip, reads it, and then says angrily:
Thy prince doth pll.'nse us passing well;
And if a hero's courage dwell
Within his bosom, which he still
Would pnwe, why let him do his will.
We will his coming here abide,
And leave such marks upon his hide,
That he his insolence shall learn.
The way you came, you may return,
Or we will teach you expedition.
Erit Ruprecht, the postman, making obeisance. Tl1e
Prince continues:
We now must look to our position,
A mighty army too provide,
To tame this haughty prince's pride.
SIDEA, in a melancholy voice.
Ye Gods! that this should e'er befall
Through wretched me. the cause of all I
Do it not, father mine! oh no!
LnJOU'F.
Girl, hold thy tongue; it must be so.
[Exeunt.
Enter LEt'DEliAST, THE Pi,UN(:E OF WILTAU, with his two
counsellors, FRANCisco and ELEMArs, all anned.
LEnJEGAST.
Duke so loves strife and brawl.
That now he's challenged us to fall
l:' pon. his land, and fight it out.
Let's meet him then with hearts as stout.
Honour and wealth will we obtain,
And ne'er make peace with him again.
As long as both of us shall live.
Ourselves unto the cause we give,
Our enmity will never smother,
Till one of us shall drive the other
From principality and land.
FRA!'Il'ISlTR.
'Tis for that end in arms we stand,
Devote ourselves unto the strife,
Though it may cost us limb and life.
And all that man has dear to him.
ELE:\!An;.
Aye land. and goods. and life, and limb,
All, all we'll venture. all we can
\Ve'll do, to conquer that proud man.
\Vho now in Littau holds the sway.
18 COMEDY Oft' THE BEAU'fll<'UL SIDEA.
FRANCISCUS
'V eon einer sicht von ferrn gar gnau
So geht im l<'eld dort auff ein staub
Das ist der l<'eind wie ich gelaub
Drumb hab acht es wird kappen geben
LEUDEGAST
Ja wir sehen die Fii.hnlein schweben
Darumb seit keck vnd auch bereit
Es wird geben ein kampff vnd streit
Die Feind greiffen vns hinden an
Drumb webret euch nur dran, dran, dran
Lauffen Hertzog LuoOJ.FFS gesind ein, kempffen lang mit
einander vnd werden Leu.t alle e:rschlagen,
LunOLFF fellt zu fufs
LUDOLFF
Ach vngliick ist aufi" meiner seiten
Allein kan ich kein Heer bestreiten
Drumb bitt ich vmb genad vnd hult
HERTZOG LEUDEGAST
Das vngliick ist dein schuld
V nd ich hett gut vrsach vnd recht
Das ich dich also halt vmbrecht
Mit eim grausamen bosen todt
Doch wil ich dich zu schand vnd spot
Lebendig jagen aufs dem Land
Bait glob vnd schwer mit Mund und Hand
Das du vns das Land raumen wolst
Vnd darein nicht mehr kommen solst
Allein so viel sey dir vergiiut
Was du vnd auch dein Tochter kiind
Beide mit euch von hinnen tragen
Vngefiihrt auff Karn vnd Wugen
Dasselbig miigt behalten jhr
Wiltu das thun so glob es mir
LcnoLH nER HERTZOG sagt kleglich
Als ich hab mir zu vii vertraut
Zu sehr auff meinen gwalt gt>baut
Drumb die Grub die ich graben hab
Dariu fall den balCs ich selbst ab
[Er globt an vnd geht traurig ab
HEuTzou LEum:uAsT
Jr lichen Kriegsleut kompt hertin
Last vns die Stadt auch nemen ein
)lun hab wir gwunnen Ehr vnd Gut
Zerstiirt des l!'iirsten vhermuht
Darfur thun wir euch vii dancks Bagen
Das jhr thet leib vnd Ieben wagen
v nd wolln voter euch jetzunder
Aufli theiln in der Stadt den blunder
[Sie gelm aile ab
FftANCISCUS.
I think if you would look this way,
You'll see a-field a cloud of dust;
It is the enemy I trust;
Take heed, for there are helmets there.
LEUDEGAST.
And standards floating in the air.
Therefore prepare ye for the fight,
Your comage, as your weapons, bright.
The foe attacks us from the Fear;
But at them I at them I Never fear!
Duke LFuoLn's people rush in and fight for some time.
At last they all killed. LuooLn- falls at 1 'uke
LEt:J>EGAsT's feet.
Lt"DOU"F.
Ill fortune to my side hath flown!
I cannot fight a host alone;
Therefore for quarter humbly sue.
LEUllEGAST.
Ill fortune is but thy just due;
And rightful cause would fail me not,
If I would kill thee on the spot.
With torture, yet l deem it best
To let thee live the scorn and jest
Of men, and chase thee from the land.
But swear to me with mouth and hand,
To cede the whole of thy domain
To us, nor e'er return again.
But then thus much I tbee allow:
Of all thy goods, whatever thou
And daughter too together can
Convey by waggon, cart, or van,
The same to keep. If thou agree
To these conditions, swear to me.
LUDOLFI!, piteously.
Alas I alas I I see at length,
I built too much upon my strength;
And therefore while I dug a pit
For others, fell myself in it.
takes the oath. Exit sorr()wfully.
LEun:uAsT.
The town is ours, ('nter here
And occupy it, comrades dear.
For wealth and honour you have gained,
The prince's arrogance restrAined,
Great services with peril rendered,
For which our thanks to you are tendered.
So on to town, among you there
The plunder we will freely share.
[E.reunt.
15 COMEDY OF THE SIDEA.
16
Kompt Lt:DOLH mit SIDEA, tregt einen weisen Silbern
Stab in der hand.
LUDOLFF
Ach wie thut mir die spot vnd schand
Vber die mafs so web vnd and
Es mi.icht mir wol mein hertz zerbrechen
Das ich mich difsmal nit kan rechen
Hab verloren mein Fiirstenthum
Mein Reich tum W olfahrt Ehr vnd Ruhm
V nd ob ich schon kein Land mehr hab
Will ich jedoch nit lasen ab
Gebrauchen alle renck vnd tiick
Bifs mir widerumb scheint das gliick
Vnd ich sey an meim Feind gerochen
SIDEA
Herr Vatter ich hab die gantze W ochen
In meinem hertzen gehabt grofs pein
Hab kein stund kiinnen frolich sein
Dann es hat wol mein hertz geand
Ach weh des jammers spot vnd schand
Kein wunder wer das mir vor scbmertz
In tausent stiicken zerspreng mein hertz
V or lebt ich in Fiirstlichem Stand
Jetzt hab ich weder Leut noch Land
V or nennt man mich Fiirstlicbs Fraulein
J etzund mufs ich ein Bettlerin sein
V or hett icb als vol auff vngemessen
Jetzt wers noht das ich grafs thet essen
V or hett ich viel die vmb mich worben
Jetzt mufs es sein einsam gestorben
Vnd weifs nicht wie es nimbt ein end
LuDOLFF ist zornig, zuckt den stab.
Halts maul das dich Jupiter schend
Vnd hab ein zeit gedult mit mir
J etzt will ich bringen me in Geist herfiir
Der mufs mir sagen wies vns auff Erd
Bifs zu dem todt ergehn noch werd
[Er macht ein kreifs mit dem stab vnnd etliche
Caracteres darein
SIDEA
Ach wolt jhr den Geist thun beschwern
Last mich zuvor von hinnen kehrn
Dann er ist gar zu forchtsam mir
Lt:DOLFJ<'
Schweig still er ist vnschedlich dir.
[Er macht den Kreifs aufs, vnd klop.fft mit dem
8tiiblein au.ff das loch, so springt der TnnEL
heraujs, speit reur aujs, geht in Kreijs vnd
sagt ::ornig:
Enter Lroou,. with SIDEA. carrying a white silver wand
in his hand.
Ll'DOU'F,
Alas l What torture 'tis to face
Indignity and foul disgrace l
My heart indeed is like to break
That now I can no vengeanct> take.
I\e lost my kingdom, lost my name,
My wealth, my honour, and my fame!
And though no more of land possess'd,
Yet not a moment will I rest,
But use all stratagem and wile,
Till once more fortune me smile,
And vengeance on my foe I wreak.
SID EA.
Alas, my father! all this week
Such trouble doth my heart oppress.
I've known no moment's happiness.
Too truly did my heart forebodl'
Of foul disgrace this weary load.
It is no wonder, then, the smart
In thousand pieces burst my heart.
In princely state I lived before;
Now suite and land are mine no more.
And princely rank belonged to me;
But now a beggar I must be.
Before I ne'er knew stint nor need;
But now on herbage I may feed.
Before would lovers round me sigh;
But now unwedded must I die,
Nor know I what the end will be.
LUDOLFF angrily, twitching at his wand:
Silence! May Jove dishonour thee!
Ha\e patience with me while I call
My spirit, he shall tell me all
Will happen to us here below
Till death, for I'm resolved' to know.
[He draws a circle with his wand, and describes
certain characters in it.
SID EA.
Ah, if the spirit thou would'st raise,
I pray thee let me go my ways.
The thought doth fill me with alarm.
LlJDOLFF.
Silence I he will not do thee harm.
[He opens the circleJJ, and strikes the opening
with his wand. The DEVIL springs out of it,
spits out fire, walks round in the circle, and
says angrily:
17 COMEDY OF THE BEAUTIFUL SIDEA.
Ludolff du bist ein bOser Mann
V or dir ich nirgent bleiben kan
So halt dir nur was schlechts fellt ein
Meinstu ich mufs schlechts bey dir sein
Nun magetu wissen vnd das ich
Noch mehr beschwerer hab als dich
Vnd kan dir nicht so gschwind auft'hupffen
Obs dir schon thut ind nasen schnupft'en
Drumb sag mir bait was wiltu mein
LUDOLFF
Du Schelm wann du so stoltz wilt sein
So sag mich ledig meiner gliieb
Oder mir alsbalt antwort gib
W arumb ich dich jetzund thu fragen
RUNCIF AL DER TEUFFEL
Was wiltu dann so thu mir sagen
Wiltus nit sagen so ziech ich bin
Meins wegs wo ich herkommen bin
Du hOrsts das ich mul's weiters fort
LUDOLFF
So sag mir bait mit einem wort
Ob ich mich kan an meim J:t'eind rechen
RusciFAL
In warheit thu ich dir versprechen
Es wird geschehen nicht nach Iangen
Wirstu deins Feindes Sohne fangen
V nd der wird dir lang Dienst bar sein
Vnd nach lang aufsgestandner pein
Wird er von dir ledig durchaurs
Kompt wider seim Vatter zu Haufs
Als dann wirstu. wider zu ehrn
V nd wider guts gliick zu dir kehrn
Ein mehrers kan ich dir nicht sagen
[Runcifal der Tev.jfelfehrt ab
LUDOLFF
So du im Walt hOrst jemand Jagen
So zeig mirs an als halt will ich
Auff das best wol fiirsehen mich
Das ich auch etwas thu erlangen
Kond ich den J ungen Fiirsten fangen
Vnd das ich mich kondt an jhm rechen
So will ich dir hiemit versprechen
Das er mufs bleiben mein Leib eygen
W olt jhm auch alles bOfs erzeigen
Wie vns sein Vatter hat getban
Nun laCs vns in die Hiitten gahn
W eil wirs doch jetzt nit besser han
[Ab,qang.
Ludolff, thou art a wicked man;
For thee I nowhere tarry can.
)Vhene'er thou mischief meditate,
Thou thinkst I must be with thee straight.
Now know, I serve not thee alone,
But others too for masters own,
And can't bop up at such a pace,
E'en though thou pull'st so long a face;
Say quickly what thou wouldst with me?
LUDOLFF.
Thou rogue I if thou so proud wilt be,
Either release me from my vow,
Or give immediate answer now,
Whatever 1 may ask of thee.
RUNCIFAL.
What is it then? Come tell it me;
If not, why then the way is clear
For my return, which I came here.
For I must forth, as thou hast heard.
LUDOLF}".
Then tell me quickly in a word,
Can I revenge me on my foe?
RUNCIFAL.
Thus much 'tis given thee to know:
Not many days will lapse, I wis,
Before his son thy prisoner is.
And he will serve thee long, at last
When that his term of trial 's past,
He will from thee his freedom earn.
And to his father's house return.
Thy honours then will be restored,
And fortune too be thy reward.
But more I'm not allowed to say.
[Erit Runcifal, the devil.
LUDOLFF.
Shouldst thou hear huntsmen pass this way,
Inform me quickly, then will I
Arrange my plans so craftily,
That I may also something take:
Could I the prince my prisoner make,
And wreak my vengeance on him too,
Why then I promise this to you:
That be as slave remain behind,
And such ill-treatment shall he find,
As we must from his father bear.
Now let us to the hut repair,
As there is nothing better there.
2
[&eunt.
18
19 COMEDY 0 ~ ' THR BEAUTIFUL SIDEA. 20
ACTUS SECUNDUS.
Kompt JAHN MoLITOR U!t sehr staubig von Llfeel, lacht
Ein Miihl die da W assers gnug hat
Das es kan treiben nur drey Raht
Kan sich des nutzeus nicht erwehrn
V nd wol ein faulln Miiller ernehrn
Beydes mit W eib vnd auch mit Kind
Vnd mit all seinem Haufsgesind
Dann kein Ampt ist auff dislr Erd
W ers vbel braucht ist Henckcns wehrt
Ynd weil die Muller miitzen gerp
Den Baurn die Seck zu gar -,,{it \ern
So miil'sen sie jhr Dieb auch sein
Das klingt vor den Lenten nicht fein
Aber was ist daran gelegen
Man thut doch als nur von Gelts wegcn
V nd wenn des Mensch en lust nicht weltr
0 die Welt stiind jetzt nimmermehr
Daher winl einer eiu ankleger
Der ander wird ein Humlts schleger
Der dritt ein Stattknecht oder Biittel
Der viert ein Baur in seinem Kiittel
Der fiinfft wird ein Schalck vnd Verriither
Der sechst ein Morder vnd Vblthiiter
Der sibend ein Wuchrer werden thut
Der acht hat ein leichtfertigen mut
Der neund purgiret die privet
Der zehend mit biisln schiiden vmbgeht
Der eylfft Peinlich sach cxetuirt
Der zwiilfft de8selbcn lehrknecht wirdt
V nd also fort durch alle Stiindt
So vie! der tadelhafftig send
V nd die man scheulich acht darneben
Dennoch thut man sich drein ergeben
Das schafft allein die Lieb vnd lust
lch wer kein Muller worden sunst
W enn ich nit so wol hett gewist
Was groser N utz beym Miihlwerck ist
Ich mcst all Jar etliche Schwein
Kauffen von mir die Metzger ein
Fragen nit wo ichs hab genummen
Guts Dreits gnug kan ich vberkummen
Das ich nit a]s verzehren kan
Ein gme!!ten Ochsen ich drinn han
Den schlag ich mir jetzt in mein Haurs
Ich mach Kers vnd riihr auch Schmaltz aurs
Yhd hab mein bares Gelt dar zu
Allein das bringt mir grof.'! vnrnh
Das ich Heur hab me in W eib verlohrn
ACT II.
Enter J ons MOLITOR, covered with flour, and laughing.
A mill, which only has indeed
Water enough three wheels to feed,
Brings cash enough at least for that,
To keep a lazy miller fat,
His children too, and eke his spouse,
And all the servants in his house.
Each trade must its own pickings bring.
But not for that should tradesmen swing.
And as the millers like their snack,
Dig somewhat deep in peasant's sack.
Why truly they are thieves, but then
The word sounds ill to other men.
Yet who for that need take offence?
It's only done for sake of pence.
If man's desires lost their power,
The world could never last an hour .
. One man informs against his brother;
As dog- killer too lives another.
The third as beadle may be seen;
The fourth a clown in gabardine.
The fifth, a rogue, betrays his friends;
The sixth cuts throats to gain his ends.
The seventh takes his cent per cent:
The eighth's on idle pleasure bent.
The ninth deans privies out for pay;
The tenth malicious plots will lay.
Th'elev'nth tor debt doth chattels seize:
The twelfth - his prentice if you pleast'.
Thus through all trades it is the same;
There's always much deserves our blam(.
And though they may detest the thing.
Yet use doth resignation bring.
The only joy is cash to win;
For 1 no miller should have been,
Had I not known the way a mill
May well be made one's purse to fill.
Each year I fatten swine , )'OU see,
.And these the butchers buy of me.
. They don't ask ho'v I fill the trough.
With three good pigs I come well off.
For I can never eat them all.
A fatten d ox have I in stall,
Which I shall slaughter in my yard;
Besides, I make both cheese and lard.
Of ready cash I have a store:
But one thing troubles me full sore;
This year hath ta' en my wife from me,
21 COMEDY OF THE BEAUTIFUL SIDEA. 22
W er sunst Heber ein Miiller worn
Als der best Doctor in der Statt
RoLLt:s DER BAt:R geht mit ELA seiner Tochter ein, die
tregt ein eingewickelta Kindt.
ROLL US
Sie da El dort steht der vnflat
Dem wolln wir dein Kindt heim tragen
Vnd, das er dich bhalt, zu jhm sagen
Thut ers nit so verklag ich jhn
ELA
0 laCs vns nur bait zu jhm hin
[Sie gehn zu Jahn Molitor
RoLI.us
Ey Miiller da find wir euch recht
W eil jhr mir baht me in Tochter gschwecht
Die mit euch hat tragen ein Kindt
So miist jhr euch erkleren gschwindt
Ob jhrs walt wider zu ehrn bringen
JAnN MoLITOR kratzt sich im kop.ff
Jr sagt mir von seltzamen dingen
Ich sol eur Tochter bringen zu ehrn
Dergleichen Kunst thet ich nie lehrn
Dunn an ehrn mir selbst mungeln thut
1st eur Tochter gut so bleibs gut
Icb bin des Kindes Vatter nicht
RoLL us
Ja du Schelm du hast jhrs zugricbt
Wil ich bei meinem Eid erhalten
JAHN MoLITOR lacht, deut au.ff den Baurn
Schau einer den leichtfertigen Altn
Der schwert da fiir die Tochter sein
V nd glaubt was sie jhm bildet ein
V nd er hats weder ghOrt noch gsehen
ELA
N ein es ist dennoch also gschehen
V nd du laugnest so hart darfiir
Das Kind hab ich allein von dir
Schaus nur es ist ein schons Sohnlein
JAHN MOLITOR
Ists schOn so solts ein Maidlein sein
So gried es seiner Mutter nach
Gebt mir ein bedacht heint den tag
Als dann so will ich mich erklern
RoLL US
Ey gut das woll wir thun gar gPrn
[Sie gehn ein weni,q au.ff die Seiten, reden zusammen
in dit< Ohren, Jahn lacht, so kompt Dn:nuc11
mit seiner Tochter, die tregt auch ein
Kind, l>lETHICII geltt zn jl!m, nul sagt zornig.
Find kh dich hie du ehrlicher
Else I would rather miller be
Than the best doctor in the town I
Enter ROJ,LL'S, THE PE.\SANT, with ELA, his daughter,
carrying a baby in swaddling clotheJJ.
RoLLt:s.
Look, Ela, look! There stands tlw clown.
We'll tell him that thy child thou'st brought.
That he must both of you support;
If not, I'll prosecute the loon.
ELA.
0 father, let us at him soon.
[They walk up to John Molitor.
RoLLrs.
How lucky, miller, thou art there!
For thou to me must now declare,
As thou my daughter hast defiled.
And she hath borne to thee a child.
If thou'lt restore her honest name.
JOHN MOLITOR, scratching his head.
That's a queer notion, - is that same;
I should her honesty restore,
Yet never had the thing before I
My stock of it is nearly
If honest once, she's so r.emained.
I'm not the father of her child.
RoLu;s,
Thou rogue! I know thou'st her beguiled.
Can take my solemn oath, I can!
JoHN MoLITOR lau,qhing, and pointing at the peas011f.
Now look at that old hasty man I
l<'or daughter there he'll swear away.
Believe 'whate'er the wench may suy:
He neither saw nor heard the act.
ELA.
Nevertheless, the thing 's a fact.
And yet indeed thou wilt not own
I had the child by thee alone I
As pretty a boy as one may see.
JonN MoLITOR.
If pretty, it a girl should be, -
Take after its own mother more.
Give me to- night to think it o'er,
And then l'll tell you my intent.
RoLLt:s.
Aye, aye, - to that we will conslnt.
[They walk a little on one side, and whi11per
together. Joltn laughs.
r:nter Dn:TJUCll with AGNES, his daughter, carryinrJ a baby.
He walk.s up to the miller, and Ba!JB angrily:
Thou honest man I I find thee lwr<' t
2"
23 COMEDY OF THE BEAUTIFUL SIDEA.
J AHN erschrickt, kraut sich im kop.ff
Ja was hab ich dann dir gethan
DIETRICH
Mein Tochtcr hast mir zschanden gmacht
Da hab wir dir das Kind gebracht
Das wird dir zu ziehen gebiirn
Auch so mustu gen Kirchen fiihrn
Mein Tochter bhalten zu der Eh
JAIIN MOLITOR
Deiner Tochter ich keins Kinds gsteh
So hab ich sie aucb nit genommen
DIETRICH
Lestus fUr die Obrigkeit kommen
So wirst wol sehen was du gwinst
Du must ins gfengknus auffs aller minst
V nd dennoch bhalten die Tochter mein
Ich will dir ein guter Schwer sein
V nd hundert gulten geben darzu
JouAN
1
MoLITOR
llundert gultn vnd wolt mir flicken die Schu
Da:> ich euch nichts darff lohnen darfiir
Ein W eib ist not zu nemen mir
Dann ichs mit meinen Miiid vnd Knechten
Nicht als kan erstreiten vnd fechten
Aber verziecht ein weil bierinnen
Ich mufs mich vor darauff besinnen
[Er geht abwiirts, wo der Rollusmitseiner Tochtersteht
JAHN
Hort was wolt jhr mir geben dar zu
'Vann ich eur Tochter nemen thu
Zu eim ehrlichen Heiirat Gut
RoLL US
W ann jhr mein Tochter nemen thut
Gib ich euch hundert gulten mit jhr
J,mx deut auff den Schuster
0 der beut -hundert Thaler mir
V nd hat mir noch verheissen darzu
Vmb sunst zu flicken all mein Schu
Vnd ist sein Tochtr schijner als die
RoLLGS
Wiltu zu Kirchen fiihren sie
So gib ich dir ein guten zahler
Zu jhr anderthalb hundert Tabler
V nd fiihr dir vmb sunst aus dein mist
J AHN sch.mutzt
Das alles dennoch gut mit ist
V erziecht ich nmf:s nur etwas fragen
Ich will euch halt gut antwort sagen
1
Sic in the original impres.ion.
JoHN frightened, and scratching hi8 head.
What have I done to thee? Oh dear!
DIETRICH.
What? Why my daughter thou'st defiled;
And now we've brought to thee the child,
Which it's thy duty to maintain.
And after that, of course 'tis plain,
Thou must in church my daughter wed.
JoHN MoLITOR.
Through me she ne'er was brought to bed,
Ne'er did I treat her in that sort.
DIETRICH.
Then let us go before the court,
And thou wilt see what thou wilt gain:
At least in prison to remain,
And wed my daughter none the less.
As father, I'll the marriage bless
With hundred florins if you choose.
JOHN MOLITOR.
A hundred down, and mend my shoes.
And nothing for it have to pay?
I want a wife too any way.
For with my maid and servants too,
I cannot all the work get through.
Excuse me while I step aside,
And tlrlnk before I choose my bride.
[Aside to Rollus who i8 standing near his daughter.
JoHN.
Now tell me, how much wilt thou give,
If I thy daughter take to live
With me, I mean in wedlock fast.
ROLL US.
If thou my daughter take at last,
I will a hundred florins say.
J O H ~ , pointing to the shoemaker.
T'other will hundred dollars pay,
And promises he'll not refuse
To mend for nothing all my shoes.
His daughter's handsomer than she.
RoLLCs.
If thou to marry her agree,
I'll pay of dollars without fail
Hundred and fifty on the nail,
Thy dung besides for nothing cart.
JoHN. chuckling.
That is worth something too, as part.
Your pardon,- I'd a word to say
To him;- I'll answer you to-day.
25
I
COMEDY OF THE BEAUTIFUL SIDEA. 26
JAHN lacht
Wann sie nicht wolln hOcher nauff
So wird aufs dem gebot kein kauff
[Er geht zu dem Schmter
Hort jhr mein Meister Dietrich
Fiir war eur Tochter ist nicht fiir mich
Ihr gebt jhr zu weng Heiirat Gut
Der Rollus mir anbieten thut
Zwey hundert Thaler, das jhrs wist
V nd will mir aufs fiihrn all mein mist
So lang ich vnd er thut Ieben
DIETRICH verwundert sick
Zwey hundert Gultn wil ich dir geben
Ich meint ich thet der sach genug
JAHN MOLITOR
So habt noch ein kleinen verzug
Ich wils gehn dem Rollus abschlagen
[Die zwey der Schmter vnd sein Tochter stosen
die lc()pjf ztUJammen, er geht zum Rollo.
(JAHN)
Hort mit eim wort wil ichs euch sagen
Er will zwey hundert Thaler geben
V nd mein Schu Hicken weil wir Ieben
Nun ist sein Tochtr ein Burgers Kind
Die ehrlicher als die Baurn sind
Darumb wil ich dieselben nemen
RoLLvs
Ey, ich wolt mich in mein hertZ schemen
Das ich nit so gut als er wer
Vil mag dir wol verheisen er
Nicht weifs ich wie er zahln wiir
J edoch so will ich geben dir
Zwey hundert Thaler wie vor gemelt
JAHN
Zwey hundert Thaler ist vii gelt
Nun hab ich zu bedencken frey
Welche mir die nutzlichste sey
[Er geht wegk vnd eh er zum SchlUter kompt
sagt er
lch mag ebn der Burn keine nit
J etzt wil ich mach en ein vnfrid
Das die zwen sollen vneins wern
V nd weil sie aneinander bern
Die weil so treh ich mich davon
[Er geht zum Dietrich
Was sol ich mit deiner Tochter than
Rollus sagt vnverholn vnd frey
Das sie doch nur dein Hurnkind sey
V nd du seist auch nit Ehlich geborn
JOHN, laughing.
If they their highest bid have made,
We shan't do business I'm afraid.
[Walking up to the shoema/cer.
Now master Dietrich, do you see,
Your daughter's not the girl for me.
You will not dower give enough.
'Tis Rollus offers me the stuff.
Two hundred dollars will he pay,
And all my dung will cart away,
As long as both of us shall live.
DIETRICH, much BUrprised.
Two hundred florins will I give;
If that won't do, the deuce is in it.
JOliN MOLITOR.
Be kind enough to wait a minute,
While I shew Rollus to the door.
[The shoemaker and his daughter put their heads
together, while John wallcs up to RolltUJ.
JoHN.
I wish to say just one word more:
He will two hundred dollars give,
And mend my shoes while both do live.
His girl, as burgher's daughter, too
Ranks higher than the peasants do.
And therefore she shall bear my name.
ROLLL'S.
'Twould be for me a downright shame,
Were I not quite as good M he.
Though much indeed he promise thee
I don't know how he'll ever pay.
But yet two hundred will I say
Before the wedding, come now,- come!
JoHN.
Two hundred is a good round sum.
I'll take my leisure to reflect,
From which I may most help expect.
[He goes aside, but before he turns to the sho&-
maker, continues:
I don't like either wench, - not I,
So to get up a brawl will try.
That they from words may come to blows,
Exchange black eye!! for bloody nose ;
Then in the midst I'll take my leave.
[Walking up to l>ietrich.
Thy daughter I can ne'er receive.
For Rollus says quite openly,
No honest woman's child is she.
And thou thyself a bastard born.

27 COMEDY OF THE BEAUTIFUL SIDEA. 28
DIETIUCH sagt zornig
Das sey dem schelm ein Eyd geschworn
W olt er solchs ding von vns aufs geben
Es miist jhn kosten leib vnd Ieben
lch will jhm sein Leib Himlblau schlagen
JAIIN
V erzeich ich wil jhn vor recht fragen
[Er geht zum Rollus
Rollus dein Tochter ich nit mag
Geh hOr was Dietrich von dir sag
Du seist ein schelm solst gedencken
Man thet dir dein Vatter erhencken
Auch hab man dir ein Bruder grieht
Rouus laujft zum Schuster
Du leugst wie ein schelm vnd bOfswicht
Ey schweig ich wil dich lernen liigen
DIETRICH
Komb her du solst deins Manns wol kriegen
[Sie schlagen einander, Jalm lacht, schlegt die hend
zusammen vnd laufft ab, sie schlagen auclt ei71-
ander ab.
LEUDEGAST DER FiiRST IN DER \VILTAU mit FRANCIS<.:O vnnd
ELEMAO seinen zweyen Riihten vnd seinem SohnE:-<GELBUECHT
sein auser defs FUrsten, wie Jiiger staffirt, geht ein.
LEt:DEGAST
W eil jhr je naufs wolt auff das J agen
So wil ichs euch mit treuen sagen
Das jhr gebt auff einander acht
Jr wist das der Feind stettigs wacht
Solt der euch W ehrlofs im \Valt find en
Oder mit W affen uber win den
So leget er euch an grofs leidt
Darumb brauchet bescheidenheit
V nd halt zusammen nile sander
ENGELBRECHT
'Vir lassen gar nicht von einanth
Hett sich einer verriten schon
So kan er durch der horner thon
Leichtlich aus de jrr werden bracht
FRANCISCl'S
Defs Ludolffs gwalt ich wenig ucht
Der hat kein Leut vnd Land nicht mehr
Das man auff jhn darff sehen sehr
Zu dem wer weifs wo er vmb zeucht
V or vns in fieder Meufs winkl kreucht
Er setzt sich gwifslich daher nicht
ELEMAt:-;
Er kompt vns uirnmermehr zu gsicht
Seinthalb hat e ~ kein mangd nit
DIETRICH, angrily.
On that the rascal shall be sworn.
If such things are maintained by him,
The lie shall cost him life and liml.
I'll beat him till his body burst.
JoHN.
Pardon, - I'll ask about it first.
( Goin,q up to Roll us.
H.ollus, thy daughter will not suit;
For Dietrich says, that by repute.
Thou art a rascal, and should rather
Remember that they hanged thy father.
And brother too, as far as that.
RoLLrs, rushing up to the shoemaker.
Thou liest. thou rogue, I tell thee fiat!
Silence! I'll teach thee lies to hatch!
DIETIUCH.
Come on! come on then I I'm your match!
[They fight. John laughs and clasps his hands to-
gether. The others beat each other off the sta.rJe.
Enter LEl'DEGAST, TilE PRIX<'E OF THE \VILTAt', u:it!t his tuo
counsellors, FRANCisns and ELDIAl"S. and his son ErwEL-
BRECHT. All, e:cr:ept the ]Wince, in huntsman's rnstume.
LEUVEGAST.
As you've resolved to hunt to-day.
fll a few words of counsel say.
Each of y o ~ keep the rest in view:
Be sure the foe is watchful too.
If he surprise you in the wood
Unarmed, or if by force he should
Subdue you, he'll do yon a harm.
So stand prepared at each alarm,
Nor separate, - lest ill befall.
ENGEI.BRECHT.
We will not separate at all;
If one of us should ride astray,
By sounding of our horns, we may
Easily guide the truant right.
FRAXCIStTS.
I don't think much of Ludolff's might.
He has nor land nor people more,
That we should heed him as before.
Besides, who knows where he may prowl.
Hiding perhaps like bat or owl?
You may be sure h<' is not hert>.
ELF.MA l'S.
:K or will again to us appear;
'V e may for him be quite at ea;;e.
29 COMEDY OF THE BEAUTIFUL SIDEA. 80
LEllDEGAST DER FURST
Nun wol so ziehet hin in frid
Per Hirsch ist jetzund in der feist
Secht das jhr jhn abbruch beweist
[Sie gehn alle ab.
Kompt LL'DOLFF mit SmEA, kat llin jedBB ein wei&Ben stab,
LUDOLFF
Mein geist thet mir heint offenbarn
Das in dem Walt auffs woll fahrn
Defs Hertzogen Sohn Engelbrecht
Der soli mir kommen eben recht
Den wil ich in dem Walt aufsspiim
Fangen vnd der mafs tribulirn
Der gleichen keim zuvor ist
SmEA
Fiirwar das wolt ich gem sehen
W ann wir den V ogl kriegen theten
Als dann wir gut hoffnung hetten
Wider zu bringen in die bend
Das gantz Fiirstliche Regiment
V Jid woltn jhn weidlich Rancionim
V nd wolt er das Ieben nicht verliern
Miist er vns setzen ein
LVDOLFF
Schweig nur es soil sich schicken fein
Dann ich wil mich kut:tz an jhm rcchen
Oder mich vnd dich selbst erstechen
[Er laujft mit der Tochter gantz traurig ab.
Kompt ENGELBRECHT mit seinen Famulo, schreien erstlick im
eingang: kolla, holla; holla, alsdann Bie aufziehen, sagt
ENGELBRECHT
Wir sind weit kommen von der Strassen
Wir sehreyen oder die Horner blasen
So gibt man vns doch kein antwort
Schau, schau, was gehn fiir Leut nur dort
Sie lauffen warlich auff vns zu
Darumb dich wol fiirsehen thu
Sie grei.ffen zu den Rappirn, kompt LunouF DER l<'i'RST
mit der SmEA, kat in der ein hand ein Wehr, in der
andern ein weiBen stab
Lt:DOLFF
Du Junger Fiirst halt gib dich gfangen
ENGELBRECH"r
Den Raub wirstu heiit nicht erlangen
Famule stofs durch jhn die Klingen
Sie wollen von Leder ziehen, LUDOLFF scklegt mit den stab
auf! die Wehr, F AMULUS
Mein Wehr kan ich nicht heraufs bringen
Ich glaub das sie bezaubert sey
LEUDEGAST.
'Tis good, my friends, then go in peace.
The stag just now is gaining fat;
See how you put a stop to that.
[E$eunt.
Enter LuoOLFF with SIDEA, each bearing a white wand.
LUDOLFF.
night, the spirit did declare,
That Engelbrecht, the Prince's heir,
Will in the forest hunt to-day.
To me he's welcome any way.
For I will follow on his track,
Catch him, and plague him, that, good lack I
The like was never heard before I
SmEA.
Nothing indeed would please me more.
If we could only catch this bird,
Our hope might not be long deferred,
To get once more into our hands
Our princely government and lands.
And then hard blows should be so rife,
That if he would not lose his life,
He must us quickly reinstate.
LUDOLFF.
Cunning's the thing, so hold your prate.
For vengeance take on him I will,
Or me, and eke thyself, 'will kill.
[Ezeunt, very sorrowfullg.
Enter ENGELBRECHT with hi8 squire. They first iJhout as they
enter: holla! holla! holla! and then advance to the front.
ENot;LBRECHT.
}<'rom the right way we've wandered out.
And when we blow the horn or shout.
No answer's borne upon the air.
Look 1 look I what people are they there?
Indeed they're making straight this way!
Therefore be on your guard, I pray.
Theg lay their ltand8 upon their swords. Enter PRIXcE
LUDOLFF with SmEA, carrying a drawn aword in one hand,
and in the other a white wand.
LL'"DOLFF.
Young Prince, I thee my prisoner make.
ENGELBRECHT.
To-day thou no such prize shalt take.
Boy, draw your sword, and him transfix..
Theg try to draw. LroOLFF atrikBB tfaeir &Word with hi8 10and.
THE SQUIRE.
My sword, sir, in its scabbard sticks;
I think it must enchanted be .

31 COMEDY OF THE BEAUTIFUL SIDEA. 32
ENGELBRECHT
Ja es ist Iauter Zauberey
lch bin erlembt an beyden henden
Kan mich nicht wol rucken vnd wenden
Derhalb wejls nit kan anderst sein
So murs ich sein der gfangen dein
V nd dirsmals deines will ens gel eben
LUDOLFF
So thu mir defs dein treu bait geben
Du lecker aber balt troll dich wegk
Oder ich tritt dich in den dreck
V nd hau dir aile vi ere ab
Das ich vor dir zu bleiben hab
Vnd das dich fressen Krahen vnd Raben
FAMGLt:S
Ach weh ein bOse Jagt wir haben
Gnediger Fiirst in grosen Leid
lch zu demmal von euch abscheid
[FamulU8 geht ab.
Lt:DOLH
Jetzt bistu mein Leib eygner Knecht
Wie mic.h dein Vatter wider recht
Hat getrieben von Leut vnd Land
V nd auffgethan grors schmach vnd schand
Also solstu geschieden seyn
Von jhm vnd gantzer Landschafft de in
Solst meiner Tochter Holtz tragen
Vnd alles was sie dir thut s11gen
Solstu verrichten vnd volbringen
Darzu sollfl dich mit schlegen zwingen
V nd wo sie klags we is bringt fiir mich
Das du wolst etwas weigern dich
Als halt wil dich erschlagen, ich
[Er stost jhm zum abgang, schlegt jhn mit dem
stab au.ff die Lend, al8o auch die Tochter, vnd
gehn alle ab.
ACTUS TERTIUS.
Kommen DIETERICH vnd RoLLt:s mit eim grosen geschrey
gelo.ffen,
RoLL us
Nun hor auff wenns anderst ist gnug
Kein Mensch mich mein tag al,;o schlug
V nd ich hab dir kein leid gethan
DIETRICH
Bin ich ein Hurp Kind so zeig an
V nd von wem du es hnst vernommen
RoLL us
Es ist mir aufs meim maul nie kommen
'
ENGELBRECHT.
Yes, it is nought but sorcery.
That from my lamed limbs I learn,
For I can neither move nor turn;
And therefore, as no choice I sel.',
Thy prisoner I acknowledge me,
Will after thy good pleasurl.' live.
Lt:t>OLFf'.
Of this at once thy promise give.
As for you, jackanapes, pack quick.
Or I'll thee in the kennel kick,
Thy limbs from off thy body hack.
That I on thee must turn my back.
And crows and ravens feed on thee.
SQnRE.
Alas I what a sad bunt have we I
0 gracious Prince, I sorely grieve,
That thus I from you take my leave.
LVDOLFF.
Now art thou ;verily my slave!
And as before thy father drave
Me most unjustly from my place,
And heaped upon me foul disgrace.
In the same way thou partest ben
From father, country, all that's dear,
Shalt for my daughter carry wood,
Whatever else too she think good
To order, see thou dost it well,
Or heavy blows shall thee compel.
And should she e'er complain to me,
Thou shew'st thyself refractory,
Upon the spot I'll murder thee.
[Exit.
[He beats him off, strilwJ him on the leg with his
wand. Sidea does the same. Exeunt.
ACT Ill.
Enter hastily DIETRICH and RoLLUS with a great deal
of noise.
RoLLrs.
Hold I hold I enough, enough I Old oh I
No mortal man e'er beat me so!
And I to thee no wrong have done.
DIETRlt:H.
Tell me, am I a strumpets son,
From whom too thou the lie hast hl.'ard?
RoLLt:s.
My mouth ne'er uttered such a word;
33 COMEDY OF THE BEAUTIFUL SIDEA.
Der Muller aber sagen thet
Ein Schelmen jhr mich gschmehet hett
V nd man hett me in Vatter ghangen
Also wers auch meim Bruder gangen
Das selbig wolt aufsfiihren ich
DIETRICH
Ich hab kein schelm gscholten dich
So ist mir auch nie ingedencken
Von deins V atters vnd Bruders hencken
Wie ich dann kein Wort weifs davon
ROLLt:S
So hat vns also ghetzet an
Der Miiller, dem woll wirs nit schencken
Den schelm seiher lasen hencken
Wir wollen jhn vor dem Schultheifs verklagen
V nd nicht mehr dencken an das schlagen
1
W eil wir darzu seind worden ghetzt
Es soli an jhm aufs gehn zuletzt
[Sie lau.lfen ab, kommen zur andern seiten wider rein
DIETRICH
Der schelm hat sich gedrehet aufs
RoLu,:s
J a er ist je nit in seim Haufs
J edoch so lafs ich gar nit ab
Bis ich den Hudler gfunden hab.
Kompt J A m ~ , liat sicli wie ein alt lVeib verkleid, geht an
einem Krocklein,
DIETRICH
M11 liebe alte thu mir verjehen
Hastu nit den Jahn Muller gsehen
JAIDI MOLITOR in einer alten Frauengstalt, sagt klein
Jahn MUller was soil ich jhn gsehn han
Was Tenffls bah ich mit jhm zu than
Fragt ander Leut die wissen drum
RoLL US
Ey Iiebe alte Mutter kum
Ich kenn ein wol den wil ich fragen
Was gelts er wirdts vns gar halt sagen
JAHN in gestalt der alten Frauen
Ja wenn er da.'i kan so ists viel
Derhalb ich auch mit euch gehn wil
[Sie gehn alle ab
Kompt LEUDEGAST DER FunsT mit FRANCisco vnd
ELEMAUS, setzt sich
LEUDEGAST
Es kombt mir zwar gar seltzam ffir
Das allein zuhaufs kommet jhr
1
This line is omitted in Tieck , edition.
The miller though declared before,
Thou said'st I was a rogue, and more,
That father dangled in a noose,
And brother died too in his shoes;
That was the debt I wished to pay.
DIETRICH.
I never called thee rogue, I say
Nor came it e'er into my head,
But what thy friends had died in bed.
I know no word about the matter.
RoLLt:s.
The miller by his lies and chatter
Hath set us on, but we'll be quit;
The rogue himself shall hang for it.
Before the mayor we'll him arraign,
But won't try fisticuffs ngnin.
And if he set us on beforf',
'Tis he at last shall pay the score.
[They run off at one side, and return on the other.
Dlt:TRICH.
Hulloa I the rogue has bolted elf' 1m !
Rou.us.
At home he's never to be seen.
But hang me, if I leave the lout,
Until I've found the fellow out.
Enter JonN, disguised as an old woman, and walking
with a crutch.
DIETRICH.
Pardon old lady; hast thou seen
If John, the miller, here has been?
JoHN, speaking in a weak voice, like an old woman.
The miller? What the deuce should he,
A miller, have to do with me?
Ask other people, who may know.
RoLLt:s.
Come then, old lady, let us go.
I'll ask a man, whom I know well.
I'll lay a wager, he can tell.
JonN, still imitating an old woman.
That is no trifle, if he can;
And therefore I'll go too, young man.
[Exeunt.
Enter PIIDiCE LEUDEGAST witlt FnA:scrset:s and ELE:\IA[;S.
The Prince sits down.
LEt:DEf:AST.
It seems to me most strange, I own,
That you should now come home alont>,
3
35
'
COMEDY OF THE BEAUTIFUL SIDEA.
V nd last mir aurs mein 'lieben Sohn
Den ich euch hoch befohlen han
Dann jhr ja sollet bey ibm bleiben
Last vns an aile ortter schreiben
Das icb erforsch wo er bin kum
Dann jhr brecht mich sunst mit jhm vmb
Das wer mir ein traurigs gejaid
FRANCISCL'S
Es ist vns gar ein treulichs J..eid
Das er so \'on vns kommeu soli
Ein Hirschen hett wir im gestell
Den wolt der junge Fiirst selbst bfirschen
V nd wird verlorn mit sambt dem Hirsch en
Dem macht wir nach ein Jager gschrey
Bliesen vnser Horner dabey
V ermeinten er solt wider kehrn
So kond wir jhn nicht sehen noch horn
Doch seind wir nicht verzaget gar
W eil wir wusten das bey jhm war
Sein Leib Jung, der geht da herein
F AMt:Lt's geht ein.
Fi:RST
W o lestu dann den Sohne mein?
Wie hats euch auff der J agt ergangen

Ach web der jung Herr ist gefangen
A Is er nach JagPt einem Hirschen
Den er wolt aus seim gschofs erbiirschen
Hat sich derselbig Hirsch verlorn
V nd sind wir in dem \Valt jrr worn
W eder Hund noch .Jiiger horn kunden
Als wir gleich in gedancken stunden
Stiers vns ein W eib auf vnd ein Mann
Der grieff vns kecklich au
W olt wir sol ten vns gfangen geben
Vnu betroht \'US gar hart darnehen
Wir aber grieffen zu den W ehrn
W olten jhn von vns mit abkehrn
So hett er in der hand ein stab
Ein klein Streich auf uie wehr vns gab
Da kond wir keine ziehen aufs
Vnd kam vns an ein solcher graufs
Das wir vns musten geben gfangen
Vnd als er vns hart troht nach Iangen
Hat er mich meins wegs heisen gahn
Vnd hat bhalten eur Gnaden Sohn
Also hat sich all sach zu tragen
L.:nEr.Asr
Ach du bofs vngHickliches Jagen
And leave my own dear son and heir,
Whom I entrusted to your care,
Most faithfully on him to tend.
Now everywhere I'll letters send,
To find out where the prince may be.
If lost, with him you've murdered me.
That were a sorry hunt indeed!
FRAXCISCl'S.
Oh Prince! our hearts within us bleed,
That we your son ha'l'e not brought back:
We found a deer, were on the track,
The prince himself would shoot the same.
And thus we lost both prince and game.
We shoutE-d loud, as huntsmen do,
And also on our horns Wt' blew;
We thought he'd soon again appear,
But nought of him could see or hear.
Yet this did no alarm inspire,
Because we knew his faithful squire
Was with him,- he who enters here.
Enter ;rnE S<,wmE.
TilE PIUXCE.
Where hast thou left my son so dear?
What of the hunt, I prythee, say?
THE SQt:IRE.
The Prince is taken, - woe the day!
As eager in the hot pursuit,
He would himself the quarry shoot,
He lost it. - then we missed the way.
And in the forest went astray.
Nor hound nor huntsman succour brought:
When as we stood, absorbed in thought.
A woman Clime, and then a man,
Who straight a fit'rce attack began,
Demanded we should yield. and let
His rage appear in many a threat.
However, we clapped hand on sword.
Hoping the base attack to ward,
When he, who bore a wand, just laid
The lightest touch upon the blade,
And then we found we could not draw,
But were so struck with dread and awe,
That we submitted us in feur;
And after many a threat severe,
At last he bade me go my way.
But forced your Highnes11' son to
And this is how the thing befell.
LEI'DEG.\ST.
Oh wretched hunt, how sad to tell!
36

37 COMEDY 01!' THE BEAUTIFUL SIDEA. 88
Wie iibel kombstu rnir zu Haufe
V nd wenn ich wer gezogen nnufs
So wer es mir auch also gangen
Wie sol ich nun mein each anfangeo
Das ich mein Sohn wider erlofs
Ludolff der meinte gegen vns gar bOfs
let ers der mein Sohn hat bekommen
So wird jhm gwifs das Ieben gnommen
Darumb so dorff wir feyern nicht
ELEMA"LS
Es ist ein seltzame geschicht
Davon nicht gut ist vil zusagen
V nd doch hochnotig zu Rathschlagen
Wie mau alle sach fang kliiglich an
LEl'DEGAST
So kombt lastvns reden davon
Lang daher stehn ist wenig nutz
Meim Sohn dem miifs wir suchen schutz
[Sie gehn alle ab.
Kampt LUDOLFF DER FunsT mit seinem stab
J etzt hat sich das gliick wider gwend
V nd ich hab mein Feind in der bend
Dem will ich jetzund hart gnug sein
Schau was kompt da fiir gsind herein
Kommen DIETRICH vnd RoLLt:s mit JAUN Mou-ron in
W eibskleidern,
DIETERICH DER ScHUSTER
Gnediger Herr wir bede hetten
Mit euch etwas heimlichs zu reden
W eil wirs nicht konnen erfahren sunst
So helfft vns mit eur Zauber kunst
Wir wolln euch gern reichlich lohnen
Ein Miiller thut naht bey vns wohnen
Der hat vns zugfiigt grose schmach
Zu dem wir haben schwere klag
So lest er sich daheim nit finnen
V nd duncket vns in vnser sinnen
Die alte Frau wife wo er sey
JAHN MoLITOR in gestalt eines alten Weibs
Nein ich weifs nit bey meiner treu
So weifs ich auch nicht wer er ist
LuooLi'F DER FfrnsT schuttelt den Kopff, legt jhr den
stab au.ff den Kopff
Ein recht lose Hur du bist
Ich kenn dich wol du loser dropff
Thu mir uen stauchen von dem kopff
So woll wir halt den Miiller finnen
How fatal to my house thou art!
And had I also taken part,
I might have been a prisoner too.
Now must I try what I can do,
My son to rescue from his fate.
Ludolff doth bear us bitter hate,
And if my son is in his power,
His life is hardly worth an hour;
Therefore we may not idle be.
ELEMAUS.
It is a curious history;
And though there's not much hope indPed.
Of counsel there is utmost need,
What course were wisest to pursue.
LEUDEGAST.
Come, let us talk the matter through.
For idling here's a useless thing,
If we my son would succour bring.
[Exeunt omni'.S.
Enter PruxcE Lt'DOLFF with hu wand.
Once more hath fortune changed, and I
Have in my hands mine enemy.
Hard measure shall he have: but see!
Who can these common people be?
Enter DIETRICH and Rou.us with Jom< MoLITUH in
waman's clothes.
DIETRICH THE SHOEMAKER.
There is a secret, which we two,
Most gracious sir, would learn of you.
What otherwise we cannot know,
Oh lend thy magic art to shew,
And for thy pains we'll pay thee well.
Near us there doth a miller dwell,
Who both of us hath put to shame,
And 'gainst him we would now reclaim.
But he won't let himself be caught
At home, and somehow we have thought
This old one, where he hides, could shew.
.Jom'!. MoLITOR, as an old woman.
Now by my faith it is'nt so,
Nor know I who he is, I vow.
PRINCE LunoLFF, shakes his head, and lays his wand
upon John's head.
A regular loose wench art thou 1
I know thee well, thou slipp'ry chap!
Old lady, just take off that cap,
The miller then will soon appear.
3'"
89 COMEDY OF THE BEAUTIFUL SIDEA.. 40
Er schlecht jhm den stauchen mit den stab vom kop.ff, so
ist8 der Jahn Molitor,
DIETRICH
Nun kombst nit lebendig \on hinnen
Wir wolln dich stratfn nach vnsern sinn
Das durch dich nicht werd, als vorhin
Ein guter Mann bracht in vnrath
JAHN MOLITOR
0 Herr Zaubrer ich bitt vmb gnad
Eur Kunst ist besser als die mein
LUDOLFF
Was begert jhr denn fiir ein pein
Das ich sol jhm anlegen fiuchfs
RoLL US
Herr Zaubrer macht jhn zu eim Fuchfs
Das er fort nicht sey so vermessen
JAHN MoLITOR
So wolt ich dir dein Hiiner fressen
Vnd noch mehr vhls als jetzo than
DlETERJCII
Herr Zauberer wenns der Herr kann
So mach der Herr ein Esel aufs jhm
JoHAN MoLITOR
Mein Narrischer Schuster, so vernim
W enn du zum Esel rna chest mich
So wolt ich gar verderben dich
Das in dem Land Kiih, Pfert, vnd Schwein
Milsten lauter Esel werffen allein
Der Heut zeucht man nur auff die Drummen
W o wolstu N arr Leder bekummen
Was gelts ich walt dirs Esels geben
DIETERICH
Ey so last jhn ein Menschen Ieben
Vnd straffet jhn nach eurem sinn
Lunm.FF DER Fi'nsT
Defs ich schon willens bin
lm Walt soU er hie hey mir bleiben
Vnd das keine loffley nit treiben
Mein Tochter vnd der Engelbrecht
SoU er auff sie acht haben schlecht
Vnd mir dasselbig zeigen an
Glob mirs halt an dastus wilt than
[Er globt an, vnd sie gehn alle ab.
SIDEA bringt den Jungen Fiirsten E:>H.iELBRECHT gar iibel
bekleid, der tregt etliche klotz holtz vnd ein holtz hacken.
legt sie nider SroEA throt jhm mit dem stab
Sm.:A
Balt keil du mir das Holtz zu scheiten
Wiltu anderst die streich nit leiden
Du bist eiu rechter fauler Hund
He strikes the cap off his head, and it appears to be
John Jfolitor.
DlETRICJI.
Never alive go'st thou from here.
We'll punish thee in our own way,
That no good man be led astray
By thee again to his perdition.
JoHN Mm.ITOR.
I sue for pardon, great magician;
Thy art is better far than mine.
LL"DOLFF.
What punishment do you incline
To choose for him, say what's your whim?
RoLLrs.
Magician, make a fox of him,
And so take down his impu<fenee.
MoLITOR.
Then I will eat your cocks and hens,
And do more harm ihan now, my man.
DIETRICH.
Mr. Magician, if you can,
Pray let him then a donkey be.
JOHN MOLITOR.
My foolish cobbler, dost thou see,
If thou wilt make an ass of me,
I'll thus contrive to ruin thee.
All thro' the land, cow, pig, and mare.
Shall nought but little asses bear,
Whose hide is only good for drums.
Tell me, whence then thy leather comes?
That thou the donkey art, is plain.
DIETRICH.
Why let him then a man remain,
And punish him ns you deem fit.
PIU:\'<"E Ixnm.n.
Already I'd determined it.
He shall remain then with me here.
And lest the prince and my Sidea
Some passages of lo,e should try,
He shall on both keep watchful eye,
And tell me all that happens there;
Bqt first he shall obedience swear.
[He swears. Exeunt omnes.
Enter SIDEA with the young Prince E:\'GELBUECHT, very
meanly attired. He carries some logs of wood and an a.re,
and lays them down. Sw.:A threatens him with her wand.
SmEA.
Now cut those logs. and do it quick,
Unless thou wish to feel the stick!
A lazy idle dog thou art!
41 COMEDY OF THE BEAUTIFUL SIDEA. 42 I
ENGELBRECHT fellt jhr ZU fujs, hebt die hend auff
E)t(GELBRECHT
Ach ich bin kranck von hertzen grund
V nd weis mir nicbt weiter zu gehn
Noch einiger Arbeit vorzustehn
Dann ich bin all&'sgemergelt matt
Mein gantzer Leib kein krafft mehr hat
Besser ists ich werd erschlagen
Dann tiglieh solehen last zu tragen
V nd solche sehwere arbeit zu than
Ich bitt so hoch ich bitten kan
Erschlaget mich folgents zu todt
Smu sagt zum Leuten
Wie wol in grofs vngliick vnd noth
Sein Vatter bringt den Vatter mein
V nd mich sein Fiirstliehs Friiuelein
Das wir hetten vrsaeh zur Rach
Doch wenn ieh denck den saehen naeh
So ist er auch Fiirstlieh gebom
V nd an vns gar nicht schuldig worn
Darumb er, die warheit zu melden
Seins V attars nit hat zu entgelten
So ist er ein solche Person
Dem ich sehOn halb nicbt feind sein kan
Vnd wenn ich gleich solcher gestalt
Lang bleiben miist in disen Walt
W aa hett ich lust vnd freud dabey
W enn er mir wolt erweisen treu
V nd mich behalten zu der Eh
W olt ich jhm hel:tfen aufs noth vnd web
Ich wils jhm heimlich zeigen an
[SiB gekt zu ihm.
Mein Engelbrecht was wolstu than
W eon ich dir deiner Dienstbarkeit
Zu wegen brecht jetzt ein frcyheit
V nd dich als dann nem zu der Eh
ENGELBRECHT jellt nider ZU fu/s
Ach schweigt, verstiirtzt ich gar vergeh
All lebendig Gotter diser Erden
Konnen nicht machen das war mog werden
W enn aber das war werden kiind
Mein sach zum aller besten stiind
Ja ich wolt mich eur Lieb ergeben
Zu dienst mit Leib vnd aucb Leben
Vnd euch zu einer Fiirstin machen
SIDEA
Dorft't ich dir trauen in den sachen
ENGELBRECHT falls at her feet, and rai8es his hand&.
ENGELBRECHT.
Alas! I am so sick at heart,
Can hardly drag along my feet,
My task appointed to complete.
For I am tired out at length,
Nor has my body any strength.
'Twere better far I murder'd were,
Than every day such burdens bear,
And such hard work do e\"crmore.
Most earnestly I thee implore,
That thou at once wilt strike me dead I
SIDEA, ad spectatores.
Although his father mine hath led
Into sore trouble and distress,
And me his daughter, a princess,
That he our yengeance might expect,
Yet when I on the thing re8ect,
He also is a prince's son,
And to ourselves no ill bath done,
And should not therefore, truth to say,
Be forced his father's debt to pay.
And then such beauty too hath he,
I could not be his enemy;
And if I long such life must lead
Here in the forest, why indeed,
What happiness and joy to me,
If he would true and faithful be,
And take me as his wedded wife I
I'd help him out of all this strife.
My thought I'll tell him secretly.
[She walks up to him.
My Engelbrecht, how would it be
If I, thy service to reward,
To thee thy freedom would accord,
And then thee for my husband take?
E:sGELBRECHT, falls at her feet.
Oh speak not, or my heart will break.
For all the gods that rule below,
Could never make it happen so;
But could it really so befall,
My fortunes then stood best of all ;
I would to thee my service give,
And ever love thee while I live;
Thou shouldst a royal station grace.
SID EA.
If I my trust in thee may place,
43
COMEDY OF THE BEAUTIIWL SIDEA. 44
V nd du wilt dem so kommen nach
Mir mit der Hand vnd Mund zusag
So will ich ferners redeu mit dir
ENGELBUE<.:HT
Ja dasselb solt jhr trauen mir
V nd jhr solt auch mein Gemahl sein
[Sie geben die hend aneinander
SIDEA
Bistu denn mein
ENGELBRECHT
Ja
SIDEA
So bleib ich dein
Die Gotter bleiben mit vns beyden
Nun soil vns nichts als der todt scheiden
Vnd das du meinen ernst auch spiirst
Zih ich mit dir wo du mich hinffihrst
Sie trucken einander, kompt DEu TEL'FHI.
Sidea disen deinen anschlag
lch deinem Vatter strachs ansag
Dann es will sich gar nicht gebiirn
Das du dich lest von hinnen fiihrn
SmEA nimbt jhrn stab schlegt jhn mit au.ffs maul, der dntt
er konn nicht reden, vnd geht traurig ab,
apricht Bie
Also kan \'OS der Geist zu schaden
Bey meinem Vatter nicht verrahten
So kiinnen wir all bede sand
Die weil kommen aufs disem Land
[Sie ab
Kompt LuooLFF DER Fi.iasT mit J.urn MoLITOR, ist ,gar
:ornig schlegt den Jahnnen mit dem stab au.ff den kopjT
W o ist Side a sag mir. bait
JAIIN MoLITOR
Ich weis nit ist sie nit im Walt
So ist sie bey dem Engelbrecht
Ll:DOI.FF
Bistu nicht mein Leibeigner Knecht
Der achtung auff sie haben sol
JAHN MOLITOR
Ja, ja, dasselbig weis ich wol
Aber Gnediger Herr jhr sein zwen
V nd sago mir nicht wo sie hin gehn
Drumb weis ich gar nit wu sie sein
LUDOLFF
Das sol dir kosten das Ieben dein
Drumb zih hin vnd such wo sic sind
And thou wilt aid ln my intent,
And with both band and mouth consent,
I will bold further talk with thee.
ENGELBRECHT.
Thou mayst place all thy trust in me,
And thou as consort soon ;e mine.
[They gh'e their hands to each othff'.

Art thou then mine?

Yes.
Sill EA.
Then I'm thine.
0 may the gods qesert us never I
Hence nought but death shall us dissever!
To prove that 'tis my will indeed,
I'll follow thee where'er thou lead.
They embrace each other. Enter Rt::'\CU'ALL THE DEVIL.
Sidea, to thy father straight
I go, and this thy plan relate.
For most unseemly 't will appear.
If thou art led away from here.
SIDEA take8 her wand, strikes him with it on the mout!t.
He make8 signs that he cannot speak, and walks mmy
melancholy.
Now can be us to our dismay
No longer to my sire betray;
But we together, hand in hand,
May for the present leave the land.
[E.reunt.
Enter Lt:nOLFF THE PRINcE. 1cith Jorn< MOLITOR. He is
very angry, and strike8 John on the l1ead with his staff.
Now tell me quickly, where's Sidea.
Jom< .MOLITOR.
I know not, but if she's not here,
She's sure with Engelbrecht to be.
LrvoLFF.
Now art thou not a slave to me,
Who had to keep them both in view?
JOHN MOLITOR.
Oh yes, I know, that's ,ery true:
But then, my Lord, they're two, you see.
And where they go, they tell not me.
Therefore I know not where they be.
Ll'DOLFF.
That, rogue, shall cost thy life to thee.
But go at once, seek far and wide,
45 COMEDY OF THK BEAUTIFUL SIDEA.
V nd wirstu sie nit bringen gschwind
So schlag ich dir ab deinen grint
[Jahn Molitor kratzt l!ich im kop.ff tmd gehn ab.
ACTUS QUARTUS.
Kommen ENGELBRECHT vnd SmEA
(SIDEA)
Ich hoff wir solln dPn Vatter mein
Nunmehr meinsts theil8 entrunnen sein
Jedocb bin ich 80 miid von gehn
Wenn ich michs gleich wolt vnterstehn
V nd leg mir leib vnd Ieben dran
Jetloch nit weiters ich gehn kan
Ach web wer ich daheimen blieben
Die brinnet Licb hat mich getrieben
Das ich mieb gab in solch gefehr
E:sGELBRECHT
Ach last euch sein die sach nit schwer
W ann jhr nicbt weiters kiind zo fufs
Man euch zu Kutschen fiihren mufs
Wart mein alhie bifs icb zuriick
Euch wider ein Kutschen raufs schick
Mit Knechten die sollen euch holn
SIDE.-\
Von meim Vatter hab ich mich gstoln
Meint jhr vnd das er es vnderlafs
Mir nicht nach for8ch aufl" aile straf8
Vnd wenn er mich hie finden thet
Ich euch das letzt mal gsehen hett
Vnd miist sterben vor seim angsicht
E:sGEI.BUEl'IIT
Ey das wolln ja die Gotter nicht
Das euch eur Vatter nicht mehr find
Jr auff den BaUlll uauff sitzen kiind
Darunder laufft er sechsmal fiir
Eh vnd wann er euch da auf8 spiir
Darzu blcibt jbr alhie nit lang
SIDE.-\
Ach wie ist mir 80 angst vnd bang
Dann ich fiircht jhr vergesset mt'in
ENGELBRECHT
Ach hertz Lieb last das sorgen sein
lch verheifs euch mein treu vnd ehr
Die vergifs ich mein tag nit mehr
[Er hebt sie au.ff den Baum, l!ie sagt
(SIDEA)
lch hoff ich will da sicher sein
Doch bitt ich euch vergest nit mein
If soon I hear not where they bide,
I'll lay my stick about thy hide.
[John Molitor scratches his head. Exeunt.
ACT IV.
Enter and SmEA.
SmEA.
I hope that now all danger's past,
And father we've escaped at last.
For if I the attt-mpt would make,
And life and limb thereon would stake,
So weary am I, that I know,
I could not one step further go.
Oh, that I had remained at home!
But burning love forced me to roam,
And this fatigue and danger share.
E:-!GELBRECHT.
Oh yield not thou to such despair!
For if to walk thou art too weak,
Why then I must a carriage seek;
Till I return, wait here for me,
And I'll a carriage send to thee,
And what attt>ndants thou require.
SID EA.
'Twas secretly I left my sire;
Dost think hP. ever will forbear
To ha\"e me Sl'nrched for everywherP.?
And if perchance he find me here,
I ne'er again should see thee, dear;
His presence would prove to me.
EXGELBHECIIT.
Be sure, that's not the god's decree.
But that his search may fruitless be,
Perhaps you'd better climb this tree.
Six times 'he may run round, and more,
Ere he thy hiding-place explore.
Besides, thou needst not long remain.
FIIDEA.
:\ty fears I can no more restrain,
Lest thou forget that I am there.
E:WELBUEl'HT.
Oh lay aside thy care.
My word of honor will I ghe,
I"Il not forget thee while I live.
[ lle a88ists her to clim.b the tree.
SmEA.
I hope in safety I shall be,
But do entreat, forget not me.
46
47 COMEDY OF THE BEAUTIFUL SIDEA. 48
ENGELBRECHT
Ey was sol das vergessens vii
Als halt ich euch da boJen wil
[Er geht ab.
Die Jungfrau sitzt auff den Baum,. 1md sagt kleglich
Ach solt mich der Fiirst setzen an
Dem ich hab so vii guts gethan
So wolt ich jetzt vnd all mcin tag
Vber jbn schreyen straff vnd mch
Kompt FINELlA, des Schusters lV eib, will wasser holn
treg t ein K rug
Albie in dieser armen Stadt
Es kein guten trinck Brunnen hat
Miissen das trinck wasser weit holn
Mein Mann mir daheim hat befohln
Ich solt eillend ein wasser bringen
Wasser macht weder Tantzen noch springen
Darumb ich bath vnd haben wolt
Das er ein Bier doch kauffen solt
So ist der N arr so karck vnd gnau
[Sie gellt zum Brunnen als u:ol,l sie eins sclliipffen
Ey, ey, jetzund ich mich beschau
Aufs dem Rchatten in dem Brunnen
[Sie wirfft den Kru.g nider, scllwantzt auff der
Brucken rumb
Meins gleichen nicht allhie wird gfunnen
Ein aufsbi.indig schOn Creatur
Was bah icb mich geziehen nur
Das ich hab gnommen den Pechpatzen
Den hefslichen vngschaffnen Fratzeu
Nun will ich bey jhm nicht mehr Ieben
Sonder mich strachs gen Hof begeben
[Sie ,qeht ab.
ELA die Bauern Magd geht ein mit einem gescllirr Wasser
zuholen, kommt zum Brunnen will einschopffen siellt den
schatten
Nicht gnug kan ich verwundern mich
Jetzt so ich meinen schatten sich
Befind ich wie ich so schi.in bin
Ey ey wo hab ich nur dacht hin
Das ich vermeint den Muller zu nemen
Ich wolt michs in mein hertz nein schemen
Ob ich schon hab ein Eyssen abgrendt
.Jedoch vii Lcut in der Welt sendt
Die es nicht wissen oder Rchmecken
V nd ich solt mich zu jhm verstecken
0 nein ich mag den nimmer
Icb will gehn Hof ins Frnnenzimmer
[ Sie wirfft jlir Gejii.fs auch hin, tmd geltt gar
stoltz ab.
E:sGELBREt'HT.
Wny say so much about forget?
Ere long, we shall again have met.
[E.rit.
The maiden sits down in the tree, and says in a melancholy tone:
Ah if the prince should me betray.
And thus my servicPS repay.
Then would I now, and evermorP.
Dire vengeance on his head implore.
Enter FINELlA, the shoemakers wife, carnJing a Jlitclter
to fetch water.
In all this town the water's bad;
None fit for drinking to be had;
We fetch it from a distant spring.
I now must for my husband bring
Some in a hurry, water can
Excite to dance no mortal man.
And therefore I did beg and pray
The fool would buy some beer to-day;
But no, - he loves too well his pelf.
[.S'lte gofs to the spring to draw water.
Aye! Now that I behold myself
There in my image, all around
My like is nowl1ere to be found.
[She throws down the and walks roquettisld.IJ
about the platform round the well.
A creature most exceeding fair!
Oh what a blunder made I there,
When I took up that cobbler wight.
An awful, awkward, ugly, fright!
I'll live with him no more, I swear,
But straight unto the court repair.
[E.rit.
Enter ELA, the pea$ant's daughter, with a pitcl1er to fetch
water. She goes to the well, and is about to draw some,
when she sees the ,image.
My wonder's more than I can tell!
For now I view my image well,
I see that I am fair indeed;
Ah, what could ever me mislead
To think I could the miller take?
My heart for very shame doth ache.
Although I out of jail have got,
Yet many men, who know it not,
Are in the world, that were a whim.
To hide myself with such as him!
Oh no, heu ne...-cr do for me;
A grand court-lady will I be.
[She also throws down her and walks
haughtily away.
49 COMEDY OF THE BEAUTIFUL SIDEA. 50
JAHN MOLITOR giht Bin
Mein Herr that graosam scbwermen vnd ftuchen
Ich soli sein Tochter wider sochen
W eil ich nicht recht aoff sie thct sehen
Thet mich It-stern schenden vnd scbmehen
Ja er thet mirs voters gsicht sagen
Find ichs nic}lt, wolt er mich erschlagen
Ich bin den gantzen Walt dorchloffen
Hab nichts gefressen noch gesoffen
V nd brennd so mechtig heirs die Sonnen
Schau da vnten bats ein schOn Brannen
Da will ich mich ein wenig laben,
[Er giht zum Brunnen eickt nein, &tiht wider au.ff,
eicht au:ff den Baum.
Vor dem schatten bin ich erschrocken
Wie tregt der Baum die scbonsten Docken
Ach wie der aller gliicklichst Brannen
W eil ich da hab die Jongkfrau gfunnen
Nun will ich gehn sagen meim Herrn
Der wird sie gar bald bolo wem
[Jahn geht ab.
SmEA &agt au.ff dem Baumen kleglich
Ach wehe wo soli ich nun hinaufs
Mein hertzliebster bleibt zu lang aufs
V nd ich bin durch defs W assers sehatten
Dem Jahn Molitor sehon verrahten
V nd er wirds sagen dem Vatter mein
Ach web des jammers vnd der pein
Nun steh ich hie in neuer gfahr
Engelbrecht hat mein vergessen gar
Ach jammer web wo soli ich bin
Das aller elendst Mensch ieh bin
Das nicht auff dieser Welt kan Ieben
Ach wie thu ieh in hertzleid scbweben
0 jammer web ich hOr schon Leut
DIETERICll DER ScuGSTER geht ein tJnd spricht
Ich weifs nieht was es docb bedeut
Meiner Frauen hab ich befohln
Das sie mir soli ein Wasser bolo,
So kompt sie heimb so vnbesunnen
Sagt sie hab gsehen in den Brunnen
W o sie sey so ein scbones W eib
Daramb sie nieht mebr bey mir bleib,
Sonder will kommen ins Frauenzimmer
So kan ich den durst leiden nimmer
Denn will ieh nicht vor durst versincken
Mufs ich mir selbst holen zu Trincken
Darneben will ich aucb beschauen
Was so nirrisch hab gmacht mein ~ r a u e n
[& giht zum Brunnen &ckap:fft lVa&ser.
Enter JoHN MoLITOR.
My master kicks up such a rout,
Swears I must find his daughter out;
'Cause I don't watch her like her nurse,
He must forsooth, storm, swear, and ems ...
Indeed be to my face hath said,
If she's not found, he'll strike me dead.
I the whole forest through have beat.
And nothing had to drink or eat.
And 'tis so hot in such a san;
Down there I see some water ron.
I will refresh me with a draught.
[He gou to the spring, looks into it, gets up agaitt
and lookll up into ths tree.
The shadow almost frightened me I
A pretty bead-dress for a tree I
Most fortunate of springs art thou!
Through thee I've found the maiden now.
I'll go at once, my master tell,
And he'll soon fetch her from the well.
[Exit.
SmEA in the tree, says in a melancholy toni':
Alas! Shall I now fty or stay?
Too long my lo\e remains away!
The image that the water made,
Me to the miller has betrayed.
To tell my father would he go:
Alas! oh misery and woe I
Now am I in new danger berP,
Forgotten hy my love so dear;
Alas! Oh whither shall I hie?
Most wretched of all mortals I!
But death must soon my troubles core,
Such bitter anguish I endure!
Oh misery! I hear them near!
Enter DIETRICH, THE SHOEMAKEH.
What it all means, I've no idea I
To-day I told my wife to bring
Some water for me from the spring;
And ever since she bas returned,
She's lost her wits, and says she's lenrnt'd.
Through her fair image in the well.
She's far too beautiful to dwell
With me, but will to court repair.
This thirst I can no longer bear;
And as for thirst I would not sink,
Some water I will fetch to drink:
And also look into the pool,
To see what's made her such a tool.
[Gou to the well to draw water.
4
51 COMEDY OF THE BEAUTIFUL SIDEA. 52
Der Brunnen giebt von sich ein schein
Ein schOnes W eibsbild mufs da sein
Vnd hie iiber den Brunnen sitzen
[Er siecht sich umb, ersicht die Sidea
Ja ich babs schon ersehen jetzen
Ach zarte J ungfrau saget mir
Was machet auff dem Baumen jhr
Wem steht jhr zu wo kompt jhr her,
SmEA hebt die Hand artjf
Ach guter Freund ich bitt euch sehr
Jhr wollet mir doch helffen wider
Das ich komb von dem Baum hernider
V nd beherbrigt mich nur zwen tag
Das ich ein weng aufsruhen mag
Vod entgeh meim Feind aufs den henden
Helfft jhr mir das vngliick abwenden
Ich will euch geben reichen lohn,
DIETERICH DER ScHUSTER hebt sie von dem Baumen
Ey ja das will ich gerne thon
Jedoch es geht bey mir schlecht zu,
SIDE A
Drinnen ich euch als sagen thu,
Wie ich bin Ieider kommeo her
Dann ich fiircht mich sehr das ich wer
Gefangen wenn ich lang hie stehe
So kern ich in jammer vnd wehe
[Sie gehn mit einander ab.
Kompt LrooLFF DER Fi\nsT
Allhie wart ich auff meinen Geist
W enn mir dcr nicht me in Tochter weist
So ists mit dem Miillner verlorn
Vnd sey jhm dann ein Eyd geschworn
Er mufs sterben von meiner hand
JBtzt mac/it LrDOLFF mit seinem Stab ein kreifs, so
springt RUNCIFALL heraufs,
LrnOI.FF
Runcifall mach do mir bekannt
W o ist mein Tochter kommen bin
Auff dich ich hart erzornet bin
Das du sie hast glassen davon
Vnd mir solches nicht zeiget an
[Runcifall deut er hab kein schuld daran, er kiinne
nicht reden,
LuoOI.FF
Wie stellst du dich, bald red mit mir,
[Runcifall deut er kiinns nicltt
The water does a form reflect;
A handsome woman, I expect,
Is sitting somewhere up on high.
[He looks round and sees Sidea.
Yes, - I already her espy.
Ah, gentle lady, say to me,
What you are doing in the t r ~ e ?
Whom you belong to, whence you came?
SIDEA railling her hands.
Oh friend, your kindness would 1 claim,
And- beg that you your aid will lend,
To help me from the tree descend,
For two days yield me an a.syle,
Where I myself may rest awhile,
And also may escape my foe.
If thus you help avert the blow,
A rich reward I'll give to you.
DIETRICH, THE SIIOEMAKER, helps her down from the tree.
Oh yes, all that I'll gladly do;
My house though is a wretched place.
SID EA.
When there, I'll tell you all my case,
How I unhappily came here; .
For if I tarry long, I fear,
I may be taken, which to me
Would bring much grief and misery.
[Exeunt together.
Enter PRINCE LtmOLFF.
My spirit I'm expecting here.
Should he not shew me my Siden,
The miller's a lost man, for now
I've sworn to him a solemn vow,
That he by my own hand shall die.
Luom,n makes a circle uith his wand. Rt:xnFALI.
springs out of it.
LrnoLFF.
Now Runcifall, resolved am I
To ]earn where my Sidea may be.
And know I'm very wrath with thee,
That thou hast let her run away,
And not a word to me didst say.
[Rundfall intimates by signs that that is not lli8
fault, as he cannot speak.
L!'[IOJ.FF.
What mean those gestur<s? Speak to me.
[RuuC'ifall makes s(qM that he cannot speak.
53 COMEDY OF THE BEAUTll<'UL SIDEA.
LUDOLFF
Er ist verzaubert das merck ich schir,
[Er schlegt den Teu.ffel mit dem &tab au.ffs maul,
Rt'!\CIFALL
Dein Tochter hat den Fiirsten gnommen
V nd ich bin eben darzu kommen
Vnd hab dir dasselb wollen sagen
So hat sie mich nuffs maul geschlagen
Das mir mcin Zung verstummen thet
Vnd hab seither kein Wort mehr gredt,
Wie hab ich dirs dann sagen konnen
Alsdann theten sie dir endrinnen
V nd ziehen zu seim Vatter hin,
LuDOLFF sagt kleglich
Nun ich erst gar verdorben bin
Find sie mein Jahn Molitor nit
So hat mein hertz nimmer kein frid
In dem gehet JAHN MoLITOR ein, hat ein Driimmelein vnd
Pfei.ffen, er pjei.fft, der Teu.ffel hebt an zu Tantzen,
LtTDOLFFUS
Jahn wei! du Pfeiffst vnd Iustig bist
So sag mir wo mein Tochter ist
JAHN
Eur Tochter,
[Er Pfei.fft wider vnd Drummelt
LuDOLFF
Ja meine Tochter wo ist sie
JAH:s MoLITOR
Ich hab gar wol gesehen die
[Jahn Pfei.fft vnd Drummelt wider, so tantzt all-
weg der Teu.ffel,
LUDOU'F
W o hastu sie gsehen zeig an
JAHN MoLITOR
Ich sah sie
[Er Pfei.fft wieder, dann sagt er
auff eim Baumcn stahn
LUDOLFF &agt zornig
Hor auff dcins Pfeiffens, sag darfiir
Von meiner lieben Tochter mir
[Jahn Pjei.fft vnnd Drommelt, der Teu.ffel Tantzt,
lau.ffen etliche Teu.ffel raufs, die alle Tantzen,
endtlich hOrt Jahn Molitor au.ff,
Lt:DOI-FF
Ich glaub du seyst gar toricht worn
Dars du thust so grausam rumorn
Jhr Geister ziecht eurs wegs bald fort
V nd du sag mir bald mit eim wort
W o du mein Tochter gsehen hast
LUDOLFF.
He is enchanted, that I see.
[He strikes the devil on the mouth with his wand.
RuNCIFALL.
Thy daughter with the prince would fly.
Just at that minute, up popped I.
And as I wished to let thee know,
She gave me on the mouth a blow,
Which made me dumb, nor any word
Since then hath from my mouth been heard.
How could I then tell thee indeed?
On which they fled with utmost speed,
And hurried towards his father's seat.
LUDOLFF, says piteously.
Oh now my ruin is complete!
And should the miller's search prove vain,
My heart will ne'er know peace again.
Enter JoHN MoLITOR with a little drum and a whistle.
He whistles, and the devil begins to dance.
LUDOLFF.
John, as you whistle and are gay,
Where is my daughter, prythee say?
JoHN MoLITOR.
Your daughter, -
[he whistle& and droTM again.
LtTDOLFF.
Yes, pray tell me, do.
JoHN MoLITOR.
That I have seen her is most true.
[John whistle& and drums again, and the devil
continue& to dance.
LUDOLFF.
Where have you seen her? tell it me.
JoHN MoLITOR.
I saw her-
standing on a tree.
LuooLFF, angrily.
[whistling again
Now cease that whistling! Do you hear?
And tell me of my daughter dear.
[John whistles and drums. The devil dances. Other
devils appear, who all dance too. At last John
leave& off.
Lui>oLn-.
You must have lost your wits, 'tis clear,
To kick up such a sbindy here.
Ye spirits, take yourselve'! away.
But, you sir, in a word, I pray,
Where did you see my daughter now?
4*
55 COMEDY OF THE BEAUTU'UL SIDEA.
JAHN .MOLITOR
Sie sitzt dort auff eins Baumens ast
Zu allernechsten bey dem Brunnen
V nd weil ich sie hab wider gfunnen
Bin ich erfreuet worden hoch
Kompt her wir wollens finden noch
Ich zwar hett sie gesehen nit
Der schattn im Brunnen sie verrieht
Als ich eben da trincken wolt
LUDOLFF
Ach das ichs wider kriegen solt
Drumb geh bald fort thu dich nicht bsinnen
Hilff mir wider mein Tochter finnen
[8ie gehn ab.
Kompt DIETERICH DER Scm:sTER mit seiner Frauen,
DIETERICH
Finelia mein sag doch mir
Was hastu eingebildet dir
Das do mir kein gut mt>hr wilt than
FINF.J.[A
Mich reuts das ich dich gnommen han
V nd darzu das ich bey dir bleib
Ich bin ein herrlichs schOnes W eib
Dergleich keine ist in der Statt
DtF.TEHH'll
Sag wer dir solchs geflaget hat
Der hat dich iibel iiberredt
FtNEI.I.\
Der widerschein mirs sagcn thet
Wclchen ich durch den schein der Sunn<>n
Hab aurs dem Wasser in dem Brnnnen
Besser gesehen als zu,or uie
DIF.TEHH"II
So komb mit mir zorn Brunnen vnd sih
Ob du nicht betrogcn worn
FINELlA geht mit jhm znm Brunnen. xicht Mnein
Mcin vorige gstalt hab ich verlorn
Also wie ich jetzunder sich
Kan ich gar nicht verwcchrsln mich
V nd ich hin dir kaurn gut genug
Aber da ich zerwarff den Krug
Da wart ich also zart vnd schon
Wie die Jungkfrauen zu Hof hergehn
Dersmal daucht ich mich dir zu gut
DIETERICH
Mein Finelia sey gemuht
Schau dortcn dritt e!n Jungkfrau rein
Die gab in Brunnen schein
JoHN MoLITOR.
Sitting aloft there on a bough.
The tree is very near the water,
And just because I found your daughter.
I'm now in such a merry cue;
You 'II find her still, if you come too.
It's true, I have not seen the maid;
She through her image was betrayed,
As I my thirst prepared to quench.
LnmLFF.
Oh, that I could but catch the wench!
So go at once, in thinking waste
No time, till we've my daughter traced.
[E.reunt.
Enter DIETRICH, THE SHOEMAKER. ttJith his wife.
DIETRICH.
Finelia mine, explain to me,
What fancy has come over thee,
That thou no service do me more?
FrsF.I.IA.
That I e'er took thee, I deplore,
And also that I live with thee;
I am so beautiful to 11ee.
My like's not in the town, I know.
DIF.TIUCH.
Tell me, who was it told thee so i'
His counsel was n't l'ery good.
FtsET.IA.
'Twas the reflection. Where I stood,
The sunbeams on the water fell.
And shewed my image in the well.
I'd never seen it so before.
DIETIIH"II.
Then come with me. and see once more
Whether it was not a delusion.
goeJJ to the well, and looks intn it.
:\Iy beaury"s gone, to my confusion!
And now I see mysl'lf so plain.
I CRn't mistake myself again.
For thee I'm hardly good enough:
But when the pitcher, in a huff,
I threw away, I waR,
As fair as ladies of the Court.
And so I seem'd for thee too- good.
DIETRICH.
Finelia mine, now if yon would
Lnok there, a 's eoming here.
Who caused the image to
56
57 COMEDY OF THE BEAUTIFUL SIDEA.
Die ich fand sitzen auff dem Baum
Dein schon war ein erdichter traum
Dann dein schOn taug zu der gar nit
SmEA geht ein
Mein Meister Schuster es ist mein bitt
Jhr wolt euch willig lassen finnen
Mir eurs W eibs kleider vergiinnen
:Pas ichs anleg auff der Strassen
V nd wolt sie mit mir gehn lassen
Das sie trag meine kleider mir
Reichlich will ichs belohnen jhr
Dann ich je nicht weiter beger
Als das ans Fiirsten Hof ich wer
Ich will sie bait schicken zuriick
DIETERICH
Das als soU sein, darzu mit gliick
Wolin euch die Gutter be lei ten
V nd das wir mit bessern freiiden
Bait wider zammen kommen miigen
Das wollen aile Gotter fiiegen
[Sie gehn alle ab.
Kompt LUDOLFF DER FimsT mit J AHN MoLIToR
JAHN
Auff diesem Baum ob diesen Brunnen
Hab icb eur Gnaden Toehter gfunnen
Sie ist aber jetzt niebt mehr do.
LuDOLFF DER Fi:RST
Deins findensts bin icb so nicht fro
Such sie wo sie wird sein hinkommen
Du solst sie haben mit dir gnommen
Vnd sie mit dir heim haben bracht
JAIIN MOLITOR
Vor freud hab icb daran nicht dacht
Vermeint wenn eur Gnad selbst kemen
Vnd die Jungkfrau vom Baum nemen
So wer es vil ein grossre freud
LuDOLH schlegt jhn mit den stab
Was ists aber jetzt fiir ein Leit
Du vnbesunner grober knopff
Du bist ein einfeltiger tropff
V nd gar ein einfeltiges Kalb
Was du solst thun thustu nicht halb
Das mustu zahlen mit der biiut
RuNCIFALL DEH TF.UFFEL laujft ein
Es ist vergebens wll8 jhr streit
lch bin jhr allentbalb nach zogen
Wir sind durcb list von jhr betrogen
I found her sitting on the tree.
Thy beauty was all fantasy;
It can't at all with hers compare.
Enter SmEA.
Oh Mister cobbler, might I dare
Ask your permission to propose,
Your wife should lend me all her clothes,
To wear them on the public way,
And also that she with me stay
To bear my clothes for me, which aid
Shall liberally be repaid.
For nothing I dt'sire indeed
More than to reach the court with speed;
I soon will send her back to you.
DIETRICH.
It shall be so. With fortune too
May all the gods thy steps attend,
And may they grant that in the end,
We meet once more, and days enjoy
Of happiness without alloy!
[Exeunt omnes.
Enter PRD!cE LuooLFF with JOHN MoLITOR.
JoHN MOLITOR.
Upon this tree, above the water
It was, I found your Grace's daughter.
But she's no longer there, I see.
PRINCE Ll'DOLFJo'.
Your finding's not much gain to me.
Learn where she's gonE' to. if you can:
You should have ta'en her with you, man.
And home unto her father led.
JoHN MOI.ITou.
That never came into my head
For joy; I thought that if should be,
Your Grace should fetch her from the trt'e.
It would be a much greater pleasure.
LuooLFF, strikin.q him with his wand.
But now a trouble without measurt',
Thou thoughtless stupid blockhead, thou!
Thou art a simpleton, I vow,
Oh silliest of silly calves!
What thou must do, ne'er do by haht's;
For that thou payest with thy hide.
RUNCll'ALL THE DE\"ll.. runs in.
It's useless now to storm and chide.
For everywhere I've sought thy child;
We all by her have been beguiled.
58
59 COMEDY OF THE BEAUTIFUL SIDEA. 60
Sie zicht zum Fiirsten von Wiltau
Da wird sie defs Engelbrechts Frau
Darumb last eur nachfolgen bleiben
LUDOLFF
Mein vngliick ist nicht zu beschreiben
Jetzt komb ich in mehr leids vnd schaden
Ich bin verkaufft vnd auch verrahten
W eis nicht wie ich mein sach anfang
Darumb last vns nicht warten lang
Sondem hinein gehn in mein hOin
Alida wir still abreden wolln
Wie ich mog meine sach anstelln
[Abgang jhr aller.
ACTUS QUINTUS.
Kompt LEUDEOAST DER FfTRST INN DER WILTAU mit
FRANcisco tmd ELEIIIAO tmd sagt kleglich
(LEVDEGART)
Ach wie soli ich meim hertzleid thon
Das Engelbrecht mein einiger Sohn
In seiner sclrecklichen Gefengknufs
So lang auffgehalten werden mufs
Wir haben vil nach jhm aufsgsand
Aber es findet jbn niemand
Das icb besorg er sey schon gstorben
Nun hab ich jhm ein Weib erworben
Nemlich defs Konigs Tochter aufs Poln
Die wir schon haben her lassen holn
Die wartet seiner mit verlangen
V nd als sie hOrt das er ist gfangen
Will sie sich nimmer trosten lahn
Sie auch nicht mehr erhalten kan
Sie will morgen wider heimb fahrn
. FRANCISCUS
Wir sollen keinen fteifs nicht sparn
Bonder dran wenden was wir kiinnen
Bifs wir den Jungen Fiirsten finnen
Auch soil man bey nacht vnd bey tag
Mit Kriegsmacht Ludolif folgen nach
V nd jhn erschlagen wie ein Hund
Dann er feirt doch zu keiner stund
V ns vnd dem Land scbaden zu thon
EI.E)IAt"S
Woll wir eur Fi.irstlicb Gnaden Sohn
Bringen aufs defs Ludolffen Henden
Miifs wir ein groses Heer aufssenden
Vnd jhm den mit gwalt tringen ab
To Wiltau's prince thy daughter sped,
There with young Engelbrecht to wed;
To Ct>ase pursuit were therefore well.
Ll"DOLFF.
My fate is worse than words can tell!
On me new trials now are laid.
I''l"e been deceived l I've been betrayed!
I do not know what course to choose!
'Tis better then no time to lose,
But to my eave at once repair,
And we can then determine thert>,
How best to manage the affair.
[E.reunt omnes.
ACT V.
Enter LEI:DEOAST, PRINCE OF WILTAU, with FRANCISCl'S
and ELEMArs.
LErDEOAST, in a piteous tone.
What words can all my anguish say,
That Engelbrecht remains away!
My only son, - so long remains,
And wears a wretched captive's chains!
We've sent to search the country round,
But yet he's nowhere to be found,
That I'm afraid he must bave died.
Now I have found for him a bride:
The daughter she of Poland"s king,
Whom messengers I sent to bring.
With longing waits she his return;
And when she does his story learn,
No consolation will accept,
Nor let berself be longer kept.
To-morrow will she homewards wend.
FII.AN!'IS(TS.
Now all our efforts will we spend,
Nor any trouble will we spare,
Until again the Prince is there.
By day an.d night we will pursue
This Ludolff, with our forces too,
And like a dog, this prince we'll kill.
For if he can but do us ill,
He knows no rest until ifs doni'.
Eu:MArs.
'Ve'll get your Princely Grace's son
Out of this Ludolff s bands. although
A mighty host must strike the blow,
And carry him by force away.
61 COMEDY OF THE BEAUTIFUL SIDEA. 62
Mich dunckt wie ich vernommen hab
Das sich Leut finden vor der Thiir
LEUIJEGAST
Was draussen ist das lafs als fiir
Vielleicht kompt vns ein Bottschaft her
Von meinem Sohn ohn als gefehr
EI.EMAUS thut auff, so gehet ENm:I.nHF.CUT gar iibel zer-
rissen ei.n, Lt:tTDEGAST DEn Fi:nsT stehet auff, gehet jhm
entge,gen,
(LEl'lJEGAST)
Ach secht ach weh was soli wir thon
Ach sey vns willkomm Iieber Sohn
Acb solstu sein ein Furst geborn
Vnd so gar iibl sein ghalten worn
Acb wo bistu blieben die zeit
Geht eylend vnd bringt jhm ein Kleid
Neu Schu vnd auch ein Finger Ring
Vnd seyt mit mir all guter ding
Du abt>r sag wie ist dirs gangen
ENGELBRECHT
Ludolff der Furst hat mich gefangen
Durch den kam ich in grors vnruh
Must jhm holtz genug tragen zu
Vnd auch dasselb schneiden vnd spalten
Y nd thet mich auch gar iibel halten
V nd seiner Tochter iibergeben
Die mir bait gnommen hett das leben
Dann thet sie sich iiber mich armen
Halb todt krancken Menschen erbarmen
Thet mir forthin nicht mehr so wehe
Die hat mich gnommen zu der Ehe
1st mit mir zogen bifs nahend her
Als sie kund nicht fort kommen mehr
Hab icb sie abwegs von der Strassen
Au'ff' einen Baumen steigen lassen
Auff einer Kutschen her zuholn
Drumb Herr Vatter es werd befohln
Das man Sidea fiihrt hie her
[Jetzt komrnen die Riiht bringen jllm kleider legen
jhn an,
LEl'I>EGAST
Mcin lieber Sohn was fehlt dir mehr
Dann alles was du thust begern
Das woll wir dich gnedig gewern
Auch theten wir dir vmbschauen
Nach der aller schonsten Jungkfrauen
Die solstu nemen zn eim Weib
Derhalb mein Sohn fort bey vns bleib
V nd gib dich nicht wic vor in gfehr
Jhr Herrn briogt doch die Jungkfrau her
Unless my ear deceives me, they
Are persons at the door I hear.
LEUDEGAST.
Whoe'er they be, they may appear.
Perhaps they bring the news to me,
My son's regained his liberty.
ELEMAUS opens the door, and ENGELBRECHT enters very
shabbily dressed. PruNCE LEUDEGAST ri.seB, and goes
to meet him.
LEUDEGAST.
Oh see! alas! What must be done?
Oh! welcome home beloved son l
Alas, that thou a prince by right
Should e'er return in such a plight!
Where didst thou of thy time dispose?
Go quick, and fetch him other clothes,
New shoes, and eke a ring. Ye may
Rejoice with me my friends to-day.
But tell me, how's it gone with thee?
ENGELBRECHT.
Ludolff, the Prince, has taken me.
Through him I came to grief and care.
And logs enough too had to bear,
Must cut and split them at his will.
He treated me extremely ill,
And gave me over to Sidea.
At first I for my life did fear;
But soon she did commiserate
My wretched and half-dying state;
No longer would she give me pain:
As husband would she me have ta'en:
Has walked "';th me, until to-day,
Not far from here, her strength gave way.
I led her from the road aside,
And helped her up a tree to hide,
Until a carriage could be got.
And therefore, Sire, deny me not,
But orders give to fetch her here.
[The counsellors return with clotheB which they put
on Engelbrecht.
LEL'DEGAST.
W ouldst thou aught else, o son, most dear?
For all thy wish, whate'er it be,
We graciously will grant to thee.
We've also look'd around to find
The fairest of all womankind,
Whom thou, my son, as wife shalt taln.
And stay with us for her dear sake,
And keep thyself from clear.
But now, sirs, bring the lady here,
63 COMEDY OF THE BEAUTIFUL SIDEA. 64
Die hie schon lang gcwnrtet dein
Die wird auch hoch erfreuet sein
geht ab, tregt die Kleider ab, kompt wider
bringt die Jungkfrau
(ELEMAt:s)
Gnediger Fiirst ich bring die J ungkfrau
Das sie eur Gnaden Sohn anschau
Dem wir mit freuden theten sehen
J t"LIA die Jungkjrau
Den Gottern woll wir lob verjehen
Die eur lieb zu Land gholffen han
ENGELBRECHT
Mein freud ich nicht aufssprechen kan
Das ich die stund hab eine gnommen
V nd das vngliick daraufs ich kommen
Kan mir kein Mensch glauben auff Erden
Doch hoff ich es soil besser werden
Nach Regen kompt der Sonnenschein
LEU>EGAST llEH Fi.'HST
Hertzlieher Sohn so komb herein
So woll wir reden von den Sachen
Wie wir auffs ehest ein Hochzeit macben
V nd als auffs kostlichst rich ten zu
Das es an nichten mangeln tim
[Sie geM; alle ab
E:-oliELBRECHT jiihret die LUDoLn DER HEHTZOii
ein mit seinem JAHNEN
Jahn Molitor nun sein wir verdorben
Es mufs sein gwonnen oder gstorben
Mein Tochter will ich wider han
Oder mein Ieben setzen dran
Will der J ung Furst Sidea bhalten
Mufs er mich beim Vatter dem alten
Wider zu hult vnd gnaden bringen
W eil du bist schuldig an den dingen
Das Sidea ist zogen davon
So wirstu wissen das best zuthon
Oder zu zahlen mit der hiiut
JAHN MOLITOR ziecht ab,
Ein kluger Mann ward ich allzeit
Drumb wenn eur Goad mir folgen wolt
Mein Kleider jhr anzieben solt
So wolt ich eure ziehen an
V nd darinn aucb gen Hof mit gahn
So vii practict suchen vnd finden
Wie wir "ider wegk fiihren kiiuden
Die Sideam oder den Jungen
Dardurch wird der alt Fiirst bezwungen
Who long has waited his return,
Whieh she will be rejoiced to learn.
E:cit taking Engelbrechts former clothes with
him. He returns again, leading the lady Jnu.
ELE:MAl:S.
Oh Gracious Prince, I bring to thee
The maid, your Grace's son to see.
Whom we so joyfully did greet.
Jn.IA.
We'll thank the gods with praises meet.
Who helped thee to thy happiness.
E:"GF.LORECIIT.
I cannot all my joy express,
That such an hour was granted me.
The misery, from which I flee,
None can believe me when I tell:
But now I hope that all is well;
The sun will after rain appear.
LEn>EGAST.
My dearest son. just enter here.
And we'll discu!;s the whole affair.
How best a wedding to prepare.
And all on such a costly seale,
That nought of pomp or splendour f11il.
[E.uunt.
E:sGEJ.DUECIIT. leading in the lady. Enter DrKE LcooLn-
with hi$ Jon:s.
John Molitor, our day's gone by.
And we must either win or die.
My daughter I will have again.
Or stake my lift> upon the main.
If the young Prince will keep Sidea,
Then his old father, that is clear,
Must me his former favour shew.
And as it is your fault. you know,
That my Sidea bas run away,
Why manage it, as best you may.
Or with your back you'll pay for it.
Jons MouTon, pulling off his coat.
I never wanted much for wit;
So if your Grace my counsel take.
To wear my clothes a shift would make,
I then your Graee's clothes would wear.
And to the court we'd both repair;
And there such cunning plans we'd lay.
How we again could bring away
Either Sidea. or the Prince.
As soon his father would convinl'e,
65 COMEDY OF THE BEA'CTIFUL SIDEA. 66
Das er zu fiirkommung den schadcn
Eiir Fiirstlich Goad auch thet begnaden
Vnd machet mit euch einen
LUDOLFFUS DER FiiRST
Ja wol versuchen schadt doch nit
Wir wolln versuchen vnser Heil
Guts gliick woll sein auff vnserm theil
[Sie gehn ab
Kompt JuLIA vnd sagt
Ach ich bin in erfahrung kommen
Fiirst Engelbrecht bah vorhin gnommen
Sideam die allrschOnst Jungkfrau
Defs Fiirsten Tochter in Littau
Ach web vnd wann das war soil sein
So wiird sie sich auch lassen ein
Mein Verliebnufs zu disputirn
So miist ich als die letzt verliern
Darzn bestehn in spot vnd schand
V or Reich vnd Arm en in dem Land
Ach wenn ich das salt haben gwist
Es hett mich keines Menscben list
In das Land nimmermehr gebracht
Der Fiirst mir die sach wol gut macht
V erheist mir Silber Hiigel vnd Berg
Geht mir derhalb nichts iiber zwerg
Mocht ich villeicht noch wol bestehn
Ich will jetzt in mein nein gehn
[Abgang.
Kompt SmEA, hat iiber jhre schOne Kleider eine schleclite
Schauben an, eine stauchen auff, die sie bald von jhr werffen
kan, tregt ein Scheurn voll Getranclcs
(SIDEA)
Nun bin ich wol gen Hof her kommen
Aber sehr bose mehr vernommen
Nemlich das der Fiirst Englbrecht
Hab nun mehr gar vergessen schlecht
Mein wohlthat die ich jhm gethan
Auch leib vnd Ieben gwaget dran
Aller dings aufs den augen gsetzt
V nd ein andere gnommen zu letzt
Mit der er heint belt sein Hochzeit
So hab ich jhm ein Trunck bereit
Mit dem ich schleich nein zn den Gasten
Vnd wenn sie sind bereit am besten
So bent ich jbm den trunck zu Trincken
Den ersten tropffen den er will schlincken
Der macht das er mich mufs erkennen
Mich ehrn vnd mit Namen nennen
V nd denkeo was er mir versprach
Mich zu Kirchen fiihren darnaoh
That he, his losses to replace,
To favour must restore your Grace,
And then a peace conclude with you.
LUDOLFF.
'Tis well; th'attempt no harm can do.
Once more then shall our luck be tried;
Oh fortune favour thou our side I
[Exeunt.
Enter JULIA, and says sorrowfully.
Alas! already, as I hear,
The Prince was plighted to Sidea,
Most beautiful all men have thought her.
In Littau she the Prince's daughter.
Oh woe is mel for if it's true,
There's one thing she'll not fail to do,
My claim to Engelbrecht refuse,
And I, as last, must surely lose.
The mark of jest and scorn to stand
To rich and poor throughout the land.
Ah! had I known all that before.
The arts of man had nevermore
Persuaded me to venture here.
The Prince doth generous appear.
Promises silver, hill, and vale;
For that indeed I need not fail,
Perhaps I still might hold my own.
But now I'll to my room alone.
[E:rit.
Enter SIDEA with a shabby cloak over lur fine clothes, and
a hood on, all of which she can throw o.ff. She bears a
goblet full of some beverage.
SID EA.
'Tis true, I now have reached the court.
But with it sad experience bought.
For young Prince Engelbrecht, I hear.
Hath now alas! forgotten sheer
The services I rendered him,
At peril too of life and limb;
Hath cast me, wretched maid, aside,
To take another for his bride I
To-night he means to wed the fair,
So I have got a potion rare,
With which I too will be a guest;
And when the moment seems the best.
Will ask him just to take a sip,
And when a drop hath touched his lip.
He'll know me, - will me honour do, -
And by my name will call me too,
Will recollect his plighted troth,
To wed me then be nothing loth.
5
67 COMEDY OF THE BEAUTIFUL SIDEA. 68
Damit vnser traurigkeit anfaug
Gewinn ein frolichen aufsgang
[Sie geht ab
Kompt LEUDEGAST DER FunsT mit seinen Riihten FnA:oo-
cxsco vnd ELEMAO, .Jt;LIA vnnd ENGELBRECHT seinem Solm,
setzt sich,
(LEUDEGAST)
Nun weil heut ist der Hochzeit tag
So legt von euch als leit md klag
Es samblen sich die Fiirsten vnd Ilerrn
Von allem Landen weit vnd ferro
Die begeren vns difs Fest zu zirn
Darumb so wil vns auch gebiirn
Das wir jhn erzeigen als guts
Darumb seit alle gutes muts
Balt woll wir nach altern Exempl
Gehn in Jovis des grosen Tempi
Euch darinn lassen Copulirn
Essen Trincken vnd Musicirn
Rennen, Stechen, Streiten vnd Kempffen
Mit kurtzweil alles trauren dempffen
Darumb empfangt die frembten Gast
V nd ebret sie auffs aller best
Sie neigen Bich alle, Kompt SmEA, wie vor gemelt, rer-
kleidet, tregt jhre Scheurn in henden, gibt jnen die l1end,
sagt darnach zum Breutigam
(SIDEA)
Herr Breutigam ich bin ein gsande
Villeicht euch gar ein vnbekante
Doch von grossen Leuten hergscbickt
Das jhr euch jetzt stattlich erquickt
Vnd heut erfahrt das jhr nicht west
So trinckt den W ein, der ist der best
Den wil icb eucb verehren heut
Auff euer Fiirstliche Hochzeit
ENGELBRECHT nimbt die Scheurn Bicht Bie an trinrlct legt
die hend zusammen
(ENGELBRECHT)
Acb web ich bin je gwest vermessen
Das icb hab so schendlich vergessen
Sidea der hertzliebsten mein
0 web web jammer angst vnd pein
W eh hertzenleid seufftzen vnd scbmertzen
[Er zuckt den flolchen
lcb will meinem betriibten hertzen
Hiemit helffen aufs lang!r pein
V nd mir selbsten ein Richter sein
Das ich meiner liebsten vergessen I
[Sidea fellt in Dolchen, Bie lau.ffen alle zu,
And thus what hath begun in sorrow,
May end in joy upon the morrow.
[Exit.
Enter PRINCE LEUDEGAST, with hi& counsellors FRANCISCUS
and ELEMAUS, hi& son EsGELBRECHT and JULIA.
LEUDEGAST sits down.
LEL'DEGAST.
As we've a wedding here to-day,
I pray you, put all care away.
The lords and princes, far and wide,
Are thronging in from every side.
They wish to honour this our feast,
A hearty welcome then at least
Is due to them, and all of you
Should wear a cheery visage too.
We soon, old custom to obey,
To great Jove's temple wend our way,
In wedlock join the youthful pair,
With feasting and with music there,
W e'Il race, we'll tilt in mimic fight,
With mirth all sorrow put to flight.
Therefore receive the stranger guest
And honour him, as you may best.
They all bow. Enter SwEA, disguised as already de8cribed.
She bears a goblet in her hands. She gives them her hand,
and then turns to the bridegroom.
SID EA.
Sir Bridegroom, I am sent to you,
Perhaps a stranger, it is true,
But sent by those of high repute
That you your strength might now recruit,
And learn, what else you'd ne'er have guessed.
Drink then this wine, it is the best.
This offering at your feet I lay,
As present on your wedding-day.
ENGEI.BRECHT takes the goblet, looks at it, drinks, and
clasps hi& hands together.
ENGELBRECHT.
Alas! how heartless l was it not?
That I so shamefully forgot
Sidea, the loved one of my heart l
Oh woe and anguish I pain and smart!
Alas! oh misery, and grief!
[He lays his hand on his dagger.
This burdened heart I'll bring relief,
From longer torture will I free,
And to myself my judge will be,
That I forgot my dearest- best l
[Sidea snatches at hi& dagger, and the others run up.
69 COMEDY OJ:t' THE BEAUTIFUL SIDEA. 70
SIDEA
Mit was thorheit seit jhr besessen
Seit getrost all sach wird nocb gut
Drumb fast euch selbst ein kecken mot
Ob jhr schon an1f der wilten Strafsen
Sideam au:tf dem Banm verlassen
So lebt sie doch noch frisch vnd gsund
V nd jbr solt sie sehen jetzund.
SmEA wirfft die achauben vnd atauchen von aich, ENGEL-
BRECHT fellt dem Vatter zu fufs
(ENGELBRECHT)
Ach Herr Vatter erbarmt euch mein
Secht das Mensch das da kompt herein
1st ein Tochter Fiirsten Ludolffs
Defs gmiit war bOser denn eins W olffs
Der hat mich jhr zu eygen geben
Die hat mich erbalten beim Ieben
Vnd hett die Jungkfrau nicht gethan
Wehr ich vor lengst erfaulet schon
Der versprach ich Ehliche pflicht
Vnd als sie fort konnt kommen nicht
Stellt icbs auff einem Baum im Walt
Verhiefs sie her zu holen bait
Wie ich euch zeigt Herr Vatter an
Darnach ich es vergessen han
V nd ruich mit Julia verlobt
Derhalb mein gwissen also tobt
Das ichs nicht kan zu Kirchen fiihrn
Will eh mein Ieben ~ r o b verliehrn
Zu der Julia sagt er
Dromb bitt ich Fiirstlichs Frauelein
Last euch erbarmen meiner pein
Vnd gebt mich meiner Ehpflicht lofs
JULIA
Es ist daran nicht glegen grofs
W ann jhr sie vor mir habt genommen
Solt ich billich nicht her sein kommen
Dann das erst geliibt gebet doch vor
Also mufs ich nun armer thor
Von jederman grofs schimpft' einnemen
Docb habt jhrs euch noch mehr zu schernen
Als ich die ich nichts darumb west
LEt:DEGAST DER Fi'RST
Acb last bey euch bestehn das best
1st es gscheben vnwissent docb
Das eucb kein scbimpff so grofs vnd hoch
Wie jhr vermelt draufs kan entstehn
Thut mit vns in die Kirchen gehn
Wir wollen eucb mit seines gleichen
Ein Gfiirsten Sohn schOnen vnd reichen
SID EA.
What madness now hath thee possessed ?
Take comfort I all is well at last.
Be of good cheer, the danger's past,
Although upon the road, so drear,
Thou in a tree hast left Sidea,
She's still alive, and fresh and healthy,
As thy own eyes shall shortly tell thee.
SmEA throws off her cloak and ltood. ENGELBRECHT falls
at his fatlter"s feet.
ENGELBRECHT.
Take pity on me, Father dear I
Seest thou that person coming here?
The daughter of Prince Ludolff she,
And fiercer than a wolf is be.
He gave me to her for her own.
I owe my life to her alone.
Had she not helped me in my need.
I'd perished long ere this indeed.
I vowed to marry her, and so,
Until she could no further go,
We fled, and then upon a tree
She sat, and was to wait for me.
All this I did to you explain.
But soon forgot it all again;
My troth to Julia did I vow,
For which my conscience stings me now.
She cannot therefore be my wife,
And should it even cost my life.
Turning to Julia, he continues
Oh Lady! I would thee implore,
Take pity on my trouble sore,
And give me back my plighted troth!
JIJLIA.
To do so I am nothing loth.
If thou before hast ta'en Sidea,
'Twere better I had ne'er come her<'.
The prior vow is here the rule,
And therefore I alas I poor fool
Am now exposed to scorn and blame,
And yet thou hat>t more cause for shame
Than I, who nought about it knew.
LEm>EGAST.
Bear us no grudge, whate'er thou do;
'Twas but an error after all.
That no dishonour thee befall,
So great as thou hast pictured, thou
Hadst better grace the wedding now.
I promise tbee, ere we have done,
'Ve'll wed thee to a prince's son,
5*
71 COMEDY OF THE BEAUTIFUL SIDEA. 72
Eh jbr wegk kompt noch wol begaben
Auch solt jhr von vns abtrag' haben
Alles eurs schadens grors vnd klein
[Er geht zu der Sicka gibt jhr die hend
Ach salt ihr denn mein Schnur fort sein
Eur Vatter ist mein ergster Feindt
So walt ich das er auch kom heint
Wir wolten vns beede vertragen
V nd forth in bey all vnsern tagen
Kein vnfried baben nimmermehr
Auch habet danck der treu vnd ehr
Die jhr babt meinem Sohn getban
DER FiiRST
Lieber sich wer klopffet an
[Man klop.fft,
Man thu.t au..ff, geht LVDOLFFUS DER FiinsT mit .J.\11:->
MOLITOR ein, stellt sich in ein ecken,
l-h:RTZOG LEUDEGAST
Wer seint die Leut die herein gehn
Zwar gar ungleicher Gsellen zwen
SIDE.A. sicht vmb erkennt als balt jhrn Vatter
Ach web es ist der Vatter mein
Wie waget er sicb da herein
Zu. jhrem Vatter sagt sie
Ach Herr Vatter was macht jhr hie
Fiir euch bin ich erschrocken je
Das jhr euch daher wagen thut
LVDOLFF
Ach solstu sein mein fleisch vnd blut
V nd mich so jammerlicb verrahten
[ Er geht zu Leudegast
Ich bitt eur Lieb wiill mich begnaden
W eil sich die sacb so hat begeben
So will ich fort bey meinem Ieben
Nimmermehr thun wider eur Liebt
LEUDEGAST DER Fi.insT gibt jhm die hend
Weil sicb all ding also begibt
Das wir nun sollen gut Freund sein
Gib ich eucb eur Land wider ein
V nd mach mit euch ein stetten Fried
Das keiner mehr den breche nit
Sander es stets dabey soU bleiben
So woll wir den fleissig beschreiben
Nacb dem wir vns werden bereden
V nd Sigln mit vnsern Secret en
So bait die Hocbzeit hat ein end
Handsome and rich too shall he be,
And recompense we'll give to thee
For all thy losses great and smalL
[He goes to Sicka, and gives her hi& hand.
Henceforth I thee my daughter call.
Thy father is my bitter foe.
W auld he were here io-night, that so
We might at once here end our Rtrife,
And live as neighbours all our life,
Nor cause again for quarrel find!
My thanks for all the service kind
That thou hast shewn my son before.
[Knocking without.
LEUDEGAST.
See there, who's knocking at the door.
The door is opened. Enter PRINCE Lt:DOLFF with JoHN
MoLITOR, and stands in a corner.
LEL'DEGAST.
Who are those persons that I see?
They're most unequal company.
SIDEA looks round, and immediately recognizes lier father.
Alas! it is my father's face!
How could he venture to this place?
Turning to her father she continues,
0 father say, what brings thee here?
I must for thy dear safety fear,
That thou so great a risk should run.
LuDOLFF.
My flesh and blood! Oh thou art none.
Myself so vilely to betray!
[Turning to Leude.gast
Your Grace's pardon I would pray.
As that's the turn which the affair
Has taken, by my life I swear,
Your Grace I'll ne'er again offt>nd.
LEUDEGAST, giving him his hand.
As all things seem that way to tend,
That we henceforth good friends should hl',
I will restore thy lands to thee.
A lasting peace too will I make,
Which neither of us e'er shall break,
But always faithfully maintain.
The terms set down in language plain
After due consultation, we'll
Affix our signature and seal,
Soon as the wedding's taken placl'.
73 COMEDY OF THE BEAUTIFUL SIDEA. 74
LUDOLFF
Aller vnmed soil sein verwend
In Iauter Lieb vnd gut Freundschatft
Das anch fort derselbig hat krafft
V nd fang balt an zu dieser stund
Versprich ich euch mit Hand vnd Mund
LliDOLFF gibt jhm die Hand, vnd sag"t zu seinem Eyden,
Nun wiinsch ich euch vii gliicks vnd heil
Wiewol ich euch hart hielt zorn theil
1st es doch abgangen ohn schaden
Vnd noch alles zum besten grahten
LUDOLFF sagt zum JAUNEN
Seh bin, hab dein Kleider wider
Leg mir dargegen meine nider
Er legt sich Hochzeitlich an, LEUDEGAST nimbt
bey der hand.
(LEUDEGAST)
W eil sich dann das gliick zo vns wend
Vnd aile feindschafft hat ein end
So kompt allsampt mit vns herein
Last vns Iustig vnd friilich sein
Vnd die Hochzeit anfangen schan
Euch Julia gebn wir zum Mann
V nsern Fiirsten Herrn Franciscum
Mit einem zimlichen Reichthum
Auff das dest grosser werd die Freiid
[Er fuhrt sie zum FUrsten FRANCisco giebt sil'
ZU8ammen
So gebn wir euch znsammen beyd
So geht die Hochzeit in eim bin
F'RANCISCUS
Es ist kein schad es bringt ein gwin
Hertz allerliebste nun seit getrost
Aus allem leidt seit jhr erlost
Die Heurath soil euch nicht gereuhen
JULIA
W enns eur Lieb meint gen m1r m treuen
Ich mit eur Lieb zu frieden bin
Vnd ist mir alles trauren hin
Will auch als thun was euch gefellt
LEVDEGAST DF.R FURST
W eil dann aile ding ist bestellt
V nd die zeit ist vorhanden schon
Das man die Hochzeit fange an
LUDOLFF.
My love and friendship for your Grace
Shall terminate our difference.
And that the same at once commence,
Aye from this very moment too,
With hand and mouth I promise you.
LUDOLFF gives him his hand, and says to ENGELBRECHT:
I wish thee joy for many a year;
And though thy treatment was severe,
There's no great harm now all is past,
For it has turned out well at last.
Turning to JoHN MoLITOR.
Just take these clothes, for they are thine;
And then I'll beg thee, put off mine.
LuDOLFF puts on a wedding garment, and LEUDEGAST
takes JULIA by the hand.
LEUDEGAST.
As fortune now to us doth wend,
And all our discord's at an end,
Let's all together step in here,
Be joyful and. of merry cheer.
The wedding shall at once proceed,
And Prince Franciscus, he shall lead
Thee Julia to the altar, who
Shalt have with him a fortune
This will enhance our great delight.
[He leads JULIA to FRANCISCUS, and joins their
hands.
Thus then do we you two unite,
And both the weddings join in one.
FRANCISCUS.
Our is great, our loss is none.
Oh dearest heart, have comfort thou,
Released from all thy troubles now I
This marriage thou shalt ne'er repent.
JuLIA.
If in good faith thy love is meant,
I with thy love am satisfied,
Henceforth will lay all ear& aside,
And all thy pleasure try to do.
LEUDEGAST.
As every thing's prepared for you.
And now the time bas come indeed,
In which the nuptials should proceed.
75 COMEDY OF THE BEAUTU'()L SIDEA.
So folget vns allsampt hernach
V nd leget von eucb aile klag
Heot ist eur aller Freuden tag
[Sie gehn alle in einer Ordnung ab.
JAIJN MOLITOR bleibt heraufs vnd beschleust
Diese History zeiget an
Bofs sey dem sterckern stand
Derhalben wo es sich zutregt
Das man zu zoren wird bewegt
Das man sicb darinn moderir
Bedenck wenn man die sach verlier
Was schads vnd nachtheyl draufs entstehe
W ol sagt man aygner schad thut we he
Jedoch soli man den sterckern reichen
Vie! Iieber schweigen oder weichen
Als sich mit jhm in zanck begeben
Dann der sterckst thut gmeincklich ob schwebe
V nd ob schon der gering bernach
Erfind ein vortheil zu der rach
Soli er sich doch defs nicht anmassen
Vermeints gliick nicht verfiihrn lassen
Dieweil es sich oft't thut begeben
Das heut ein theil thut oben scbweben
Das er doch kiirtzlich wider fellt
Dann girigkeit Gott nicht gefellt:
Sonder wie die Scbrifft thut melten
Woll er das bofs selbst vergelten
Drumb tho man ein wenig gemach
Vnd handel also in der sach
Das sichs zu beyden theilen leit
V nd aufs vorigen zanck vnd streit
W erde ein ewig einigkeit.
ENDE.
[Abgang.
Follow me all of you, I pray,
And put all care from "you away.
That all of us rejoice to-day.
[Exeunt omnes in proce.uion.
,JoHN remains, and says in conclusion:
Of this our story, hear the gist!
'Tis ill the stronger to
Wlu:-rever therefore it may prove.
That stronger men our anger mo\"e,
'Tis best our anger to allay,
Remember, if we lose the day
What damage may to us be done:
Wise proverb: 'Look to number one.'
Tow'rds those who rich and stronger are.
Quiet submission's better far
Than eagerly the thing contest;
For stronger mostly comes off best.
Though afterwards indel'd the weak
Devise how thl'y may v.-ngeance wreak,
They should not think themst'lns too sure.-
Let fancied fortune them allure.
For often doth it chance, I say,
That he who's uppermost to-day,
To-morrow must endure a fall:
God lo\"eS not arrogance at all.
For in the Scripture there's a line:
"All vengeance," saith the Lord, "is mine!"
Be gentle therefore to thy foe.
And bear thee in thy quarrt'l so,
That each may due forbearanre shew,
And out of former strife and woe.
Eternal amity may grow,
[Exit.
THE END.
76
COMEDY OF THE BEAUTIFUL PHAENICIA
BY JACOB AYRER OF NUREMBERG.
(CIRCA lli9/i.)
In JACOB ATHER's Opus theatricum, Nuremberg 1618, in-fol., the CoMEDY OF THE BEAL'TIFUL PHAENICIA
occupies folio 408 recto, col. 2, to folio 433 recto, col. 1. It is entitled:
Jpltgtl U'ltiblidJtr )Ud]t unb
Q!:omtbbl
'lou htr fdjiiutu
unb <Jtaf
bri u.on C.our.on aura ,.rragonim,
mit til nntlt in gangrn,
btr turammrn komrn, .ffilt
17. Jlrrronrn, unb
6.
(MIRROR OF MAIDENLY VffiTUE AND HONOUR. COMEDY OF THE BEAUTIFUL PHAENICIA AND COUNT TYMBRI OF
GOLISON FROM ARRAGON, AND HOW THEY FARED IN THEffi HONORABLE LOVE UNTIL THEY GOT
WITH 17 PERSONS AND IN 6 ACTS.)
Reprinted in: Deutsche& Theater. Herausgegeben von LUDEWIG TIEcK. Erster Band, Berlin 1817, in-Svo,
where it occupies pages 252 to 321.
COMEDIA
VON DER SCHONEN PHAENICIA.
Die Personen in dise Comedi.
P&TRUS der Koenig in Arragonien 1
TntBORUS der Graf von Golison sein Kriegs Rat'h 2
D
REL.'IRART l seine beede Riith
8
I&TKRICH S 4
LlO!!ITO VON TO.NETEl'l, der Alte Edelmann 5
V&RACUNDIA sein Gemahl 6
PHAENICIA sein Tochter
BELLEFLURA Phaenieia Schwester
VENUS die Giittin der Lieb
CuPIDo jhr Kindt mit sein Pfeil vnd Bogen
PHILLIS der Phaenicia Kammer Frau
LIO:<rATUS ein Alter vom Adel, zu
GERANDO ein Ritter, Ou:ruus VALERIA.'! genandt
Al'I!<IA MARIA ein Kammer Jungfrau
JAHN der kurtzweiler
MALCHIIS der pracher od. betriger
GERW ALT der betriegerisch Edelmi
ACTUS PRIMUS.
7
8
9
10
11
12
13
14
15
16
17

COMEDY
OF THE BEAUTIFUL PHAENICIA.
Persons
PETER, King of Arragpu.
T:rMBORus, Count of Golison, bis counsellor of war.
REINUART ,
h18 two counsellors.
LIONITO OF TONET&, the old nobleman.
V&RACUNDIA, his wife.
PHAENICIA, biB daughter.
B&LLEI'LURA, Phaenicia's sister.
V&l'IUs, the goddess of love.
CuPID, her child with his arrow and bow.
PHILLIS, Phaenicia's attendant.
LIOSATus, an old nobleman of Messina.
GERAND01 a Knight, called 0L&mus VALERIAN.
Al'I:.A MARIA, a maid of honour.
JOHN, the clown.
MALcnus, the swaggerer or impostor.
GERWALT, the false nobleman,
ACT I.
V ENt:s die Gottin geht ein, mit blosen halfs vnd armen, hat ein Enter V EXt'S with bare neck and arms wearing a loose robe.
jliegents gewand, vnd ist gar Gottisch gekleit ist zornig vnd S. She has the attire of a goddess, and says angrily:
lch wolt hie gern klagen mein not I would complain, my son and I
Das mich vnd mein Sohn macht zu spot Have now become the mockery
Tymborius der Graf von Golison Of Tymbor, Count of Golison,
An Konigs Hof zu Arragon Of the King's Court of Arragon.
Der belt sich Mannlich starck vnd vest He bears him manly, stout, and true;
Hat im nechsten Krieg than das best In the last war the most did do,
Da Prochyte angfangen hat Wnen Prochyte the slaughter great
In Sicilien das grofs blutbad In Sicily did perpetrate.
[She relates further, that she had caused many a hero to desert the profession of arms for
the love of women; but that the Count offered the most obstinate resistance, and did not eare for
women at all.]
Cupido hat vil Pfeil verschossen
Nach jhm send all gangen in windt
V ulcanus ist zornig vnd geschwindt
V nd will jhm keine Pfeil mehr schmiden
Wird offt mit mir drob ZU vnrrieden
Cupid has many arrows shot
At him, which all in air are spent.
Vulcan is wrath and violent,
Will no more arrows for him make,
And at me too offence doth take.
G
83 C O ~ I E D Y OF THE BEAUTU'UL PHAENICIA.
Darumb so mufs ich mich bedencken Therefore I must de,ise a way,
Wie ich den Ritter mocht ablencken How I the knight inveigle may,
Das er auch W eiber lieb mocht han. That he may lo\"e the ladies too.
[She then pro<!eeds to state, that the beautiful Phaenicia was to appear at the tournament which
Peter, King of Arragon, intended to hold at Messina; tlw Count was to fall in love with her there,
and then she, (Venus) would soon tame him.]
CePmo geht ein, wie er gemalt wird, mit verbunden augen,
hat ein Pfeil auff sein bogen.
Frau Mutter habt fort kein verdrufs
Mein Vatter der zornig Vulcanus
Der hat mir etlich Pfeil geschmit
V nd sagt ich konn mit fehlen nit
Sonder treff was ich treffen sol.
Enter CU'ID, as he i8 painted, with hi8 eyes bound, and
an arrow in his bow.
Dear mother lay aside thinl'l ire,
For Vulcan now, my wrathful sire,
Has a few arrows forged for me,
And says that they unerring be,
And hit whatever I may wish.
[At this Venus is very much delighted, and promises Cupid a new tunic, if he hits Tymborus
well. Exeunt Venus .and Cupid. Upon this John enters, wounded by Cupid's arrow, which is still
sticking in his bark. He exclaims that he is suffering violent pains in his heart through love for Anna
Maria, without whom he cannot live. He then abuses Cupid, and draws the arrow out of the wound.
His master Gerando enters, attracted by the noise. John complains to him of his miserable condition,
and Gerando promises to assist him, and to plead his cause with Anna Maria. Exeunt John and Ge-
rando. - Enter the King and two Counsellors. The tournament is to take place. 'In the mean time
all the ladies ascend the battlements, and look down from them.'
1
Tymborus beats all his adver-
:saries, (Lionito, Lionatus, and Geramlo) iu single combat. The King clos1t; the tournament; his gue:sts
follow him to join in the dance.]
GERANDO geht allein ein.
Tymbor der Graf von Golison
Legt vns hie allen grofs schandt an
Der thut gar hoch herprechen sich
W eil er im Franckreicbischen Krieg
Durch verrehterey angericht hat
Vberaufs ein sehr groses blutbadt
Das man Sicilisch Vesper heist
Vnd jhn der Konig so gar hoch preist
Des belt er sich dest steiiff vnd strenger
V nd ander gegen jhm vii wenger
Sein Kiinheit wechst von tag zu tagen
Der hats im Turnir als wegk gschlagen
V nd ist heim Koniglichen A bent essen
Zu nechst oben bey dem Konig gesessen
Bey jhm das Koniglich Frauen zimmer
Das ich es kan zusehen nimmer
Souder bin gleich gangen davon
W eil ich schir safs zu ,nderst an
V nd will der sachen deneken nach
G:RASDO, returns alone.
Tymbor, the Count of Golison,
Most dire disgrace is laying on
Us all, pretensions doth advance,
Because that in the war with France
He a most treach'rous plan had laid,
A dreadful massacre had made.
Sicilian Vespers called. a thing
For which he's lauded by the king.
He holds himself so stiff and high,
Treats others so disdainfully,
He bolder grows from day to day,
In tourney bears each prize away,
And at the royal supper, he
\\r as seated next his Majesty.
I saw the royal lady there
Sit next him, which I could not bPar.
But soon determinPd me to go,
Because I sat far down below;
And now some stratagem I'll seek.
I This stage rlirection po"c-.es a peculiar interest, as giving us some insii:ht into the arrangement of the German stage at that
time. It appears to hn,e been similar to that of the English stage. The whole pace was dividerl into two partl!, separated from each
other bv a curtain. The battlements from which the ladies look down, were a raised gnllerv at the back of the stal!e. The rl1ange
of the iocality waR effected by the drawing or closing of the curtain in the back-ground. . -
85 COMEDY OF THE BEAUTIFUL PHAENICIA.
Wie icb micb an jhm rechen mag
Nun ists mit Kempffen gar vergebens
Mir scbad der schimpff die zeit meins leben11
Er ist zu Khiin, liistig vnd scharff
An jim icb mich nicht richten darff
Souder mufs mich nur dahin schicken
Das ich mit falscbem Practicken
Ibm etwa schand vnd schimpff beweifs
lch will ankehren allen fleifs
Vnd will mich an dem Grafen rechen
Mir woll dann Gott das Ieben brechen.
[Er geht zornig ab.
How I on him may vengeance wreak.
'Tis vain with arms to wage the strife,
It brings dishonor for my life,
He is too bold, too strong of limb,
I should have no success with him;
Must therefore some sly plan devise,
By which with cunning and with lies,
Dishonor on his name may rest.
I'll spare no pains, but do my bPst
Against the Count for vengeance' sake.
Then God be pleased my life to takP.
[Exit angrily.
86
[Venus and Cupid return, and place themsPlvPs in ambush. Trumpets arP heard. Enter the
King and his Counsellors.
1
All sorts of side-play. Then Tymborus with Phaenicia and all the rest
in couphs, bt>gin the dance. Cupid shoots his arrow at the Count. The latter is hit, and immediately
struck by Phaenicia's beauty. The King breaks off the dance, and leads the guests to supper. Venus
and Cupid remain behind alone. Venus says she will urge the Count to woo Phaenicia in dishonor-
able love, but that she shall only become his in lawful wedlock.]
ACT II.
(Enter Gerando. He repeats his complaints of the arrogance of Tymborus, whom the King's
favour has made proud. Anna Maria joins him. Gerando informs her of the passion which his ser-
vant John entertains for her. Anna Maria is highly exasperated, and Gerando finds her very ready
to agree to his plan for deceiving John. The latter enters, and to his delight learns from his master
Anna Maria is burning with love for him, and has appointed to give him a meeting that night.
The clown praises his own cleverness, and then walks away with his master. Enter Tymborus. He
complains of the pains of love, and considers how he may win the beautiful Phaenicia. At first he
thinks of writing her a letter, but afterward determines to serenadt> her. Exit. -Enter Gerando. He
goes to Anna Maria's house to wait for John at the place of rendezvous, and then to cool his burn-
ing love by throwing a pail of water over his bead. The poor fool appears and makes his presence
known. Gerando answers in a feigned voice, and the above-mentioned cooling-process follows. John
runs away, forswearing all love for the future. Then follows Tymborus's serenade before Phaenicia's
house. He appears with his musicians. After they have given a specimen of their art, a singer en-
deavours to allure the fair one with a love song of six verses. The lover is not listened to, and with-
draws with his musicians.
Enter Lionito, Phaenicia's father, and Veracnndia, her mother, - soon afterwards Phaenicia,
who on being asked, whether she knew who had serenaded her, replies, that it must have been Tyro-
horus, as he had given signs of his passion for her during the dane>. After some advice from her
mother, they all withdraw. An interview follows between Tymborus and Phaenicia, which gives him
no more grounds for hope than his serenade had done before.]
ACT III.
[The first scene forms an episode, which like John's courtship of Anna Maria, stands in no
1
At the end of the last scene, the had certainly left the front part of the stage by pasRing through the opened
curtain. It now returns, and the front of the stnge represents ro)al
(j*
87 COMEDY OF THE BEAVTIF'GL PHAENICIA. 88
connection with the principal action. 'Malchus, the cheat,' pretends to be the ghost of John's mother,
and swindles John out of all the ready cash he had inherited from her.
1
Tymborus has now written a letter to Phaenicia, which has been delivered by Phillis, the lady's
maid, who endeavours to promote the interests of Tymborus with her mistress. In the next scene, in
spite of all Phillis's persuasion, Phaenicia declares angrily that she does not wish to receive any more
letters.' Tymborus is very much disheartened at this answer.
'Therefore have I put all my misery and pain into this song,'
which Phillis is to bring her mistress. Tymborus declares that he wishes to die, if Pha:'nicia will not
listen to his suit. Hitherto he had only endeavoured to obtain her love, not her hand, as she, a poor
though noble lady, was not of equal birth with himself, a rich Count. But now he determines to sue
for her hand, as he cannot possess her on any other terms. Lionatus 'the old nobleman,' is to con-
v:'y his proposals to her parents.
3
In the following scene, Phillis sings Tymborus's song, which is
also six verses, to her mistress. The latter confesses that she had never heard a more beautiful song.
After this, her father and mother inform Phaenicia of th<' offer of Tymborus. Phaenicia gi-..es her
consent.]
ACT IV.
[In the first scene of this act, John recovers the stolen money from Malchus.
Gerando appears, and declares his great vexation that Tymborus was affianced to Phaenicia,
as she had won his own heart. He confides his unhappiness to John, and orders him to bring
Gerwalt, as he wishes to ask his counsel. The latter is thrn also informed of Gerando's unhappy love.]
GERWAI.T
So geh ich zu dem Grafen hin
Phanicia auffs bOchst verklag
Wie das man vnehr von jhr sag
Mit jungen Gesellen in jhren Garten
Will jim darinnen lassen warten
Zu nachts wol bey den Moneschein
Steigen mit eurn Knecht allein
In W eibers kleidern, mit den wil ich
Gar freundlichen besprechen mich
Als ob er Phiinicia wer
Ibn ffihrn in Garten bin md her
Endlichen mich in einer ecken
Mit jhn verlirn vnd verstecken
Das vns der Graf nicht mehr kan sehen
So meint 'er, es sey mit jhr geschehen
Wird jhr die Heiirat wider auff sagen
GEHAXDO
Was ich hab will ich als dran wagen
GERWALT.
I'll go unto the Count at once,
Phaenicia gravely will defame,
Assert she"s lost her own good name
In her own garden with young men,
To which be shall have entrance then
At night, by moonshine, where too we,
Your servant and myself, will be;
He in girl's clothes. With him I'll walk.
And in a friendly manner talk,
As if that he Phaenicia were,
And lead him round the garden thl're;
Then with your man I'll step aside,
And somewhere in a corner hide.
Where both of us are out of sight.
Then thinks the Count, she's ruined quit<',
Will therefore his engagement break.
GERAXDO.
All that I have, for that I'd stnke.
1
These episodes shew thnt the Clown bad become a want on the German .tnge, which it was absolutely neces!iary to
probably to please the 'groundlings' in the pit.
2
This scene reminds one \ery forcibly of the scene between Julia and Lucetta in the 'Two Gentlemen of Verona.'
3
In llandello, this mediator is called 'the Messcnian nobleman.'
89 COMEDY OF THE BEAUTIFCL PHAENICIA. 90
Geht nur bin, richt die sach wol aufs
Ich will wider schleichen zuhaufs
[Sie gehn mit einander ab, schwatzen gemechlich
mit ein ander.
Dann kompt TYMBOR DER GnAF
Heut ist der aller gliicklicbst t ~ g
W eil mir ist geschehen die zusag
Das Phiinicia mein soli sein
V erschwunden ist all schmertz vnd pein
All mein anfechtung ist vergangen
Zu jhr steht mir all mein verlangen
Dann ich hab warlich recht gethan
Das ich mehr hab gesehen an
Jhr Tugent, zucht, dann zeitlichs gut
Nun bin ich frolich, vnd wolgemuth
Gott helff vns heiden gliicklich zammen
V nd lafs vns auch lang Ieben beysammen
Der G-raf spacirt hin vnd wider, ftcht mit den henden, in
dem geht GERWALT der Edelman ein.
(GERWALT)
Gnediger Herr verzeihet mir
Was haben euer Gnaden fiir
Das sie also melancolirn
TYMBOR
Nein zwar ich geh sonst hie spacirn
In lieblichen siissen gedancken
V or hett ich schmertzen wie die krancken
Die send mir Gott lob all verschwunden
Das bin ich fro, wie andere gsunden
Alles leid bah ich gelegt ab
Dieweil ich nun bekommen hab
Phiinicia die aller schOnst Jungfrauen
GERWALT
Gnediger Herr thut mit zuschauen
Das jhr nit werd betrogen mit
Ieh wolts eur Gnaden gonnen nit
Phanieiam kennt jbr nicht recht
Tnmou
Last jhr mir mein Braut vngeschmecht
Wolt jhr mit mir bleiben zufrid
GEHWALT
Gnediger Herr ich schmech sie nit
Souder sag eur Gnad soli zuschauen
V nd jhr so vii guts nicht vertrauen
Als cur Goad jhr mocht bilten ein
Tnmon
Soil dann das nicht geschruehet sein
Nun solt jhr nicht kommen von mir
.Jhr sagt dann was jhr wist von jhr
Oder ich werd eins mit euch wagen
Go, put thy project well in train;
I'll quietly slip home again.
[Ezeunt conversing together in a friendly manner.
Enter CouNT Tnmonus.
To-day's the happiest of all
I've known, it gives me right to call
My own Phaenicia mine alone.
All pain and trouble now have flown,
All opposition now is past,
All my desire's on her cast.
For I in this have rightly done,
That I by virtue have been won,
And not by riches or by greed.
Now am I happy, blest indeed!
May God to both his favour shew,
And length of days on us bestow I
The Count walks up and down, and throws his a r m ~ about.
In the mean time, enter GERW ALT the nobleman.
GERWALT.
My gracious Lord, pray pardon me.
What may your Grace's reason be.
That you so very sad appear?
T1"MBORUS.
No, faith! - I'm only walking here.
In pleasant thought, although before
A sick man's pains indeed I bore.
But now, thank God I all that is past,
Like healthy men, I'm blest at last.
All grief and care 1\e laid aside,
Since I have won her for my bride,
Phaenicia,- fairest of the fair!
GERWALT.
0 gracious Lord, I pray take care,
Lest you in her should be deceived;
For I should be most truly grieved;
Should you not judge the maid aright.
Tnmonvs.
Against my bride no word of slight,
Or all our friendship is forgot.
GERWALT.
0 gracious Lord, I slight her not.
But say, your Grace yourself should se1.
Nor trust that so much good there be
In her, as to you seemcth now.
TnmoRvs.
Are not those slighting words? I vow.
Ere from this spot I Jet you stir,
You tell me what you know of her,
Or we'll decide it with the sword.
91
COMEDY OF THE BEAUTIFUL PHAENICIA. 92
GERWALT
Gnediger Herr ich wils nicht sagen
Souder heut die nacht solt jhr sehen
Was thu in jbren Garten gschehen
In einer stunden bey dem Monschein
TYMBOR
Ja wie solt ich kommen binein
Dieweil die Pforten ist verspert
GERWALT
Ein gute Liittern darzu gehOrt
Da kriecht jhr in die Haselstauden
Halt euch drin obn regen vnd schnauden
Da werd jhr kennen vnd hOm mich
Was mit jhr werd fiirbringen ich
Das jbr, jhr werd nicht mehr vertrauen
TYMBOR
lch glaub es nicht von der Jungfranen
Doch was des Menschen Aug selbst sicht
Das kan das hertz betrigen nicbt
Ziecbt bin die nacht bricht schon herein
Ich will bait in dem Garten sein
[ Tymbor geht ab.
GERWALT
So geh ich recht zum Jabnnen zu
Das ich den Grafen betrigen thu
[Er geltt auch ab.
[A short scene follows between V eracundia
gratitude to her parents.]
Jetzund wird ein Liittern aufsen des eingangs angeleint,
daran steigt TYMBOR herunder, als wenn er vber ein llfaurn
stieg, vnd dann so sagt er.
Albie so bin ich in dem Garten
Vnd will der Abentheur erwarien
Die mir Gerwalt thet offenbarn
Die warheit dardurch zu erfahrn
[Er steckt Bich in ein ecken.
Aida kan ich bey dem Monschein
Sehen wer hie geht aufs vnd ein
Es stei_qt GF.RWALT, vnd dann der verkleidt JAH:"', in H'ei-
berkleidern auch herab, Gerwalt jiihrt Jahnnen bey der \
hand, Jahn brangt wie ein W eib,
GF.RWALT
Acb Phinicia hertzliebste mein
Jetzt send wir abermahl allein
Vnser Bulwerck hie zuverbringen
JAUN
Ey schweigt nur gar still zu den dingen
Das es mein Vatter nicht erfahr
[ Sie gehn im Garten hin vnd wider, setzen sich
zu.sammen
GF.RWALT.
I will not say a word, my Lord;
This night though will I shew to you,
What in her garden she will do
By moonlight, - in another hour.
TYMBonus.
To get there is not in my power;
Ere then, they've always locked the door.
Gt:RWALT.
I'll have a ladder there before.
You'll creep in near the hazel-trees,
But must not either move or sneeze,
And then you'll hear and see me too,
And mark what I with her shall do,
Nor longer in the maid confide.
Tnmonus.
I cannot think it of my bride.
By what the eye of man can see,
His heart can ne'er deluded be.
But hence; the day is l'O
I soon will to the garden go.
GERWALT.
[E.rit.
Now I at once to John will hie.
That I the Count may mystify.
[Exit.
and Phaenicia, in which the latter expresses her
A ladder is placed against the wall outside the entrance.
Tnmmms comes down by it, U$ if he had climbed our the
wall.
Here in the garden will I bide,
Till the ad\enture should betide.
Whieh Gerwalt did to me declare.
And learn the truth of the affair.
(Conceals himself in a curner.
The moonshine here will plainly shew
Whoever in or out may go.
GERWALT also comes down the ladder, and then JoHN, dis-
guUJed in woman's clothes. Gerwalt leads John by the hand,
who makes a little parade to shew himself off, like a woman.
GERWAI.T.
Phaenicial Ah, my love, my own!
Now are we once again alone,
And can enjoy our dalliance sweet.
JoHN.
Speak not so loud, I do entreat,
Lest that my father hear thee too.
[They walk up and down the garden, and then
sit down together.
93 COMEDY OF THE BEAUTIFUL PHAENICIA. 94
TYMBOR DER GRAF
0 ho vnd ist das gleichwol wahr
Das hett ich nicht glaubt mufs ich jehen
Hett ichs nicht ghort vnd zum theil gsehen
Nun pack dich bin zum Teuffel wegk
Du leichtfertiger loser scbandfleck
lch meint du werst in dein geberten
Die aller ziichtigst auff der Erden
So bistu ein loser hurnsack
An liechten galgen dich wegk pack
Ich will gehn Lionito sagen
Jhr die Heiirat wider abzuschlagen
[Er ist gar zornig vnd geht ab,
GEHWALT sagt zu Jahnnen
So komb wir wollen auch zuhaufs
JAHN
Was hab wir hie gerichtet aufs
Nichts, dann ich hab je kein Menschen gsehen
GERWALT
Du erfehrst wol, was ist geschehen
[Sie steigen wider vber die Latter q,b.
Tnmonus.
0 ho! And is it really true I
I never had believed it - no,
Had I not heard and seen it so.
Oh, may the devil take thee now!
A loose and shameless wanton thou!
Oh I when I thought upon thy worth,
'Twas as the chastest maid on earth.
But tbou'rt a. wanton whore, I see.
So get thee to the gallow's tree I
To Lionito I'll explain,
The marriage must be off again.
[E.rit very angry.
GERWALT, to John.
Come let us homewards wend our way.
JOHN.
But what have we done here,_ I pray?
Nothing,- for people I've seen none.
GERWALT.
Oh, you'll soon learn what we have done.
[They climb over the wall again by means of the ladder.
[The preparations are now made for the wedding, but are interrupted by a message from
Tymborus.]
LIONAn:s DER EDELMAN geht ein beut jhn allen die hand
sie empjangen jhn gar jreundlich
LIONATUS
Hertz Iieber Vatter es ist mein bitt
Jhr walt mirs alles verargen nit
Ich bring euch ein Bottschafi't zu haufs
LIONITO DER ALT
Mein Vetter was ists sagts nur raufs
Es soli euch sein ohn allen schaden
LIONATUS
Es schicken mich her jbr Genaden
V nd kiinden euch die Heiirat ab
Die ich jhm neulich geworben hab
V nd lest euch anzeigen dabey
Eur Tochter nicht from von Ehrn sey
Drumb woll seim stand nicht gebiirn
Ein solche dirn zu Kirchen zufiihrn
Was er jbr geschenckt das mag sie bhalten
PHA.NrcrA geht herjur
Ach dafs sein ewig Gott mufs walten
W er hat das zeigt dem Grafen an
Das ich hett wider Ehr gethan
Der thut mir grofs gwalt vnd vnrecht
All Vppigkeit hab ich verschmecht
Auch mir mein tag nie fiir genommen
Das mir jetzt von each ist fiirkommen
Enter LIONATUS THE NOBLEMAN. He offers the hand to all
the others. They receive him in a vf!ry friendly manner.
LIONATUS.
My Lord, I have to you a suit,
That you no blame to me impute,
About a message that I bear.
LIONITO.
What is it, cousin? Quick, declare;
You shall not suffer, - never fear.
LIONATUS.
The Count hath pleased to send me here,
To say that now his mind is changed
About the marriage just arranged,
And add, your daughter, shame upon her,
Hath altogether lost her honour.
With such a wench his rank allows
No interchange of marriage-bows.
His presents though she may retain.
PHAENICIA, advancing.
To think that God doth o'er us reign I
Who to the Count has me accused
Of ever having been abused?
He wrongs me, - has misjudged me quit<',
I've scorned whate'er seems loose or light,
And never planned in all my days
Such things as to my charge he lays.
95
COMEDY OF THE BEAUTU'UL PHAENICIA. 96
Das ruff ich Gott zu zeigen an
Das heifs eysen auch tragen kan
Zu bewehrung meiner vnschult
Ach Gott solt ich dann deine hult
In vnehrlicber lieb ;erlirn
Mich Bose begirt lassen verfiihrn
Das sey jmmermehr weit von mir
0 Herr Gott ich befelch mich dir
Vor angst mufs ich mein geist auff geben
[Sie singt darnider, sie halten sie,
LIOSITO
Ach sol mein Tochter kommen vmbs Ieben
Ehe sie jhr vnschult thut purgirn
So will ichs nach jhrem todt aufsfiihrn
Dann ich weifs das jhr vnrecht gschicht
LIO:SATl'S
Herr Vatter babt mirs friibel nicht
Ich kan meins theils dav(ln nit sagrn
W ers also hat in Grafen tragen
Doch kan mans noch wol werden innen
VERACUNDIA
Philis in meinen Kestlein drinnen
Hab ich ein kostliches Aquavit
V nd bringt auch aader labung mit
Zu Phiinicia sagt sie
[Er geht ab
Hertz Iiebe Tochter lafs dich erweichen
Lebstu nocb, so gib mir ein zeichen
LIO:SITO
Was sol sie geben sie ist schon todt
Jhr woll gnaden der Iiebe Gott
Sie lest von sich fallen aile glieder
[Phillis kombt mit dem wasser tnd labung, man
streicl!t sie an,
VERACT'NDIA
Jbr krefft kommen ein wenig wider
Sie hat jetzund ein Athem gholt
LIONITO
Ich bitt sie bait abtragen wolt
Kombpt sie wider zu jhrer Krafft
SoU der sach schon raht werden gschafi't
Sie gehn mit jhr mnb, auf! die Zetzt sagt PHXNICH
Ach Gott, ach wie ist mir geschehen
Wie so vil schones ding bab ich geseben
Das ich gwiefs mercken mufs dabey
Das icb im Himd gwesen sejr
Ach fiihret mich ein wenig ab
Dann mein krafT ich verlorn hab
[Die 1Veibs Personen jiirn sie ab,
I call on God to shew to you,
That I can bear hot iron too.
My innocence to certify.
Oh God l and is it like that I
Would lose thy grace in love impure. -
Let foul desires me allure?
Such things be ever far from me!
0 God, I place my trust in thee.
For anguish I must yield my breath.
[She sinks down, the others support her.
LIONITO.
Ah! should it pro;e my daughter's death,
Before her innocence is clear,
I'll make it afterwards appear;
For I am sure she injured is.
LIONATUS.
0 Cousin, take it not amiss.
I cannot, for my part, declare,
Who told the Count of the affair.
Perhaps though we the source may trace.
VERACUNDIA.
You'll find within the bouse a case
Of precious cordials, Phillis dear;
And also bring refreshments here.
Turning to Phaenicia:
0 daughter dear, if thou dost live,
I beg of thee some token give l
LIOXITO.
[E.rit.
What should she give? She is quite dead.
May God shed blessings on her head!
You see her members lifeless sink.
[Phillis returns with water and refreshments. The]/
endeazour to restore her.
VERACVSDIA.
Her strength is coming back, I think,
For she just now has fetched a sigh.
LIONITO.
Bear her away immediately.
And when she has again come to.
We'll think what course we should pursue.
They walk about urith her, at last PHAENICIA says:
Oh God! Oh what does it all mean?
How have I so much beauty seen,
That I must certainly believe,
'Twas Heaven did my soul receive?
Oh, lead me hence some rest to seek.
For still I feel extremely weak.
[The women lead her away.
97 COMEDY OF THE BEAUTIFUL PHAENICIA. 98
LIONITO
Auff das es ein weil bleib dabey
Das Phiinicia gestorbcn sey
So wollen wirs in kleidern beklagen
Ein toden Sarg gen Kirchen tragen
Denselben an jhrer statt begraben
Villeicbt mocht der Graf ein reuben baben
Was er bat an jbr begangen
Vnd mocbt ein bessern bericbt empfangen
Das sie die scband nicht bah gethan
Sich wider vmb sie nemen an
Dann ich weifs das jhr vnrecht gschicht
So lests auch Gott geschehen nicht
Das die W ahrheit verdrncket werd
Villeicht sich dann der Graf vmbkebrt
Vnd seiner Braut aufi"s nen begert,
[Abgang.
LIONITO.
In order that it may be said
Phaenicia is already dead,
We will funereal garments wear,
To church an empty coffin bear,
And bury it without a corse.
Perhaps the Count may feel remorse,
That he hath done her such great wrong,
The truth discover too ere long,
That she ne'er merited disgrace,
And then restore her to her place.
That she's been wronged, I surely know,
Nor will God leave the matter so,
That truth at last should be suppressed.
Perhaps the Count then will not rest,
:Till of his bride again possessed.
[Ezeunt.
ACT V.
[Servants in mourning bring in a coffin upon which is written: To the Memory of the innocent,
noble and virtuous Phaenicia. of the Lionitos. Exeunt. Enter John, reads the inscription on the coffin, is
surprised at Phaenicia's death, remembers having played Phaenicia in the garden, and goes to his master
to bring him the news of her death.
The Count now appears, and soon afterwards Gerando, both in mourning, and lament the death
of the beautiful Phaenicia. Gerando expresses his great sorrow that he has been the cause of her
death. The Count asks the meaning of these remarks. Gerando begs him to follow him to the church,
where he will then confess every thing. They both withdraw, but soon appear again, and the scene
in the church is left to the spectator's imagination. The agony of remorse completely overcomes the
Count, and he is about to take his own life. Gerando however prevents him, throws his sword at his
feet, kneels down before him, confesses the treachery which Gerwalt had practised against the Count,
and begs the latter to take vengeance on himself. The Count is touched by this honest confession,
and forgives the great wrong that has been done him on condition that he will beg for pardon of the
parents aud their deceased daughter. They then kneel at the coffin in prayer, rise, and clasp each
others' hands. John, who had been sent after Gerwalt, now returns with the intelligence that he had
decamped. The Count vows revenge, and then goes with Gerando to seek Phaenicia's parents.
Enter Lionito and V eracundia. The former informs his wife of the great grief of Tymborus
for Phaenicia.]
Es geht GRAY TYMBOR ein, mit GERANDO DEM RITTER,
tragen alle beede leidt.
LIONITO DER ALT EDELMAN empfengt sie, desgleiclten
auch geben Bie allen die hend,
TYMBOR
Herr Schwehr mir ist leid eur vnmuth
Der mich nicht wenig krencken thut
Als ob der wer selust eigen mein
I Enter Coc:>T TYMBORUS and GERANDo THE KNIGHT, botlt
1
in mourning. LIONITO, THE OLD NOBU;MAN, receives them.
They all shake hand8.
TYMBORl'S.
Father, your sorrow grieves me sore.
Indeed, it could not grieve me more,
Had I alone to bear the same.
i
99 COMEDY OF THE BEAUTIFUL PHAENICIA.
LIONITO
W ehe denen die dran scbultig sein
Das ich bin vmh meia liebs Kind kommen
Jedoch weil sie Gott hat genommen
Zu jhm aufs diesem armen Ieben
So kan ers auch wol wider geben
W enn es ist aein Gottlicher will
TYMBOR jellt Z'U jufs
Ach Gott ich bin dran schultig vii
W olt Gott das icha kond widerbringen
GERANDO jellt auch zu fufs,
Ich bin die groat vrsach der diogen
Die seind erfolgt aufs bOsem raht
Aber ich bitt durch Gott vmb gnad
V nd wollt jhrs nicht verzeihen mir
So atoaset in mich mein Rappir
Ala ich es wol yerschultet hab
TnmoR
Ach Gott, die groat vrsach ich hab
Das ich die Heiirat hab auff kiindt
lch hab begangen ein grose siindt
Die mir nicht wol kan werden vergeben
Dann ich bracht aie damit vmbs Ieben
Ach Herr Schwehr wenn es sein kan
So nembt mich wider zu gnaden an
Ich weifs wol das ich hab \nrecht
V nd eur Tochter vnschultig gschmecht
V nd das ich hab geglaubt zu bait
Ich ergieb mich in euren gwalt
Schafft mit mir was euch selbst gefelt
LIONITO
Gnediger Herr vnd Strenger belt
Eur Gnaden baben glaubt zugeschwind
Vnd mich gebracht vmb mein frombs Kindt
Das ich in Tugent hab erzogen
Das hab ich offt hertzlich erwogen
V nd bringet mir auch grosen scbmertzen
TYMBOR
Ich trag die groat pein vnd schmertzen
Erstlich das ich hab glaubt so gern
Vnd das ich jhr nun mufs entpern
Aber was soli ich armer than
Niemand dann Gott mir helffen kan
Vnd meinen schmertzen mir abladen
Ieh bitt Herr Vatt.er thut micb begnaden
Last mirh gleiehwol euren Sohn sein
Ich will die zeit des lcbens mein
Euch in kcinem punct w i d ( ~ r streben
LIONITO.
Woe, woe to those who are to blame
That I my own dear child should lose!
But as God to himself did choose
To take her from this life of pain,
He ran too give her back again,
If it should be his holy will.
TYMBoaus, falling at his feet.
Ah God I In this have I done ill!
Oh that I could her life restore l
GERANDO, also falling at his jut.
For this I am to blame far more,
As the result of counsels base.
But in God's name I sue for grace!
And should it be refused by you,
Then with my rapier run me through,
As I deserve most thoroughly.
TvMBoRrs.
Ah God! the chief est cause was I!
That I the marriage did decline,
I must confess great sin was mine,
Which you indeed can ne'er forgive;
For otherwise she still might live.
0 father, if it still might be,
Your favour shew again to me!
I know indeed the wrong I wrought her,
That I ill used your blameless daughter,
Believed on evidence too slender.
Myself I therefore now surrender:
Do with me what seems good to you.
LIONITO.
My gracious Lord, it is 'most true,
Your Grace too lightly has believed,
And of my daughter me bereaved,
Whom I in virtue's paths had led.
This often to my heart I've said;
Great pain too has it given me.
Tnmoars.
Mine is the greatest misery:
,First that I have so soon believed,
And now that I'm of her bereaved.
But what can I, most wretched, do?
'Tis God alone can help me through,
Relieve me of my present pain.
0 father, take me back again
To favour! treat me as thy son!
And while my course of life doth run,
I will in nought oppose thy will.
100
101 COMEDY OF THE BEAUID'UL PHAENICIA.
LIONITO
Eur Gnaden sey es als vergeben
So fern rnir eur Goad saget zu
W enn sich die verheiirathen thu
Das sie Heiirathen mit rneim Raht
Ich hoff zu Gott, es gescheh ohn schad
Dann ich jhr nichts bOfs rahten will
TnmoR
. Defs erbietten ist vii zu vil
Icb bets euch nicht dorffen anmuten
Darumb so nemb ichs auff in guten
V nd glob eoch das an Eydsstat an
Ohn eur w{ssen nichts mehr zu than
Bey den alten find man gut raht
GERANDO
So bitt ich gleicher weifs vmb gnad
Ob ich schon thOricbt ghandelt hab
So bitt ichs eur Lieb wider ab
Wie auch Phiinicia ich hab than
LIOSITO
Es ist Ieider geschel:ien schon
Doch ist es mir ein groser schad
Das jhr so eim N iirriscben raht
So vnbesunnen habt nachgsetzt
Mich vnd mein gantzes gscblecht verletzt
Jhr solts auch bey mir nicht endgelten
Jedoch thut nichts mehr davon melten
Wie jhr mein Tochter habt vmbbracht
Das mir mein leid nicht werd neu gmacht
Kombt rein vnd Est mit mir zunacht
[ Sie ,qehn allB ab.
ACT VI.
LIONITO.
Your Grace bas my forgiveness; still,
Only in case it's understood,
That when to marry you think good,
You'll marry as I may advise.
God grant no harm may thence arise,
For my advice shall not mislead.
TnmORUS.
The offer's generous indeed I
To your forgiveness I'd no claim,
So gratefully accept the same.
In place of oath, I promise you,
Without your knowledge nought to do;
The aged ever are discreet.
GERANDO.
I too forgiveness would entreat.
Although I acted foolishly,
I pray your love to pardon me,
As I Phaenicia too implore.
LIONITO.
Alas! it can't be undone more.
But great the loss to me. that you
Such foolish counsel did pursue.
So thoughtlessly have injured me
Alas! and all my family I
I from all vengeance shall abstain;
But do not speak of it again,
How 'twas that you my daughter slew,
Lest that my grief break out anew.
I go to supper. Pray come too.
102
[Exeunt.
[Enter John and his master Gerando. John informs the latter, that he does not wish to serve
him any longer. Lionito then explains to his wife, that he only wished to carry out his plan respect-
ing the union of Phacnicia with the Count. They are joined by the Count and Gerando.]
LIO:SITO
Jhr lieben Herm gebt euch zufrieden
Vergest der alt geschehen Dingen
Die man je nicht kan wicder bringen
Doch solche schwermuth abzuladen
So west ich erstlich eur Gnaden
Ein aufs piindig schiine Jungfrauen
Vnd eur Gnad soli mir das vertrnuen
LIONITO.
My Lords, I pray ye, be content!
Forget the things of long ago!
You cannot bring them back, ynu know.
Your Grace's spirits though to raise,
I know a maid whose beauty's praise
Must rank her fairest of the fair.
Your Grace may also trust me there.
7
103 COMEDY OF THE BEAUTIFUL PHAENICL\.
Sie ist Edel doch nicht gar reich
In dem der Phinicien gleich
Auch ist sie, wol so schon als sie
Vnd ist kein Maler gewesen nie
Der sie gleicher abmahlen kond
Ja wenn sie lebendig selbst da stiindt
Kiint man finden kein vnderscheid
Defs gleich in zucbt vnd hOfiichkeit
1st sie gleich der Phanicia
V nd wiird genand Lucilia
W olt ich eur Gnad zum Gemahl geben
TYMBOR
Wie wol ich hab begert zu Ieben
Einig hinfiirter ohn ein W eib
Jedoch icb auch bestendig bleib
In dem was ich eur Lieb verhiefs
Das ich derselben. wolt folgen gewiefs
Das will ich halten weil ich tbu Ieben
V nd wenn jhr mir ein W eib wolt geben
So felt sie mir zuhabn nit schwer
W enos our eines Baurn Tochter wer
W enn michs eur Lieb kan lassen sehen
LIONITO
Eur Goad kumb mit mir es soil gschehen
Doch hab ich sie nicht in meim haufs
Sonder auff meinen Schlosse draufs
Dahin woll wir zu Gast vns laden
Ich hoff es soil vns sein ohn schaden
[Sie gelm alle ab.
Though poor, she is of noble race,
May by Phaenicia take her place;
And beautiful indeed as she.
No painter too, whoe'er he be,
Could make a likeness to compare.
And were my daughter standing there
Alive, no difference you'd see.
In manners and in courtesy
She is just like Phaenicia,
Her name though is Lucilia
Her would I give your Grace as wife.
TnmORUS.
Although I wished to pass my life
Henceforth as single and unwed,
Yet I adhere to what I said,
When I your Lordship gave my word,
My choice to you should be referred.
I'll keep this promise while I live;
And if to me a wife you'd give,
I'll make no difficulty there,
Though she a peasant's daughter were.
Might I perhaps the lady see?
LIONITO.
With pleasure, if you'll come with me.
We cannot here the lady meet,
Because she's at my country seat.
We will as guests ourselves invite,
And then I hope 'twill all come right.
[Exeunt omnes.
[A short conversation ensues between Phaenicia and Belleflura. The scene must be
as taking place at the palace, whither Lionito had ordered his daughter to be brought. The sound of
the trumpets is heard, which announce the arrival of Lionito and the two suitors. The ladies with-
draw. The persons thus announced now enter. Lionito bids them welcome to his palace.]
LIONITO
Gnediger Herr ist euch zu Sinn
Wie ich vor mit euch redet drinn
Das jhr die Jungfrau haben wolt
Jr sie zu sehen kriegen solt
TnmoR
Was ich vor einmal hab geredt
Das beger ich zu halten stet
Das sollen mir eur Lieb zutrauen
LIONITO sagt zu Gerando.
Vnd jhr :;olt auch ein Jungfrau schauen
LIONITO.
Do you, my Lord, still recollect,
How we agreed to the effect,
That you should take the maid to be
Your wife, and that you her should see?
TYMBoRu:>.
Whatever I may .once decide,
By that I always will abide;
I beg, dear Sir, place trust in me.
LIONITO, to Gerando.
And you shall too a maiden see
105 COMEDY OF THE BEAUTIFUL PHAENICIA. 106
Die euch aueh moeht werden zu theil
Jedoeh bitt ieh euch keine feil
Warumb das aber thut geschehen
Das werd jhr noch wol hOrn vnd sehen
Ich meins mit eueli alln beeden gut
GERANDO
Was eur Lieb will ist, dasselb thut,
Dann wir beede eur Diener sein
LIONITO
Kammer Frau heist die J ungfrau rein
Sie Trincken, in diesen kampt PuXNICIA vnd BELLEFLURA
vnd geht jhn die Kammer Frau nach, gar schJn geputzt,
in groser Zucht vnnd Demut, geben erstlich den Frmnbden
Herren, darnach auch jhren Eltern die Hand, nmnen
als dann die Collation, tragens vmb, vnd schencken ein,
Tymbor Bicht die Phiinicia an, fohrt Gerando aujf die
seiten.
(TnmoR)
Ach Gerando nun glaub ich frey
Das der Phinicien Seele sey
Leibhafftig in das Mensch gefahrn
Sie kan gleich eben wie sie gebarn
Sie kan jhr sitten vnd gepreng
Hat aucb jhr alter vnd jhr leng
Das ich jhr gar nicht feind sein kan
GERANDO
Ach weh, ach Gott was bah ich than
All mein hertzleid wird mir
Das ich sie hab so vervntreut
Defa mufs ich in mein hertz mich schemen
TnmoR
Ey solt ich dises .Mensch nichl nemen
lch nembs, wenn ich schon Keiser wehr
GERANDO
Ach Gott erst wird mein leid mir schwer
Doch weil hie seind der Jungfrau zwu
Villeicht ghOrt mir die ander zu
[Sie gehn wider mit groser R8fJerentz zu den an-
dern Gii8ten,
LIONITO sagt zu Phiinicia.
Lucilia ist dir zn muth
Mein gnedign Herrn den Grafn zu nemen
Who wishes to be yours, but still
I only mean, if 'tis your will.
But how this is, shall soon appear,
That presently you'll see and hear.
For what I do is kindly meant.
GERANI>o.
you do, we are content;
As servants to your will we bow .

LIONITO.
Woman, call in your mistress now.
They drink. In the mean time enter PHAENICIA and BELLE-
FLURA, followed by the waiting-woman. They are hand-
somely attired, bear themselv88 with great mod88ty and ck-
corum, first offer their hands to the strangers, and then to
their parents. After this they hand round the refr88hment8,
and pour out the wine. Tymbor looks at Phaenicia, and
then leads Gerando asida.
TnmoRus.
Gerando, I must freely own,
I think Phaenicia's soul alone
Can animate that maiden's frame.
For all her gestures are the same;
She has her style and manners quite,
Her age she has, and also height;
That she my liking too hath won.
GERA.NDO.
Alas! Oh God, what have I done I
Now all my grief breaks out anew
That I such treach'roos acts could do I
To my heart's core I feel my shame.
Tnmoaus.
Aye, shall I not the maiden claim?
I'd take her, though a crown I wore I
GERANDO.
I ne'er felt all my grief before!
But as two maidens here I see,
Perhaps the other falls to me.
[They return to the other guesu, malcing low
obeisance.
LIONITO, to Phaenicia:
Lucilia, do you feel inclined
My gracious Lord, the Count, to take i'
COMEDY OF THE BEAUTII<'UL PHAENICIA. 108
PHXNICIA neigt Bich gegen dem Vatter vnd dem
Grafen,
W enn sich jr G naden mein nit wol schemen
V nd das nicht hal ten fiir ein Tate!
Dieweil ich allein bin vom Adel
Nicht bobs herkommeo wie sein Goad
Zu Lionito.
V nd eur Lieb befind das im Rath
So folg ich eur Lieb allezeit
TYJ\mrm
Aeh diser Red zufriden seit
Die Tugent Edel machen kan
Das W eib kriegt den stand durch den Mann
Wie er ist, also ist auch sie
Dieweil er lebet je vnd je
Seit jhr schon nur Edel geborn
Seit jhr doch heut zur Grafin worn
Dann eueh will ich vnd keine mebr
LIONITO gibt sie zusammm,
'so geb ich euch zu Gottes Ehr
Beide Ebelichen zusammen
Gott geb eucb gliick,
TnmoR vnd sein Brutkr sa,qen
Amen, Amen.
[Er zeicht ein Ring von der handt vnd ein Ketten
ton halfs henckt jlm an, steckt jhr den Ring
an, vnd trucket Bie, kelt sie b e ~ J der hand.
PliANt CIA
Ach Edler Gemahl saget mir
Ward vormals auch verheiirat jbr
Ehe vnd wann eur Gnad micb namb
TYMBOR schlegt an sein Brust
Ach schrecklicher red mir nie fiir kam
Ach diese frag bringt mir grofs schmertzen
V nd gehet mir so tieff zum hertzen
Das sie mieh gleich gar will vmbbringen
Tbut mich ein Mann zu weinen zwingen
0 Phiinicia was hab ich thon
Ich wolt ich wer gestorben schon
Fiir dich, wie schweb ich in vnmuth
PIL\;IIlCIA
Gnediger Herr habt mirs zu gut
Ich hab in allen guten gfragt
PHAEI'\"'CIA bOW8 to her father, and then tunuJ to the
Count.
If you should no objection make,
My Lord, or hold it cause of shame,
I only bear a noble name,
Not so illustrious as your Grace,
To Lionito:
You find it too, my sire, in place,
I'll follow you for evermore.
TnmoRus.
No more of this, I do implore.
Virtue a noble's rank affords;
The wife's rank's settled by her lord's.
For she who bears a noble's name,
Must, while he lives, be just the same.
If only noble, as you say,
A countess you become to-day;
I'll have no other all my life.
LIOl'<'lTO, joining their hands.
I join ye thus as man and wife
Together, to God's honour, then.
God grant you happiness!
TnmoRus and GERANDo.
Amen!
[He takeJJ a ring from his hand and a chain from
his neck, hangs the elwin upon her, and puts
the ring on her finger. He embraces her, and
holds her by the hand.
PHAENICIA.
Ah, noble husband, tell me now,
Have you been bound by marriage vow
Before your Grace hath taken me?
TnmoRt:s, beating his breast.
A sadder question could not be.
Your words occasion me great pain,
And pierce me to the heart again.
Strike at my life, and strike so deep,
That I, a man indeed, must weep.
What have I done, my sainted bride!
W onld that I had already died
For thee! What misery is this!
PHAENICU.
My Lord, pray, take it not amiss!
My question was but meant in love.
109 COMEDY OF THE BEAUTIFUL PHAENICIA. 110
TYMBOR
Aeh das sey Oott im Himel klagt
Mein voriges Lieb thut todt liegen
Fiir die ieh in die Hiill wehr gstiegen
Wie aueh Orpheus hat gethan
Solt ich all verdambt Seel bestahn
Wie Hercules, vnd sie erquicken
W olt ich mich alsbalt dar zu schicken
Aber es kan doch je nicht sein
Defs ist desto groser mein pein
Die kein Mensch auff Erd kan ermessen
LtONITO
Ey schweigt thut diser klag vergessen
Lang gnug ich euch auffzogen han
Secht eur vertraute doch recht an
Wie wenn sie eur Phanicia wehr
TYMBOR sicht sie an
Auff der Welt sehe ichs nimmermehr
W erd jhrs aber, wers mir dest Heber
V nd ich wolt als erleyden driiber
V nd mein hal be Orafschafft drumb geben
LIONITO
Hie steht eie, vnd thut warhafft Ieben
Wiewol wir meinten sie wer todt
Hat sie doch wider erquicket Oott
Welcher gewifslich haben wolt
Das sie eur Oemahl werden eolt
Die bah ich eucb an die hand geben
TnmoR sicht sie an, vertoundert sich
Ach Phiinicia tbustu noeh Ieben
So solst mir desto Iieber sein
[Er fellt jhr vmb d n ~ haifa
Ach Phanicia die allerliebste mein
Nun sey Oott gelobt vnd geehrt
Der mir dich auch hat wider bschert
Du bist mein auffenthalt vnd freud
PHANICIA
Der sey globt vnd gebenedeyt
Der vns nach solch grnsen Triibsal
Hat gnediglich gholffen ein mal
Der geb vns Segen, Heil vnd gliick.
TYMBORUS.
My plaint was meant for God above!
My former bride, now dead and cold,
For her, as Orpheus did of old,
To hell I'd go,- though there to see
All the damned souls in misery,
As Hercules,- and her awake
To life - would straight the journey take.
But that can never be, I know;
And all the greater is my woe.
How great indeed, can none conceive.
LIONITO.
Hush, hush, from henceforth cease to grieve.
My jest has long enough been tried;
I pray look closer at your bride.
What, should it your Phaenicia be?
TYMBORPS, looking at her.
0 ne'er shall I that maiden see I
But were it she, bow glad were I I
I'd suffer all most cheerfully,
And half my earldom would I give.
LIONITO.
Here stands she and doth really live.
Though God we thought the maid bad ta'en,
Yet hath he quickened her again;
And it 'most surely was his will,
That she should be your consort still ;
'Twas she whom I your Grace would give.
TnmoRt:s, looking at her in astoni8hment.
Phaenicia, dost thou really live?
Thus art thou dearer than before l
[Embracing her.
Phaenicia, loved for evermore,
Praise be to God, and honour too,
Through whom again, I'm blessed in you!
You are my joy, my hope, my stay!
PnAF.NICIA.
Praise be to him alone, alway,
Who after such great grief and pain,
Hath helped us graciously again.
0 may he grant uA happiness!
[ Gerando now receives Belleflura as his bride, and Lionito announces that the double nuptials,
to which Peter, King of Arragon, is to be invited, will be solemnized on the following day. The
Ill COMDEY OF THE BEAUTIFUL PHAENICIA. 112
piece now concludes with a moral song of eleven verses, called 'The Maiden's Mirror,' in which the
virtues of the Maiden are celebrated. The following are three of the eleven verses, viz. the two first
and the last.]
1.
Ihr zarten Jungfraun hOrt mir zu
Von aller Jungfrau Spiegel,
V nd merckt was ich euch singen thu
Von der zucht wahren Spiegel,
Gottes forcht wist
Der anfang ist
V nd weg zu der W ei.J'sheite,
W er den W eg geht
Gar wol besteht, ja wol besteht,
V nd liebt auch Gott allzeite.
2.
Dann wer Gott fiircht, der liebt auch jhn
Vnd belt ob seinen worten,
V nd wandelt fleissiglicb darinn,
Helt die an allen orten,
Das vierdt Gebott
Hat geben Gott,
Das man sol Eltern ehren,
W er dasselb thut
Der hat es gut, ja hat es gut,
Gott wird jhn vil bescheren.
u.
SchlieCslich so ist mein fleissig bitt
An all zarten Jungfrauen,
Jr wolt es doch vergessen nit
In den Spiegel offt schauen,
Der weiset gleich
Was fehlet euch,
Thut eure Miingel kehren,
W enn jhr das thut
So habt jhrs gut, so habt jhrs gut,
Kompt hie vnd dort zu Ehren.
ENDE.
1.
Y e tender virgins, list to me,
What is the virgin's mirror;
And mark what I shall sing to ye,
Of chastity's true mirror.
God's fear, I wist,
The first thing is't,
And way to Wisdom's door;
Who that way go
Shall stand, ye know, stand firm, ye know,
And love God evermore.
2.
For who fears God, he loves him too,
Doth make his word his care,
His way therein with zeal pursue,
And keep it everywhere.
Commandment named
The fourth, proclaimed
By God, is, parents honour,
What maid doth so
Doth thrive, ye know, yes thrive, ye know,
God showers his blessings on hef.
11.
To end my song, one prayer I raise
To all ye virgins soft,
That ye will not forget to gaze
Into the mirror oft.
It makes appear
Your failings clear,
Your faults will drive away too,
If ye do so,
Ye'll thrive, ye know, ye'll thrive, ye know,
To honours come some day too.
THE END.
TRAGEDY OF JULIUS AND HYPPOLITA
ACTED IN GERMANY, ABOUT THE YEAR 1600, BY ENGLISH PLAYERS.
8

The TRAGEDY OF JuLIUS AND HYPPOLITA forms part of the first volume of "Engli&che Comeditm vnd
Tragedien." 1620, 12mo, reprinted 1624, 12mo. In the edition of 1620, from which the present impression has been
taken, it occupies folio K k, 7 verso to folio N n, 4 recto. It is entitled:
VII.
Tragredia.
Uon Julio unb Hyppolita.
(TRAGEDY OF JULIUS AND HYPPOLITA.)

TRAG.iEDIA
VON JULIO VND HYPPOLITA.
Personre.
FORST.
HTPPOLITA Fttrstliches FriLwlein.
ROlKOLt.:S ! -
JULIUS zweene Romer.
GaoBIANUS PicKELHRRI!iG oder Julij Diener.
Roxuu DIENER.
ACTUS PRIMUS.
Jetzt kompt der Fiffisr, RoMULUs, Juuus vnd HYPPOLITA
herau.fs, der Furst steigt hinau.f, Julius stehet gar melan-
cholisch auff der Seiten.
FfRST.
Edeler ROmer, ein Monat baht jbr nun gewartet.
nach dem jhr mich angesprochen, dafs ich euch meine
Tochter zum Gemahl geben solt. Sagt mir nun liebt
jhr sie von Hertzen?
RoMuLr:s.
Von Grund meines Hertzen thne ich sie lie ben.
Ft'RST.
Liebe Tochter sag an, hastu Romulum lieb?
HYPPOLITA.
Ja hertzlieber Vater vnnd dafern es ewer Will, hab
ich jhn vor mein Gemahl aufserkoren.
Fl'nsr.
So babe ich genug, als wiinsche icb euch hierzu
ein la.nges Leben, vnnd gebe euch meine jungc Tocb-
ter, mein einige Hoffnung vnd Trost auff Erden.
Rollll"Lri.
Gniidiger Herr dieses schone Frawlein ewer ge-
liebte Tochter, thue ich hOher achten, denn Silber vnd
alles Goldt, vnd thu mich vor dieses Kleinodt hochlich
bedancken.
[Hat sie bey der Ha11dt.
TRAGEDY
OF ,JULIUS AND HYPPOLITA.
Persons repre&enled:
THE PRINCE.
HYJ'POLITA, the princess.
ROMULUS ~ tw R
Juuus ~ o omans.
GaoBIANUS PlcKELH&RiliG (the Clown), servant to Julius.
SERVANT to Romulus.
ACT I.
Enter the PruNcE, RoML'LUs, Juuus, and HYPPOLITA.
The Prince comes forward. Julius stands a little apart
from the others, very melancholy.
PIU:>:CE.
Noble Roman, you have now waited one month,
since yon urged your suit for my dear daughter's hand.
Tell me now truly, do you love her with all your heart?
Rom::Lus.
I love her from the bottom of my heart.
PR!XCE.
Dear daughter. say, dost thou love Romulus?
HYPPOLITA.
Yes, dear father, and an it be your will I have
chosen him for my husband.
PIUNCE.
Enough, enough. I wish you a long life, and give
you my young daughter, my only hope and comfort upon
earth.
RoMuus.
My lord, I esteem this beautiful lady, your be-
loved daughter, more highly than silver and gold, and
render you my hearty thanks for this your Jewel.
[Holds her fty the hand.
119 TRAGEDY OF JULIUS AND HYPPOLITA. 120
FCRST.
Wann gefelt euch dann Hochzeit zu halten.
RoMULl:S.
0 Gnidiger Herr, Iieber heut denn morgen, aber
es wil mir erstlich gebiihren, dafs ich nach Rom ziehe,
vnd es meinen Eltern ansagen, dann wann sie gar
nichts von meiner Heyrath wissen solten, wiirde es jnen
vbel gefallen, hoffe in kurtzer Zeit wieder allhier zu-
seyn. Derhalben begehre ich von ewer Gnaden, vnnd
von meiner hertz allerliebsten Vrlaub.
Fi:RST.
Edler ROmer, kan diese Reise keinen Anstandt ha-
ben, bifs nach V ollendung der Hochzeit. Ich bitte be-
dencket euch, sehet zu dz jhr verreist, Hochzeit haltet.
RoMt.'LI'S.
Gniidiger Herr, solches hab ich zuvor bey mir be-
dacht, aber es kan nicht sein, denn sein Eltern mufs
man hierin nicht gantz vnd gar hinden setzen. Bitte
derwegen vmb Vrlaub.
FVRST.
Mufs es denn so seyn, so gebe ich meinen Willen 1
drein, hoff jhr werdet euch nicht lassen auffhalten.
HYPPOLITA.
Ach mein hertz allerliebster, kans miiglich seyn,
so verharret, warumb wollet jhr doch so vnbarmhertzig
seyn, vnd von mir ziehen.
RoMULUR.
Mein getrewes Lieb, wie V ngern ich von eoch
scheide, kont jhr nicht gleuben, aber es kan nicht an-
ders seyn, dennoch baht tHeses zorn Troste, meinen
getrewen Freund vnd Bruder Julium, wil ich euch be-
fehlen, dafs er euch in Absentz mit lieblichen
discursen ergetze vnd also die Zeit verkiirtzere. Da
steht er, wir wollen zu jhm gehen. Getrewester Freondt
vnd Bruder Juli wie so melancholisch.
Juues.
Getrewer vnd liebster Bruder, ich bin nicht melan-
cholisch.
RoMuLus.
0 Bruder sag mir die Vrsach deiner Betriibniifs,
du woltest dich hart halt en, aber kontest nicht, kan
ichs mit meinem Blut wenden, wil ichs nicht lassen.
JvLns.
Die W arheit zli sagen liebster Bruder, so machet.
mich deine Reise betriibt, denn du weist wie sehr ich dich
Iiebe, ja mein Ieben vor dich bin zugeben, ich gering
achtete. 0 unmiiglich solt ich nicht trawrig seyn.

Es ist war. Von Jugend auff seyn wir vns getrew
PruscE.
When is it then your pleasure to celebrate your
nuptials?
RoML'LL"S.
My lord, I should prefer to-day to to-morrow. But
it is my duty first to go to Rome to announce my in-
tended marriage to my parents, lest, if they hear nothing
of it, they should take offence. I trust shortly to be here
again, and therefore I beg your Grace and my best be-
loved, to grant me leave to go.
PRINCE.
Noble Roman, cannot this journey be postponed till
after the solemnization of the marriage. Pray bethink you,
and celebrate your nuptials, ere you undertake this journey.
RoMGLl' S.
My lord, I have considered the thing well; but it
cannot be, for in such a matter we must not quite ne-
glect our parents. I pray you therefore, grant me leave
to go.
PRINCE.
Since it must be so, I give my consent. But do not
suffer yourself to be detained.
HYPPOLITA.
Sweet my love, an it be possible, remain; - why will
ye be so unmerciful as to go from me?
ROMULL"S.
Mine own dear love, you know not how loath I am
to go from you; but it must be so. And take comfort
for I commit you to the loving care of my faithful
friend and brother Julius, who in my absence will de-
light you with pleasant speech and thus while the hours
away. There he stands, let's go to him. Most faithful
friend and brother Julius, why so melancholy?
Jt:Lil' S.
Gentle and beloved brother, I am not melancholy.
RoMULus.
0 brother, disclose to me the cause of thy sadness!
thou would'st fain shut it up within thyself, but canst
not. I would shed my blood to turn it from thee.
Jt:Llt:S.
In truth, dear brother, thy journey makes me snd.
Thou know'st what love I bear thee, and that I ac-
count my life as naught to serve thee. 0 how c.an I be
otherwise than sad?
RoMnt:s.
Tis true. From childhood have we been faithful
121 TRAGEDY OF JULIUS AND HYPPOLITA. 122
gewesen, aber liebster Bruder, wormit sol ich solches
recompensiren, sage hierin abe den W eiblichen Hertze,
vnnd betriibe dich nicht meines hinweg reifsens, denn
es kan nicht andere seyn, darumb mein getrewer Freundt,
vnd Bruder, befehle ich dir mein schOn Hyppolitam
mein allerliebste, ich bitte tractire sie mir freundlich in
meiner absentia. Vnd scbOne Hyppolita betriibet euch
nicht, denn ich hofl'e in gar kurtzen, ewer hell Cbristall
Augen wieder anzuschawen mit Mercurii Fliigeln wil
ich ellen wieder zu euch zu kommen, darzu so bald
ich zu Rom angelange , wil ich euch mit Sebrifl'ten vi-
sitiren.
FilRST
Last vns jetzt hinein gehen, vnd Juli kompt mit
vns, dafs wir Romulo das Geleit geben.
[ Sie gehen hinein JuliU8 betrUbt.
JULIUS.
Wie V ngem, sehe ich dich von hinnen zieben:
[Felt au.ff die Knie.
0 ieh wolte dafs du nimmer widerkemest, alsdenn wer
ich der gliickseligste Mensch, vnd mach mir schon etc.
RoMuLvs. Kampt wieder.
Warumb folgestu nicht Iieber Bruder? Was bedeu-
tet, dafs du autT den Knieen sitzet?
JULIUS.
Hertzlieber Bruder ich rutTe die Gotter an , dafs
sie dir wollen favorabiles seyn, vnd in kurtzen wieder
anhero verfiigen.
RoMULus.
0 du bist mir ein getrewer Freundt, deines glei-
chen an Trewheit, hab icb noch nie in der Welt fun-
den. Derhalben befehle icb dir noch eines, ergetze
mein allerliebste, in meiner absentia mit lieblicben dis-
curscn vnnd tractire sie mir wol, denn ich weifs du
bist mir der getreweste, darumb icb sie auch nur dir
allein befehle.
JuLIUS.
0 mich getrew. [Pellet au.ff die Knie.] Ich sehwere
bey der Sonnen, Monden vnd Stemen etc.
RoMULUS.
Stehe aufl' getrewester Freundt vnd Bruder, kein
Eydt begebre ieh von dir zu haben, meynestu dafs ich
dir ohne das nieht gleuben thue. Nun ade, ade, mein
getrewer Freundt, wie Vngern ich von dir scheide,
kanstu nicht gleuben, Ade ade, je Ienger hie je Ienger
dort.
[ Gehet hinein.
to each other. But, gentle brother, how can I recompense
thee?- Here say adieu to thy woman's heart, and grieve
not for my journey, for so it must be. Wherefore, my
faithful friend and brother, I do commend to thee my
fair Hyppolita, my sweet love, and beg thee to entreat
ber kindly in my absence. And fair Hyppolita, do not
afflict yourself, for I trust ere long, again to behold your
clear crystal eyes. I'll hasten back to you on the wings
of Mercury, and as soon as I have arrived in Rome I
will visit you with letters.
PRINCE.
Now let us go in, and Julius comes with us, that
we may see Romulus on his way.
[Exeunt tli6 I+ince, RomulU8 and Hyppolita. Julius is sad.
JUL:rt:S.
How loath am I to see thee depart I
[Fall& on his lmeu.
0 that thou never would'st return I Then should I
be happiest of mortals, and even now I make me etc.
1
Re-enter RoMULus.
Wherefore didst thou not follow us, dear brother?
What means this kneeling?
JULitJS.
Gentle brother, I am calling upon the gods to be
favourable to thee, and to bring thee soon back again.
ROMUL'CS.
0 thon art a true friend to me. Thy like for faith-
fulness have I nowhere found in all the world. Where-
fore once more I pray thee, delight my love in my ab-
sence with sweet discourses, and entreat her well for
the love thou bear'st me. And for as much as I know
thou art of all the most faithful to me, I commend her
to thee alone.
JULIUS.
0 me, faithful! [Falls on his lcneu.] I swear by the
sun, moon, and stars etc.
RoMULUS.
Rise np, most faithful friend and brother I I crave
no oath of thee; think'st thou I cannot trust thee with-
out one? Now farewell,- thou canst not know bow
loath I am to part from thee. Adieu, adieu, the longer
here, the longer there.
[E.rit.
1
These unfinished paiSIIges, which occur frequently not only in this, but in all the other pieces of the collection of
Comtdien t'fld prove that the texts have been hastily got up for the preAs and that the writers themselvPs not have
had any share in the publication.
123 TRAGEDY OF JULIUS AND ffi'1'POLITA. 124
JULIUS.
Ziehe dafs du mogst den Halfs brechen, vnd nicht
wieder kommen. Jetzt mufs ich auff Prakticken den-
cken, Romule Romule getrewer Freundt bistu wol, aber
jetzt mufs ich dir vntrewe Bruderschafft beweisen. 0
schOn Hyppolita was kan dein schon Gestalt, nicht zu
wcgen bringen, 0 was solte Liebes Brunet nicht aufs-
richten. 0 Hyppolita du Wunder unter allen Weibes-
personen, du must meiu seyn, oder ich mufs nicbt
Ieben, nun mufs ich gedencken wie ichs wolle anfahen,
man sagt, practica est multiplex, nun ich mufs auch
eins darvon versuche.
[Gehet ab.
ACTUS SECUNDUS.
JULIO.
Juli bedencke dich nun wol, was du bey Romulo
tbust. Hie babe ich Brieffe von Rom bekommen, die
sol icb der schOn Hyppolita seiner allerliebsten vber-
geben, aber es kan nicbt seyn, dieselbigen mufs ich
vnterscblagen, vnd an dessen Statt babe ich andere ge-
scbrieben. Bedencke dich nun wol Juli es ist ein Ro-
mer den du betreugst, sie suchen Rache vber ihre Feinde,
vnd triumphiren stets vber aile ander, in der gantzen
Welt. Aber wenn du auch der streitbabrste Romer
werest, wolte vnnd konte icb nicht vnterlassen, dir jetzt
vntrew zu werden, mein Vorhaben mufs ich nun fort-
setzen, denn was thut Liebe, nicht vmb dero willen,
icb jetzt mein Leben in die eufserste Gefabr set.ze,
wolan es mufs so seyn. Holla mein Diener Grobiane
kom heraufs.
GaoniANus kampt heraujs, der Herr pfeijfet. Stehet still.
GROBIANUS.
Mein Herr mufs ja meynen, dafs er einen Hund't
1
vor sicb babe.
[Julius pjeiffet noch einmal.
GROBIANUS.
Pfeiff du jmmer bin, ich bin dein Hundt nicht.
JULIUS.
Jung hastu nicht geh1iret, dafs ich dich geruffen,
wornach siehestu dann?
GnoBIANl'S.
N ein Gniidiger Herr, ich hab kein ruffen gehOrt,
sondern pfeiffen, vnd gemeinet jhr Gn. hetten den Hundt
zu sich gepfiffen.
Jl'Lll'S,
Kom bier Grobiane vnd observire mein W orter
Jn,rus.
Ay, go, - and so that thou break thy neck and
never return. Now must I contrive my plan. Romu-
lus, Romulus! a faithful friend art thou to me, 'tis
true ; but now must I prove to thee what faithless
brotherhood is. 0 I lovely Hyppolita, what cannot thy
fair form effect. 01 what cannot love accomplish. 0!
Hyppolita, thou wonder amongst women, thou must be
mine, else I cannot lhe. Now I most bethink me how
to set about it. Men say 'practica est multiplex'; - now
'tis for me to try one.
[Exit.
ACT 11.
JULIUS.
Julius, consider well how thou dost act by Romu-
lus. Here have I letters to deliver to fair Hyppolita,
his sweet love; but it must not be,- I must keep them
back, and in their stead I have writ others. Pause and
weigh well, Julius - 'tis to a Roman thou play'st the
knave, and they seek vengeance on their foes and tri-
umph over all others in the world. Ay, an wert thou
the most contentious of all Romans, I would not, could
not refrain from being faithless to thee in this matter.
I must fulfil my purpose now; - for what will not love
do, for whose sweet sake I place my life in jeopardy?
Well, it must be so. Hoi my servant Grobianus, bo!
Enter GaoBIANl"S, his master whistles. He stands still.
GROBL\Nt"S.
May- be my master thinks he has a dog before
him.
[Julius w h i ~ t l e l l again.
GROBIA:Sl'S.
Whistle away, I am not thy dog.
Jn.Il'!;.
Boy, hast thou not beard me call? Wherefore dQst
thou stand so?
GRODIANl"S.
My lord. I heard no calling, but whistling, and
thought your . worship was whistling to his dog.
,JlLn:;.
Come hither, knave, and mark ye well my words.
125
TRAGEDY OF JULIUS AND HYPPOLITA.
126
wol, diese Brietfe soltu tragen zu der schonen Hyppo- 1
lita, dich anthon, gleich einen Postboten vnd zu jr sa-
gen, dafs dich Romulus von Rom zu jhr gcsant, mit
diesen Brietfen. Sieh hie hastu Geldt, verrichte es trew-
lich hernach soltu wehr von meinen Hinden empfangen.
GROBIANt:S.
Gniidiger Herr, was solte ich vmbs Geldt nicht
aufsrichten? Wenn icb konte Geldt darfiir bekommen,
so wolt ich meine Mutter eine Hur vnd meinen Vater
einen Scbelm heissen, ewern Befehl wil ich trewlich
aufsrichten.
JULIUS.
So maebe dich .bald fertig, vnd iibergieb jhr die
Brietfe.
GROBIANl'S.
Es sol geschehen.
[ Gehet weg.
JrLn;s.
Also hotfe ich die scbone Hyppolitam vor mein
eigen Gemabl znbekommen, Juli fast ein Hertz, ja ein
eyssern Hertz, denn ein hohes bastu angefangen, das-
selbe mustu aufsfiihren.
Stehet allein in tieifen Gedancken. Kiimpt heraufs der
FunsT. HYPPOLITA i&t betriibet, geht Bitzen.
Fi'RST.
Es ist vmb das W eibesvolck ein seltzam Manier,
vornemlich gar wunderlich, wenn sie verliebet seynd,
denn schreyen, heulen, vnd weinen, ist jhr tiiglich
Speise, so jhr liebster nicht bey jhnen ist. Wie zorn
Krankheit Tochter bistu so nii.rrisch? wirdt doch dein
Romulus wieder kommen, warumb betriibstu dich dann.
HYPPOLITA.
0 Vater ich babe V rsache zu weinen, weil icb nicht
weifs, ob mein liebster ist gsundt nach Rom kommen
denn die Zeit ist nun verflossen, in der er gelobet vo
der zuschreiben. Da sehe ich Jul. in tietfen gedancken
stehen, liebr Vater wollen wir nicht zn jhm gehen, vnnd
fragen ob er nichts von Rom bekommen.
[ Gehen zu jhm.
FuRsT TocHTER.
Einen guten Morgen Juli.
Juuns.
lch sage jbr Gn. auch schonen .li)oiwlein hooblich
danck.

J uli wisset jr nicbt was jbm zu thun sey, denn
maine Tochter gar verzwcifeln wil, weil jhr liebster ein
wenig von jhr gewesen?
JuLIUS.
0 Gnidiger Herr, darfiir wird man bey keinen
Bear these letters to fair Hyppolita, dress thee as a
postboy, and say that Romulus charged thee with these
letters from Rome. Here is money, perform thy errand
faithfully, and by and by my bands shall be more liberal.
GROBIA::'Il'S.
My lord, what woqld I not do for money! An I
could get money for't, I'd throw whore at my mother
and call my father rogue. A trusty messenger I'll prove
to do your bidding.
JULIUS.
'Tis well- prepare thee quickly, and go deliver the
letters.
GROBIANUS.
On the instant.
[E.rit.
JvLns.
So may I hope to possess fair Hyppolita as my
own wife. Julius, take heart, ay an iron heart. Thou
play'st a high and must not faint in the midst
of it.
[Stand& apart in deep thaught.
Enter the PRINCE. HYPPOLITA iB sad and Bits doum.
Pru:s-cE.
How strange are women's ways, how passing strange!
When they are in love, crying, weeping, roaring is their
food, an their sweetheart is not with them. Daughter, thy
folly will cause thee to fall sick, thy Romulus will surely
come to thee again; wherefore then grievest thou?
HYPPOLITA.
0 father, I have cause to weep, for I know not
whether my sweet love bath reached Rome in safety, as
the time is past in which be swore to write from thence.
There I see Julius standing in deep thought. Dear father,
let's go to him, and learn whether he bas received aught
from Rome.
[They approach Julius.
HYPPOLITA.
A good morning, Julius.
Jm.ms.
Have thanks your worship, and you too, fair lady.
PRINCE.
Julius, can you not advise me? My daughter is
quite desperate because her love bath left her for a short
time.
JrLH'S.
My lord, no doctor hath a remedy for that, for
127 TRAGEDY OF JULIUS AND HYPPOLlTA. 128
Doetore einig :Mittel finden, denn ea vns Mensehen von
Natur angebohren, vnd wircltet solchea die inbriinstige
Liebe.
HYPPOLITA.
Guter Freundt habt jhr niebt Sehreiben von Rom
bekommen.
JULIUS.
Nein sebones Friwlein gar keine.
HYPPOLITA.
0 die Zeit ist gleieh sehon verfloSBen, in der er
mir bey seiner getrew Lieb geaehworen zuschreiben.
JULIUS.
Sehlines Friwlein traget gar keinen zweifel, ieb
weifs vnd keone seio Hertz, dafs was er zusaget, ge-
wifslich belt, vnd kan seyn dafs der Bote, welchen er
gesand, nieht eile.
Kompt GaoniAN.
GROBIANUS.
Gliick vnd all Heil schOnes Friwlein.
HYPPOLITA.
lch dancke dir Bote '\"On Hertzen, 0 sage mir bald
kompstu nicht von Rom.
GROBIANl'S.
Ihr habt es errathen von Rom kom ich, vnd bin
von Romulo zu euch gesandt.
HYPPOLITA.
0 gliiekselige Stunde, 0 gliickseliger Bote, zeig
mir bald den Brieft' von Romulo meinen Hertzaller-
liebsten.
GROBIANUS.
V erziehet ein wenig, ihr musset erstlieb den Boten
sein penunse geben.
HYPPOLITA.
Sieh da bastu , tbu bald den Brieft' her, womach
ieh ein grofs verlangen gehabt.
GROBIANCS.
Da seyn die Brieft'e, so mir mein Herr Romulus
gegeben.
[ Sie lcUsset den Brie.fl.
HYPPOLITA.
0 sey mir willkommen. Bier seyn noch zwey
Brieft'e, einer an Julium, der ander an euch hertzlieber
Vater.
FURST.
An vns auch Tocbter? das ist sehr gut. W eine
nun auch Tochter, ieh weifs wol, dafs der gute Romu-
lus zusehreiben nicht vnterlaseen wiirde.
[Lesen, Bie verwundern Bich samptlich, kratzen Bich
bey den Haaren.
we mortals are born with it, and ardent love ef-
fects it.
HYPPOLITA.
Good friend, have .vou received no writing from
Rome?
Jt'LR'S.
l<'air lady, none whatever.
HYPPOLITA.
0 the time is already past, in which he swore by
his true love to write to me.
JULns.
Fair lady, do not torment yourself with doubts, for
full well I know his heart, that what he has surely pro-
mised he will as surely bold. It may be that the mes-
senger whom he bas despatched tarries on the way.
Enter GaoBIANUs.
GROBIANUS.
AU happiness and peace to yon, fair lady!
HYPPOLITA.
I thank thee, messenger, most heartily! 0 tell me
quick, dost thou come from Rome?
GROBIANUS.
You have hit it; from Rome I come, and am sent
to you by Romulus.
HYPPOLITA.
0 blessed houri 0 blessed messenger! show me
quick the Jetter from Romulus, my heart's treasure I
GROBIANUS.
Wait a little. First you must remember the mes-
senger.
HYPPOLITA.
Take this; - produce the letter speedily for which
I have so yearned.
GROBIANUS.
There be the letters, as delivered to me by my
master Romulus.
[She kisses the letter.
HYPPOLITA.
Welcome, o welcome I here are two other letters,
one to Julius, and one to you, dear father.
PRINCE.
For us too, daughter? that is weU,- very well.
Weep now too, daughter, I knew that good Romulus
would not fail to write.
[They read, are one and all astoniBhed, and scratch
their heads.
129 TRAGEDY OF JULIUS AND HYPPOLITA. 130
HYPPOLITA.
0 web 0 web Eva im Paradiese, wie scbiindlich
wiirdestu betrogen?
FURST.
0 Stadt Troja, durch list wordestu gewonnen.
[Sie l&en noch hesser.
JULIUS.
0 du betriPglichster Mensch vnter allen Mannsper-
sonen, du Eckel vnd Scbandfieck voter allen, wie hastu
dieses konnen vber dein Hertz bringen.
HYPPOLITA
0 Angst, 0 Todes Angst, grosser schmertzen bab
ich niemaln auff Erden empfunden. 0 verfiuchet seystu
Romule, verfiucht sey die Stunde, worin icb dich zum
ersten ansichtig worden. 0 warumb hahen die Gotter
euch Mannsbilder ordiniret vnd erschaffen, dafs jhr vnsere
arme Jungfrliwliche Hertzen so peinigen vn lingstigen
miisset. 0 jhr Poeten warumb schreibet jhr die Wei-
bespersonen seyn wanckelmiitig? 0 nein jhr thut vns
vnrecht, jhr Mannespersonen seyd voller Wanckelmii-
tigkeit, die vngetrewesten, vnbarmhertzigsten Creaturen
auff Erden, jhr seyd gleich wie der Wind wehet. 0
verfiuchter vntrewer Romule, ist dafs die trewe Liebe,
so du mir zugesagt vnd geschworen, hey jhr vnsterbli-
chen Gutter, verkiirtzet mir doch mein Leben, aulf dafs
mein Hertzleidt ein ende nehme.
FeasT.
Liebe Tochter, stell dich zu frieden, denn dein
W ehklagen dir nichts notzen wird. Pfui du verfiuchter
Romule, wie bistu so voller V ntrew wo"rden?
JULms.
Ja wol voller Vntrew vnd Schande, schad ists,
dafs er ein ROmer gebohren. Pfui du verfiuchter vn-
trewer Mensche, nun sol dir all dein Freundschalft ab
gesaget seyn, dargegen aber wil icb dich mit Hafs vnd
Feindschafft verfolgen thun, weil du so vntrew vnd vn-
barmhertzig an der jenigen thust, welehe jhr Leben vor
dich bette geben, dir sol aile Freundschafft auffgesagt
seyn, vnd gleub gewifs, dafs ich solches recboen wil,
darumb schOne Princessin seyd nicht betriibet, denn ich
alles solches rechnen wil. Erfrewet eucb vntt'r dessen,
dafs jbr solch ein vngetrewen Menschen nicht seyd theil-
hafftig worden.
Fi:RST.
Juli, sagt vns was ench doch der
rische Bosewicht geschrieben.
JULIUS.
Gnltdiger Herr, es ist einerley Meynung, aufsge-
nommen bier hat er voter geschrieben. Griifse mir den
alten Narren, Hyppolitae Vater den alten Scheisser,
HYPPOLITA.
Alas I alas I Eve in Paradise bow shamefully wert
thou deceived I
PRINCE.
01 Troy thou wert taken by stratagem.
[They read on.
JULIUS.
0 thou most deceitful amongst men, thou abomi-
nation and disgrace, how couldst thou find it in thy
heart!
HYPPOLITA.
0 anguish! 0 mortal anguish! never have I ex-
perienced such sore pain on earth. 0 I cursed be thou
Romulus, cursed be the hour when first I set my eyes
on thee! 0 wherefore have the Gods made and created
you men to wring with anguish our poor virgin hearts!
0, ye poets I wherefore do you write that women are
fickle! 0 not you do us wrong, you men, 'tis you who
are full of fickleness, the most perfidious, the most un-
merciful creatures on earth, who change with every wind.
0 accursed, o false RQmulus, is that the constant love
you promised and swore to me? Hoi ye immortal gods
shorten my days, that the troubles of my heart may
cease!
PRINCE.
Dear daughter, be calm, for thy lamentations can
avail thee nothing. Fie, thou accursed Romulus! How
couldst thou be so false?
JULIUS.
Ay, full of perfidy and shame! Pity is it that he
is born a Roman. Fie, thou accursed treacherous man I
Henceforth do I renounce thy friendship, nay more, I
will pursue thee. with my hate and enmity, that thou
hast acted so perfidiously, so mercilessly towards her,
who would have given her life for thine. All friendship
be henceforth withdrawn from thee, and, trust me, I will
call him to account. Therefore, fair Princess, grieve no
more, for I will surely call him to account for this.
Meanwhile rejoice that you have not become the consort
of so vile a man.
PRINCE.
Dear Julius, pray tell us what this treacherous vil-
lain has writ to you.
JuLros.
My lord, it is all to the same effect, save the post-
script here: 'greet that old fool, that simpleton, Hyppo-
lita's father of whom I have made a laughing-stock. You
9
181
TRAGEDY OF JULIUS AND HYPPOLITA. 182
mit dem ieb ja wol den Narren getrieben. Sie meynen
last es was saehte angehen, hem, hem, hem, meynen
saehte.
FURST.
Hem, was der Teuft'el schilt er mieh vor einen
alten Narren vnd Seheisser, der Teutfel danek dirs.
Aber was schreibt der lose Kerl mehr?
JULIUS.
Da lese es Jhr Gn. selber.
[.U.t, Bchiittelt den KopJ!.
FURST.
Aber wie zum Element sol ieh dieses verstehen?
So meynen laCs es WfS sachte etc.
JULIUS.
leb kans nieht errathen, icb wil aber wol gliuben,
dafs Jhr Gn. solches wird vor ein gewonliehe Rede
gehabt haben.
FilRST.
Ja es ist reeht nun befinde ieh mieh. Wenn der
lose Kerl bey meiner Toehter zu sitzen, vnd sie zu
hertzen pllegte, hatte ich vor eine gewonbeit also zu
redent. Nun spottet er vnser noeh zu vnsern Sehaden.
1st diCs das Deo gratias vor aile Wolthat? Der Teuft'el
mufs mir ja den losen Kerl zu erst zugefii.hret haben.
Nun sehe ieh wenn er sich so freundlich vnd demiitig
gegen mir gestellet, hat er den Geck mit mir getrieben,
hole der Teuffel solche Giste, ich begehre dein nicht.
. GROBIANUS.
SehOnes Friwlein, was vor Antwort sol ieh Ro
mulo bringen.
HYPPOLITA.
[ Reiuet den BrieJ! entzweg, tmd tbi.rJ!t jhn auJ!
dis Erden.
Also, also bring ich dieses zur Antwort.
FilRST.
[Reiuet Beintm auch entzweg.
V nd also bring ich von mir Antwort.
GROBIANUS.
Gniidiger Herr was vor Antwort sol ich von Jhr
Gn. haben.
JULIUS.
Bescheidt haben? 0 sag den Grewel vnd Vnzier
voter allen Mannespersonen, den verfluchten vntrewen
Romulo, daCs ich sein irgster Feind seyn wil, zu vnser
beyder Tagen ibn solches nimmer zuvergessen, vnd so
vnd so
[reiBt entzwey.
wil ich jhn antworten.
think I should go to work gently, hm, hm, hm, gently
I say'.
PRINCE.
Hm l Why the devil does be call me an old fool
and a simpleton? - the devil thank him for itt But
what more does the varlet write?
JULIUS.
Perhaps you had better read it yourself.
[He reads, and Bhaka hiB head.
PRINCE.
But how, by all the elements, am I to understand
this? Think I should go to work gently, etc.
JULIUS.
I cannot guess, but should be inclined to think that
perchance my lord has been accustomed to employ this
manner of speech.
PRINcE.
Ay, ay, now I understand it. When the varlet used
to sit by my daughter. and embrace her, it was my
custom so to speak; and now he scoffs at us to our
burtt Is this the Deo gratias for all our benefits? It
must have been the devil himself that sent the rascal to
us. Now I know that while he was pretending such
kindness and humility, he was only making a fool of
me. Devil take such guests, I'll none of them.
GROBIANUS.
Fair lady, what answer shall I take to Romulus?
HYPPOLITA.
[Tears the letter and throwB it on the ground.
That, that is my answer.
PRx:scE.
[TearB hi& a l ~ o .
That is my answer too.
GROBIANUS.
My lord, what answer from your lordship?
JULn:s.
What answer? 0 tell this monster, this abomination
of men, this accursed perfidious Romulus, that I am his
bitterest enemy, and never to the end of my life will
forget it, and so and so
[tearing the letter
do l answer him.
133 TRAGEDY OF JULIUS AND HYPPOLITA. 134
GROBIANUS.
Ich wils wol gliuben, dafs Jbr Go. sein argester
Feind ist vnd bleiben wird. Also ade von hinnen ich
mich maehe.
[Geht weg.
JULIUS.
SchOnes Frawlein , achtet jhr wol wirdig vmb des
verfluchten vntrewen Romuli wegen betriibt zu seyn.
HYPPOLlTA.
Ja ich bin betriibet, vnd das betriibste Weibesbild
auff der Welt.
JULIUS.
Ich bitte verbannet jhn aufs ewern Sinn vnd Ge-
dancken, so seyd jhr mit Froligkeit wider emewert.
FimsT.
Solches ist auch mein Rath, Iiebe Tochter, daCs du
jhn gar auCs deinen Hertzen verbannest, vnd nimmer
an jhn gedenckest, sonsten wird das winseln, wehklagen
kein Ende haben, lasset vns hinein kehren, vnd nicht
mehr an jhn gedencken, denn ich babe Vrsache, solche
Sehmach aber werde ich mein Tage nicht vergessen.
ACTGS TERTIUS.
Jtut.::s.
Holla, bolla Diener Grobiane kom herauCs.
GROBIANUS.
Hie bin ich gnidiger Herr.
JULIUS.
Hor Diener, dir ich am me is ten vertrawe, wie du
aucb selbst weist, dais ich dir vertrawt, welches ich
sonst leichtlich keinen gethan bette, fahr also fort, es
sol dein Schade Dimmer seyn.
GROBIANt'S.
Gnii.diger Herr, ich bin bereit Jhr Gn. in allen zu
folgen vnd zu gehor!IIUJlen, auch die Sachen also zu-
verrichten, daCs es Jhr Gn. nicht besser begehren sol.
JULIUS.
Du bist mein getrewester Diener, darumb ich dich
auch allein zu meinen geheimen Saehen branch. Nim
bin diesen Brieff, trag jhn alsobald zur schOnen Hyppo-
lita, verme1de jhr darneben mein freundlichen Grufs
vnd Dienst!.', sag vnd machs jhr grofs vor, wie hefftig
ich in jhr verliebet, wie jAmmerlich ich mich gebehre,
dafs ich weder t>sse noch trincke, auch keine Rube
haben kan, sondem stets seufftze: In Summa maehe
GROBIA.NUS.
I ful!y believe, my lord, that you are, and will re-
main, his bitterest foe. Farewell, I hie me hence.
[&it.
JULIUS.
Fair lady, do you hold it worth your while to be
sad for that accursed false Romulus?
HYPPOLlTA..
Ay, I am sad, and the saddest woman on earth.
JULIUS.
Pray banish him from your thoughts and heart,
and let, joy restore you.
PRINCE.
Such is my counsel too, dear daughter. Banish hfu,_
quite out of thy heart and never think of him more;
else will there be no end of tears and lamentations.
Let us go in and never mention him again, for indeed
I have reason. But never to the end of my life shall I
forget such outrage an.d dishonour.
ACT III.
JULIUS.
What hot Grobianus come beret
GROBIANUS.
Here I am, my lord.
JUL1l,TS.
Listen, knave. In thee have I placed most confi-
dence. Thou knowest I have trusted thee, a thing I do
but rarely; go on as thou bast begun, thou shalt never
rue it.
GROBIA.NUS.
My lord, I am ready to follow and obey your lord-
ship and to manage everything so, that your Lordship
shall not wish to have it better.
JULIUS.
Thou art my trusty knave, therefore I use thee in
my secret matters. Here, take this letter, bear it with-
out delay to fair Hyppolita, convey to her my sweet
greeting and humble service, unfold to her in many
words how sick I am for love, how pitiably I bear my-
self, that I can neither eat nor drink nor rest, but am
always sighing. In fine, make the devil big and ten
times bigger than he is. 1 promise thee, knave, thy suit
9*
135 TRAGEDY OF JULIUS AND HYPPOLITA. 136
den Teuffel grofs vnd zehenmal mehr, denn es ist, fii.r-
war Diener wirstu etwas mit deinen procuriren erbalten,
Goldt, Silber, vnd grofs Goad sol dein recompension
seyn, mach dich nun auff, zur Stunde, vnd brauch ja
wol deine Zunge.
GROBIANt:S.
Gnadiger Herr, Jhr Gn. gleuben mir, daCs ich mit
hOchstem Fleifs die Sache wil anbringen.
[Nimpt den Brie.ff, gehen hinein.
HYPPOLITA.
W eil Trew vnd Glaube ist worden klein, werd ich
nun bleiben gar allein. In Betriibnifs Jammer vnd
Elend wil ich nun mein gantzes Leben zubringen, stets
seufftzen vnd Thriinen mussen meine Speise seyn. So
bald des Tages Liecht anbricht, werde ich eingedenck
seyn wie ein Mensch voller V ntrew stetigs pflag zu
mir zu kommen. All getrew Lieb thu ich verfluchen.
Mit Standthafftigkeit hab ich getrewe Lieb zu halten
mir angelc:>gen seyn lassen, aber es ist mir vbel belohnet
worden, was mag von mir haben wollen, der so eilends
zu mir kompt.
[Kompt Grobianus.
Mich deucht ich nie ein grewlichern Kerl gese-
hen bah.
GRORIANUS.
Schones Frawlein, meines jetzigen Handwercks ich
ein Briefftriiger bin, hie bah ich einen an Jhr Gn. mit
demiitiger Bitte, denselben zu vberlesen. Mein Herr
Julius lest Jhr Gn. zu 1000. malen griissen, von welchen I
ich auch diesen Brieff babe.
HYPPOLITA.
0 das tausendtmal .griissen thonet noch stets vor
meinen Ohren. Es kompt mit: aber dieses gar seltzam
vor vom Julio, sintemal ich zuvor nur eins von jhm
zu empfahen pflag. Hie steht: SchOnest auff Erden,
die inbriinstig grosse Liebe, so ich zu euch trage zwin-
get mich nunmehro mit aller Macht euch solcbes zu
offenbaren. W eil icli aher also in ewren Stricken ge-
fangen liege, babe ich nimmer keine Rube, all Witz
vnd V erstandt thut mir scbier vergehen. Ich kan mit
W arheit wol klagen, daCs ich der vngliickseligste Mensch
auff Erden sey. "W erde ich aber von diesen Band en
auffgeloset, schiitz ich mich vor den Gliickseligsten.
Darumb schonest Hyppolita, die jhr mein Leben in
ewren Handen, vnd gefangen baht, beweist mir Liebe,
weil ich gegc:>n euch mit solcher inbriinstigen liebe vmb-
geben, well es Venus vntl Cupido in jhren choro also
beschlossen. 0 reist abe die Bande, thut mich nicht
liinger kriincken, sondern gliicksdig machen. Dieser
Brief! ist vergeblieh geschrieben. Liebe, Liebe, ich bin
shall bring thee recompense in gold, silver and great.
favour. Be gone this instant, and use thy tongue well.
GROBIANl'S.
My lord, your lordship may rely on me to speed
your cause with all diligence.
[He takes the letter. Exeunt.
HYPI'OLITA.
Since faith and trust are gone, I'll spend my virgin
days alone. In sadness, wretchedness, and misery, must
I pass my whole life; sighs and tears must be my daily
food. As soon as day dawns, I shall remember how a
man, false and perfidious, used to come to me. I'll
execrate all true love. It has been my heart's desire to
love with constancy, but my love has met with but a.
poor return. - What can this man want of me, who is
coming in such haste.
[Enter Gt-obianus.
Methinks I have never seen a more detestable
fellow.
GROBIANt.:S.
By trade, fair lady, I'm a letter- bearer, and bear
one for you, which I humbly entreat you to peruse.
My master Julius sends a thousand greetings to you,
lady, and this letter.
HYPPOLITA.
0 how the thousand greetings still resound in mine
ears I Yet still, from Julius me thinks 'tis strange, see-
ing one greeting was his wont before. Thus he writes :
'Fairest on earth, the great and fiery love I bear you
compels me now with irresistible power to reveal it to
you. My wits and understanding are clean gone, and
I know no rest, because I am a captive to your charms.
I can with truth complain that I am the most wretched
man on earth. But were I once liberated from these
bonds, I were the happiest. Wherefore. fairest Hyppolita,
who doth hold my life in her hands, show me a little
love, seeing that I bear you such great and fiery love,
and that Venus and Cupid have decreed it in their choir.
0 burst these bonds, afflict me no longer, but make
me happy.' - This letter is writ in vain. Love, love,
I have had my fill of thee! I have lovc:>d enough, and
thereby the matter is at rest for ever. Shall I love again?
"K evermore l Ye false men, ye are born but to make
fools of us women, with your whining words. Hear
137 TRAGEDY OF JULIUS AND HYPPOLITA. 138
deiner satt, genug babe ich geliebet, vnd darbey soles
gintzlich beschlossen seyn. Solt ich nun wiederumb
lieben? Nimmermehr: Jhr betrieglichen Mannespersonen
seyd nur gebohren, mit kliiglichen Worten die Jung-
frawen ins Narrenseil zu fiihren. Hore Diener sage
deinem Herrn, dafs ich den Brie1f empfangen, Antwort
darauff, achte ich vnnotig.
GROBU.NUS.
Schones FrAwlein, dofern ich kein andere Antwort
von Jhr Gn. erlange, po hengt er sich vor allen Ele-
ment auff, dann schones Ji'rAwlein, jhr konnet nicht
gliiuben, wie voller Pfeilen er geschossen. Fiirwar er
klaget sehr vmb E. Gn. sie sey dessen allein ein V r-
sache, ich verleih ein gut Wort vor meinen Herrn, denn
er mich sehr darnmb gebeten, ich sol es hOher vor Jhr
Gn. anbringen, als es jmmer ist, er isset vnd trincket
nicht, er hat auch keine Rube, so hefftig ist er gegen
Jhr Gn. verliebet, vnd wenn er noch schlii.fft, seuft'tzet
er, redet im Schlaffe: Hyppolita,:, darumb gnAdiges
Friwlein, Jhr Gn. machen ein grofs V nruh, dafern sie
dieses nicht wendet.
HYPPOLITA.
Meinethalben kan er wol zu frieden seyn, mache
dich nur von hinnen, vnd bringe deinen Herrn zur
Antwort, dafs ich den Brieft' empfangen.
GROBL\NUS.
So werde ich meinem Herrn ein vnangenehmer
Bote seyn, Botenlohn, Goldt, Silber vnd grofs Gnade,
welches mir mein Herr zugesagt, werde ich nun miissig
gehen. Damit ich dennoch etwas darvor babe, bitte
ich Jhr Gn. mir ein Zehrpfennig mitzutheilen.
H"\"PPOLITA.
Begehrestu nur das? Sieh da hastu eiuen Dueaten,
damit mache dich von hinnen.
[Nimpt.
GROBIANUS.
Hochlich Jhr Gn. ich dancken thu, allerschonest,
allertugendtreichstes Friwlein, dessen lobwirdig Nahme
in aile Welt, die W arheit auch zu sagen, jhr
Gn. ist die AllerschOnest auff Erden, ich bette es nie
gliiuben wollen, wenn ichs nicht gesehen. An SchOn-
heit thu ich Jhr Gn. vergleichen der Gottin Veneri.
An Tugenden der Gottin Dianae. Ich kan nicht Worter
finden zu preisen, wie wol billich.
HYPPOLITA.
Nach solchen Lob ich auch wenig fragen thu, bette
ich dir keinen Ducaten geben, so were ich auch nicht
in dein Lob gerathen, mach dich alsobald aufs meiner
praesentz, weil ich deiner nicht linger allbie begehre.
[ Gehen hinein.
me, knave, tell thy master I have received his letter,
further answer is unnecessary.
GROBIANUS.
Fair lady, if so be I get no other answer from
your ladyship, he'll go bang himself in face of all the
elements, for, sweet lady, you cannot imagine how full
of darts he is ... In sooth he suffers much; and you lady
are the sole cause. I would put in a good word for my
master, because he entreated me to do so, and tell to you,
gracious lady, how he can neither eat nor drink nor yet
find rest, so violently is he in love with your ladyship,
and when he sleeps he sighs, and exclaims, 'Hyppolital'
Wherefore, gracious lady, you will cause him much dis-
quietude, if so be you are not minded to avert it.
HYPPOLITA.
He may be happy for aught it concerns me. Be
gone, and take this answer to your master - I have re-
ceived his letter.
GROBIANUS.
Thus I shall be an unwelcome messenger to my
master, and I must lack the recompense, the gold, the
silver, and the great favour, my master promised me.
But that I may have somewhat for my pains, I beg a
bounty of you, gracious lady.
HYPPOLITA.
Desirest thou naught but that? Hold, take this du-
cat and be gone with thee.
[He takes it.
GROBIANUS.
I give you my best thanks, most virtuous and most
beauteous lady, wliose matchless name resounds through-
out the world. To speak the simple truth, your ladyship
is the most beautiful lady on earth. I could never have
believed it, had I not seen it. In beauty I compare you
Madam to the goddess. Venus, in virtue to the goddess
Diana. I have no words to praise you as 'tis meet.
HYPPOLITA.
I care but little for such praise; had I given no
ducat I had received no praise; wherefore begone from
my presence, as I have no longer any need of you.
[Ezeunt.
139 TRAGEDY OF Jl7LIUS AND HYPPOLITA. 140
Kompt der FcRsT vnd JULIUS.
FtRST.
Juli sonder guter Freund, wol hab ich euch obser-
viret vnd angehOret bitten vmb meiner Tochter Hyppo-
litam. Es ist euch nun bewust, wie Romulus sich mit
jhr verbunden vnd verlobet, vnd wie das vntrewe
Mensch sie verlassen, was Schimpff vnd Spott mir, so
wol meiner Toehter dardurch kommen. Derhalben ich
niehts liebers sehe, dafs sie our in diesem Gewiisch
moge vermiihlet werden. Ich euch zu jhr wol tiichtig
erkennc, darumb gebe ich meinen Willen darein, dafs
sie euch moge vermahlet werden, denJ!och in meinen
Willen es nicht allein, sondern auch in jhren stehet,
darumb ist mein Rath, dafs jhr sie selber anredet, vnd
ewer Liebe jhr an praesentiret.
JULIUS.
Wie hocb ich erfrcwet kan Jhr Gn. nicht gliiuben,
ich bitte Jhr Gn. vntertbanig, dafs er sic zu sich wolle
kommen lassen, auch Jhr Gn. wolle helffen sie darzu
bereden.
FURST.
Gar wol, ich hoff es sol alles gut werden. Rolla
Hyppolita kom eilends zu mir.
[Kompt.
HYPPOLITA.
Gniidiger Herr Vater.
FfRST.
Liebe Tochter, dieser junge Cavallier Julius mit
dir etwas zu red en hat, hor jhn wol zu, vnd tllUe jhn
gutcn Bescheidt geben.
HYPPOLITA.
Gniidiger Herr Vater, guten Bescheidt jhr jhn wol
geben konnet, mich deucht ieh sein Anbringen zuvor
wissen soli.
FCRST.
Zuvor wissen, so mustu ein Prophetin seyn.
JL"LIUS.
Schiinest Creatur, so du jemaln den Erdboden be- '
treten, die inbriinstig lieb, so ich zu euch trage, zwin-
get mich mit Macht es euch zuoffenbaren. Seynd mich
der blinde Cupido geschossen, bin ich ein ander Mensch
worden, da ich war zuvor frolich, bin ich nun trawrig,
vnd nach dem ich noch nicht occasion habe gehabt mit
euch allein Gespriich zuhalten, v ~ d mein Anliegen zu
offenbaren, bin ich stets in Betriibnifs gewesen. "\\. eil
ich denn jetzt so gar in ewer Macht vnd Gewalt, so
komme ich demiitig bittend, 0 Vrsache babe ich zu
bitten, Jhr Lieb wol mir dieses wenden, vnd von der
Last erledigen, 0 schones Friiwlein meiner Hoffnung
nicht mehr ich wiinschen wolt. denn dafs Jhr Lieb in
Enter the PRI!"CE and J ULll'S.
PRIJS"CE.
Julius, my rare good friend, I have observed you
closely and heard your suit for my daughter Hyppolita.
It is known to you how Romulus was bound and be-
trothed to her, and how the perfidious wretch aban-
doned her, and with what infamy and ridicule he co-
vered both me .and my daughter. For this reason I de-
sire nothing better, than that she should be married,
and get clear of all this gossip. And as I acknowledge
you to be quite worthy of her, I give my c.onsent to
the marriage. Nevertheles:<, as the matter does not lie
in my will alone, but also in hers, my counsel is, that
you address yourself to her and disclose your love.
JFLil"S.
Your grace cannot conceive how rejoiced I am to
hear it. I humbly entreat your grace to c.all her hither,
that so your grace may lend your powers of persua-
sion.
PIU:\"CE.
I hope thy suit will prosper. Ho! Hyppolita, come
here directly!
Enter HYPPOLITA.
My gracious lord and father.
PRI:-iCE.
Dear daughter, this young cavalier Julius huth
somewhat to say to thee; listen to him and give him a
favourable answer.
HYPPOLITA.
My gracious lord and father, yon may give answer
for me. Methinks his petition is foreknown to me.
PIU:-iCE.
Foreknown! then must thou be a prophetess.
JuLIUS.
Most fair and lovely creature that ever trod the
earth, the fervid love I bear you compels me with ir-
resistible power to disclose it to you. Since blind Cupid
has shot at me I am become another man; whereas
formerly I was joyous, I am now sad, and since I lacked
opportunity to hold discourse with you alone, to lay my
petition before you, I have been in constant sorrow. As
then I am so wholly in your might and power, I come
to you with a humble entrraty. Oh I have cause to pray
that your love may avert this from me, and relieve me
of my burden. 0 lovely lady of my hope, I could wish
nothing bPtter than that you might look into my heart
as through a windvw, and behold its tt?mper, and know
141 TRAGEDY OF JULIUS AND HYPPOLITA. 142
mein Hertz gleich durch ein Fenster sehen konte, wie
es jetzt beschaffen, wie es im Fewr lieget vnd brennet,
0 konte ich wiinschen, das zugleich auff mein Hertz
geschrieben stiinde, wie es mit jhn beschaffen, getrewen
Liebhaber wiirde man mich nennen, darumb schon<>st
mein tausendt vnd aufserwehlten. Schatz mein hertz-
allerliebste nehmet dieses zu Hertzen, machet mich
gllickselig, erzeiget mir recompension, vnd beweiset mir
lie be.
HYPPOLJTA.
Lieben vnd liebhaben ist nicht zu reden, solt ich
noch lie hen? 0 nein, denn lil'ben ist gewifs betriiben,
es Iiebe mich einer getrewlich oder nicht', so thue ich
doch alles in den Wind schlagen. Freund Juii warumb
bittet jhr, vmb solches welches jhr zuvor wisset, dafs
es nicht seyn es ist euch bewust, wie ich geliebet,
vnnd wie ich bezahlet, derhalben schwere ich im Tem
pel, vor der Gottin Diana allein zu dienen, darbey auch
ein keusches, reines vnd Jungfrawliches Ieben zu fiihren.
Zwar Juli euch ich nicht verachten thue, denn jhr mei-
ner wol wirdig, aber dieses kan nicht seyn, vnnd aile
ewer lieb, die jhr bey euch traget, were mein Rath,
dafs jhr es gar in der Lufft vertreibet, last abe, last
abe von lieben, jhr liebet vmbsonst vnd vergebens, vnd
machet euch nur zum Narren.
JULIUS.
Zum N arren, zum N arren, ich wils fiirwar wol
gleuben schOnst Hyppolita, E. L. beweiset mir jetzund
die gruste Vnbarmhertzigkeit. Jetzt wird cines verrii-
therlichen .Mannes Vbeltbat allen .Mannspersonen zuge-
rechnet, allerschOnest Hyppolita, Jhr L. bedencke dieses,
dafs bei Romulo vngetrew vnd falsche Iiebe war, in
mir aber ist getrewe, standthafftige vnd inbriinstige Iiebe.
Ad spectatores.
0 nicht inbriinstige Iiebe, warumb ward ich mei-
nem Getrewesten auff Erden vngetrew? 0 schones
Friiwlein, s!'yd nicht so gar vnbarmhertzig, last erwei-
cben ewr hart vnd kaltstiilern Hertz, 0 lOset auff den
der so schwer in ewer Gewalt gefangen lieget, bewei-
set mir liebe, sonst komme ich in Mchste Noth vnd
,Jammer.
HYPPOLITA.
Fiirwar Juli ich bedencke solches, wie Romulus
ein vngetrewe Iiebe, vnd jhr ein getrewe lie be fiibret.
Ich weifs mich noch dafs Romulus eben
wie jhr sein getrew mir vorzusagen wuste. Nein, nein,
ich begehre mit keinen getrewen HertJJen vmbzugehen,
last ab :, : fiiget euch zu einer andern Mad on mit ewern
getrewen Hertzen, es ist vergebens, ja gar vergebens.
I
how it is consumed with a burning fire. 0 could you
read what is written on my heart, you would call me a
true lover. Therefore, most fair, most exquisite and
rarest treasure, my best beloved, take this to thy heart;
make me blessed, and return my love l
HYPPOLITA.
It is easy to prate of love and loving - can I still
love? 0 no, for to love were but to bring sorrow.
Whether I am loved faithfully or no, I cast love to the
winds. Friend Julius, wherefore do you wish for that,
which you know before I cannot give. You are not igno-
rant how I have loved, how I have been repaid. There-
fore, in the temple, before the goddess Diana I swear
to serve no one but her, and to lead a chaste, pure
and virgin life. 'Tis true, Julius, I despise you not,
and you are worthy of me; but this cannot be. Be ad-
vised, scatter to the winds all the love you bear within
you. Cease, cease from loving, you love in vain, you
love hopelessly, and only play the fool.
Juuus.
Hal Play the fool, play the fool, fair Hyppolita.,
in sooth I fear it l Dear lady, how cruel do you show
yourself in this! You impute one false man's misdeed to
all men. Fairest and most beautiful Hyppolita., weigh
this: though Romulus' love was false and treacherous,
mine is faithful, .constant and most fervent lov!'.
Ad spectatores.
0 not fervent love, wherefore was I false to the
truest on earth? - 0 sweet lady, be not so very un-
merciful, - suffer your hard and flinty heart to be sof-
tened! 0 liberate him who lies so heavily fettered by
your power, and show me some love, else I perish in
deepest wretchedness and woe l
liYPPOLITA.
In truth Julius I do believe that Romulus bore me
a false love, and you a true. I well remember, that
Romulus, like yoursdf could discourse fluently of love.
No, no, I d'sire to ensnare no faithful heart,- desist:
get you to another Madonna wit.h your faithful heart; it
is in vain, - altogether in vain.
143 TRAGEDY OF JULIUS AND HYPPOLITA. 144
JULIUS.
0 V nbarmhertzigkeit bistu doch eben so miichtig.
wie der Donner vnter den Himmel, gleich eine Don-
nerkeil schlegstu jetzt durch mein junges Hertz, vnd
thust es noch hiUftiger vorsehren vnd verderben , 0
warumb lieb ich, du grimmiger Todt, warumb wilstu
meiner nicht begehren, ich vngliickseeligster Mensch.
Mein V orhaben gehet den Krebsgang.
Ad spectatores.
\Vas ist mir nun geliistet, mein Vntrew, so ich an
meinen getrewesten Freunde auff Erden, der sein Leben
vor mich gelassen, vollnbracht. Juli Juli. Worein bastu
dich gefiihret?
[Steht betrUbt.
FiiRST.
Juli warumb so betriibt? Sagt mir vnnd was jhr
guta erbalten bey meiner Tochter?
JULIUS.
Gniidiger Herr, die V rsach meines Betriibniifs ist
diese, dafs ich nichts erhalten mag, jhr Gn. Tocbter
wil gar nichts horen, von der trewen Lieb, die ich zu
jhr trage, sie gedenck dafs die V ntrew Romuli, so tieff
in jhren Hertzen stecke, auff dafs auch jemaln ein man
so gliickseelig seyn sol, jhrer tbeilbafftig zu werden.
Denn sie auch bey der Gottin Diana gesehworen, Jhre
Tag in Jungfrawlichen Leben zu vollnbringen. 0 wann
nun jhr Gn. mein procurator seyn wolten, so gcbe ich
mich ein wenig zufrieden.
FURST.
W olan gebt eueh zufrieden, ich wil me in Fleifs
thun, dafs sie euch liebe. Hyppolita. Liebste vnd eigne
Tochter, du weist wie ich dich von Jug<>nd auff hetftig
geliebet, gleich einen Vater mag gebiihren. Nun bistu
zu deinen Jahren kommen, derowegen mir dich zuver-
seben gebiihren wil, alfs babe ich diesen jungen Printz
Julio dieb jhm zu eigen zugesaget, drmnb lafs dirs ge-
fallen, weil er dein an gebiirtb Tugenden vnd Reich-
thumb wol wirdig ist.
HYPPOLITA.
Liebster Herr vnd Vater mein, Julius der junge
Printz, ist meiner Iiebe wol wirdig, aber jhr liehde
bedenck zuvor die grosse V ntrew, so Romulus an mir
bewiesen, welches mir so sebr eingetrieben, dafs ich
mirs gantzlich vorgenommen, mich nimmermehr zuver-
heyrahten.
FURsT.
Liebe vnd einige Tochter du thust gar weit jrren.
die vberfliissigen Gedanckcn thun dir deinen verstandt
gar benehmen, bedencke dieses hinwieder Romulus ist
mit falscher vnd vntrewer Liebe dir gewogen gewesen,
Jt:Ln:s.
0 cruelty. thou art as mighty as the thunder from
heaven I like a thunderbolt dost thou fall now into my
young heart, searing and withering it up! 0 wherefore
do I love, thou grim fierce death, wherefore dost thou
not desire me, most miserable of men I My design goes
backwards.
.Ad spectatores.
What boots the perfidy I've practised on my most
faithful friend on earth, who would have given his life
for mine. Julius, Julius, what hast thou brought thy-
self to!
[Stands melancholy.

Julius, wherefore so sad? Tell me, what favours
from my daughter?
JULIUS.
My lord, the cause of my sadness is this, that I
have bad none. Your daughter will listen to naught of
the true love I bear to her. She fancies that the faith-
less Romulus so holds her heart, that another can never
be blessed by possessing her. Moreovl'r she has sworn
by the goddess Diana to spend her days in virginity. 0 I
if your grace would sue for me, I could be somewhat
more at ease.
PRr.\CE.
Well now, compose yourself, I will do my utmost
for that she may love you. Hyppolita, my dear and
only daughter, thou know'st bow fervently I've loved
thee from thy youth as a father may. Now hast thou
come to that age, when it is fitting that I should endow
thee; for which purpose I have promised thee to this
young Prince Julius. Be content therefore, seeing he
is equal to thee in birth, virtues, and riches.
HYPPOLITA.
Dearest sir and father mine, Julius, the young
Prince, is well worthy of my love; but consider first
the great unfaithfulness, which Romulus bas practised
towards me, and which has struck so deep, that I have
quite determined never to W('d.

Dear and only daughter, thou goest far astray; thy
too luxtlriant fancies deprive thee of thy wits. Weigh
this again. Romulus with his false and treacherous love
was dear to thee; but this Julius, as I do well observe,
145 TRAGEDY OF JULIUS AND HYPPOLITA. 146
dieser Julius aber liebet dich von Hertzen, wie ich von
allen V mbstanden merck en kan, also dafs ich fast mein
Tage keinen Menschen gehOret, d' Mher were verliebet
gewesen, fiirwar Tochter du magst gar kein Vnter-
scheidt zwischen guten vii bOsen, du bist mein einig
Erbe des Fiirstenthumbs, vnd soltestu nicbt vermahlet
werden, so wiirden wir die frolichsten Tage erlebet
haben, vnd das Iandt wiirde dardurch in frembde pos-
session gerahten, nicht also Iiebe Tochter, thue dem-
selben, der falsch vnd vntrew mit dir gehandelt, nicht
die lie be an, dafs du soltest besitzen bleiben. Wirstu
mich lieben, so wirstu mir auch folgen.
JULIUS.
0 schOne Hyppolita was ist autf der Welt, da man
wahre Iiebe kan. an den .Tag geben, vnd mehr in War-
heit bekriifftigen, denn durch einen Eydt, welchen ich
denn jetzt autf meinen Knieen ablege, vor jbr liebten.
So tbue icb nun schweren vor allen vnsterblicben Got-
tern, dafs die Liebe, so icb schones Frliwlein zu euch
trage, vnverfalschet sey, sondern getrew, standthafftig,
ja dafs sicb mein Hertz nimmer zur Rube geben wird,
ich bin denn zuvor ewer Liebte theilhafftig worden, die
brennend vnd trewe Liebe lest nimmer nacb, sie macht
otft den trawrigsten Menschen, aucb offt den frOlichsten
von derer beyden eins, ich werde ersettiget werden.
0 schonest Friwlein, wen ich nicbt mit recompensiren
bezahlet werde, so mul's icb obn Zweifel sterben, wenn
denn ein solches geschehe, man sprechen mochte, dais
jhr an meinem Tode ein Vrsach, vnd dessen hernacb
kleiner Ehre hettet. V nd fiirwar ich gleub, wenn E. L.
ein solches bedichten, das Gewissen sich betriiben
wiirde, dafs sie ein solch Vnbarmbertzigkeit an mir ge-
. than bette, vnd zu sich selbsten sprecben werde, 0 web
0 web, was grosses vbel icb begangen, dafs ich mich
nicbt vber Julium den getrewesten Liebhaber erbarmet
babe? 0 web mir jmmer, dafs ich jhn so jammerlich
mit meiner Vnbarmhertzigkeit gerodt babe: Solch Weh-
klagen vnnd Gedancken weren doch aile verlobren, vnd
weren nur Vrsacbe die Vnruhe zuvermehren. Vnd da-
mit E. L. nicht zu solcben komme, laCs sie docb jhr
steinern Hertz erweichen, vnd mich Gnade empfangen,
ehe denn ich den Todt leide.
FiiRsT.
Liebste Tochter, du hast ja nun genugsam ange-
hOret, mit was inbriinstiger liebe dieser junge Printz
Julius kegen dir vmbgeben, drumb lafs doch abe von
deinen V orsatz, vnd dafern du mich jemaln geehret, so
lafs dir Julium gefallen, vnd gib jhn dein Hertz, gleich
wie er dir gethan hat.
loves thee in his heart, so that, as I can perceive from
all the circumstances, I have hardly ever known a man
more deeply in love than be. In sooth, daughter, thou
mak'st no difference between good and bad; thou art
the sole l1eir of my princedom and sbouldst thou not
wed, our happiest days would be at an end, and my
lands would fall into stranger's hands. Wherefore do
not, dear daughter, do not remain unwed for love to
one who has repaid thee with falsehood and perfidy.
If thou dost love me, do my will.
JULIUS.
0 fair and lovely Hyppolita, what else is there in
the world to prove and confirm true love more than a
solemn oath, which here upon my knees I swear before
you, dear lady. Before the immortal Gods I swear, the
love I bear you, fair lady, is no feigned love, but true and
constant, nay that my heart will never know peace till
it becomes a sharer in your love. True and fiery love
never ceases, it often makes the saddest men, and often
too the gayest, and one of these I must surely be. 0
fairest lady, if you do not reward me, doubtless I must
die; and should this happen, they will say you are the
cause of my death, and you will reap little honour by it.
And verily, I do believe, my lady, if you will consider
this, your conscience would be sad and sore at such
hideous cruelty, and would thus discourse: Alas! alas!
bow great a sin have I committed, in not taking pity
on Julius, the most true and faithful of lovers. Woe is
me, that I have murdered him miserably with my hideous
cruelty I Such bitter thoughts and regrets would be all
in vain, and would only add to your remorse. That you
be not, my lady, reduced to such sad state, pray suffer
your bard heart to be softened, and show me grace, ere
I endure this death!
PlmicE.
Dearest daughter, thou hast surely listened to the
fill to this fiery tale of love from Prince Julius. Where-
fore desist from thy resolve, and if ever thou hast ho-
noured me, admit Julius to thy favour, and bestow on
him thy heart as he has his on thee.
10
147 TRAGEDY OF JULIUS AND HYPPOLITA. 148
HYPPOLITA.
Hertzliebster Vater, well es dann ewer hertzlicher
Wille, das ich mit Julio sol vermlihlet werden, vnd er
mir getrewe liebe zugeschworen, ich auch nichts mehr
von jhn ford em kan, so lafs ich es mir alles wolge-
fallen, vnd nach ewren Willen zu Ieben, bin ich pflicht-
schuldig.
FURsT.
Hertzliebe Tochter, du thust mich jetzt hochlich
erfrewen.
JULrus.
Aber mich 1000 mal mehr, gliickseelig sey die
Stunde, in welcher mir die lieblichen Worter zu Ohren
kommen.
FURST.
Wolan Juli. Hie empfanget mein Tochter, lebet
lang mit jhr in Friede vnd Frewde.
JULIUS.
Die Gotter all in gemein seynd jetzt gepreiset dafs
sie mich diesen Tag erleben lassen. V nd Gnlidiger
Fiirst demiitig thue ich mich bedancken, dafs mir jhr j
Gn. gewirdiget vnd seine einig Tochter g e b ~ : n , was in
Menschlichen Kriifften stehet zuwieder gelten, mit Iiebe, I
Frewde, vnd wie es jmmer seyn moge, daran jhr Gn.
Frewde vnd Trost an vns haben moge, sol nur mein
stetes nachtrachten seyn.
FURST.
Ich Weifel nicht, jhr werdet mir ein Trost in mei-
nem Alter seyn, aber hiervon darnach weiter, jetzt last
vns hienein kehren, vnd bedencken wie ehest das Bey-
lager in allen Frewden moge gehalten werden.
ACTUS QUARTUS.
HYPPOLITA.
Dearly beloved father, as it is your hearty will that
I should wed Julius, and he has sworn to love me truly,
I can demand no more and must submit, as it is my
bounden duty to obey your will.
PRINCE.
Beloved daughter, now dost thou rejoice me much.
Juuus.
And me a thousand times more; blessed be the
hour, that brought the sweet words to my earl
PruNcE.
Well Julius, here receive my daughter, live long
with her in peace and happiness.
Jt:LIUS.
Be all the gods together praised for this day! And,
gracious Prince, be humbly thanked that you have held
me worthy of your only daughter I Whatever is in mortal
power, to recompense with love, and joy, whatever may
yield your grace comfort and delight in us, shall be my
sole and constant aim.
PRINCE.
Doubtless you will prove a comfort to me in my
old age. But more of this anon. Now let us go in and
confer on the festivities which shall soon be held in
great joy and mirth.
ACT IV.
RoMULus. RoMULus.
0 Iieber Gott was hab ich gehOret, dafs mein vn- 0 Heavens, what have I heard! that my perftdioll8
getrewer Gesell Julius, mir meine hertz allerliebste Braut fellow Julius hath robbed me of my sweet bride and
entfreyet, nun ich komme vnd gedencke mit jhr meine wedded her, now that I am come expecting to find my
Frewde zu haben, so ist es durch Falachheit vnd Be- joy in her! All, all is lost through his perfidy and falae-
trug alles vorgebauet. 0 kein Wort kan ich bald vor 1 hood. I scarce can utter a word for horror. 0 thou per-
schrecken mehr reden. 0 du vngetrewer verrlihterli- / fi.dious, treacherous villain, my curses light upon thee,
cher Bosewicht, verflucht seystu, vnd deiner Seelen and may thy soul never know peace I
miisse nimmer Rath werden
Zum DieMr.
Aber du mein getrewer Freundt, ich bitte sag nie-
mand ein Wort darvon, dafs du mich hie gesehen best.
To thtJ stJrVant:
But thou, my faithful friend, say no word to any-
body that thou hast seen me here ..
149 TRAGEDY OF JULIUS AND HYPPOLlTA. 150
DIENER.
Gnidiger Herr, ich wil es also machen, vnd keinen
Menschen ein einiges Wort von ewer Wiederkunfft
sagen.
[Der Diener gehet weg, aber Romulus geket in
gro88en Betrii.bniifs, tmd ftndet mitler W eile
den fauchen Brit'jf, welchen des Fiirsten Toch-
ter vor Vnwillen in zwey Stii.ck zerri88en.
RoMm.us.
Allhie fi.nde ich einen Brie1f. Mich diinckt ich sol
die Handt kennen. Wunder : , : Siebe dafs ist meines
vngetrewen Bruders Julii Handtschrifft, bier stebet also
geschrieben ..
[Liest den Brie.ff.
Schones Frliwlein jbr sollet wissen, dafs jbr mir
nicht zu Theil wcrdet werden, denn ich mich schon
allhier zu Rom mit einer vermiihlen lassen, die da viel
schoner vnd reicher ist, denn jhr seyd.
[Lest den Brie.ff fallen, vnd Bpricht.
0 web der verrlihterlicben That, was ist diese Welt?
Nichts anders denn eine Grundsuppen, aller Betriege-
rey, 0 mag doch niemals solch betriigliche That ge-
schehen seyn. 0 Ienger nunmehr zu leben were, mir
Helles Qual. 0 das doch nur der bleiche Todt mochte
vber mein Hertz triumphiren. Aber lafs mich vor Recht
bedencken. W er wolt sich alfsdenn an meinen Feindt
rechen? N ein nein, meine Handt sol noch heute in dei-
nen Blute baden. Racbe vnd resors mufs ich vber dich
schreyen, ja nimmermebr soltu jhres stoltzen leibes theil-
hafftig werden, denn wenn du auff den A bend am aller
frolichsten seyn wirst, wil ich dir im Tantze jli.mmer-
lich dein leben nehmen, damit du hinfuro niemand mehr
betriiben miigest, wie du eben jetzo mir getban bast.
Aber sieh da kompt der vngliickBeelig vngetrew Mensch,
in grosser Pracht vnd Herrligkeit triumphirende aufs
der Kirchen, ich weifs was icb thun wil, ich wil micb
bald bey Seits macben, mich mit einen Diener verwan-
deln, dir helffen den Brauttantz tantzen. Aber solch
ein Tragredien wil ich mit dir agiren, daCs du kein Tag
kein Mensch mehr betriegen, betriiben sollest.
JULIUS.
[K0mpt mit der Braut aujs der Kirchen. Romu-
lus stehet von ferne vnd siehet ;u, gehet dar-
nach weg, vnd vermummet sick, man fiinget
an zu tantzen. JuUuiJ spricht zu Hyppolita.
Saget mir doch mein tausent Schatz, wie gefallen
euch die Musicanten vnd so gestriges Ta-
ges die Tragrediam agirten.
SERVANT.
My lord, I'll do your bidding, and not say a word
of your return to any one.
[E.rit seroant. Romulus paces up and down in
great dejection, and meanwhik find& tM faue
letter which the Prince's daughter in her rage
had torn in two pieces.
RoMULUS.
Here I find a letter. Methinks I ought to know this
hand. 0 wonder see, it is my perfidious brother Julius'
handwriting! It runs thus:
the letter.
Fair lady, I hereby make known to you, that you
can never be mine, for I am already wedded here at
Rome to one much fairer and richer than yourself.
[Drops the letter and 3peaks:
0 woe to the treacherous deed I What is this world?
Naught but the dregs of infamy and lies. 0 that such
an infamous deed had never been I 0 now to live longer
were a torment of bell. 0 would that pale death might
triumph o'er my heart! But let me think of justice, for
who would then revenge me on my foes? Nay, nay,
this very day my hand shall bathe in thy blood. Revenge
and to the rescue will I shout out after thee. Nay,
nevermore is her proud body destined for thy arms; for
in the evening when thy mirth is greatest, I'll take thy
life miserably in the dance, that henceforth thou mayest
nevermore deceive, as thou at present hast done by me.
But see, there comes the false wretched man out of the
church triumphantly in great state and splendour. I know
what I will do: I will retire, disguise myself as a servant,
and help thee dance the bridal dance, but such a tragedy
I will act with thee, that never shalt thou deceive and
sadden any one more.
JULIUS.
[Enters with his bride from the church. Romulus
stands at a distance looking on, gou away
after a time and disguises himself. They begin
t dance. Julius speaks to Hyppolita:
Pray, tell me, my rare treasure, how did you like
the musicians and comedians that acted the tragedy
yesterday?
151 TRAGEDY OF JULIUS AND HYPPOLITA. 152
HYPPOLITA.
ScbOnes Lieb die Musicanten gefallen mir nicht vbel,
die Comredianten aber gefielen mir aufs dermassen wol,
denn ein jeglicher agirte seine Person wol vnd priichtig.
FURsT.
Sieh da sieh da, was macht jhr beyde, Iieber last
vns nun Iustig vnd frolich , diese Hochzeit verbringen,
junger Printz wie stehet jhr so stille, wollet jhr mit
ewrer Brant nicht zu tantze.
JULIUS.
Gniidiger Herr vnnd Vater, jetzt wollen wir zu
tantzen anfahen, bolla jhr Musicanten seyd Iustig vnd
last euch horen.
[Jetzt fiinget man an zutantzen, da der volln-
bracht kompt Romulus sampt ander vermummet,
vnd prasentiret sich vor einen Mittiintzer, wie
jhn Julius siehet &pricht er.
Sieh sieh wer ist der, es mag wol keine geringe
Person vnd vns zu ehren anhero kommen seyn. Geht
zu jhm, willkommen willkommen, mein Freundt, wollet
jhr vns zu Ehren ein Tantzlein mit vollnbringen?
[Romulus schweiget still, wil nicht reden, machet
tieffe Reverentz.
DIENER.
Gnadigster Printz, ich vernehme es wird ein Stu-
dent von Padua seyn, so also vermummet E. F. G.
Beylager hat wollen condecoriren helffen, denn diesel-
ben solches wol in Gebrauch zu baben pflegen.
JuLIUS.
Nun so thue ich mich kegen euch, jhr seyd wer jhr
wollet gniidig bedancken, vnd thue euch meine aller-
liebste hiemit ein Frantzosisch Tantzlein zu vollnbrin-
gen, vbergeben.
RoMULus acceptiret sie, machet hohe Reverentz so wol
kegen dem Breutgam, ala Braut, wie er aufsgetantzet,
prcuentiret er sie den Breutgam wieder, vnd spricht zu
Julio.
Gniidigster Printz, E. F. G. wolle nun mit seiner
liebsten Princessin, auch ein Tantzlein verricbten E. F. G.
lasse jhr doch wie es dero nicht zu wieder, den Tra-
gmdien Tantz auffmachen.
JULIUS.
Warumb dafs mein Freundt? Warumb nicht ein
andern lustigen Tantz.
DIENER.
0 gnediger Fiirst vnd Herr es ist ein prave Tantz,
gehet sebr schon vnd lieblieh, vnd gezimet wol solchen
Personen, als E. F. G. zu tantzen.
HYPPOLITA.
Dear love, the musicians were not amiss; but the
comedians pleased me mightily, for each acted his part
splendidly.
PRINCE.
What, what, hoi what are you two about? Come,
let us be mirthful at this wedding. Young Prince, how
is it you're so still{ Lead your bride out to the dance I
JULIUS.
My gracious lord and father, we will now begin.
Hoi musieians, strike up, give us a merry measure.
[The dancing begins. lVhen Romulus
and others enter masked; he present& himself
to a partner, Julius remarlr:s him and speaks:
Ha I see, who is he? It is most surely no low per-
son, who comes hither to do us honour. Let us go to
him. Welcome, my friend I we pray you, do
us the honour of joining in the dance I
[Romulus remains silent, he will not speak, bows
low.
SERVANT.
Most gracious prince, I have learned that this mask
may be a student from Padua, come to grace your
princely festivities, as is their custom.
Jt:LJC8.
Be ye who ye may, I thank you graciously for
your presence and give you my sweetheart as partner
in a French dance.
RoMn.us accepts her, bow& profoundly to the bridegroom
as al&o to the bride. The dance finished, he presmts her
to the bridegroom and &peaks to Julius:
Most gracious prince, I pray your grace to try a
dance with your sweet princess, the tragedy dance, if
your grace has no dislike to it.
Juurs.
Wherefore that, my friend? Why not some other
merry dance?
SERVANT.
I
My gracious lord and prince, it is a brave dance,
goes very sweetly and beautifully, and it becometh well
. such persons as your grace, to dance it.
153 TRAGEDY OF JULIUS AND HYPPOLITA. 154
JULIUS.
So maehet auff jhr Musicanten, maehet auff den
Tragredien Tantz.
[Die MU8icanten machen auf!, Julius tantzet mit
der Braut, vnter d&sen giebt sich .Romulus
zuerkennen, zeucht die Kappen ab, vnd mit
bloSBen Dolch spricht er zu Julio.
RoMuLus.
Sieh du vntrewer verrilliterlicher Mensch kennestu
mich noch wol. Siebe hie diese Tragrediam hastu ge-
t.antzet.
[Eraticht jhn mit den Dol chen vnd wirfft jhn her-
nach auf! die Erden, der Fiirst vnd seine
Tochter erzitternfor achrecken, Romulus spricht
zujhr.
V nd du vntreweste Creatur, warumb bistu mir so
vntrew worden, ist die recompens meiner getrewen be-
stiindigen Liebe? 0 Hyppolita, Hyppolita, ist deine
Liebe so gering kegen mir gewesen, vnd hast dich von
mir deinen getrewen Liebhaber zu dem Schandtfieck
aller Manspersonen, den vngetrewen Julio gewandt.
HYPPOLITA.
[Ist noch in der Meynung, dz Romulus die Briejfe
g&chrieben.
0 web, 0 web, wie angst ist meinen jungen be-
triibten Hertzen, 0 web, 0 weh, sol dann nun vmb
meinet willen vngestrafft, ein solcher Mordt geschehen,
Nein nein das mufs nicht seyn, sondern hiemit wil ichs
biissen.
[Nimpt den Dolch von der Erden auf!, vnd eraticlit
sick.
FURST.
0 du Morder, eines schreeklichen Todes mustu
sterben.
ROMULUS.
Ja frewlich, ja ja das wil ich auch thun, aber dafs
ich den Schaum vnd V nfl.at, aller bosen Menschen, den
vngetrewen V erriihter erstochen, babe ich grosse V r-
saeh, vnd wenn ichs nicht gethan, wolt ich es noch
thun. Von grosser Qual vnnd Hellen Angst meines
Hertzens, kan mein Mundt kein Wort mehr reden.
Dennoch solt jhr wissen, dafs ich die Brieffe nicht ge-
schrieben, sondern dieser verfl.uchte vntrewe Mensch,
hat es aufs lauter Falschheit V ntrew vnd Abgunst in
meinen N amen verfertiget, vnd diese jammerliche Tra-
angerichtet. A her diese Princessin, die arme
Creatur hat sich erbarmlich, vnd vnschuldig vmb jhr
Leben gebracht. Nun nun wil ich jhr in der Vnschuldt
vnnd Tode, gleicher Gesellschafft leisten. 0 Fortuna,
JULIUS.
Hot musicians, strike up then, strike up the tra-
gedy dance.
[The musicians strike up, Julius danC88 with his
bride, meanwhile Romulus discovers himself,
draws off his cap and spealcs to Julius with
a naked dagger in his hand.
RoMtJLUs.
Look, perfidious treacherous wretch, dost thou re-
cognize me? See here this is the tragedy thou hast
danced.
[He stabs him with the dagger and then throws
him to the ground. The prince and his daugh-
ter tremble with terror. .Romulus spealc& to her:
And thou, most faithlesS creature, wherefore wert
thou . false to me? Is that the recompense of my true and
constant love? 0 Hyppolita, Hyppolital was then thy
love for me so slight that thou could'st turn from me,
thy true and faithful lover, to that plaguespot amongst
mankind, that false J uti us?
HYPPOLITA.
[Still believing that Romulus had written the letters.
Woe, woe is mel What anguish for my sad young
heart! alack and well-a-day, shall such a foul murder,
committed for my sake, pass unrevenged? Nay, nay,
that must not be, thus shall I expiate it.
[Raises the dagger from tll.e ground and stabs her-
self.

0 thou murderer! thou must die a dreadful death.
RoMULus.
Ay verily, ay, ay, I will do that too, but for stabb-
ing that false traitor, that scum and dregs of mankind,
I had great cause; and were't not done I'd do it still.
The torments and anguish of the hell within me prevent
my utterance. Nevertheless be it known to you, that it
was not I who wrote the letters, but this false accursed
man, out of falsehood, perfidy, and spite, devised them in
my name and brought about this miserable tragedy. But
this princess, poor creature, has miserably and innocently
taken away her own life. Well, I will bear her company
in innocence and death alike. 0 Fortuna, Fortuna, see-
ing thou hast so sorely deprived us of thy favours, I
will sacrifice myself in defiance of thee and the whole
world. Ho l take example by me ye deceitful hearts, ho l
155 TRAGEDY OF JULIUS AND HYPPOLlTA. 156
Fortuna, diewil du vns deine Gaben so sehr entzogen,
wi1 ieh dir vnnd der gantzen Welt zu Trotz mein
Leben dahin opffern, buy nempt ein Exempel jhr be-
triiglichen Hertzen, buy nempt ein Exempel jhr ge-
trewen Hertzen, nempt ein Exempel jhr Liebhaber,
nehmt ein Exempel jhr Liebhaberin, vertrawet keinem
als ewern eigen Hertzen. Ade ade.
[Eraticht llich.
FURsT.
Aeh web vnnd vber web, dafs ieh solch elend ja
erbirmliche Tragredien, babe mit meinen betriibten Au-
gen ansehen miissen. Nun nun schwere ich bey allen
GOttern, dafs ieh die Tage meines Lebens in keines
Mensehen Angesicht hinfuro mehr kommen wil, son-
dern wil alfsbald in einen finstern vnnd wilden W aldt
geben , vnnd ein Einsiedels Leben fiihren, mit meinen
Fingern wil ieh eine HOle in die Erden graben, vnnd
darin mein stetiges Lager haben. Neun Stunden lang
wil ieh main Andlitz tiglich zur Erden legen, vnnd
vmb meiner Tochter todt schreyen vnnd weinen, die
Wurtzeln sollen meine Speise, vnnd dafs Brunnwasser
mein Getrinck seyn, ich wi1 nicht au.tfhOren mit schreyen
vnnd jii.mmerlichen W ehklagen, bifs der grimmig Todt
sein gifftig Pfeil durch mein zermalmtes vnnd betriibtes
Hertz schiessen wird. Nun ade Ade du bOse Welt,
ein einsam Leben mir jetzt gefelt. Ich gehe jetzt hin
mein Straesen thue dich giintzlich verlaesen, Ade Ade.
FINIS.
take example by me ye faithful hearts, take example
ye lovers, take example ye fair ladies, trust to no heart
but to your own. Farewell, farewell.
[Stab& himself.
PRINCE.
Ah I woe and thrice woe, that my sad eyes have
beheld such pitiful distressful tragedies! Now, now I
swear by all the gods, that henceforth I will no longer
live in the sight of man, but go into a dark savage
wood and lead a hermit's life, with my fingers will I dig
a hole in the earth, and there will I make my nightly
couch. Every day will I lie for nine hours with my face
to the earth, and cry and weep for my daughter's death.
Roots shall be my food, and water from the well my
drink. I will not cease my cries and pitiable lamenta-
tions, till grim death has shot hie poisoned arrow into
my bruised, afflicted heart. Now farewell, farewell thou
wicked world, a solitary life is now my sole desire. I
go from hence and quit for ever thy frequented paths.
Adieu, adieu I
THE END.
TRAGEDY OF TITUS ANDRONICUS
ACTED IN GERMANY, ABOUT THE YEAR 1600, BY ENGLISH PLAYERS.
The TRAGEDY oF TITUS ANDRONicus forms part of the first volume of "Englillche Comedien vnd Trage-
dien", 1620, 12mo, reprinted in 1624, 12mo. Republished by LUDEWIG TIEcK, in DtJ?Jt&chu Theater, Band I,
Berlin 1817, in-8vo, pag. 367-407.
In the present impression the first edition of 1620 has been strictly followed. In the latter the play
orcupies folio Nn, 4 verso to folio Ss, 4 recto; and is entitled:
vm.
ffint klnglid)t Tragredia tum
Tito Andronico unb btr
.-ll1Jfrrln, barinntn btndunitrbigt
actiones
(A )lOST LAMENTABLE TRAGEDY OF TITUS ANDRONICUS AND THE HAUGHTY EMPRESS, WHEREIN ARE FOUND
MEMORABLE EVENTS.)
TRAGlEDIA
VON TITO ANDRONICO.
Personre.
V.E8PA81AliU8.
ROMlSCHE KlYBU.
TITUS .Al.D&OJIJCUS.
ANDKOJIJCA.
...EnoPlSSA. Konigin aufs Mobrenland. Klyaerin.
MORlAN.
HEucATES K o n i ~ n aufs Mobren, enter Sobn.
SAPHONUS Kilnigin aufs Mohren, ander Sobn.
bDROJIJC& GEMABL.
VtCTORLU>BS.
BoTE.
WEISE WACHTER.
ACTUS PRIMUS.
Jetzt kampt lleraufs Vespasia11us vnd hat die Ramische
Krone in der Hand. Titus AndroniCUB hat ein Lorbeer
Krantz auff &einern Jliiupte, auch kampt der Key&er. aber
damalen war er noch nicllt Romischer Keyser. Auclt die
Konigin auf& Morenlandt, welclle schon vnd weifs, sampt
jhren zween Bohnen; vnd der Morian, welcher &chwartz
vnd geringe Gewandt vber seine prechtige Kleider gezogen,
vnd welcher der Koniginnen Diener, vnd heimlich mit jhr
buhlet. Diese viere aber hat Titus Andronicus gefangen
genommen. Auch ist da die Andronica.
VESPASIANUS.
J hr edelen ROmer wisset eueh zu entsinnen, wie
dafs vnser Kayserthumb jetzt leer vnd verstorben ist,
derbalben wil sicb gebiibren, dafs man bey Zeite darzu
sehe, dafs ein Kayser wiederumb erwelet werde, damit
man die grosse V neinigkeit vnd Zanck des gemeinen
Mannes miige zuvor kommen. W eil ich dann nun kei-
nen andern wiiste, dem es solte zuerkandt werden, als
diesem Titum Andronicum, weil er jetzt der vornembste
vnd neheste darzu ist, auch niemandt in dieser Stadt
Rom, der sich besser vmb sie verdienet, mit blutigen
gefebrlichen Kriegeswesen, als er, vnd auch ein jeglich
TRAGEDY
OF TITUS ANDRONICUS.
Persons represented:
V&SPABIAN.
TaB ROMAN EMPEROR.
TtTUS boaomcus.
ANDRONICA
...ETJOPJBs.,, Queen of Ethiopia, Empreu.
MORJA!f.
HELICATES, eldest SOD of ...Etiopi8811.
8APBONUS, aecond aon of ...Etiopi888.
CoNSORT or ANDRONICA.
VJCTORIAD8.
MESSE..'WRR.
WHITE GUARDS.
ACT I.
Enter J'espasian with the Roman Crown in his hand;
Titus AndroniCUB with a laurel- crou-'11 on his head; the
Emperor of Rome that was to be. Tile Queen of Ethio-
pia, lovely and of fair comple.:cion, together with her two
80118; Morian, the Queen's attendant and paramour, with
a plain black mantle over his hand8ome dreBB. The four
la&t are captives of Titus Andronieu&. Andronica.
VESPASIAN.
Noble Romans, it is well known to you, how
that our Empire is now vacant and demised, wherefore
it is meet to look to it in time that an Emperor is
elected, that we may ward off discord and strife in the
commonalty. And as I know no other fitting candi-
date than this Titus Andronicus, in as much as he is
the most exalted and the best entitled; and as there is
no man in this city of Rome whose deserts to her in
bloody and perilous battles were greater than his; and
as every body loudly says that the Roman crown is
due to him by right, so let us all wish him joy. place
11
163 TRAGEDY OF TITUS ANDRONICUS. 164
Mann schreyet, dafs jhm von Rechtes wegen die Ro-
mische Krone gebiihret zutragen. So last vns siimpt-
lich jhn darzu Gliick wiinschen, die Krone auff sein
Hiiupt setzen, vnd jhn alle.zeit fiir vnsern gniidigsten
Keyser balten vnd ehren.
KEYSER.
Was? solte nun Titus Andronicus die Krone fiir
mich auff sein Hiiupt setzen, nein, nimmermebr mufs
da.'l geschehen, dann ich der neheste bin, vnd sie mir
von Rechteswegen gebiihret zutragen. Derhalben jhr
Romer bedencket euch wol vnd weifslich was jhr thut,
damit in dieser edelen St.adt Rom 8ich kein Auffruhr
vnter vns erregc, vnd sie nicht in Noth vnd Gefahr
komme.
TITUS ANDHONin:s.
Ihr Romer solt wissen, dafs mir doch nichtes vmb
dieses Kcyserthumb zu thunde ist, 4ann ich nun ein
alter betagter vnd die Zeit meines Lebens in
stetcn \'nd KriPgen mich babe gebrauchen
lassen. Ob nun wol aile Stimmen auff mich gehm, vnd
eiu jPglich Mmm mir das KeysPrthumb zueignet. So
sollet jhr dennocb sehen, ieh vmb Friedcs willen
gerne einem andern vbergeben wil, dafs durch concor-
diam vnd Eintracht zwischen dem Keyser vnd dcm
Rathe, aucb dem gemeinem Manne ist Rom das Haupt
dcr gantzen 'V elt geworden, solte denn nun in der
Mawren an despennation vnd Zweytracht sich erbeben,
so wiirde es mussen zu grunde gehen. Derhalben wil
ich die Hoffart an die Seite werffen, vnd mich vielmehr
der Demuth befl.eissigen: So kompt jetzt aile heran,
vnd la.'lset vns den Keyser kronen, wiinschet jhm aile
mit Iauter Stimme Gliick vnd Heil.
[Titus Andronicus setzet jhm die Krone aujf sein
Haupt, vnd sagen alle mit Iauter Stimme:
Langes Leben, viel Gluck vnd Heil, wiinsche ich
dem vnuberwindlichsten vnd Romi-
schen Keyser.
KEYSEH.
Nun meine Iiebe Getrewen, weil jhr midt dann
fiir eweren Keyser erwehlet, vnnd haltet, so verpflichte
ich mich auch widerumb euch mit sonderlichen Frey-
heiten zu privilegiren, Leib vnd Blut mit euch, fiir vnser
Vaterlandt, wagen, vnd allzeit mit trewen meynen. Vnd
Titus Andronicus die jhr mir dieses Keyserthumb gerne
vnd willig vmb der gemeinen Nutz vnd Friedel! willen,
vbergeben, bin ich sonderlich mit grosse liebe vnd Trewe
gewogen, begehre derhalben ewre schi5ne Tochter An-
dronica fiir meine Keyserin, vnd sol heute, wie eine
Keyserin gekrunet, vnd mir vermahlet werden, so jhr
ein Gefallen dran habet.
the crown on his head, and consider and honour him
as our most gracious Emperor.
EMPEROR.
What! shall Titus Andronicus place the crown on
his head instead of me? No, that shall never happen,
for I am the next heir and it belongs to me by right.
Therefore Romans, consider well and wisely what it is
ye do, that there may be nn insurrection in our noble
city which might place it in great peril.
TITUS ANDHO:SICl'S.
Romans l you shall know, that I care nought for
Imperial rule, for I am now far advanced in years, and
ha,e been engaged all the days of my life in long and
perilous wars. Although all voices are for me, and
everybody bestows the Imperial title upon me, you shall
see, that for the sake of peace I will make way for
him; for it is by concord and unison between the Em-
peror, the Senate, and the commonalty, that Rome bas
beeome the head of the whole world. Should dissension
now ari:;e within her walls, it would infallibly work her
ruin. Therefore I will now give up all pride, and will
practise humility: So come and let us crown the Em-
peror, let us salute him with uplifted voices.
[He places the crown on the Emperor's head, and
all cry:
Long life and great happiness to the invincible and
most powerful Roman Emperor!

'Veil then beloved citizens, as you elect and con-
sider me your Emperor, I bind myself in return to grant
you privileges and special liberties, to stake with you
my life and blood for our beloved country, and ever to
act in good faith. And to you Andronicus, who for
the common weal and the sake of peaee willingly gave
up the Imperial crown to me, I am beholden in love
and fidelity, and therefore solicit your fair daughter
Andronica as my Empress, and she shall be crowned
to-day and be wedded to me, an it please you.
165 TRAGEDY OF TITVS ANDRONICUS. 166
TITUS AND RON:
Grofsmiichtigster vnd vniiberwindlichster Keyser,
ich lafs mir solches sonderlich wol gefallen, dafs er
meine hertzliebe Tochter Andronicam zur Keyserin be-
gehret, damit desto mehr Friede vnd Freundschafft vnter
vns losiren, so vbergebe ich euch hiermit meine Tochter,
vnd wiinsche euch beyde ein friedsames, langes vnd
gliickseliges Ieben.
[ Vbergibt jhm seine Tochter, der Kegser nimpt
8ie bey der Hand.
KEYSEU.
In grossen vnd Wiirden sol sie von mir ge-
halten werden, aber ich bitte, saget mir, was seyn das
fiir welche, die da hinter euch .stehen.
Trrus ANDRONict:s.
Grofsmichtigst Keyser, dieses W eibesbild ist die
Konigin aufs Morenlandt, die zweene seyn jhre Sohne,
der Schwartze aber ist jhr Diener, welche ich aile ge-
finglich mit mir aufs ..tEtiopia mithero gebracht.
KEYSER.
Sie thun mir sonderlich wolgefallen, fiirnemblich
das W eibliche Creatur, vnd wolte wiinschen, dafs sie
meine mochten seyn.
TITUS ANDRONIClJS.
Grofsmiichtigst Keyser, so sie Ewer May: gefallen,
wil ich sie jhm wol verehret haben.
[Nimpt die Konigin, vnd fii.llrt aie for den Keyser.
Also Konigin Mohrenlandt, spreche ich euch
jetzt von mir frey vnd vnd schencke euch hie mei-
nem gniidigen Herrn K>ysern.
Ko:siGIN Avss MoHuENLANDT.
Grofs vnd miichtig Keyser von Rom, ieh bin jetzt
sampt meinem Sohne vnd Diener E. May: Gefangene,
vbergeben vnd off<'riren vns selbst Ewer May: fiir seine
geringste Diener, er mache e!> mit vns was sein \Ville ist.
KEYSER.
Hehone Konigin aufs Morenlandt, ich bin euch giin-
stig. vnd in Gnaden sampt den >wrigen gewo-
gen: Derhalben nicht melancholi!!ch vnd betriibet,
sondern ein frolich Gemiithe, denn zu grossen
Dingen wil ich euch erhf'ben, vnd 11olt bey ewrem vo-
rigen Stande gleich einer Hochgeborn>n Koniginnen ge-
halten werdt>n.
A<: no PIS.
Allergniidig!!tl.r vnd Grofsmiichtigster Keyser, fiir
di>se groMse Gnade, thue ieh mieh gegen E. May: in
Y nterthiinigkeit bedaneken.
TITUS ANDRONICUS.
Most mighty and invincible Emperor I am right
well pleased that you solicit my most beloved daughter
for your Empress, that there may reign more peace
and friendship between us. I hereby give you my
daughter, and wish you both a peaceful long and
life.
[Presents him his daughter. The Emperor takes
her hand.
EMPEROR.
She shall be held by me in high respeet and ho-
nour. But pray tell me who are those who stand behind
you?
TITUS ANDRONICllS.
High and mighty Emperor, this woman is Queen
of Ethiopia, those two are her sons. the black 111an is
her attendant, all of whom I brought away with me
as captives from Ethiopia.
E)(PEROR.
They please me right well, and the woman in par-
ticular. I could wish they were mint>.
TITUS A:SDRONICt:S.
High and mighty Emperor. an they please your
Majesty. aeeept th>m a..'l presents from me.
[Presenting the Queen to the Emperor.
And thus Queen of Ethiopia do I you, and
present you to my gracious Lord and Emperor.
"'ETIOPISSA.
High and mighty Emperor of Rom<'. I am now
togeth<'r with my sons and your cap-
tives. \Ve surrender and offer to your
as your most humbl<' of ns at will.

Reantiful Qu<'en of Ethiopia, I am favourably dis-
posed to you and yours. Thereforr 1-,rrieve and repim
not, but be of good cheer; for I will raise yon to high
position, and you shall be maintained in your former sta
tion as a high born Queen.
JETIOPISS.\.
Mo!it gracious and high und mighty Emp>ror, I
thank your Maje8ty mol'4t humbly for great fuvour.
167 TRAGEDY OF TITUS ANDRONICOS. 168
.KEYSER.
Nun die Zeit ist verflossen, so last vns jetzt nur
samptlich hinein kehren.
[Gehen hinein, der Morlan bleibet.
MORlAN.
LaCs mich auch nu diese alte Lumpen ablegen, weil
ich sehe, dafs meine heimliche Bulinne Gunst vnd Gnad
beym Keyser bat.
[Ziehet den alten Rock abe.
Denn icb hotfe sie wird noch vielmebr grosser
Gnad vnd gratia bey jhm vnd mit jhrem
schmeichel vnd liebkosen zu wege bringen, dafs er sie
lieb gewinne, vnd Keyserin in Rom werde, wenn dann
das also keme, so mache ich den Keyser warlich zum
Hanrey, vnd treib vielmehr meine Lust vnd Frewde mit
jbr, denn der Keyser. Aber ein jeglicher meynte, icb
were nur der Koniginnen Diener, nein warlich, ich bin
allzeit jhr heimlicher Buhle gewest, vnd vielmehr bey
jbr geschla.tl'en, denn der Konig aufs Morenlandt jhr
dafs er auch zuletzt V nrath an mir vnd der
Koniginnen vermercket, liefs derhalben grosse acht autf
mich haben, dafs ich nicht zu jbr kommen kondte, wor-
iiber dann die Konigin auff jhrem Gemahl sebr vnge
diildig war, dafs ich nicht, well er mich so sehre be
wachen liefs, in vierzeben Tagen nicht kundte zu jhr
kommen, dann der Keyser kundte jhr nicht halb &o
wol die Lauten schlagen, denn ich. Nam derhalben
veniam, vnd vergab jbme damit in ein Becher Weins,
jhren Konig, dafs ich also meinen freyen Pafs wieder
zu jhr bette: Ja viele, die meine Bulinne vnd mich nicht
gerne da sahen, babe ich heimlich in jhre Schlaffkammer
bey Nachte ermordet, tausenqt vnd tausendt Schelmerey
vnnd Rauberey hab ich vollenbracht, vnd diincket mir
gleichwol, dafs ich noch nicht genung Schelmerey ge
than babe, ja der Konig selbst, vnd ein jeglich Mann,
batten eine grosse Furcbt fiir mir, wegen meinen grosse
Ritterlichen Thaten vnd Kriegesmacht, dann ich allewege
in Schlacht Ordnungen, auch gefehrlichen Kriegen vmb
mich geschlagen, gleich wie ein grimmiger Lowe, auch
nicht wie ein Mensche, sondern wie ein lebendiger
Teutfel, dafs ich nun zu.letzt durch alle Welt, durch
meine grosse, vnmenschliche Mannliche Thaten bin be
kandt worden, vnd mir der Name gegeben, der Blitz
vnd Donner aufs Moren Land: Dieses mein Gescbrey
kam auch zuletzt fiir die ROmer, die sicb dann mit ge
waltiger Hand autfmacheten, vnd zu vns in
kamen, verhereten vnd verderbeten das Land so graw
sam, wie niemalen mag erhoret seyn. Icb aber machete
mich tla gegen sie auff, mit meinem Heere, in Mey
nung, sie solten mich nicht viele Wesens machen, vnd
EMPEROR.
Time is growing short, so let us now all go in.
[Exeunt. Morian remain&.
MORlAN.
Let me now put off these old rags, as I see that
my secret mistress has the good favour of the Em-
peror.
[Take& off th! old mantk.
For I hope, that she will obtain higher favours of
him, and so manage him with flattery and caresses,
that he will become so fond of her, as to make her
Empress of Rome. And if that really comes to pass,
I vow I will make a cuckold of the Emperor , and
will enjoy her more than the Emperor. Everybody
thought that I was merely the Queen's servant; no in-
deed I have always been her paramour, and slept of-
tener with her, than the King of Ethiopia her
so that he at last grew suspicious of me and the Queen.
He therefore had me watched that I could not come
to her, wherefore the Queen became very impatient of
her husband and I, having been watched closely, could
not see her for a whole fortnight, for the Emperor
could not satisfy her half as well as I. She therefore
took the liberty to poison him with a cup of wine,
so that I had again free access to her. Indeed many
who disliked me and my concubine have been killed
by me in their sleeping chamber at night. Thousands
and thousands of villainies and robberies have I com-
mitted, and yet it appears to me that I have not had
enough of The King' himself and everybody feared
me much . on account of my valorous deeds and my
prowess; for in all battl('s and perilous wars I fought
like a fierce lion, not like a man but like a furious devil,
so that I became renowned all over the world by my
great superhuman deeds, and obtained the name: The
Lightning and Thunder of Ethiopia. This fame at last
also reached the Romans, who thereupon set out upon
an armed expedition for Ethiopia, desolating and de-
vastating the land with an atrocity such as has not
been heard of within the memory of man. So I set
out against them with my army, thinking to make short
work with them and to drive them back in such a
manner that none should return to Rome alive. But
when the battle began, I saw how dreadfully old TitUB
Andronicus met my blows, that he was my superior
and ten times more daring than I. Nor have I seen
in all the days of my life more warlike and better
tried troops than those Romans. I was quite dismayed
at this, for I saw that my battle array was thrown into
169 TRAGEDY OF TITUS ANDRONJCUS. 170
wolte sie also zu riicke treiben, dafs keiner wiederumb
lebendig nach Rom kommen solte. Da sich aber der
Streit erhub sahe ich wie grewlich der alte Titus An
dronicus dagegen schlagete, mein Vbermann ward, vnd
zehenmal roller denn ich war. lch auch die Tage mei
nes Lebens kein streitbarer oder versucheter Krieges
volck gesehen, als eben die Romer. W oriiber ich dann
gar verschrocken ward, weil ich sahe, dafs meine Ord
nung gar zertrennet ward, vnd die meinen dahin ge
schlagen wurden, gleich wie die Hunde. Nicht lange
darnaeh kam der alte Titus zu mir mit ell rennen, vnd
stosset mieh mit sein Glene so grawsam von meinem
Pferde (welches noch niemalen kein Mensche gethan)
dafs ich auch von mir selbst nichtes wuste, ob ich le-
bendig oder todt war, vnd zerschlugen damaeh alle-
sampt, das kein einiger mehr darvon kam. Nahmen
darnach ein grofs Geldt, sampt mir, die Konigin, vnd
jhren Herren Sohnen, vnd brachten nach Rom, jetzt
aber wil ich hingehen, vnd horen was weiter wird vor-
fallen.
[Gehet weg.
ACTUS SECUNDUS.
Jetzt lci)mpt heraufs der Keyser, Kiinigin, sampt jhren
zweyen Sohnen vnd Morlan.
KEYSER.
Schone Konigin, zehenmal grosser lust vnd Be-
gierden babe ich zu euch dann zu des Titi Androniei
Toehter, welche ieh jhm wieder gesandt, vnd sagen
lassen, dais sie mir nicht gefelt, auch nicht Keyserin
zu Rom wird werden, derhalhen sollet jhr nun hinfuhro
nicht mehr gefangene Konigin genennet werden, son
dern Keyserin von Rom, so setze ich euch jetzt auft'
ewer Haupt die Crone, vnd sollet meine getrewe Ge-
mahlin seyn. denn Gottin Venus hat mich so sehr gegen
euch verwundt, dafs ich auch keine Rube babe, ehe dafs
ich ewres stoltzen Leibs theilhafftig werde.
[Setzet jhr die Krone au.ff.
KEYSERIN.
Grofsmiichtig Keyser diese grosse Ehre vnd digni-
teten, so mir von Ewer Mnjestiit wieder verehret, bin
ich vnwirdig. Ob mich aber auch wol Gottin Venus
sehr vnd heft'tig gegen Ewer Majestat aufs BlOdigkeit
nicht diirffen oft'enbaren.
KEYSER.
So last vns nun, meine schone Keyserin, hincin
gehen, vnd vnscr Zeit in frewden vertreiben.
[Nimpt sie bey der Hand, t:nd gel1en hinein, Jfurian
folget ein, die zwun So/me bleibm.
disorder, and my men beaten like dogs. Presently old
Titus ran up to me and so cruelly threw me from my
horse with his lance (which no man ever did to me be-
fore) that I did not know whElther I were alive or dead.
They then cut down every man, that none escaped.
Whereupon they took rich treasures, together with me,
the Queen and her sons, and brought us to Rome.
Now I will go and watch the coming events.
[E.rit.
ACT II.
Enter the Emperor, the Quun with her two sons, and
Morlan.
EMPEROR.
Lovely Queen, my love and passion for you is ten
times greater than for the daughter of Titus Andronicus,
whom 1 have sent back to him with the message that
I liked her not; nor is she to become Empress of Rome.
Wherefore, from henceforth, you shall not be called a
captive Queen, but Empress of Rome. I now place
the crown on your head, and you shall be my trusty
consort; for Goddess Venus has so possessed me in
your favour, that I shall have no rest until I enjoy your
stately person.
[He places tlte crown on Iter head.

:Most mighty Emperor, I feel unworthy of the -great
honor and dignity which your Majesty bestows on me.
And although the Goddess Venus has inflamed me with
a violent desire for your Majesty, I was too timid to
show it.

So let us then, my beautiful Empress, go in and
pas11 our time in pleasure.
[fie takes her hand. Exeunt. Jforian follows,
the two sons remain.
171 TRAGEDY OF TITUS ANDRONICUS. 172
HELICATES.
Hertzlieber Bruder, last vns nun in Frewde vnd
W onne Ieben, denn diese vnsere Gefengnifs ist vns
nicht zum Schaden vnd Nachtheil, sondern gereichet
vielmehr zu grossen Ehren, ie.h frage hertzlieber Bruder,
wo wolte vnsere Fraw Mutter doch zu grosseren vnd
hoheren Ehren gekommen seyn, denn allhie, wei! sie
Romische Keyserin worden ist.
SAPHONUS.
J a hertzlieber Bruder, fiir grosser Frewde meines
Hertzens kan ich nicht genug driiber jubiliren, denn
im Morenlandt weren wir doch nimmermehr so hoch
erhoben worden, als hie, von wegen vmwr Fraw Mut-
ter, vnter diesen edlen Romern, die da vber der gantzen
Welt beschreyet seyn, derhalben wolte ich auc.h wol mit
frOlich seyn, aber einerley peiniget vnd kriincket mein
Hertz sehr.
HELICATES.
Hertzlieber Bruder, solche Betriibnifs des Hertzens
mochte ich gerne Wi!lsen.
8APHONI:8.
0 hPrtzlieber Bruder, du solt wissen, dafs ich gegen
die schone Andronica so hefftig sehre mit Liebes Brunet
vmbfangen, dafs ich auch nicht weifs was ich bald an-
fangen sol. Aber dieses betriibet mich zum meisten,
dafs sie schon einen hat mit welcbem sie vermiihlet
worden.
HELlCAT.
Lieber Bn1d<>r an demselben liege ich jetzt auch
schwerlich kranck. vnd wil nicht gleuben, dafs du so
hefftig gegen sie solt verliebet seyn, al,; ich, derhalben
lafs ab von solchen Gedancken denn ich bin der Elteste,
vnd wil jhren L<>ib theilhafftig werden, derhulben mufs
ich auff Mittel vnd W cge dcncken, vnd mit vnser Fraw
Mutter Diener darumb consuliren, wic man jhrem Ge-
mahle sein Leben heimlich nehme.
SAI'IJO:
Wie Bruder, ob du wol eltcr bi:;t df'nn ich, so solt
du mir dcnnoch kciuen Abtrag hierinnen thun, ich hoffe
babe eben sn viele was einem Manne gebiihret dunn
du. UJ.d wenn es solte eine \Vette gelten, wer zum
meisten in den V Kampff brauehen kondte, weifs
ich wurlich ich wolte dir abgcwinnen. Derhalben lieber
Bruder, lafs mir dit>ses allein, vnd suche dir ein andere,
denn von die,.er wil ich nimmermehr lassen, vnd sol
kein ander darzu kommen, dcnn nur allein ich.
HELlCAT.
0 du urmer ::'\urre, was woltu doch breit einem
W eibe zu schatli.n gPben. nein warlich du bist nicht
tiichtig darzu. laf:; all(', lafs alw Bruder, mufti mt'ine
HELICA TEl>.
Dearest brother, let us now live in joy and plea-
sure, for this captivity is not to our disadvantage, but
to our great honour. I ask you, beloved brother,
where would our mother eome to greater honours than
here as she has now become a Roman Empress.
8Al'IIO:SUS.
Yes. dear brother; my heart is so elated that I
cannot sufficiently express my joy; for in the East we
should never have been rail'ed so high as here on ac-
count of our mother, among these Romans who are so
renowned all over the world. Therefore I would also
gladly rejoice with you, but one thing pains and tortures
my heart.
HELl CATES.
Dearest brother I would wi11h to know what ails
your heart.
SAPHO:SUS.
0 dearest brother, yon must know that I am so
violently taken with love's desire for this fair Andro-
nica, that I know not what to do. But it grieves me
most to know that she is already married with an-
other.
HEL!t'ATE!-'.
Dear brotlwr. I deeply suffer from the same illness,
and cnnnot bPlieve that you are so much in love with
her U..'l I; therefore gi\e up this idea, for I am the
eldest and will possess her body. I must therefore con-
!!Ult with my mother's servant. and find means t.o take
away ht>r husband's life.
SAPuo:svs.
Being my brother. although you are the eldest, you
ought not to thwart me. I hope that I have as mueh
of a man in me as you; and if we were to lay a wager
as to who would be the better champion of Venus. I
am confident. I should get the victory. Therefore, dear
brother, stand not in my way and set>k another mistress;
for I shall never give this one up. and no other fo!hall
her but myself.
HELie An:,;.
0 you poor fool, how can yon think of ffil'ddling
with woml'n? Xo in truth yon are not fit for it. Give it
up, brotlwr, give it up; shi must be mine. You are too
173 TRAGEDY 01!' TITUS ANDRONIC'CS. 174:
werden, vnd bist gar geringe darzu, dafs du mir dar-
von solt abdringen, oder aber wir werden vns darumb
schlagen, dafs die H unde das Blut leckl>n.
SAI'HO.
Bruder ich sag dafs kein gr08ser X urr in der Welt
ist dann du, dafs ich aber von jhr solte ablassen, vnd
du sie haben sol dir nimmermehr angehen, vnd
ist war, dafs sie nur einen haben kan, derhalben so
ziehe vom Leder, vnd wollen Ritt.erlich darumb kempfft1n,
denn ehe sie einen andern fiir mir bekommen solte,
wil ich viellieber mein Leben darfiir lassen.
IIELICATES.
Ja Bruder gerne, denn einer von vns beyde mufs
weggereumet werden, vnd sage eben so, ehe- du sie fiir
mir solt theilhafftig werden, wil ich mein Leben auch
dafiir lassen, derhalben lafs vns an einander gehen, vnd
nichts schont>n, hawe nun fort.
[Hawen schon gegen einander, mittler weile kompt
der Morian, vnd rennet darzwischen.
MORIA!'!.
Nicht, nicht jhr Herren, was wolt jhr nun zu tau-
st>ndt Tt>uft'el anfahen, wolt jhr zween Briider euch dann
so ftindlich einander nach dem Leben setzen, nein !las
sol kurtzumb nicht gt>schehen, weil ich noch bey euch
bin, vnd gebet euch zu frieden, oder ich schlag auff
euch beyde, jhr die Elemente krieget dann jhr
wisset, so ich auch anfahe, bin ich erger denn der
Teuffcl: Aber saget mir, was ist die Vrsache, dafs jhr-
euch so sehre gt>hessig seyd.
HELICATES.
Mein litber Morian, jhr sollet wissen, dafs ich hefftig
verliebt>t gegen die Andronica, mein Bruder saget aueh
er sehre gegen sie verliebt>t, derhalben haben wir
darumb gezancket, ich wil sie haben, vnd er wil
sie auch haben, hat mich derhalben den Kampff ange-
boten, weil Rie nur eint>n kan haben.
:MORlAN.
Mufs ich nun nicht lachen, dafs sich jhre zwey
vmb eine Jungfrawe schlagen, die bereits einen Mann
hat, aber buret mich Saphonus, mich diineket es were
besser, jhr ewren Bruder, der da. elter ist, die An-
droniea allein liesset, vnnd jhr euch eine 'alleine aufs-
suehet, dann es seyn mehr schone Romisehe l<'rawen,
denn Androniea.
SAJ>HO!'Il"S.
N cin me in Iieber Morian, das kan nieht seyn, denn
in die Andronica bin ich gar zu sehr verliebet, vnd wil
nimmermehr von jhr lassen, derhalben last vns kempffen.
[Saphonus wil wieder zu jhm an, Morian
dazwischen.
unworthy to make me yield, or we shall fight it out
that the dogs shall lick our blood.
SAPHONllS.
Brother, I tell you there is no greater fool in the
world than you; you shall never succeed in making me
give her up to you. In truth she can only have one
of us, therefore unsheath your sword and let us fight
for her like true men; for rather than permit her to
have another, I will stake my life.
HELICATES.
Yt>s brother, willingly; for one of us must be put
out of the way. And I also say, rather than you shall
share her with me, I will give up my life. Therefore
let us have at each other and shew no mercy. Strike I
[They fight, Morian roshu in and interpose&.
MORlAN.
Not so, my lords! What the devil are you atP
Will two brothers thus each other in deadly strife?
No, that shall never be, I vow, as long as I am with
you. Peace I or I beat yon black and blut>. For you
know when I once begin I am worse than the devil
himself. But- tell me the cause of your animosity.
HELWATES.
My dear Morian, you must know that I am violently
in love with Androniea. My brother says that he also
loves her deeply. This is the eattse of our quarrel. I
to have ht>r, and he wishes to have her, and
so he challenged me to combat, because she can only
have one of us.
MORlAN.
I not laugh to think that you would fight for
a dame who has a husband already! But to me,
Saphonus. It seems to me that yon had better leavt>
Androniea to your brother who is your elder, and seek
one for yourself, as there are other handsome Roman
ladies Androniea.
SAPHUNl"S.
No, no my dear Morian, this cannot be; for I am
too fond of Andronica to give her up. Thert>fore let
us fight.
[He make& another attack, Morian interpose&.
175 TRAGEDY OF TITUS ANDRONICUS.
176
MoRIAN.
Nein nicht also, hOret mich weiter, was diincket
euch, dann Helicates verlasset jhr die Andronica, vnd
suchet euch ein andere vnd beste in gantz Rom aufs,
ich wil euch darzu behiilfflich seyn vnd sie verschaffen.
HELl CATES.
Nein ich kan von sie nicht lassen, denn zu hefftig
sehre bin ich in sie verliebet, derwegen wollen wir vns
beyde darumb schlagen, vnd nicht auft"horen, bits einer
darvon beliegen bleibet.
[ lVollen wiederumb Z!Uiammen, der Marian stos&et
sie 111.it gewalt von einander.
MoRIAN.
Was dem Teuffel, wollet jhr dann nun gantz vnd
gar wiederumb zusammen, ich rathe euch noch einmal,
seyd zufrieden , oder ich schlage warlich darzwischen,
dz jhr beyde zeter schreyt. V nd hOret mich nun wei-
ter, was ich euch sagen wil, vnd seyd jhr dann da
nicht mit zu frieden, so weirs ich euch nichts mehr zu
thunde. W eil dann nun keiner von sie lassen wil, sol-
let jhr derhalben ewer Ieben nicht nehmen, sondem
ich wil euch darzu behiilffiich seyn, dafs jhr Gemahl
sol vmbs Ieben kommen, vnd nehmet sie denn aile
beyde, vnd braucbet sie genugsam.
HELlCAT.
Mein Iieber Morian, ich bin damit gar wol zufrie-
den, seyd vns behiilffiich darzu.
SAPHON.
Ich bin dar auch wol mit content.
MoRIAN.
So folget mich nun jhr Herren, vnd last vns wei-
ter bedencken, wie wir die Sache anfahen sollen.
ACTUS TERTIUS.
Jetzt ldimpt heraufs der Keyser mit der Keyserin, auch
Titus AndroniCU&.
TITUS ANDRON:
Grofs vnd machtiger Keyser, ich babe Jbr May:
sampt dero vielgeliebten Keyserin, zu ehren eine schone
Hirschgejaget auff den morgenden Tag anstellen lassen,
vnd bitte Ewer May: auch die schOne Kayserin vnter-
thiinig, sie wollen sich in der Friihe auff der Jaget fin-
den lassen, vnnd die Zeit in Frewd vnnd lust vertreiben. '
KAYSER.
MORlAN.
No, not sol listen to what I have to suggest. Sup-
pose, Helicates, you were to give up Andronica, and
seek another lady for your love, the best in Rome; I
will assist you in this.
HEUCATES.
No, I cannot give her up, for I am too deeply in
love with her. So let us rather fight for it, and not
desist until one of us be killed.
[They close, Morian separateJJ them.
MORlAN.
What, the devil I Are you determined to be at each
other's throats then? Once more I advise you to keep
the peace, or else I shall join in, till I make you both
howl again. And listen further to what I have to say,
and if you are not pleased then, I know not what to
do. You shall not kill one another for being unwilling
to give her up; but I will assist you to kill her hus-
band. and then you can take her, and use her at your
will.
lJELICATES.
My dear Morian, I am well pleased with this pro-
posal; lend us your assistance.
SAPBONUS.
I am likewise contented.
MORlAN.
So follow me, sirs, and let us further consider how
to go about the matter.
ACT Ill.
Enter the Emperor with the Empress, also Titus
AndroniC!U.
TITUS ANDRONICUS.
High and mighty Emperor, in honor of your Ma-
jesty and your well beloved Empress I have ordered
a stag hunt' for to-morrow, and most humbly beseech
your Majesty and the fair Empress to be present at
an early hour and to pass the time in joy and pleasure.
EMPEROR.
Lieber Titus Andronicus in der Morgenstunde, wil
ich mich mit meiner schonen Kiiyserin auffmachen, vnd
auff der Jaget erscheinen, aber saget mir, werden viele
Romer mit reiten.
, Beloved Titus I will set out early in the morning
' with my lovely Empress to be present at the hunt. But
tell me shall we be joined by many Romans?
177 TRAGEDY OF TITUS ANDRONICUS. 178
TITUS.
J a Grofsmachtigster Kayser, zimlich viel werden
allda erscbeinen, mein Bruder Victoriades Brutinen vnd
mein Tochter Androva Gemahl.
KAYSER.
So, es ist gut me in lieber Titus Andronicus, wir
wollen vns nun darzu prrepariren.
[Gehen ein.
Nun ist die Morg(?;TI8tunde heran gekommen, vnd manjaget
die Jiigerhorne 1:nd Trumpeten werden geblasen.
Titus kompt heraufs.
TITUS ANDRON:
0 wie lieblich vnd freundlich singen jetzt die V o-
gel in den Lufften, ein jeglich suchet jetzt seine Nab-
rung, vnd die Jaget ist auch schon angefangen, in
Frewde vnd Herrligkeit. Aber mein Hertz ist mir den-
noch beangstiget vnd beschweret denn ich diese ver-
gangen Nacht, solch ein schrecklichen Traum gehabt,
vnd nicht weifs was er mir bedeuten wirdt. Nun mufs
ich wiederumb zum Kayser reiten, der personlich bey
der Jagt vorhanden.
[ Gehet weg etc.
Jetzt kompt heraufs Andronica, hat j/lr Gemahl bey der
Handt, die Kiiyserin kumptjhm entgegen, die Jager blasen.
ANDROSICA.
Hertzliebes Gemahl; schOner vnnd lustiger Jaget
babe ich mein Tage nicht gesehen.

Ich auch mein schone kan Init Warheit
sagen, dal's ich auff vielen Jagten gewest, aber nimmer-
mehr lustiger vnnd frewdiger geseben. Was aber sehe
ich jetzt fiir ein Wunder die Kiiyserin die da gar alleine
eilents zu vns spatzieret.
[Kiiyserin kompt zu jhnen.
K!YSERIN.
Sieh welch grofs Wunder nimpt mir doch diese
Andronica, wie gehestu mit deinem Gemahl so gar allein.
Hastu nicht ein tausent Reuter vnnd J.'ufsvolck hinter
dich, die da auff euch warten.
ANDRONICA.
SchOne Kayserin ich frage euch wieder, wie kompts
dafs jhr alleine gehet, vnnd auch nicht ein Hauffen
Diener autf euch bestellet haben, Aber ewren Spott den
jhr jetzt an vns treibet, thue ich doch weniger denn
nicbtes achten, von jhne auch leichtlich vertragen. Ver-
hoffe auch wann es wurde von nothen seyn, wolte ich
eben so wol ein tausent Reuter vnnd Fufsvolck konnen
auffbringen dann jhr.
K!YSERIN. I
Andronica dafs du jetzt so frech vnnd mit spitz-
TITUS ANDRONICUS.
Yes truly, most high and mighty Emperor, a goodly
number will attend; also my brother Victoriades and
the husband of my daughter Andronica.
EMPEROR.
Very well, my dear Titus Andronicus, we shall hold
ourselves ready.
[Exeunt.
The morning hour is now arrived, they hunt; blowing of
horns and trumpets.
Enter TITUS ANDRONicus.
0 how sweetly and pleasantly do the birds sing in
the air I each seeking its food; and the hunt has like-
. wise commenced in joy and splendour. But yet my
heart is oppressed and uneasy, for that I had last night
a most dreadful dream, and know not what it portends.
I must now again join the Emperor who is present
at the hunt in person.
[E.rit.
Enter the husband of Andronica leading her by the hand; the
Empress advances to meet him; the huntsmen blow their horns.
ANDRONICA.
My most beloved husband, a finer and more enter-
taining hunt I never saw in all my life.
HUSBAND.
I also my fair wife, can truly say that I have been
at many hunts, but never did I see a gayer and merrier
one. But what wonder do I see? The Empress is
coming hurriedly towards us!
EMPREss, coming up.
How greatly do I feel surprised at this Andronica I
How comes it that you and your husband are quite
alone? Have you not a thousand followers on horseback
and on foot to attend you ?
ANDRONICA.
My fine Empress, I ask you in return, how comes
it that you walk alone and have not a host of servants
waiting upon you? But I scorn your railery, and can
Jlasily bear it. I hope that I could as easily as your-
self raise a thousand followers on horse and foot, if
it were necessary.
EMPRESS.
Andronica, as you ask me so pertly and insolently
12
179 TRAGEDY OF TITUS ANDRONICUS. 180
finnigen W orten wiederumb fragest, warumb ich auch
alleine .gehe, soltu wissen, dafs es mir also gefelt. Aber
ich frage wie kOmpts doch, dafs du mir so frech vnd
trotziglich darffest. antworten. Bin ich nicht deine Kiiy-
serin, vnnd solst nicht wissen, wie hoch du mich ehren
soltest, gedenck nun aber nicht, dafs ichs also darbey
wil bleiben lassen.
ANDRONICA.
Ja Kiiyserin, wie man ins Holtz ruffet, also krie-
get man ein Wiederschall, denn wie jhr mich auf.s hof-
fertigen Gemiith fraget, so antworte ich euch. Ob jhr
aber wol Kiiyserin seyd, wil ich euch drumb nicht voter
den Fiissen liegen, denn bedencket dieses, waret jhr
nicht erstlich meines Herren Vater Gefangen, vnnd nun
weil jhr Kiiyserin worden seyd, wisset nicht wie jhr
euch fiir Hoffart lassen wollet. Derhalben konnet jhr
wol jmmer hinfahren in ewer Hoffart, vnd mich bleiben
lassen wer ich bin. Ich frage, was hat diese Stadt
Rom fiir N utz von euch vnnd den ewren gehabt, was
hat sie aber fiir N utz von den meinigen, vnd mein
Herr Vater, ja warlich wenn der es nicht gethan, vnd
mit seinen Ritterlichen Hinden erhalten, dafs Kiiyser-
thumb vnnd gantz Rom wiirde vorlangst zu Boden gan-
gen seyn, thut aber so viele hoses an mir, was jhr
nicht lassen konnet.
K!YSERIN.
0 mein Hertz wil mir im Leibe zerspringen, gehe
mir aufs meine Augen du verfluchete Creator, wann
ich dann dein Hochmuth nicht straffen konte, so wolte
ich mich selbest rodten. Sieh ich thu schweren bey
allen Gottern, dz ich zuvor nicht essen oder trincken,
auch nunmehr mein Haupt sanffte legen wil, bifs ich
mein Muth sats vnd genugsam an dich gekiilet, vnd
mit Frewden vber dir triumphiret.
[ Gehet ein Schritt se.x fort, da kommen jhre zween
Sohne zujhr, die Andronica redet vnter dessen
in geheim mit jhrem G ~ ~
HELICATES.
Gnidige Fraw Mutter, es nimpt vns grofs Wun-
der, dafs jhr so gar allein, vnnd von allen spatzieren
gangen. Aber vielmehr thun wir vns verwunderen,
)
warumb jhr so sehre betriibet, vnnd in schwermiitigen
Gedancken gehet.
MUTTER.
0 meio Iiebe Sohne, offenet ewre Obren, vnd ob-
serviret meine Worter wol, jhr sollet wissen, dafs ich
nit weit von hie einem Orte spatzierte, da die Andro-
nica sampt jhrem Gemahl ist, welche mich also erfas-
set vnd mit spottischen vnnd honischen W orten, wer
vber mich bald toll vnd vnsinnig worden, derhalben
why I am also walking alone, you must know that it is
my pleasure to do so. But I ask how comes it that you
dare answer me so insolently and defiantly? Am I not
your Empress, and do you not know that you ought to
treat me respectfully? But do not imagine, that I shall
not resent it.
ANDRONICA.
Well, Empress, it is only a Rowland for an Oliver;
for if you question me haughtily, I answer you in the same
manner. Although you are Empress, I will not lie at your
feet; for you must consider that you were at first my
father's captive, and now that you are Empress, your pride
knows no bounds. You may keep up your pride, but
let me also be as I am. What is the benefit, I ask you,
that this city of Rome has derived from you and your
kinsmen, to what she has reaped from mine? Forsooth
my father had not preserved her with his chivalrous arms,
the Empire and all Rome would have perished long ere
this; but you may do me as much harm as you like.
EMPRESS.
0 my heart will burst I Get out of my sight, you
accursed creature! H I could not punish your insolence
I would kill myself. I swear by all the Gods that I will
neither eat nor drink nor lay me down to rest, until I
have taken my fill of revenge on you, and have tri-
umphed over you.
[She walks a little further and meets l1er two sons;
meanwhile Andronica speaks softly to her hus-
band.
HELICATES.
My gracious mother, we are much surprised, that
you walked away quite alone; but much more are we
lost in wonder as to what may be the cause of your
grief and melancholy.
EMPRESS.
0 my dear sons, give ear to my words, and mark
them well; you must know, that I was walking not far
from here to a spot where I found Andronica and her
husband, whereupon she assailed me with jeering and
scornful words in a manner to drive me mad; therefore
come and take signal revenge on her, treat her cruelly
181 TRAGEDY OF TITUS ANDRONICUS. 182
kompst nur vii rechnet euch michtiglich wieder an sie,
vnd gehet erbarmlich mit jr vmb, vii erstecht jr alfs-
bald jren Gemahl an d' Seiten, davorn jr mich lieb
habet, so jhrs aber nicht thut, so wil ich euch verfiu-
chen vnnd nicht fiir meine Si:ihne halten.
SoHNE.
Gniidige Fraw Mutter, wir seynd willich euch zu
gehorsamen. Kompt nu mit vnd zeiget vns an welchen
Orte sie seyn , so wil ich jhm alfsbald sein Leben
nehmen.
MUTTER.
Nun so folget mir vnd habt keine Erbarmnifs
mit sie.
[ Gehen zu. jhm.
Helicate& ziehet sein Schwerdt.
HELICATES.
Sich finden wir euch hie, du hast nun gar zu lange
gelebet.
[ Ersticht jhn.
0 mordio mordio.
ANDRONICA.
Acb wehe, ach wehe, ist dar denn kein wehe vnd
zeter dieser mordtlicbe Todt.
[ Gehet fur den todten C01"per auff die Erde 8itzen.
JU.YSERIN.
Sieh nun du hoffertiges W eib, wie gefelt dir difs,
was diincket dir, bah ich den Eydt nicht gehalten, wei-
chen ich geschworen; Ja dieses sol nocb gar nichts
seyn, sondern so wil ich dich ziimen, dafs du mir voter
meinen Fufssolen solt liegen, vnd ich vber deinem Leich-
nam trete, dein gantz Geschlechte, mit sampt deinem
V ateren vnd Briider wil ich gar aufsrotten, vnnd bey
meinem Gniidigsten Herro Kayser mit List vnd Prac-
ticken zu wege bringen, dafs sie alle eines jiimmerlichen
Todes sterben sollen, aber ich bin dir hoffertige Men-
ache so spinne feindt, dan mir vnmiiglich ist, lenger
lebendig fiir meine Augen zusehen. Derohalben mein
Heber Sohn, thue mir jetzt dein Schwerdt, damit wil
ich jhr selbst jammerlich jhr Leben nehmen.
[ Wil jhm das Schwerdt nehmen.
SAPHO:
Hertzliebe Fraw Mutter, dasselbige kan ich thuen,
derhalben bedenckt euch erstlich recht.
ANDRONICA.
0 du aller vnbarmhertzigste Weibesbildt, ist dann
kein Fiincldein Erbii.rmnifs in dir, ja wann mein Herr
Vater wissen solte, sie wiirden nicht wissen wie grim-
miglich, sie sich wiederumb an euch rechnen, solte,
keinen Stein wiirden sie auff dem andem liegen lassen,
and, if you love me, kill her husband by her side; but
if you do it not I will curse you, and henceforth never-
more regard you as sons of mine.
HELICATES and SAPno:sus.
Gracious mother, we are willing to obey you. Only
come with us and show us where they are, and we will
forthwith take away his life.
EMPRESS.
Well then follow me, and have no mercy upon
them.
[They go up to them.
HELxcA TES, drawing his 8t0ord.
Ah, do we find you here? you have now lived much
too long. [Rum him through with his 8t0ord.
(HusBAND.)
0 murder, murder!
ANDRONICA.
0 misery! Is there no one to proclaim this horrible
murder!
[She Bits down by the corpse.
E111PRESS.
Look you now, you haughty woman. How like you
this? What think you, have I not kept my vow? But
this is only the merest trifle. I will so tame you that
you shall lie under my feet, I will tread on your corpse,
I will exterminate your whole kindred with your parents
and brothers, and by my cunning and crafty designs will
prevail upon the Emperor to let them die a miserable
death. But you, proud woman, are so hateful to me,
that I can no longer bear to see you alive. Therefore,
my dear son, give me your sword, that I may take away
her life myself.
[She wishu to take his sword.
SAPHONUS.
. Dearest mother, I can do that; therefore first be-
think yourself.
ANDRONICA.
0 you most merciless woman, is there not a spark
of compassion in you I Ah, if my father could but know
this, he would think no revenge cruel enough; he would
not leave one stone in its place, but would would rip up
the very earth on which you stand. Oh, haughty Emprt-RS,
12*
188 TRAGEDY OF TITUS ANDRONICUS. 184
sondern die Erde, worauff jhr stehet gar vmbreissen.
0 web du hotrertige Kayserin erbarm dich vber mich,
vnd nim mir auch jetzt mein Leben, denn Ienger ist
mir vnmiiglich, vnnd bringet mir Hellen Angest.
KAYSERIN.
Ja ich gleube es wol, wanns dein Vater vnd Bru-
der wiisten, die da nieht streiten wie Menschen, son-
dern iirger wie der Teufel, so solten sie wol bald der-
halben gantz Rom mit der Kayserlichen Pallast zu
Grunde reissen, vnnd wie die vngestiimme Lowen ru-
moren, aber demselben mufs ich zuvor kommen, vnd
darauff bedacht seyn, dafs sic es nimmermehr zu wis-
sen bekommen. Weil ich dann aber bore, dafs dir
Ienger zu Ieben Hellen Angest wer, ich aueh das iirgeste
nicht erdencken kan, wormit ich dich quele, so wil ich
dich noch eine zeitlang Ieben lassen: V nd jhr meine
liebe Sohne, ich weifs dafs jhr grosse Lust zur Bulerey
habet, vnd voll Venus Satft seyd, derhalben vbergebe
ich sie eucb, gehet mit jhr an den grawsamesten Orten
dieses Waldes, vnnd brauchet beyde ewer Lust genug-
sam an sie, vnd richtet sie also zu, dafs sie keines
Menschen gleich ist, werdet jhr aber ein Erbarmen mit
jhr haben, so gedencke dafs mein Zorn weit vber euch
ergrimmen, vnd nicht viele gutes bedeuten wirdt.
SoHN.
Gniidige fraw Mutter, wir sein ewren Befehl ge-
horsam.
[ Gehen zu Andronica, wollen Bie auffheben vnd
mit jhr davon gehen.
ANDRONICA.
0 ist das denn keine Hiilffe, 0 ist da kein Er-
barmnifs, ich bitte last mich bleiben, vnd nehmet mir
mein Leben.
KAYSERIN.
Nein ich wil durchaufs die geringste Erbarmnifs
nicht mit dir haben. Nun Sohne nehmet sie alfsbald
hinweg fiir meinen Augen.
[Nehmen Bie hinweg, gehen mit jr ins Holtz, alfs-
bald kompt der .Marian.
MORlAN.
Sieh wunder vnd vber wunder, was zum Teufel
bedeutet vns dieses Kayserin, dafs jhr hie so gar im
Waide allein gehet, jetzt hat mir der Kayser befoblen
euch zu suchen.
K!YSERIN.
Mein getrewer Bule, lafs dieh nicht wunder neb-
men, vnd sey nicht so zornich, denn ich bette lust alleine
zu spatzieren, wil aber alfsbald mit dir zum Kayser
gehen. Aber mein hertzlieber Bule, wir seyn jetzt gar
have mercy on me, and take away my life also! for it
is impossible for me to live any longer; it would be
the torture of hell.
EMPRESS.
I believe it indeed, if your father and your brother
knew this, they who fight not like men but more fier-
cely than devils, they would forthwith pull down all
Rome together with the Imperial palace, and would
rage like lions; but I must prevent this, and take care
that they shall never know it. And as I hear that life
is hell's torture to you, and as I cannot now think upon
a greater torment for you, I will let you live a little
longer. And as I know, my dear sons, that you have
a great desire for love's pleasures, I give her up to you.
Go with her m the wildest parts of this forest and sa-
tisfy your desires fully; and treat her so that she sbtill
no longer resemble a human being; but if.you have pity
on her, remember that my anger will be roused against
you, and portend you little good.
HELICATES and SAPHONUS.
Gracious mother, we will obey your order.
[They go up to Andronica, attempt to rai&e her,
and carry her off.
ANDltONICA.
0 is there no help? Is there no pity? I implore
you let me remain here, and take away my life I
EMPRESS.
No, I will have no pity on you. Well, sons, take
her out of my sight.
[They carry her off into the forf!8t. Presently
enter Marian.
MoRlAN.
Behold this wonder of all wonders I What the devil
does this signify, Empress, that you are walking alone
in the forest? The Emperor ordered me to look for
you.
EMPRESS.
My faithful lover, be not surprised; neither be so
angry, that I had a wish to walk alone. I will now go
with you to the Emperor. But, my sweet lover, we are
now quite alone in this fine and delightful wood, and I
185 TRAGEDY OF TITUS ANDRONICUS. 186
alleine in diesem schonen lustigen W aldt, vnd ich ein
grofs appetit gekriegen zum Spiele der Gottin Venere,
derhalben lars mir von dir ergetzet werden, vnd mache
mir Frewde.
MORlAN.
Nein schOne Kiiyserin, ob euch jetzt wol die Got-
tin Venus gewaltig thut reitzen zu jhren Spiele, so
regieret, vnd hat mich doch wiederumb eingenommen
Gott Mars. KaQ, derhalben jetzt nicht seyn, vnd wer-
det autf difsmal meinen Leib nicbt theilhatftig werden
so last vns jetzt gehen zum Kayser, der da lange nach
euch gewartet hat: [ Gehet hienein.
ACTUS QUARTUS.
f Jetzt kfjmpt heraufs Titus Andronicus, Vespasianus,
I: Victoria des stehen betriibt.
TITUS ANDRON:
0 hertzlieber wie sehre ist mir mein Hertz beiing-
stiget, drumb daCs der Kayser meine zween Sohne in
Gefingnifs eingezogen, weifs aber im geringesten nicht
was die V rsache ist, ich babe an den Kayser geschrie-
ben, er wolle mir die V rsache vermelden, warumb meine
Sohne so schleunig seyn gefangen genommen, der mir
dann wiederumb geschrieben, dafs meine Sohne der
Kayserin gefangen weren, vnd sie groblich wieder jbr
mifsgethan, sich mit Calumnien vnd schmehen W orten
an sie vergriffen, derbalben miissen sie eines eiligen
Todes sterben, solte ich dann mein eigen Fleisch vnd
Blut dahin richten sehen, wiirde mir grofs Schmertz
vnd Peine bringen: Aber wem sehe ieh da zu mir kom-
men, der Kiiyserinnen Morlan.
Jetzt kompt Morian zu Andronicus.
MoRlAN.
Gliick zu alte Titus Andronicus. Seyd nun guter
Dinge vnd frolich, dann gute Botschafft bring ich euch.
TITUS ANDRON :
Danek habet Morlan, saget an was bringet jhr fiir
Zeitung.

Jhr solt wissen dafs mich die Kiiyserin zu euch
gesandt, lest euch sagen, daferne jhr ewere Sohne lieb
habt, vnnd sic vom Tode erretten wollet, sollet jbr ewre
rechte Handt abhawen, vnd sie durch mich vberschik-
ken, so sollen sie euch alfsbald wiederumb zugestellet
werden.
TITVS AND RON:
0 mein Iieber Morlan, wie frolich Botschafft brin-
gestu mir. Ja wenn die Kiyserin auch aile beyde
have a great longing for the pastime of the goddess
Venus, so let us disport and enjoy oursehes.

My lovely Empress, if you are under the influence of
the goddess Venus, I am ruled and mastered by god
Mars. Therefore it cannot be now; but let us go to
the Emperor, who hM been long waiting for you.
[E.reunt.
ACT IV.
Enter Titu8 Andronicus, V espasian, Victoriades
sorrowfully.
TITUS ANDRONICUS.
0 my beloved, how oppressed is my heart, that the
Emperor hB.'l put my two sons into prison! I have not
the slightest knowledge of the cause of it, and wrote to
ask him to let me know why he so suddenly imprisoned
my sons. To this be replied, that my sons were im-
prisoned on account of the Empress whom they had
grossly insulted and offended with slanderous and scorn-
ful words. For this reason they are to be put to death
speedily. Were I to see my own flesh and blood exe-
cuted it would cause me great pain. But who is ap-
proaching yonder? It is Morian, the attendant of the
Empress.
MoRlAN, approaches.
I give you joy, old Titus Andronicus I Be of good
cheer, for I bring you a welcome message.
TITCS A!liDRON.
Thanks, Morlan, say what news you bring.
MORlAN.
You must know that the Empress sends me to yotl
to tell you, that if you love your sons and wish to save
them from death, you must cut off your right band and
send it through me. They shall then be sent back tn
you immediately.
TITus A:mnoNicus.
Oh, my dear Morlan, what a joyful message you
bring mel Nay even if the Empress desired both my
187 TRAGEDY OF TITUS ANDRONICUS. 188
Hinde begehrete, wolte ich sie gerne abhawen, aber
jetzt wil ich meine Handt abba wen, vnd sie dir vber-
geben. etc.
V ICTORIADES.
Hertzlieber ich bitte, last mir meine Handt ab-
hawen, denn solt jhr ewer Ritterlicbe Handt abhawen,
were zuerbarmen.
VESPASIANUS.
0 hertzlieber Vater ich bitte lasset zu, dafs ich
meine Handt abhawe, denn es seyn meine hertzliebe
Briider.
TITUS ANDRON :
Nein mein hertzlieber Bruder, auch
ewre Handt sollet jhr nicht darfur geben,
mein Iieber,
sondern mir
wils gebiihren.
[Fallen fur jhm au.ff die Knie.
V ICTORIADES.
Hertzlieher Bruder wir thun einen Fufsfall vnnd
bitten zum hOchsten, dafs jhr wollet ewre Handt vnbe-
schidiget lassen, vnnd dafs ich nur meine Handt abhawe.
TITUS ANDRON:
Stebet auff vnd kniet nicht fiir mir, weil jhr dann
also ernsthafftig drein dringet, mufs ichs wieder meinen
willen nachgeben, vertraget euch nun beyde drumb, wer
seine Handt verlieren soli.
V ICTORIADES.
Ja hertzlieber Bruder, wir wollen darumb losen,
jetzt aber wollen wir hinein gehen, vnd ein Beil holen,
dem es aber trifft, sol alfsbald fiir jedermanniglichen
seine Handt abbawen.
[Victoria. V upasianus gehen hinein.
TITUS ANDRON:
lcb wil euch gleichwol nun beyde vexiren, denn
voter dessen jhr loset vnd das Beil bolet wil ich meine
Handt abbawen.
[Gehet ein.
MoRIAN.
Mufs dann nun das vexieren heissen, so pfleget
der Teufel seine Muttel vexieren, aber du alte Titus
Andronicus, ob ich wol ein vnharmhertziges Hertz babe,
so tawret mir dennoch deiner den die Kayserin vexi-
ret dir jetzt deine Handt abe, damit du nicht dermal
eins Rom mocbtest vmbkehren, wann du aber meynest,
wirst deine Sohne bekommen, so wirstu nur allein die
Hiiupter dafiir zusehen kriegen.
Jetzt kiJmpt Titus hat seine llandt ab.qehawen Victoriades,
Vespasianus komen auch.
V ESP ASIANCS.
Gniidiger Herr Vater, ich babe gewunnen, dafs ich
hands, I would willingly cut them off. But now I will
cut off my hand and give it to you.
VICTORIADES.
Dearest brother, I implore you let me have mine
cut off, for it were a pity indeed to cut off your chival-
rous hand.
VESPASIAN.
0 beloved father, I implore you me cut off my
own hand, as it is for my dear brothers.
TITt:s AxDRONICt;S.
No, my dearest brother, no, dearest son, you shall
not give your hands, for that part belongs to myself
alone.
[They kneel down before him.
V ICTORIADES.
Dearest brother, we implore you on our knees, to
preserve your hand unhurt, and to let me cut off mine.
TITt;S ANDRONICUS.
Rise, and kneel not before me. As you insist upon
it so earnestly, I must yield against my will, therefore
agree between you, which is to lose his hand.
V ICTORIADES.
Yes, dear brother, let us cast lots for it. Now let
us go fetch an axe, and be on whom the lot falls shall
forthwith cut off his own hand instead of the other.
[Exeunt Victoriades and Vupaaian.
TrTt:s ANDRONicus.
Nevertheless I only wish to deceive you both; for
while you are casting lots and fetching the axe, I will
cut off my own band.
[Exit.
MORlAN.
If that be called deceit, the devil also deceives his
mother; but although I have a pitiless heart, I feel for
you, old Titus Andronicus, for the Empress tricks you
out of your hand that you may not some day overturn
Rome; but when you hope to have your sons again, you
will only get their heads instead.
Enter Titus with his hand rut off, also Victoriade.<r and
1'
VESPASIAN.
Father, I have won. I may now - 0 woeful sight I
189 TRAGEDY OF TITUS ANDRONICUS. 190
sol jetzt: 0 wehe 0 wehe, warumb habt jhr docb ewer
Handt abgehawen, dieses ist ja warlich zn erbarmen,
hertzlieber Vater.
Trrus A:NDRONI<.:us.
lch bitte sagt nun nichtes mehr davon, denn es ist
all geschehen, sehet hie Morlan, brlnget diese meine
Handt der Kiyserinnen vnd fiihret alfsbald meine liebe
Sohne wiederumb zu mir.
MORlAN.
Nun ade, ich werde auch ja etwas davon brlngen.
[ Geken zusammen hinein.
\
Jetzt kiimpt heraufs Helicates tmd Saphonm, welche zuvor
mit der .Andronica in den Walde gangen, jhre Wollust
1
mit BiB gebrauchet, tmd BiB jammerlich zugerichtBt, begds
\Hands haben BiB jhr abgekawen, tmd dis Zunge au/B dsm
Munds gsriBBen, haben BiB ztoi8chen Bich.
Jb:LICATES.
Also muCs man es macben, wenn man bey scbo-
nen Frawen geschlaft'en, daCs sie es nicbt konnen nach-
sagen, die Zungen mufs man jhr auCsschneiden, damit
sie es nicht sagen, aucb jhre beyde Hinde abhawen,
daCs sie es auch nicht schreiben, gleich wie es bier mit
dieser gemachet, aber was sol man nun weiter mit jbr
anfahen, wir miissen sie hie im wilden Walde gehen
lassen, daCs sie nur zu letzt doch den wilden Thieren
zu Theil werden. So kom Iieber Bruder laCs vns gehen.
Nun ade ade Andronica.
[Gehen weg.
\
.Andronica bkibet aUeins seufftzen Biel!et,,Jlaglich kegen
Himmel: Nicht lange darnach kiimptjhr 'V'atedVictoriade&,
\ tmd Bieket Bie, da BiB jhn aber Bishet leu.ffet BiB ins Holtz.
' VICTORIADES.
Ach wehe, ach wehe, was fiir ein grofs Vngluck
fin de ich hie, die Andronica die da nicht eines Men-
schen gleich ist. 0 verberge dich nicht fiir mir.
[Leu.fft hinein, holet Bie wiederumb heraufs.
0 du armes Creator, wer hat dich so erbiirmlicb
vnd vnmenscblich zugerlchtet, ach wehe deine Zunge
ist dir deine beyde Hinde sein dir abge-
bawen,. 0 wehe dieses n1ogt einem Stein erbarmen, 0
kom mit mir, du solt hie nicht bleiben.
[ Geket hinein.
Nun kiimpt keraufs Titus AndroniCUB, V t$J1a&ianus, al8-
bald kiimpt der Morlan bringet die begden Hiiupter vnd
die Handt.
MoRUN.
Sehet hie alter Titus, ich babe ein Erbarmnifs mit
euch, dais ewre edle vnd streitbare Hand also ist ab-
Why have you cut oft' your hand, dearest father? This
is a piteous sightr
TITUS ANDRONICUS.
I entreat you, say no more about it, for it is al-
ready done. Look here, Morlan, take this hand to the
Empress and bring me back my dear sons quickly.
MORlAN.
Well adieu, I will indeed bring back something of
them.
[E.uunt.
Enter Helicates and Saphonus, who had gons into the
forest with .Andronica upon whom tMg sati8jl8d their lust.
Haffing also barbarOUBly mutilated her, cut off both her
hand3, and torn out her tongue, tMg now bring them
with tlurm.
Jb:LICATES.
Thus must a man act when he has slept with a hand-
some woman, so that she may not divulge it. He must
cut oft' her tongue, that she may not tell it, and cut oft'
both her hands, that she may not write it, as we have
done to this one. Bot what shall we do with her now?
We must leave her in this dismal forest, that she may
be devoured by wild beasts. Come, dear brother, let
us go. Farewell now, Andronica.
[Ezeunt.
Andronica alone, sighing and loo/Mg up weepingly to
heaven. Presently enter her uncle Victoriade&. He per-
ceives her; but on seeing him she mm into thB wood.
V ICTORIADES.
Woe is me I What great misfortune do I find here I
Andronica no longer in the resemblance of a human
being! 0 hide not yourself from me.
[He mns out to bring her back.
0 you poor creature who has so cruelly and foully
maimed you? Alas! your tongue is tom out, both your
hands are cut oft'. 0 this is enough to melt a stone I
Come with me; you shall not remain herE!.
[E.rit.
Enter Titua AndroniCUB, V espaBian, and soon after Morian,
carrying two heads and hands.
MORlAN.
Behold Titus, I feel pity for you, that your noble
and chivalrous hand !].as been cut oft' thus. The Em-
191 TRAGEDY OF TITUS ANDRONICUS. 192
gevexiret worden. Hie schicket sie euch die Keyserin
wieder, vnd dieses seyn. ewre beyde Sohnes Haupter.
[ Morian leget sie fur jhm. Titus vnd V espasianu&
konnen kein Wort mehr fur Angst reden, ate-
hen gleich als todte
Nun ich gehe weiter von hinnen, wirstu aber dieses
also darbey bleiben lassen, so wird dich die Keyserin
sampt deinem Geschlechte , mit Betriibnifs vnd V erra-
therey aufstilgen, vnd euch also weg reumen.
[Gellen weg.
TITUS ANDRON:
( Ach, a.ch, ach zcter vnd mordio, vber dich Blut-
i gierige, betriegliche W eibesbild, wor ist wol jemals ein
I betrieglichers, hoffertigers vnd Blutdiirstigers W eib ge-
wesen , denn diese verfluchete Keyserin, 0 selber mag
ich mich a.nspeyen, dafs ich sie babe Ieben lassen, vnd
nicht die Gurgel abgestochen, da sic mein Gefangene
war, 0 du vnbarmhertzigste vnd vndanckbareste 'Vei-
besbild, wie kan doch miiglich seyn, dafs die Sternen
am Himmel dir nicht sollen feind seyn, ja die vnver-
niinfftigen Creatur werden mit mir weinen vnd betriibet
seyn. 0 jhr himlischen G<>tter werdet solche Vbelthat
nicht dulden konnen, ach verleihet mir Witz vnd V er-
standt, dafs ich moge weifslich bedencken, wie ich mich
an die hoffertige Keyserin moge doppeltfeltig rechnen.
0 du verfluchte Creatur, wie hastu mich doch so be-
trieglich vmb meine Hand gebracht.
[Nimpt die Hand au.ff von der Erden.
Ja du edele Hand, wie bistu so bezahlet .fiir deine
trewe Dienste, 0 du vndanckbare Rom, diese Hand hat
dich offte vnd vielmal von deinen grawsamen Feinden
errettet. Ja wann die es nicht gethan, wiirdestu vor-
liingst zerschleiffet seyn, von keinem Romer wiiste man
mehr zu sagen, 0 wie offte hastu edele Hand gegen
ta.usendt llii.nde streiten miissen, vnd die gefiihrlichsten
blutigsten Kriege hastu mit victoria vberwunden, ach
meine lie be Sohne, welche Angst vnd Pein bringet es
mir, dafs ich ewre Iliiupter also mufs fii.r mir liegen
sehen, 0 nimmermehr solt jhr weg gesetzet werden, ehe
ich dann meines Feindes Hiiupter -dabey babe, Ach
wehe, ach wehe, Ritterlich vnd Mii.nnlich habet jhr fiir
Rom gestritten, anch ein streitbar Hertze von mir ge-
erbet, aber du vndanckbare Rom, wie hastu es jhnen
bezahlet, 0 vndanckbare Rom, wie eilestn zu nach dei-
nem V ngliicke.
V ESPASIANUS.
0 hertzlieber. Vater, solche Tyranney vnd "Teuffels
V ndanckbarkeit ist nicht erhoret, so lang die Welt ge-
standen, so ichs aber nicht solte rechnen, were ich
nicht werth, dafs ich den Erdboden betreten solte, der-
press sends them back to you, and here are the heads
of your two sons.
[He puts them down before him. Titus and
Ve$pasian stand speechless and almost lifeleJJ&
witlt horror.
I am going now, but if you rest (not?) satisfied
with this the Empress will exterminate you and your
stock by affliction and treachery, and thus put you out
of the way.
[Exit.
TITUS A!'iDRONICt.:S.
0 bloody treacherous woman I Was there ever a
more perfidious haughty and bloodthirsty woman than
this accursed Empress I 0 I could spit at myself, that
I allowed her to live instead of cutting her throat when
she was my captive. 0 you most pitiless and ungrate-
ful woman, how is it possible that the stars in heavens
are not your enemies I Even brute creation will weep
and wail with me: Y e gods in heaven I you will not
tolerate such iniquity! Oh grant me sense to bethink
myself wisely, how to be doubly revenged upon this
haughty Empress. Accursed creature, how treacherously
have you robbed me of my hand I
[Takes up the hand.
Noble hand, how have your faithful services been
requited! 0 ungrateful Rome, this hand often sa\ed
you from your cruel enemies. Had it not done so, you
would ere this have been torn to pieces,- there would
be no trace of Rome now. How often, noble hand.
had you to do battle against a thousand hands I the most
perilous and sanguinary wars have been victoriously
fought by you. Ah me, my dear sons, what anguish
and pain do I suffer to see your heads before me I 0
you shall not be put aside, until I also have the heads
of my enemies. Alas, alas! you fought bravely and nobly
for Rome, and you had inherited a brave heart from
myself. But ungrateful Rome, how have you repaid it!
0 ungrateful Rome, how quickly do you hasten towards
your downfall!
VESl'ASIA:'\.
0 beloved father! such savagery and diabolical in-
gratitude has not been heard off since the beginning
of the world. But I should not be worthy to tread
this earth if I did not a\enge it. Therefore I can no
198 TRAGEDY OF TlTUS ANDRONICUS. 194
halben k.an ich mich nicht linger enthalten, vnd bitte,
leget mich an Wehr vnd Waffen, vnd gebet mir in
beyde Hinde ein lang streitbares Schwerdt, damit ich
gehe zum Pallast, vnd alles was mir ankompt, wil ich
darnieder hawen, auch nicht straiten wie ein Mensche,
sondern wie ein rasender Teuffel, keine Eiserne Thiire
sol mi.r so starck seyn, sondern wil es zermalmen vnd
zerbrechen, vnnd wann ich dann den Keyser mit der
Keyserinnen babe darnieder geleget, wil ich noch in
die vndanckbaren ROmer bawen, so lang ich jmmer
kan vnd mag, mich auch darnach gerne wi1 nieder
schlagen lassen, dann ich mein Leben nichtes mehr
achte.
TITL'S ANDRONICVS.
.Ach nein hertzlieber Sohn, solches ist dir vnmiig
lich, du wiirdest doch nicht lebendig in den Pallast
kommen, du bist nun mein einiger hertzlieber Sobn,
wir mussen vns nun recht bedencken, wie wir vns an
sie recbnen, ob ich aber wol eine Hand, so wil icb
dennocb genugsam damit verletzen vnd beschidigen, du
aber bertzlieber Sohn must das beste thun.
Jetzt kompt Victoriades, bringet die Andronica.
V ICTORLillES.
0 hertzlieber Bruder, das grewlicbste spectacul, so
jemalen fiir ewren Augen kommen, sehet jhr nun. Hie
ist ewre Tochter .Andronica, welche ich also im Waide
gefunden, jhre Zunge ist jhr aufsgerissen, vnd beyde
Hinde abgehawen.
[Titus verschrecket Bich grawsamlich, zittert V11d
bebet, treibet grofs Elende.
V ESPASIA:SUS.
0 wehe, o wehe.
[Fellet in Ohnmacht nieder zur Erden, Victoria-
des gehet zu den Hiiupten, weinet bitterlich
Titus geht aujf die Knie Bitzen.
TITUS ANDRO:S:
Ach, ach du grosses V ngliick, wie vberfelstu mich
so scbleunig, auch wunder dafs me in Hertz nicht zu
stiicken springet. Ach mordio ach mordio, diese vn-
menschliche Vbelthateu, ach wehe, ach wehe, dir Stein
thu ichs klagen, vnd ob du mir wol nicht helffen kanst,
so gibstu mir dennoch kein Widerwort, vnd liegest stille,
hie wi1 ich liegen, vnd mit bitterlichen weinen nicht
auffbOren, bifs so lang das eine grosse Fluth von mei-
nen Thriinen von mir fliesset, bey Winterzeiten wi1 ich
den Schnee vnd Frost mit meinen Thrinen weg schmelt-
zen, Ach wehe, ach wehe, dieser grawsame vnd tyran-
nische Rath ist gar zu erbirmlich.
[Stehet avlf, gehet zur Tochter.
Ach dq mein hernliebe Tochter, wer hat dir deine
longer restrain myself. Pray give me my armour, and
put a long and warlike sword in my hands, that I may
go to the palace and cut down everything, that comes
in my way. I shall not fight like a man, but like a
furious devil. No iron door shall be too strong to be
forced and shattered; and when I have laid low the
Emperor and the Empress, I will also cut down the un-
grateful Romans as long as I have strength and will
left me, and until I am struck down myself; for I no
longer value my life.
TITUS ANDRONICUS
Oh my dear son, that is impossible; you would not
get into the palace alive. You are now my only be-
loved son. We must now consider well how we may
best revenge and although I have only one
hand, I will do harm and injury enough with it. But
you, deare11t son, must do your best.
Enter Victoriadu with Andronica.
V ICTORIADES.
Oh my beloved brother, behold the most horrible
sight that ever met your eyes! Here is your daughter
Andronica, whom I found in the forest. her tongue torn
out and both her hands cut off.
[Titus is horror-struck and violently agitated.
VESPASIAN.
0 woeful, woeful spectacle I
[He sinks down in a swoon; Victoriades ap-
proach& the head8 and weeps bitterly. Titus
falls on his knees.
TITUS A!lo"DRONICUS.
Alas, alas I how rapidly and suddenly do misfortunes
fall upon me I It is wonderful that my heart does not
break. Oh murder, murder I These inhuman misdeeds t
.Ah woe is me I woe is me t I tell my sorrows to thee,
o stone, and although thou canst not help me, thou
answerest not and remainest silent. Here will I lie and
not leave off crying until I have flooded the earth with
my tears; in winter they shall melt away the snow and
frost. Alas, alas I this cruel and tyrannical Senate is too
contemptible.
[He rise&, and goes toward& his daughter.
Ah my dearly beloved daughter, who is it that has
13
195 TRAGEDY OF TITUS ANDRONICUS. 196
Zunge aufsgerissen, .ib kan wol eracbten, da.fs du dei-
ner Keuschbeit beraubet bist, vnd dir derbalben deine
Zunge aufsgerisseo, damit du den Tbater nicbt aufssa-
gest, dennoch baben sie dir auch deine schneeweisse
Hand abhawen, wormit du es nicht Scbrifftlicb soltest
offenbaren, ist es so nicht bertzliebe Tochter, Ach wehe,
I
ach wehe, du kanst es nicht sagen.
[Seufftzet sehr, wincket mit dem Hiiupte.
torn out your tongue? I may well guess that you are
robbed of your chastity, and that your tongue has been
torn out that you may not betray the evil-doer; but
they have also cut off your snow white hand, that you
may not reveal it by writing. Is it not so dearest
daughter? Alas, alas t you cannot tell me.
[She sighs and nodtJ.
Du must ja vielleicht mit dem wincken anzeigen, You must perhaps tell me with signs that it
da.fs es also ist. is so.
[Wincket mit dem Hiiupte noch einmal. [She nod& again.
Aber hertzliebe Tocbter, allhie eeyn deine beyden
Briider Hiiupte, welche die hoffertige Keyeerinne hat
abhawen lassen.
[Sie verschricket sich sehr, siehet vnd seufftzet gegen
Himmel, gehet zu den Hiiuptern, vncllcU8set are.
V ICTORIADES.
0 vber dieses grosse Elende mogen sich die Steine
erbarmen, aber was bilffts vns, da.fs wir bier stehen vnd
weheklagen, last vns nun siimptlichen hinein gehen,
vnd bedencken, wie wir dieselben, welche sie also zu-
gerichtet, erfabren.
TITUS AND RON:
Ja hertzlieber Bruder, es ist der beste Rath, wir
wollen hinein gehen, auch keine Rube haben, bifs wir
sie erfabren.
[ Gehen hinein.
ACTUS QUINTUS.
ANDRONICUS, ANDRONICA, VICTORIADES.
TITUS AND RON:
Ach webe, ach wehe, hertzliebe Tochter, mein altes
Hertz wil mir im Leibe zerspringen, dafs ich dicb so
vnmenschlicb fiir meinen Augen sehe, wie lieb vnd
werth h a ~ e ich dich die Tage meines Lebens gebalten,
mit wie viel grosser Miihe vnd Sorge babe ich dicb
aufferzogen, ja wenn icb mit Triumph pfiag wiederumb
nach Rom zu kommen, vnd mein Leichno.m vom Feinde
sehr verwundet war, ich auch grawsame schmertze hatte,
wenn ich aber dich gegen mir so frolich lauffende kom-
men sahe, mit deiner Lauten, mir fiir l<'rewde zuem-
pfahen, vertriebestu du mir damit meine wundliche
Schmertzen, auch durch deine liebliche Rede, erfrische-
test du offte mein altes Hertze. Aber wormit wiltu
But dearest daughter, here are the heads of your
two brothers, which the Empress has caused to be
cut off.
[She stand& appalled, looks up to heafJen and
lighs, then goes to the head& and liBBes them.
V ICTORIADES.
Oh, this great misery is enough to soften a stone.
But what avails our standing and wailing here? Let us
all go in and deliberate how to detect those . who thus
martyred her.
TITUS ANDRONICUS.
Well counselled, dear brother. We will go in, and
know no rest until we have found them ouL
[Exeunt.
ACT V.
ANDRONICUS, A!'WRONICA, VICTORIADES.
TITUS ANDRONICUS.
Alas, my most beloved daughter, my old heart al-
most breaks to see you in this pitiful state. How dear
to my heart have you always been t With how much
trouble and care have I brought you up! When I used
to return in triumph to Rome, suffering much pain from
the wounds received from the enemy, and saw you joy-
fully hastening to meet me with your lute, you made
me forget my pain, and refreshed my old heart with
your pretty innocent talk. But wherewith will you now
play the lute to gladden me, and wherewith will you
speak? You are robbed of all this. Shame, shame upon
the cruelty done to you t Ah, if I only knew who did
it - who has mutilated you thus inhumanly, I should
197 TRAGEDY OF TITUS ANDRONICUS. 198
nun die Lauten schlagen, wonnit du mich erfrewest,
auch wonnit wiltu reden, solches alles ist dir beraubet,
Ach, ach, der grawsamen an dir begangenen That, ach
webe wann ich nur wiiste, wer dir es gethan, vnd so
vnmenschlich zugerichtet bette, wolte ich mir ein wenig
zufrieden geben, aber es ist vnmiiglieh, dais du es kanst
l otfenbaren, sieh da kompt dein Bruder, sage mir, was
i ist das, welches du bringest?
[VIl8pasian: hat ein Korb mit Sand, vnd ein Stecken.
VESPASIANLS.
Hertzlieber Vater, ich hab hierinnen Sand, vnd
meine hertzliebe Schwester Andronica solte versuchen,
ob sie mit diesem Stecken offenbaren vnd schreiben
kondte, welcher sie so erhinnlich zugerichtet.
TITUS ANDRON.
0 hertzlieber Sohn, wann sie es damit konte an
den Tag geben, wolte ich ein wenig rube finden, fiir
mein altes kranckes Hertz. Aber giefs nun den Sand
aufs auff die Erden, vnd thue jhr den Stecken.
[Er giesset den Sand an die Erden Titm Andron:
thut der Tochter den Stock zwilchen den beg-
den Stummelen.
Sieh da hertzliebe Tochter, vnd schreib damit auft's
Sand, dieselben Namen, welche dir deine Zung vnd
Hinde beraubt.
[Sie nimpt den Stecken, tmd schf'eibt damit.
Ach hertzliebe Tocbter, nun hab ich genug, da
stehet Helicates vnd auch Jagd. 0 hertzliebe Tochter,
ist es nicht also, dafs dich Helicates vnd Sap bonus in
der nehestcn Jagd also zugerichtet.
[.Andronica wincket mit dmn Hiiupte niederwert&,
Zeige mir auch hertzliebe Tochter, hat die Keyserin
auch schuldt dran.
[Neiget das Haupt.
0 verfluehet sey die Jagd, vnd der Tag, worin sie
ist gehalten worden, ich meynte die solte in Frewden
vollendet werden , vnd ich dadurch des to mehr Gnade
beym Keyser erlangen wolte, aber nun sehe ich, dafs
mein allergrosseste V ngliicke dadurch entstanden ist.
0 der schreckliche Trawm , der mir die vorige N acbt
fiir der Jagd fii.rkam, bat mir diescs Vngliicke bedeu-
det. Nun kom, derhalben wirstu mussen zu grunde
gehen, so buret mir nun 7;u, hertzlieber Bruder, auch
hertzlieber Sohn, vnd observiret meine Worter wol, wir
mussen vns nun. prrepariren zu einem geflihrlichen blu-
be somewhat consoled. But it is impossible for you to
disclose it. Here comes my brother; tell me what it is
you bring?
[Enter V 1!8pasian with a basket of sand and a
&taff.
VESPASUN.
Dear father, I have brought sand here, that my
sister Andronica may try whether she could not write
with this staff and make known the man who hath
brought her to this pitiful state.
TITUS ANDRONICUS.
0 dear son, if she could bring this deed to the light
of day I should find some rest for my sick old heart.
Spread the sand on the fioor and give her the staff.
[ V upasian spreads the sand on the floor. Titm
Andr. puts the staff between her stumps.
Take this, my dear daughter, and write in the sand
the names of those who deprived you of your tongue
and bands.
[She tabs the staff and writes.
Ah dear daughter, now I know enough, I read
here Helicates and bunt. Dear daughter, is it not that
Helicates and Saphonus have thus misused. you during
ths late hunt?
[ Andronica nods.
Show me also whether the Empress shares the
guilt.
[She nods.
Oh accursed be the hunt and the day it was held!
I hoped it would end in joy, and that I should endt>ar
myself still more to the Emperor; but now I see that
it has been the cause of my greatest misfortunes. Alas I
the awful dream I had in the night before the hunt,
betokened this misfortune. Come then, if we are doomed
to perish, listen to me, dearest brother, and you too,
dearest son, and mark my words well. We must now
make preparation for a perilous and bloody war, and
enlist a host of soldiers wherewithal to overthrow Rome.
We must make such havoc of her as bas never bt>en
13*
199 TRAGEDY OF TITUS ANDRONICUS. 200
tigen Kriege, vnd eine grosse mange Soldaten werben,
damit wir Rom rund vmbkebren, vnd wollen also mit
jlm hausiren vnd vmbgehen, wie niemalfs erhoret, aueh
dafs kein Stein vber den andern solliegen bleiben, der-
halben wollen wir vns hie simptlich verkniipffen, vnd
zu vnsern Gottern schweren, nicht auffzuhoren mit blu-
tigen gefahrlichen K.riegen, bifs das Rom zu grunde ge-
rissen, den Keyser vnd die morderliche Keyserin, sampt
jhren zween verfluchten Sohnen in vnser Gewalt haben,
dafs ";r auch nimmermehr mit jhn ein V ertrag wollen
machen, auch nicht die geringste Erbarmnifs haben, son-
dern dafs wir zum grawsamsten vnd schrecklichsten mit
jhnen handlen wollen, auffs iirgeste es einer erdeneken
kan.
VrcTORIADEs.
Hertzlieber Bruder, ich thue schweren bey allen
himlisehen Gottern, dafs ieh nieht zu reehnen wil auff-
hOren, so lang ich lebe, bifs wir die Keyserin sampt
jhren Sohnen in vnser Gewalt haben, all mein Giiter
wil ich verkauffen, vnd dafiir streitbare Manner werben
lassen.
TITUS ANDRONICUS.
0 hertzlieber vnd vertrawter Bruder, wie hoch er-
frewet mich, dafs jbr mir so grosse vnd miichtige Hiilffe
verheisset. Nun wil ich jetzt anfaben zu schweren, nit
auffzuhoren zu rechnen, bifs so lange ich lebe, erstlich
wil ich schweren bey meiner gewesenen streitbarn I;land,
darnach bey meines Sohnes Haupten, darnaeh vber meine
Tochter.
, Jetzt gehet Titus Andron: au.ff die Knie sitzen, vnd fan-
gen an ein Klagelied zu spielen, die andern alle gel1en
, wnbher, sitzen da die Hiiupter liegen. Titus nimpt seine
Hand, helt sie vnd siellet gen Hhnmel, seu.fftzet, schweret
heimlich, schliiget sich fiir die Brust, leget nach vollen-
dung des Eides die Hand weg, darnach nimpt er dus eine
Haupt, darnach auch dus ander, schweret bey einem jeg-
lichen besondern, zu letzt gehet er zu der Andronicam
auch , die da au.IJ die Knie sitzet, schweret bey derselben
auch, wie er zuvor bey den and ern, darnach stehen sie
siimptlich wieder au.tf.
Nun den Eid hab ich abgelegt, vnd geschworen,
aile meine Raabe vnd Giiter wil ich verkauffen, vnd
mein Sohn sol die streitbaresten vnd tapffersten Man-
ner dafiir werben. lii.ire hertzlieber Sohn, nim alles
grosse Gut aufs meiner Schatzkammer, mach dich damit
bald von hinnen, vnd werb ein grosse mange V olckes,
so viele du jmmer bekommen kanst.
VESPASIANUS.
Hertzlieber Vater, darzu bah ich ein grofs Be-
heard of before. Not one stone shall lie npon another.
Therefore let UB all combine and swear to the Gods,
not to stay our bloody warfare until Rome be over-
thrown, and until we have the Emperor and the mur-
derous Empress with her cursed sons in our power,
never to come to terms with them nor have pity on
them, but to treat them with the most refined and dread-
ful cruelty.

VICTORIADES.
Dear brother, I swear by all the Gods in heaven not
to stay my vengeance as long as ~ live until we have
the Empress with her sons in our power. I will sell
all my property to enlist warlike men.
TITUS ANDRONICUS.
0 my most beloved and trusty brother, bow glad
I am that you promise me such great and powerful
assistance. I will now swear never to stay my ven-
geance as long as I live. Firstly I will swear by the
warlike han11 that once was mine, then by the heads
of my sons, and then by my daughter.
Titus kneels dott'TI and begins ro sing a dirge; the others
sit down by the heads. Titus takes up his hand, raises
it and looks up to heaven, sighs, mutters vows, strikes his
breust, and puts down the !land after having sworn. There-
upon he takes up the heads and swears by each of them
singly; finally he approaches the kneeling Andronica and
swears by her as before. This done, they all rise again.
I have now taken my oath, and vowed to sell all
my property, that my son may enlist the most warlike
and the bravest men. Hark my son, take all my great
wealth from my treasury; depart hence, and enlist as
many warriors as you can get.
VESPASIANUS.
Dearest father, I am most anxioUB to do so, and
201 TRAGEDY OF TITUS ANDRONICUS. 202
gierde, so thue dennoch erstlich scbweren bey dem Gott
Mars, das ich nicht zu toben vnd wiiten wil aufThoren,
bifs so lange der bleiche Todt vber mein Hertz trium-
phiret. Nun ade 0 hertz vnd trauter Vater, ich ziehe
von hinnen, streitbar V olck zu werben, nicht lange, so
sollet jhr hOren die Trommeten blasen, vnd dafs ich
ein grawsam Volck bringe, die da sollen rauben, bren-
nen vnd rodten, gleich wie der Gott Mars selbst. Also
.Ade, ade.
[ Gehet davon.
TITUS ANDRON:
Hertzlieber Sohn, die Gotter wollen dir giinstig
seyn, ob ich wol meine Hand verlohren, so hoffe ich
docb, mein hertzlieber Sobn wird desto besser streiten,
denn ich jbn in der nehesten Schlacht mit den .Moria-
nern fechten sahe , gleich wie ein grimmig Tigerthier,
an dir babe ich noch aile meine Hoffnung, vnd so icb
mein altes Leben hieriiber miiste enden, weifs ich, du
wirst gleichwol dich an den Feinden miichtiglich zu
rechnen wissen. Nun aber wil ich dem Keyser ein
ewigen V nfried von mir an.sagen lassen. Hollah Bote
kom heraufs.
[Kampt heravJ's.
BoTE.
Hie bin ich, gniidiger Herr, habt jhr mir etwas zu
befehlen?
TITUS AND RON:
Hore vnd observire meine Worter wol, was ich
dir sage, du solt hingehen zum Keyser, vnd vbergeben
jhm dieses Schwerdt, mit diesen Worten, dafs ich wil
sein ewiger Feind seyn vnd bleiben, vnd meine grosse-
ste Kriegesmacht vber jhn aufsgiessen wi.l, auch nim-
mer aufThoren wil, bifs ich jhn sampt der Keyserin, vnd
seine zweene Sohne in meiner Macht vnd Gewalt babe,
gehe nur bin, vnd verrichte dieses verstiindig.
BoTE.
Gniidiger Herr, es sol von mir zum besten ver-
richtet werden.
[Nimpt da& Schwerdt.
TITUS ANDRON:
Aber bOre weiter, wann du dann dieses gesaget
hast, so vbergib j ~ m diesen Brieff, mit dem was drin-
nen ist.
[ Nimpt den Brieff.
Red jhn gar trotziglich an, gleich wie einen V nfrie-
des Boten gebiibret.
BOTE.
W olan gnildiger Herr, ich wil jhm alles vbergeben.

therefore swear by the God Mars not to check my rage
and fury until pale death triumph over my heart. Fare-
well now beloved and trusty father, I depart hence to
enlist warlike men. Before long you shall hear the trum-
pets blow, and know that I am bringing with me a ruth-
less host, that shall plunder, burn, and kill, like the
God Mars himself. Farewell!
[Exit.
TITUS .ANDRONICUS.
May the Gods favour you my son I I have lost my
hand indeed, but I hope that my dear son will fight
all the better; for in the last battle with the Moors I
saw him fight like a fierce tiger. You are all my hope,
and even if I had to end my old days in this attempt,
I know that you will take signal revenge on our ene-
mies. I will now send a declaration of eternal enmity
to the Emperor. Holla messenger, come in I
Enter MEsSENGER.
Here I am, my lord, have you any orders for me?
TITUS ANDRONICUS.
Hear and mark my words well. Go to the Em-
peror and deliver him this sword with the message, that
I am and remain his eternal enemy, that I shall let
loose all my forces again'!t him, and shall not rest until
I have him together with the Empress and her two
sons in my power. Go and deliver this rightly.
MEssENGER.
My lord, it shall be done to the best of my power.
[He takes the mord.
TITUS .ANDRONICUS.
But hear me further; when you have delivered this
message, hand him also this letter and what is enclosed
therein.
[Messenger takes the letter.
Address him in a defiant tone as befits a messenger
of war.
MESSENGER.
Very well my lord, I will deliver it all.
[Exeunt .
208
TRAGEDY OF TITUS ANDRONICUS. 204
Gehen himin. Jetzt kOm.pt heraufs der Keyser ood
die Keyserin.
KAYSER.
Schone Keyserin, ich muis mich vber ewre List
verwundern, da jhr des Titi Andronici Sohne die Hiiup-
ter liesset weg schlagen, die da groblich wider euch
gesiindiget hetten, wie jhr saget, damit wir a her nicht
derhalben von jhm angefasset werden, habt jr jm seine
rechte Hand abvexiret, wormit er dann die Tage seines
Lebens ein grawsam Blut vergossen.
KEYSERIN.
J a gniidiger Herr vnd Keyser, muis also das V n-
gliicke zu wider kommen, sonsten wann ich die Hand
nicht bekommen, weifs ich warlich, er solte den Key-
serlichen Pallast damit zu grunde gerissen haben. Nun
aber wollen wir seine Macht nicht grofs achten, vnd
derselben wol widerstehen, wiewol er gleichwol nicht
wird ruben, vnd mit vns ein Streit anfahen.
KEYSER.
Es ist war, schone Keyserin, Titus sol nimmer
keine grosse Zekhen mehr thun, dennoch fiirchte ich
mich fiir seinem Sohne V espasianum, wie man von jhm
saget, dafs er dem Vater im streiten sol gleich seyn.
KEYSERIN.
Ja gniidiger Herr vnd Keyser, ich mufs bekennen,
dafs er in lEtiopia, da mir sein Vater gefanglich an-
nam, also beschreyet wurde, dafs er gleich graws am
dem Vater gestritten bette, aber gniidiger Herr vnd Key-
ser, traget nun fiir demselben gar keine Sorge, denn
ich da mufs mit List vnd Practicken darzu verdacht
seyn, dafs man demselben aufs dem W ege reume. Was
Enter Emperor with the Empre88.
EMPEROR.
Lovely Empress, I admire the stratagem, by which
you had the heads of the sons of Titus Andronicus cut
off, for having so grossly offended you as you said; and
by which you prevented him from harming us by tricking
him out of his right hand, with which he has caused so
much cruel bloodshed all his life time.
EMPRESS.
Yes, my lord and Emperor, it is thus that we must
avert misfortune. If I had not got his hand, he would
assuredly have destroyed the Imperial palace with it.
Now we may despise his power and resist it; though
he will not rest before he can wage war against us.
EMPEROR.
Indeed, lovely Empress, Titus will never again do
great wonders. But I fear his son V espasian; they say
that he equals his father in battle.
EMPRESS.
Yes, my lord and Emperor, I must avow that in
Ethiopia, where his father made me his captive, he was
reputed to equal his father in fierce bravery. But my
lord and Emperor, be not uneasy on his for I
will devise stratagems to put him out of the way. But
what tidings can that man bring, that he comes with
such haste?
aber mag vns das newes bedeuten, dafs der so eilends
1
,
zu vns kompt. I
I
I
BoTE.
Du grofsmacht.iger Keyser von Rom, ich bin ein
Bote an dir gesand von Tito Andronico, derselbe thut
ein Schwerdt, welches bedeuten sol ein ewigen Krieg,
zwischen dir vnd jhm, vbersenden. Er wil allzeit dein
Recher vnd eusserster Feind, vnd wil auch nimmermehr
auffhoren , bifs er dich, sampt der Keyserinnen, vnd
jhren zween SOhnen in seiner Macht vnd Gewalt hat.
KEYSER.
Wie nun Bote, du verrichtest deine Botschafft noch
trotzig genug. Wil dann nun Titus Andron: einen Blu-
tigen Krieg mit mir anfahen, solches bette ich wol nim-
mermehr gemeynet. So gib her das Schwerdt.
[Nimpt u.
V nd jhm wieder, well er ja zu V nfriede lust,
MESSENGER.
High and mighty Emperor, I come as a messenger
from Titus Andronicus, who sends you a sword which
is to signify eternal war between you and him. He will
always wreak revenge upon you, and be your mortal
enemy, and will never rest until he has yourself, and
the Empress with her two sons in his power.
EMPEROR.
Messenger, you deliver your message defiantly
That Titus Andronicus means to wage bloody
war against me is what I should never have thought.
Give me the sword then.
[He takes it.
Tell him, since he is bent upon war, I boldly ac-
205 TRAGEDY OF TITUS ANDRONICUS. 206
wil ich Feindes genug seyn , vnd dafs ich jetzt seine
geringe Macht leichtlich widerstehen wil, vnd nichtes
achten thue.
BoTE.
0 grofsmachtiger Keyser, ein grofs Vngliick ist dir
sampt den deinen bereitet, vnd ob er wol seine Hand
nicht mehr hat, so wird doch sein streitbarer Sohn desto
besser toben, vnd grawsamlicher gegen dir wiiten, wel-
che dann jetzt in vielen Konigreichen herumb ziehen,
vnd ein grofs vnd michtig streitbares vnd aufserlesenes
V olck thut werben. Derhalben weifs ich gewifs es wird
nicht lange weren, so wird er den Pallast mit gewalti-
ger Hand angreiffen, vnd rund vmb belligeren, auch
nicht auffhoren, bi.fs ers rund vmb gekehret, vnd dich
sampt den deinen in seine Gewalt hat, bier aber babe
ich noch einen Brieff, welchen du verlesen solt.
[Keyser nimpt den Brie.ff.
KEYSER.
Du vnverschambter Bote, wie darffstu mir so kiihn
vnd f r e ~ thun anreden, so thue ich schweren bey alle
Gotter, fiir dein trotzigten W orten solt du nimmermehr
von hinnen kommen, vnd wil dich genugsamlich dafiir
straffen.
[Machet den B r i ~ au.ff.
Aber was finde ich bier in diesem Brieffe, ein blos-
ses Schermesser, nun nimmermehr sollen mir die Got-
ter helffen, sondem ich wil diesep grossen Frevel vnd
Trotz rechen. Aber du Bote, solt alfsbald . an den Gal-
gen gehencket werden. Diener nim jhn alfsbald von
hinnen, vnd vberantworte dem Hencker, dafs er jhn von
Stunden an weg benge.
BoTE.
Gniidiger Herr Kayser, ich hoffe nicht, dafs mir
hie wird Gewalt wiederfahren, vnnd den Hencker vber-
antwortet werden, dann solches were wieder allen Kriegs-
gebruch, ich babe ja nichtes mehr gethan, sondern die
Botschafft meines Herrn also aufsgerichtet, wie er sie
mir befohlen hat.
KEYSER.
Es hilffet nichtes dazu, dein Leben mufs dir ge-
nommen werden, hOrstu nicht Diener nim jhn alfsfort
fiir meinen Augen weg. etc.

cept the challenge, that I can now easily resist his
weak force, and that I care nought.
MESSENGER.
0 high and mighty Emperor, a great disaster awaits
you and yours; and though he is deprived of his hand,
his warlike son, who is now wandering through many
kingdoms to collect a large and mighty army, will all
the more furiously make you feel his rage. For that
I am certain he will ere long attack the palace with a
powerful force, and beleaguer it; nor will he desist
until he has turned it inside out, and has you and yours
in his power; I have also a letter here for your pe-
rusal.
EMPEROR, taking the letter.
Insolent messenger, how darest thou address me
so audaciously and impertinently I I swear by all the
Gods not to let thee depart hence, but to punish thee
cruelly for thy insolence.
[He opem the letter.
What do I find in this letter! Nothing but a razor?
May the Gods never help me if I do not avenge this
daring outrage! Come sirrah, you must be hanged pre-
sently. Attendants take him hence and deliver him up
to the hangman, that he may hang him immediately.
MESSENGER.
Gracious Emperor, I hope they will not lay vio-
lent hands on me and give me up to the hangman, for
that would be contrary to all the usages of war. I have
done no more than deliver my lord's message as I
was bid.
EMPEROR.
That will not avail you; I must have your life.
Do you not hear, attendant? Take him instantly out
of my sight.
207 TRAGEDY OF TITUS ANDRONICUS. 208
ACTUS SEXTUS.
: iJetzt klimpt heraufs die weise Muhme, hat ein junges
~ :schwartzes Kindt im Arm, welches der Morian mit der
I
1 Kiiyserinnen gezeuget.
WEISE MUTTER.
Ich sue he jetzt allenthalben den Morlan, welch em
ich dieses Kindt sol vberantworten, dafs ers sol heim-
lich weg bringen, dann diese N acht hat es die Kiyserln
zur Welt gebohren, vns es mit dem Morlan welcher
jhre heimliche Bule gezeuget, jetzt aber kan ich jhn an
keinem Orte finden, weifs nicht wo ich mit dew Kinde
bin soli. Aber dar kommen der Kayserinnen Sohne,
die hievon nichtes wissen so lien, ach wehe, ich weifs
nicht was ich nun machen soll.
IIELICATES.
Last mich sehen weifs Mutter, was du allda bey
dir triigest, hertzlieber Bruder kom vnd siehe dieses
grofs Wunder, ein junger schwartzer Teufel ist hie ver-
handen.
SAPBONUS.
Ich kan mir nicht genugsam driiber verwunderen,
aber horstu weise Mutter, die W arheit soltu vns be-
kennen, so ferne du wilt lebendig von hie gehen, wer
das Kindes Mutter ist, vnd bey welcher vnser Morian
geschlatfen, denn ich sehe dafs er der Vater ist.
WEISE MUTTER.
Gnadiger Herr, ich wolt es euch wol otfenbahren,
wanns jhr wolt in geheim vnd still bey euch behalten,
denn es ist keiner der darvon weifs denn ich, vnd wann
es dieselbe erftihre, dafs es were von mir aufsgekom-
men, wiirde ich eines elenden Todes sterben miissen.
SAPHONUS.
N ein weise Mutter nimmermehr sol es von vns
aufskommen, sondern wollens stille bey vns behalten,
bekenne vnd sage vns nun die W arheit. So du vns
aber etwas vorbringest, vnd wir hernach in der War-
heit anders erfahren, so soltu nichts gewissers von vns
zuerwarten haben, denn einen grawsamen Todt.
WEISE MUTTER.
Nun so wil ich euch die W arheit sagen, jhr sollet
wissen, dafs der schwartze Morlan welcher ewer Fraw
Mutter heimlicher Bule, hat dieses Kindt von jhme ge-
zeuget, vnd weil sie dann nun sahe, dafs das Kindt
schwartz war, verschrack sie sich sehre vnnd befahl
mir alfsbald, das ich heimlich solte zum Morlan gehen,
ACT VI.
Enter the midwife with a black child in her arms, which
has been begotten of the Empress by the Moor.
MIDWIFE.
I am now looking everywhere for Morlan to whom
I am to deliver this child, that he may secretly put it
out of the way. The Empress brought it into the
world last night; it is the progeny of Morlan her pa-
ramour. But I cannot find him anywhere, nor do I
know whither to go with the child. But here come the
Empress's sons who are not to know anything about
it. Oh dear, I know not what to do!
HELICATES.
Let me see, midwife, what you are carrying there.
Sweet brother, come and look at this great wonder;
here is a young black devil.
SAPHONUS.
I am quite amazed at it! but hark ye, midwife.
as you love your life, confess the truth. Who is the
mother of this child that slept with Morlan, since I see
that he is the father?
MIDWIFE.
My lord, I will readily tell it you if you will keep
it secret, for there is nobody knows about it but my-
self; and if she happened to hear that I had divulged
it, I should have to die a miserable death.
SAPBONt:S.
Not so. It shall never be known through us; we
will keep it secret. Confess now, and tell us the truth.
But if you tell us anything that turns out to be untrue,
you may rely upon it, that a cruel death awaits you at
our hands.
MIDWIFE.
Well then I will tell you the truth. Know then
that this child has been begotten by Morlan, who is the
secret lover of your mother. But when she saw that
the child was quite black she was frightened, and or-
dered me to go secretly to Morian and to take this
child to him, that he may have it secretly brought up,
209 TRAGEDY OF TITUS ANDRONICUS. 210
vnd jbme dieses Kindt bringen, daCs ers heimlich solte
lassen aufferziehen, damit kein Mensche davon etwas
erfahren mochte, nun aber etwas suche ich vnd kan
jhn nirgents finden.
[Sie stehen, sein vber jhrer Red gar erschrocken.
SAPHONUS.
Ach wehe dieae grosse Schande, verll.uchet sey der
ehrvergessen Bosewicht, der Morlan der vns vnsere
Mutter zu Schanden gebracht hat, woriiber wir dann
ein ewig Spott vnd Hon davon haben miissen, aber
hertzlieber Bruder, lafs vns den ehrvergessen Schelm
nicht lenger leiden noch dulden, sondem in der ersten
vnser Ansichtigkeit, wollen wir jhme jammerlich er-
schlagen.
IIELICATES.
0 hertzlieber Bruder, mein Hertz ist mir betriibet.
Das ich nicht wei.fs, was ich anfahen soil, drumb dafs
vns der morderliche vnd ehrvergesaen Schelm, in solche
grosse Schande gebracht, wer derhalben wol werth, daCs
man jhme in heisaen Oele sieden liesse. Aber was
wollen wir mit dem vbergeben Schelme anfahen, denn
wiirden wir zu straiten mit jhm anfahen, so wiirden
wir doch nicht lebendig von seinen Handen entrinnen
konnen.
SAPHONUS.
So weifs ich doch warlich nicht, was man anfahen
sol, bleibet dz Kindt lebendig, so kompts doch entlich
aufs, vnd wir kommen dadurch zu Schanden, derhal-
ben, so thue es mir jetzt her, das ichs alfsbald vmb
bringe.
Nimpt da8 Kindt von jhr, ziehet da8 Schwerdt aufs, wil
es rmbbringen, vnter dusen kompt dr Marian lfiehet dz
er das Kindt wil vmbbringen, leuffet eilent& zu jhm, rtM&et
jhm u aufs den Hiinden.
MORlAN.
Nicht, nicht laCs bleiben, vnd bring es mir nicht
vmbs Leben, denn ich mercke es ist mein Kindt, oder
ich schlage dich zwischen die Ohren , daCs du nimmer
vonn hinnen kompst.
SAPHONt:S.
0 du ehrvorgessen Schelm, wie hastu vns sampt
vnser Mutter in solche grosse Schande gebracht, wie
hastu diirffen so kiihne seyn, mit meiner Mutter die
Wollust .zupfiegen, hastu nicht gedacht, dafs du dein
Leben drumb verlieren miissest.
MORlAN.
Wo nun jhr Herren, seyd nur halb so ziirnich,
dann es ist vnnohtig, wollet jhr aber .ziirnich auff mich
so that nobody should know anything about it. I am
now looking for him, but cannot find him anywhere.
[ Theg stand in dismay at her words.
SAP BONUS.
Oh what a burning shame! A curse upon this in-
famous knave Morlan, who has dishonoured our mother
and brought us into ridicule and contempt! Sweet bro-
ther, let us no longer tolerate this miscreant, but put
him to a miserable death as soon as we set eyes upon
him.
IIELICATES.
0 sweet brother, my heart is sore oppressed. I
know not what to do. As for this bloodthirsty and in-
famous villain, who has so greatly dishonoured us, he
deserves to be boiled in hot oil. But what are we to
do with the villain? If we were to quarrel with him,
we should not escape with our lives.
SAP BONUS.
I know not indeed what to do. If thiS child re-
mains alive, the matter will be known and we shall be
disgraced. Therefore give it me here, that I may kill
it at once.
He taku the child, draws his sword, and.. is on the point
of killing it; meanwhih Marian cornu in, and on seeing
that the other is going to kiU the child, ru.she8 up and
tmatchu it out of his hand.
MoRlAN.
Leave that child alone and don't kill it, for I per-
ceive it is mine, or else I will knock you on the head
so that you will never again stir from this place.
SAPBONUS.
0 you villainous scoundrel, how have you disho-
noured us and our mother! How dared you satisfy your
lust with her? Did you not fear to atone for it with
your life?
MORlAN.
How now Sirs I why are you so incensed against
me? There is no occasion for it. But if you will fall
14
211 TRAGEDY OF TITUS ANDRONICUS. 212
sein, so sollet jhr wissen, dafs jhr eucb einen argen
Teufel auff den Halfs ladet, vnnd den Gottern thun
dancken, dafs jhr mir wiederumb zu Freunde habet,
das ich aber mit ewer Mutter Bulerey getrieben, vnd
sie diesen Sohne von mir gezeuget, frage ich erstlich,
ob ich nit jhr Diener gewesen, vnd alles was sie hat
von mir haben wollen, ich alles pllichtschuldig zuver-
richten mir gebiihren wolte. So sollet jhr wissen: dafs
sie mich zur Bulerey getrieben vnd gezwungen, weil
jhr ewern Vater die Lauten nicht so wol hat schlagen
konnen, auch dieser jetzige Kayser als ich. Derhalben
jhr Herren gebet euch zufrieden, vnd seyn mit mir con-
tent, denn ich bin ewer Stieffvater, vnd dieser mein
Sohn ist ewer Stieffbruder, wie kompts dann dafs jhr
wollet auff ewren Vater vnnd Bruder zomich seyn.
SAPHONUS.
0 du ehrvorgessen Schelm, magst des Teufels Va-
ter seyn vnd nicht vnser, ich rate, der die trotzigen
Worter jnne hielte, oder es wird dir vbel bekommen,
es ist genug, dafs du vns bereits in solche Schmach
vnd Schande
MoRIAN.
Was jhr Herren wollet jhr noch zii.rniger seyn, ich
thue schweren bey aile Gotter, werdet jhr mir nicht
bald aufs meinen Augen gehen, ich, wil kegen euch
bey de schlagen, dafs man darnach die Stiicken sol zu-
sammen raffen vnnd suchen.
[Marian jiinget an zu reden mit der weise Mutter,
sie scltiitteln jhre Kop.ffe, seyn zornich vnd ge-
hen davon.
Aber bOre du weise Mutter, wie ist es mit der
Kiiyserinnen, ist sie auch frolich Mutter worden, vnnd
wor wiltu mit dem Kinde hingehen.
WEISE MUTTER.
Ja Gniidiger Herr, sie ist noch wol vnd frisch auff,
vnd eine frOliche Mutter worden, sie hat mir aber be-
fohlen, das ich euch suchen solte, vnd das Kindt vber-
antworten, auch dabey vermelden, dafs jhrs solt heim-
licb auff den Berg Thaurin tragen, da ewr Vater woh-
net, vnd es jhm zu aufferziehen geben, vnnd dafs es
ja nimmer aufskeme, dafs es von der Kayserinnen ge-
bohren were.
MoRlAN.
Es ist gut, ic,h wils also machen aber hOr mich
weiter vnd sage, weifs auch ein einich Mensche vmb
dieses Kindt, dafs es der Kiiyserinnen zugehOret, vnd
erzehle mir auch, was fiir welche seyn dabey gewest,
da das Kindlein von der Mutter empfangen ist.
out with me I wish you to know, that you will have
the devil to pay, and will thank the Gods if I make
friends with you again. That I should have had con-
nexion with your mother, and begotten this son; what
of that? I ask you first, have I not been her attendant,
and was it not my bounden duty to do all she desired?
You shall know that it was she who tempted and com-
pelled me to commit adultery, for neither your father
nor the present Emperor could satisfy her so well as I.
Therefore, Sirs, moderate yourselves and be not dis-
pleased with me, for I am your step-father, and this
son of mine is your half-brother. How can you be angry
with your father and brother?
SAPHONUS.
0 you villainous scoundrel, you may be the devil's
father, not ours. I advise you to check your imperti-
nence lest you come to grief. It is enough that you
have dishonoured us.
MORIAN.
Why Sirs, persist in your ill-temper? I vow by all
the Gods that if you do not get out of my sight, I will
cut you into a thousand pieces.
[He talks to the midwife; the brothers shalce their
heads and go away.
But hark, midwife! How is the Empress? Was she
glad to become a mother, and where art thou taking
the child to ?
MIDWIFE.
Yes my lord, she is right well again and a happy
mother, but she ordered me to find you and to deliver
the child to you. She also bids me tell yon to take the
child secretly to Mount Thaurin where your father re-
sides, that he may bring it up. Nor does she wish it
to be known as the son of the Empress.
MORlAN.
Very well, it shall be done. But tell me further,
does any body else know this child belongs to the
Empress? tell me also what people were present at
the child's birth?
213 TRAGEDY OF TITUS ANDRONICUS.
214
WEISE MUTTER.
Gniidiger Herr es weifs kein lebendiger Mensche
davon, dais es der Kayserin zugehoret, dann mir allein,
ich vnd der Kiiyserinnen Sohne, welche da ich suchete,
sie mir entkegen kommen, fragten vnd peinigten mich
alle, das ich miiste die W arheit bekennen, wenn es recht
zugehOrete, sonsten hetten sie mich getOdtet. Da aber
das Kindt entfangen wurdt, sollet jhr wissen das keiner
bey der Kiyserinnen war dann ich allein.
MoRIAN.
Es erfrewet mich aber zwar zehenmal mehr, das
keiner dabey gewesen, dann nur alleine du, aber der-
halben mustu hie dein Leben verlieren:
[Ziehet das Schwerdt aufs, ersticht Bie.
w ElSE MGTTER.
0 wehe, 0 wehe.
[Felt todt zur Erden.
MoRIAN.
Sich so liege nun da, ich weiis es wird nun von
dir nicht aufskommen, denn mit deinem "''ode bin ich
derhalben versichert, wann dar aber weren mehr ge-
west, die drumb gewust, solten sie fii.r meinen Handen
sterben, es weiis ja nun niemandt, denn der Kiiyserin-
nen Sohne, verhoffe auch die werden wol still schwei-
gen, vnd jhre eigen Mutter Schande nicht offenbahren,
sondern sie vielemehr helffen bemandelen.
[Stehet still, Biehet seinen Sohn dafs Kindt wel-
ches er in dem Arme triiget schlaffen.
Du aber mein hertzlieber vnd newgebohrner Sohn,
wolten dich deine Bruder vmbbringen, Nein das miisten
sie nicht anfahen, oder sie wiirden mit sterben miissen,
du bast eine Gestalt an dir gleich wie ich, aufsgencm-
men eine spitze N ase vnd Kin gleich wie die Mutter
hat, aber man pfteget zusagen, dar sitzet der Teufel
ein, du bist gleich nun Fleisch von meinem Fleische
vnd Beine von meinem Beine, ich muis nun aber dazu
bedacht seyn, wie ich dich autferziehe, dafs du dermal
eins gleich deinem Vater kanst nachthun, Hundemilch
Kiise vnd Wasser sol dcine N ahrung seyn, biis so lange
du gehen kanst, so wil ich dich in allen Sachen vben,
damit du solst hart lernen, vnd dermal eins ritterlieh
streiten vnd kempffen, auch Harnisch fiir deinen Han-
den entzwey reissen, gleich wie ich. In aller Schel-
merey vnd Morderey wil ich dich abrichten, damit du
keinen Teufel achtest, vnd bey grossen vnd hohen
"\Yeibsbildern ein solch gratia vnnd Gnade erlangest,
gleich wie ich, dz sie sich auch entlich selbst ftir dir
MIDWIFE.
My lord, there is not a living soul knows that it
belongs to the Empress, except myself, and the Em-
press's sons who met me as I was looking for you, and
extorted the truth from me as to whom it belonged;
had I not told them, they would have killed me. But
when the child came into the world, nobody was with
the Empress but myself.
MORlAN.
I am indeed all the better pleased that nobody but
yourself was present, but on that account you must
now die.
[He draws his swords and kills her.
MIDWIFE.
0 mel
[She falls down dead.
MORlAN.
So now you are down, and I know the matter
will not get abroad through you, for your death is my
security; had there been other persons who knew it,
they should have died by my hands. Now no one knows
it, for the Empress's sons will keep the secret I hope,
and not proclaim their mother's shame, but rather help
to cloak it.
[He pames, and looks at the sleeping child in his
arms.
My sweet and new-born son, thy brothers wished
to kill thee. No, they must not attempt that, or they
would have to die also. Thou hast looks like mine
own except a sharp nose and chin like thy mother;
but they say that therein lurks the devil. Thou art
indeed ftesh of my ftesh and bone of my bone; I
must now consider how to bring thee up, that thou may
one day emulate thy father. Cheese of dog's milk with
water shall be. thy food, till thou canst walk. I will
put thee to all kinds of exercises, that thou mayst be-
come hardy, and learn how to fight bravely and to tear
up a coat of mail with thy hands like myself. I will
tutor thee in villainies and bloody deeds of all kinds,
that thou needst not care for any devil, and, like my-
self, shalt obtain such favours of great and high-born
ladielf as will even make them fear thee. I will now
take my child to my father, who is just such another
black devil as myself and lives on Mount Thaurin,
that he may bring it up, and say that it il! his own,
a
215 TRAGEDY OF TITUS ANDRONJCUS. 216
fiirchten miissen. Nun so gehe von hinnen, vnd dieses
mein Kindt wil ich bringen zu meinem Vater, der dann
auch solch ein schwartzer Teufel ist dann ich, vnd auff
dem Berge Thaurin wohnet, dafs ere mir sol aufferzie-
hen, vnnd sagen dafs es sein eigen ist, damit keiner
erfahre wem es zugehOret, die Kiiyserin mag nun airlr
ein frisches dencken auffs folgende Jahr.
ACTUS SEPTIMUS.
Jetzt werden die Heertrommel guchlagen, vnd die Trom-
.peten blasen avff, vnd i&t die Zeit, dafs V espasianus sein
Krieguheer welchu er geworben kegen Rome bringet, hat
grawsam g8WUtet, alle Stiite so den R/Ymern zugehOret,
rund vmb gekehret. Kompt heraufs.
V ESPASIANUS.
Mit einen grossen tapperen vnd aufserlesenen ver-
suchten Kriegesvolcke bin icb jetzund kegen Rome kom-
men, sechtzig tausent Ranter hab ich in vollem Kiirifs,
vnd hundert tausent man zu. Fufs, damit icb jetzt durch
gantz ltaliam gezogen, vnd aile State worein wir ge-
kommen gar zerscbleiffet, dafs kein Stein mehr auff den
andern lieget, auch gantz Italien haben wir so ver-
schrocken, dafs sie allenthalben herumb lauffen, gleich
wie die Feldtfliichtigen vnnd nirgents Hiilffe haben, ein
grawsam vnd vnzehlig V olck haben wir bereits dahin
geschlachtet, dafs ach vnd wehe schreyet man allent-
halben wo wir kommen, aber solches ist noch gar nichts
zu achten, sondern nun soles noch erstlich 10. mal graw-
samer angehen, auch thue ich nochmalen bey alle Gut-
ter schweren, nimmermehr mit meinem Kriegsheere ab-
zuziehen, bifs ich den Kayser, die hoffertige Kityserin
sampt jhren zween Bohnen in meiner Gewalt babe,
aber was sehe ich jetzt fiir ein Wunder zu mir kommen.
Jetzt kompt ein Soldat, hat den Morian sampt dem
Kinde gefangen.
SoLDAT.
Gniidiger Fiirst vnd Herr, ich thue E. F. G. diesen
Morian welcben ich fiir deru Berge Thaurin gefangen,
in V nterthiinigkeit fiir seinen Gefangnen vbergeben.
VESPASIANUS.
Du mein lieber vnnd getrewer Soldate vber diesen
Gefangen bin ich hoch erfrewet, denn es ist einer von
vnsern eussersten Feinden der Kiiyserinnen Diener, wei-
chen ich gar wol kenne, hiirstu schwartzer Teufel ein
so that no one may know to whom it belongs; the
Empress may now turn her thoughts to a fresh one
next year.
ACT VII.
Beat of drums and flourish of trumpets. V &pasian ap-
proach& Rome with hi& army, having made great havoc,
and duolated all the citiu of the Romam.
VESPASIAN.
With a large and brave army of picked and ex-
perienced troops do I now march against Rome. I have
sixty thousand horsemen in full armour and a hundred
thousand men on foot; I have marched through the
length and breadth of Italy, and have razed all the cities
through which we passed, that not one stone lies upon
another. I have struck such terror into all Italy, that
the people wander about in all directions like deserters,
and know not where to look for help. We cruelly have
massacred such a number of people, that we hear cries
of anguish everywhere on our march. But this is nothing,
- tenfold more cruel work shall now begin; and I once
more swear to all the Gods not to withdraw with my
army until I have the Emperor, and the haughty Em-
press with her two sons in my power. But what wonder
do I see here l
Enter a soldier with Marian and the child as captive&.
SoLDIER.
My prince and general, I humbly deliver up to
your Highness this Morian, whom I made prisoner of
war on Mount Thaurin.
VESPASIAN.
My dear and faithful soldier, I am highly rejoiced
at this prisoner, for be is one of our greatest ene-
mies; he is the Empress's servant whom I well know.
Hark ye, black devil, you are a welcome guest to me!
217 TRAGEDY OF TITGS ANDRONICUS. 218
angenehmer Gast bistu mir, aber sag mir was woltu
auff dem Berge Tbaurin machen, vnd was ist das fiir
ein schwartzer Teufel, detn du in deinem Arme triigest.
MORlAN.
Hat mich dann niemalen ein einiger Kerl so schandt-
lofs gefangen genommen, weil ich gelebet, dann dieser.
Ich mag wol sagen dars jhr vnd ewer Anhang die Teu-
fel selber seyn mit streiten vnd kempffen. Ich bin so
toll vnd rasendlich dafs ich nicht weirs was ich anfa-
hen soil, ich mag mich selbest verfluchen, ewer Gefang-
ner bin ich jetzt, wollet jhr mir mein Leben schencken
vnnd Gnade beweisen, so wil ich ewre Ohren enullen
mit grofs Wunder vnd Admiration, was die Kii.yserin
init jhren zween Sohnen an ewre Schwester Andronica
gethan, auch wie ewre Briider sein vmbs Leben kom-
men, auch so wil icb euch trewlich dienen, vnd wieder
den Kayser streiten helffen, wollet jhr aber mir nicht
Gnade beweisen, so wil ich euch im geringesten nichts
offenbahren, denn hie bin ich, vnd babe mich all vber-
geben, ko.n nun eins Todts sterben.
VESPASIA:
Ob du schon gefangen, bistu dennoch trotzich ge-
nug, erzehle mir aber aile Sachen vnd sage mir die
W arheit, wer, an welchem Orte, vnd ~ welcher Zeit,
vnd vmb welcher V rsache meine Schwester Andronica
jhre Hinde vnd Zunge so jiimmerlich beraubet. Auch
wie meine Bruder sein gefangen genommen, vnnd vmb
welche V rsache sie seyn dem Tode vberantwortet wor-
den, wann ich dann nun dasselbige angehoret soltu dein
Leben behalten.
MORlAN.
So eroffnet nun ewre Ohren , vnd horet mir wol
zu. Jhr sollet wissen dafs ich der Kayserinnen allezeit
heimlicher Bule gcwest, aber so wol wie sie noch Ko-
nigin in Mohrcnlandt war, wie auch hie vnd weil sic
dann allzeit ein hoffertiges vnd vberaufs hoffertiges Ge-
miihte gehabt, dafs sie auch keinen neben sich hat lei-
den wollen, vnnd weil sic dann sahe, dafs jhr vnd die
ewren in solchem grossen vnd hohen Ruhm waret, auch
so miichtig vnd reich, dafs jhr dem Kiiyser gleich waret,
konte sie solches in jhrem hoffertigem Gemiihte nicht
dulden noch leiden, soridern hat euch je vnd allewege
auffa eusserste, verfolget, es weren aber auch der Kiiy-
serinnen Sohne beyde kegen ewre Schwester Andronica
mit Liebe entbrant, hielten mich derwegen dazu, dais
ich jrem Gemahl solte auff den Dienst warten vnnd
vmbbringen, dafs sie darnach jhre W ollust mit sie trei-
ben konten, ich aber wartete mit allem Fleifs auff jhn,
dafs ich jhn wolte vmbbringen, hatte aber niemalen Ge-
legenheit dazu, konte jhn auch nicht antreffen vmbzu-
But what was your business on Mount Thaurin, and
who is the black devil you carry in your arms?
MoRlAN.
Never in all my life did a fellow singlehanded, so
ignominiously make me his prisoner as he did. I make
bold to say that you and your party are the veriest
devils for :fighting. I am so madly enraged, that I know
not what to do. I could curse myself. I am now your
prisoner, and if you will give me quarter and spare my
life, I will fill your ears with wonder and amazement at
what the Empress and her sons have done to your sister
Andronica, and in what manner your brothers have lost
their lives. I will also serve you faithfully against the
Emperor; but if you will not give me quarter, I will
not disclose anything, since having once surrendered I
can only die once.
VESPASIAN.
You assume a defiant tone for a prisoner, at any
rate. But tell me all the circumstances and the J;eal
truth, as to who was the perpetrator, the whereabouts;
at what time and for what cause my sister Andronica
lost her hands and tongue so pitifully; also the way my
brothers were imprisoned, and the cause for which they
were deprived of their lives. When I have learnt all
this, you shall be allowed to live.
MORlAN.
Then open your ears and mark me well. You must
know that I always was the paramour of the Empress,
both when she was still Queen of Ethiopia, and here.
But being of so overweening a disposition that she could
not bear a rival, and seeing that you and your family
stood in such high renown, and that you were so power-
1 ful and rich as to be the Emperor's equal, she could
not endure this in the pride of her heart, but seized every
opportunity to persecute you to the utmost. But the Em-
press's sons fell violently in love with your sister An-
dronica, and desired me to watch and to kill her hus-
band, that they might afterwards gratify their lust with
her. So I watched him anxiously with intent to kill
him, but never had an opportunity of doing so. Now
at the time when your father Titus Andronicus had the
great stag-hunt, at which the Emperor, the Empress
with her two sons, and likewise your sister with her
husband were present, it happened that the Empress
was walking alone in the forest to look for me. She
219 TRAGEDY OF TITUS ANDROl<-'ICUS. 220
bringen. Da nun aber die Zeit war, dais ewer Vater
Titus Andronicus die grosse Hirschjagt hielt, worauff
dann war der Kayser die Kayserin sampt jhren zween
Sohnen auch ewre Schwester Andronica sampt jhrem
Gemahl, begibt sich dafs die Kayserin nach mich gar
alleine im Waide suchet, die W ollust mit jhr zutreiben,
konte mich aber nicht finden, kompt aber an die An-
dronica vnd jhren Gemahl, die da beyde alleine seyn,
redet sie mit gar hoffertigen W orten an, die Andronica
giebt jhr nicht viele nach, sondern antwortet jhr tro-
tziglich. W oruber dann die Kiiyserio aufs bofshafftigen
Gemiihte von hinnen rennet, vorschweret sich so hoch,
dafs sie noch essen oder trincken wil, ehe dann sie
jhren Muth an jhr gekiihlet, so kommen jhr vngefiihr
jhre Sohne entkegen, dieselben vermahnet sie dafs sie
sich sollen an der Andronica rechnen, vnnd jhren Ge-
mahl an der Seiten erstechen, oder sie wil sie nicht
fiir jhre Sohne achten, sie aber seyn willig gehen mit
jhr an den Ort da Andronica ist, da erstechen sie jbren
Gemahl an der Seiten, darnach befehlet sie jhnen, dafs
sie die Andronica nehmen sollen, vnd brauchen jhre
W ollust beyde an sie, vnnd sol ten sie darnach also zu-
rich ten, dafs sie keines Menschen gleich were, also neh-
sie sie weg, hawen jhr darnach beyde Hinde abe,
reissen sie jbr die Zunge aufs, so bette nun die Kiiy-
serin weiter im Sinne, ewer gantze Gescblechte aufs-
zurotten, liefs derhalhen ewren zween Briideren, durch
mich vnnd durch Angebung meines Rechtes gefangen
nehmen, vmb gar nichtiger V rsachen willen, vnnd liefs
sie also enthiiuptgen. Damit sie sich aber kiinfftiglich
von ewrem Vater keines V ngh1cks zugewarten bette,
liefs sie jhm sagen, dafs seine Sohne groblich wieder
jhr gesiindiget hetten, vnnd miissen derhalben sterben.
So er sie aber lieb bette, solte er seine Handt fiir sie
geben, alCsdann solten sie jhm lebendig wieder zuge-
stellet werden, vexiret jhn also dazu seine streitbahre
Handt abe, schicket sie jhm wieder mit den Hiiuptern,
also habt jhr jetzt nun den gantzen Handel von mir
erstanden, auch sollet jhr zu letzte wissen, dafs die
Kiiyserin dieses Kindt vonn mir gezeuget, welches ich
wolte auff den Berg Thaurin bringen.
V ESP ASIANUS.
Ja mit wunder vnd vber wunder sein mir jetzt
meine Ohren vber deine Worter erfiillet, 0 wehe nim-
mer werde dir wol du hoffertige Kii.yserin, mit sampt
deinem Sohne, nun so bin ich dennoch so viele froli-
cher, weil ich nun alles weifs, wie es zugangen, wor-
nach ich mich wieder rich ten kan, denn in allen sols
dir so wieder vnd zehen mal arger gehen. Aber ich
habe es jetzt auch nicht nohtig, dafs ich dir dasselbige
could not find me but met Andronica and her husband,
who were there alone. She addressed them in haughty
terms; Andronica was not behindhand with her, but
replied sharply. Hereupon the Empress runs off, solemnly
vowing not to eat or drink until she bad taken revenge.
It so happened that just at that moment she met her
sons. She immediately called on them to revenge her
on Andronica by stabbing her husband at her side, de-
claring that if they did not, she would not own them as
her sons. They complied, went with her to the spot
where Andronica was, and stabbed her husband at her
side. She then ordered them to take Andronica with
them and violate her, and afterwards mutilate her in
such a manner, that she should no longer resemble a
human being. They accordingly carried her off, cut off
both her bands, and tore out her tongue. The Empress
further resolved to your whole family, and
so upon my advice she caused your two brothers to be
imprisoned upon some trivial pretence and to be be-
beaded. But in order to secure herself against being
harmed by your father she sent him word, to say that
his sons had outrageously offended her, and that they
must die on that account. But if he loved them, he was
to give up his hand for them after which they should be
returned to him alive. In this manner she tricked him
out of his warlike hand, and sent it back together with
the beads. You have now got out of me the whole affair,
and shall know in conclusion that the Empress has been
delivered of this child, which was begotten by me, and
which I was going to take to Mount Thaurin.
-
VESPASIAN.
Indeed your words fill my ears with wonder and
amazement! 0! haughty Empress, I shall never par-
don you and your sons. But I am now much more re-
signed since I know how it all came about. I know
now how to act, for you shall pay for this tenfold
over. Nor am 1 bound to kePp my promise to you,
since the accursed Empress, who had demanded my
old father's warlike hand, promising to restore his sons
221 TRAGEDY OF TITUS ANDRONICUS. 222
halte, welches ich verheissen, sintemal die verfl.uchte
Kiiyserin von meinem alten Herr Vater seine streitbare
Handt abfodert, verheifs jhm darvor seine Herren Sohne
lebendig, aber es ward nicht gehalten, derhalben Morian
mustu sterben ohne alle Gnade vnd Barmhertzigkeit.
Diener nimb jhn von hinnen. Vberantwort jhn also-
bald dem Hencker, dafs er jhn alfsbald erhencke mit
seinen Kindern.
MoRIAN.
Wo nun dem Teufel, sol ich dann nun hangen,
dafs wird mir vbel vnd vngewonet ankommen, ist dann
gar keine Barmhertzigkeit, ich bitte schencket mir mein
Leben.
V ESPASLL''i'US.
Nein dein Leben sol dir nicht geschencket seyn,
vnd nicht die geringeste Gnade haben, derhalben nimh
jhn von hinnen, dafs er alfsbald wird erhencket, vnd
das Kind mit jhm.
MORlAN.
W o nun, barre ein wenig, sol ich Hangelbeeren
fressen, kom ich heute noch zeitig genug, kan es dann
nicht anders seyn, dafs ich sterben mufs, so bin ich
willig, weil ichs gar wol vnd vorlangst verdienet. Abcr
ich bitte euch, erbarmet euch meines Kindes, vnd last
es nicht mit mir sterben, denn es hat noch nichtes ho-
ses gethan, lasset es aber zur Kriegesriistung auffer-
ziehen, so weifs ich fi1rwar, es sol ein tapffer vnd Streit-
harer Heldt werden.
V ESPASIANUS.
Deines Kindes wil ich mich erbarmen, vnd es zu
streiten vnd kempffen aufferziehen lassen, aber du mache
dich bald von hinnen.
[ Gehet fort.
MORlAN.
Hette ich doch all mein Tage nicht gedacht, dafs
ich noch solte auffs letzte erhencket werden, nun so
gehe fort vnd erhencke mich geschwinde weg, ehe ich
noch mehr dran gedencke.
[Gehen weg.
Jetzt kompt der Kayser heraufs.
KAYSER.
Solch grofs Blutvergiessen vnd gefiihrlicher Krieg
mag nicht erhOret seyn, auch dafs Rom in solche grosse
Angst vnd Gefahr gestanden, denn nun so hefftig der
V espasianus der Stadt zusetzet, so grawsam hat er die
vmbliegende St.iidte verderbet, dafs es mag zu erbar-
men seyn, 4. Feldschlachten haben wir mit jhm gehal-
ten, aber er hat sie vns alle abgewonnen, vnd ein graw-
sam mange V olcks dahin geschlachtet, streitet auch so
alive, did not keep her promise. Therefore Morlan yon
must now die without mercy. Attendant, lead him away.
Deliver him up to the hangman immediately, that he
may hang him together with his child.
MomAN.
H the devil will have it that I am to be hanged,
I don't think it will agree with me, for I am not used
to it. Is there no mercy? Pray spare my life.
VESPASIAN.
No, I shall neither spare your life nor have the least
mercy on you. Therefore take him B N ~ a y to be hanged
immediately together with his child.
MoRIAN.
Just tarry a little, if I must eat gallows pears the
day is long enough for it. So if perforce I must die,
I am ready, for I have deserved it well long ago. But
pray have pity on my child - take not away its life also,
for it is still quite innocent! Only let him be brought up
as a warrior and I am certain that he will become a
brave and warlike hero.
VESPASIAN.
I will have pity on your child and bring him up
as a warrior, but as for you, take yourself off instantly.
[E.rit.
MoRIAN.
Indeed, I should never have thought, that I was
destined to be hanged. Well then come away and hang
me quickly before I have time to think about it.
[Exeunt.
Enter EMPEROR.
Such dreadful bloodshed, - so dangerous a war are
things unheard of till now. Never has Rome been in
such trouble and peril before I But the great hardships
which V espasian inflicts upon Rome are quite equalled
by his cruel devastation of the surrounding cities. It is
piteous, piteous I Four battles have we fought against
him and lost. He has slaughtered such numbers, and he
fights so fiercely that nobody dares to come near him


223 TRAGEDY OF TITUS ANDRONICUS. 224
grawsam, dafs keiner darff in der Schlacht an jhm na-
hen, sondern fiiehen alle fiir jhm. Mein Keyserlichen
Pallast hat er gestriges Tages mir zn trotze voller Flen-
ten geschlossen, ja aile meine Kriegsleute seyn schon
zaghafftig, diirffen sich nicht zu jhm hinaufs nahen, sa-
gen, dafs sie nun in die tiigliche Erfahrnng kommen,
dafs alle welche zwn Feinde hinaufs ziehen, gewifs nicht
wieder kommPn, woriiber dPnn nun mein Hertz so be-
ingstiget, dafs ich nicht weifs, was ich anfahen sol,
denn meine Macht wird von Tage zu Tage kleiner, vnd
der Feind nimpt jmmer noch miichtiger zn, derhalben
wir seiner Macht nicht mehr konnen oder werden Wi-
derstand thun, wo man jhm nicht mit List oder Betrug
einen Schaden thut, vnd meine Keyserinne, die sich
jetzt mit jhren Bohnen vermwnschantzet, jhn nicht be-
trieget, jetzt aber ist sie hingangen, die Gotter wollen
jhn darzu favorales seyn, vnd Gnade verleihen, ich wil
hinein gehen, vnd erwarte stets mit grossen Begierden,
was sie werden aufsrichten vnd zu wege bringen konnen.
Gehet hinein, die Keyserin kompt heraufs, sampt jhren
zween Sohnen, haben Bit!h vermu7118chantzet.
K.lYSERIN.
Hertzliebe Sohne, jetzt kennet vns niemandt, denn
wir vns gnug vermumschantzet, hort mir aber, was ewer
Thun allda beyrn Tito Andronico seyn sol, jhr sollet
nun genawe achtung haben, was er fiir listige Krieges
Practicken sich wider den Keyser fiirnirnpt, dafs wir
vns alfsbald zu wissen thun, damit wir vns dafiir zu
hiiten wissen, so jhr werdet sehen, dafs sein toben vnd
wiiten sol linger wehren, vnd dieses grawsam Blutver-
giessen an die vnserigen nicht auffhoret, so sehet zu,
dafs jhr jhn, sampt seinen streitbaren Sohn V espasia-
nurn heimlich ermordet, also wird dann dieser gefehrlich
Krieg ein En de gewinnen, folget mir nun nach, wir
wollen gleich zu seinen Pallast gehen.
[ Gehen hin zu dem Palkut, roffet den alten Titum.
Holla, bolla guter Freund Titus Andronicus, kom
ein wenig zu mir herunter.
[Titus Biehet von oben hinunter.
TITUS ANDRON:
Was seyd jhr fiir welche, dafs jhr so vber mich
ruffet?
KEYS ERIN.
. Alter Titus Andronicus, wir sind deine guten Freunde,
vnd die Gotter haben mich mit diesen zu dir gesand,
dafs ich dir diese beyde sol vbergeben, denn sie von
den Gottern geordiniret, in dem Krieges W esen mit
gutem Rathe behiilfflich zuseyn, damit man seinen Fein-
den in kurtzen vberwindet.
in battle, but all fly from him. He invested my Imperial
palace yesterday in defiance of me, - nay all my soldiers
begin to flinch; they venture not to sally forth to engage
him. They say it is their daily experience, that all
who march out to meet the enemy are sure never to
return. . My heart is so oppressed that I know not
what to do, for my forces are daily reduced, and those
of the enemy are on the increase. We shall not be
able to oppose them unless we ruin him by cunning
and treachery, and unless he is deceived by my Em-
press who is now disguising herself with her sons. She
is now gone; may the Gods favour her! I will go in
and anxiously await the result.
[E.rit.
Enter the Empre&S with her two som, all in di<Jguise.
EMPRESS.
My sweet sons, nobody will know us now in thi:.<
perfect disguise; but now listen to me. This shall be
your business with Titus Andronicus. You shall closely
watch the cunning strategerns of war which he plaw
against the Emperor, that we may give information to
each other and be on our guard. And if you see that
he goes on devastating the land and ruthlessly shed-
ding our blood, then contrive to assassinate him and
his warlike son V espasian and thus put an end to thi:,.
desolating war. Follow me now to his palace imme-
diately.
[They go to the palace, and she callA old Titus.
Holla I my good friend Titus Andronicus, just come
down for a minute.
TITUS ANDRONICt:S, looking down.
Who calls me there ?
EMPRESS.
Old Titus Andronicus, we are your good friends.
and the Gods have sent me to you with these men. that
I may deliver them both to you. They are appointed by
the Gods to assist in the war by their good advi<"c. so
that we may soon conquer the enemy.
225 TRAGEDY OF TITUS ANDRONICUS. 226
TITUS ANDRON.
0 dieselben sollen mir gar angeneme seyn, vnd in
grossen Ehren von mir gehalten werden, aber jetzt kom
ich zu euch hinunter, mit Frewden zu empfahen.
[ Gehet hinunter.
IU.YSERIN.
Nun mein Lieber, ich babe jhn euch an prmsenti-
ret, vnnd gehabt euch wol, ich gehe von hinnen.
Gehet weg, nun kompt Titus AndroniCIJ.Il heraU88er.
TITUS AND RON:
Sagt mir, wo ist der Dritte geblieben?
IIELICATES.
Sie ist wiederumb von hinnen gangen, da sie vns
jhn an prmsentiret hat.
TITUS ANDRON:
Ja warlich jhr sollet mir solche willkommene Giiste
seyn, wie ich nimmermehr gehabt, Holla Soldaten, kom-
met eilends herausser.
[Kommen jhrer zween herausser.
Kompt hie, vnd haltet xnir diese beyde steiff vnd
feste. Nun jhr ehrvergessene vnd morderliche Schelme,
meynt jhr dafs ich so gar von sinnen kommen bin, dafs
ich euch nicht kennen solte.
[Ziehet jhn die Kappe vom AngeBichte.
Seyd jhr nicht der Keyserinnen Sohne, vnd meynet
mich verritherlich vmb mein Leben zu bringen. Aber
jetzt babe ich, woran ich xnich rechnen kan, bringt mir
da alfsbald ewer ein, ein scharffes Scheermesser vnd
ein Schlacht Tuch herausser. Ja jetzt hab ich ein heim-
lichen Rath bey mir erdacht, worin ich aile meine
Feinde fangen wil, vnd meinen Muth wiederumb genug-
sam an sie kii.hlen.
Jetzt kiimpt einer, bringet jhm ein schar:ffes Scheermesser
. Md Schlacht Tuch, er macht da& Tuch vmb, gleich alB
wenn er. schlachten will.
Gehe auch geschwinde hin, vnd hole ein Gefiifs.
[Gehet hin.
Vnd du kom xnit demselben Morder, den du hast,
bieber vnd halte jhm seine Gurgel herii.ber, dafs ich
sie kan abschneiden.
[ Bringt Gejiifs.
Vnd kom du hie mit deinem Gefii.fs, halt es jhme
vnter die Gurgel, vnd fange alles Blut darein.
Der elteste Bruder wird erstlich heriiber gehalten, er wil
reden, aber Bie halten jhm das Maul zu.
Titus schneidet jhm die Gurgel halb abe.
Das Blut rennet in das Gejiifs, kgen jhn da das Blut
aufsgerennet, todt an die Erden.
TITUS ANDRONICUS.
0 they shall be most welcome, and held by me in
great honour. I will come down directly, and give them
a joyful reception.
[Goes down.
EMPRESS.
My sweet sons, now I have introduced you to him,
farewell I depart.
[Ezit.
Enter TITUS ANDRONicus.
Tell me, where is the third person gone?
IIELICATES.
She went away, as soon as she had introduced us
to you.
TITUS ANDRONICUS.
Yes indeed, you shall be such welcome guests to
me as I have never had before. Holla soldiers I come
here quick!
[Enter two soldiers.
Come here and hold these two fellows fast. Now
you infamous murderous villains I do you think that I
have so entirely lost my senses not to know you?
[He unmasks them.
Are you not the sons of the Empress, and do you
not treacherously seek my life? But now I can take
my revenge. Bring me, one of you a sharp razor and
a butcher's apron. I have devised a snare wherein I
will catch all my enexnies to satiate my revenge on
them.
[A sharp razor and an apron are brought. He
puts on the apron, and makes preparations to
slaughter them.
Now go and fetch a basin quickly.
[Exit soldier.
And you come hither with the murderer you watch,
and hold his throat that I may cut it.
[A basin is brought.
And you come here with the basin and hold it
under his throat to gather all the blood.
[The eldest brother is first held down, he wishu
to epeak, but they stop his mouth. Titus half
cuts his throat. The blood runs into the basin.
After it is all run out, they lay him down
dead on the floor.
15
TRAGEDY OF TITUS ANDRONICUS. 228
Nun kom du ander auch heran.
Belt jhn eben so die Gurgel herober. Er weigert sich
hejftig zum Tode, toil reden, aber sie halten jhm das
. Maul zu.
Titus schneidet jhm in die Gurgel, das Blut wird au.ffge-
fangen, darnach todt an die Erden gelegt.
Nun babe ich jhnen die Gurgel beyde halb abge-
schnitten, was ich aber nun geschlachtet, dariiber wil
ich selber Koch seyn, die Haupter wil ich gar klein
zuhacken, vnd sie in Pasteten backen, worauff ich denn
den Keyser sampt jhrer Mutter zu gaste bitten wil, vnd
alfsbald ein Friedes Boten naeh dem Keyser schicken,
jhr aber nempt alf.sbald die COrper, vnd bringet sie mir
in die Kiichen.
[ Gehet hinein.
Bringen die Corper weg.
ACTUS OCTAVUS.
Jetzt kiimpt heraujls der Keyser, auch die Keyserin.
KAYSER.
Schone Keyserin, ich bitte erzehlet mir, waren dem
Tito Andronico ewer Sohne auch lieb, die jhr jhm an-
prresentiretet, gleich als wen sie jhm Gi)tter schicketen.
KEYSERIN.
Gnadiger Herr vnd Keyser, der alte Titus war
sehr frob driiber, kam alfsbald zu jhnen herunter, vnter
dessen gieng ich wieder weg, verhoff meine Sohne wer-
den in grossen Ehren bey jhm erhalten werden, vnd
alles was sie jhm rathen, wird er folgen, aber da kompt
jetzt ein Bote, was mag der vns gutes bringen?
Der Bote geht fiirm Keyser.
BoTE.
Gluck, Heil vnd alle W olfahrt warten auff E. Kiiys:
May: Grofsmiichtigster vnd vnuberwindlichster Keyser
von Rom, ich bin ein Bote, vnd gesand von meinem
gniidigen Herrn Tito Andronico zu Ewer Keyserlichen
May: lest ewer May: durch mich vermelden Fried vnd
Einigkeit, vnd dafs er nimmermehr keine Wehr noch
W affen wider Ewer May: fiihren wil sondern ein ewig
Verbiindnifs vnd Friede mit E. May: machen, last vns
darneben bitten, E. May: wolln mit seine schOne Key-
serin zu jhm auff ein Pancket kommen, dafs also desto
mehr Friede vnd Einigkeit mochte gemacht werden.
Now come here too, you other.
[Holds his throat in the same way. He resists
violently and wishes to speak, but they stop his
mouth. Titus cuts his throat, the blood i.! col-
lected, after which they lay him down dead.
I have now cut their throats, and what I have
slaughtered I will cook myself. I will bash up these
heads and bake them in pasties; then I will invite the
Emperor and their mother. The messenger of peace
shall be sent off at once to the Emperor. But you
make haste, take these dead bodies and carry them int{)
the kitchen.
[Exeunt with the dead bodies.
ACT VIII.
Enter the Emperor and tile Empress.
EMPEROR.
My lovely Empress, pray tell me whether Titus
Andronicus was pleased with your sons whom you in-
troduced as being sent to him by the Gods.
EMPRESS.
My lord and Emperor, old Titus was highly pleased,
and came down immediately. Meanwhile I came away,
hoping that my sons will be held in great honour by
him, and that he will follow their advice in everything.
But here comes a messenger, what good tidings may
he bring us?
MEssENGER.
All hail to your Imperial Majesty, high and mighty
and invincible Emperor of Rome. I am a messenger sent
by my noble lord Titus Andronicus to your Imperial Ma-
jesty. He bids me offer you peace and amity, he will
never again wage war against your Majesty but wishes to
enter into an eternal bond and alliance with your Ma-
jesty. I am further to entreat that your may be pleased
to come with your lovely Empress to a banquet, so
that peace and unity may be all the better esta-
blished.
229 TRAGEDY OF TITUS ANDRONICUS. 230
KAYSER.
Diese deine angetragene Botschafft, machet mir
grosse Frewde vnd W onne meines Hertzens, dafs wail
der alte Titus Andronicus Friede vnd Einigkeit mit mir
machen wil, sage jhm aber wiederumb von mir, dafs
ich mich driiber sehre erfrewet, vnd alfsbald Personlich
bey jhm mit weiner Keyserin erscheinen wiL
BoTE.
Grofsmachtiger Keyser, ich wil diese Relation weifs-
lich verrichten.
[Geket weg.
KEYSERIN.
Dieses ist wol gewifs, gniidiger Herr vnd Keyser,
dafs meine zween Sohne zu diesem Friede geredet, wei-
chen denn der alte Titus folge geleistet.
KAYSER.
Haben sie mir dieses zu wegen gebracht, so ver-
heifs ich jhnen warlich dafiir, dafs sie derhalben von
mir zu hohen Dingen sollen befordert werden. Aber
schOne Keyserin, wir wollen nicht linger seumen, son-
darn vns alfsbald zu dem Tito Andronico verfiigen.
Gehen hinein zu Titum, Bie fangen an zu ~ i e l e n , vnter
dessen wird die Ta.ffel zugerichtet, vnd die Pasteten au.ff-
getragen. Nicht lang darnach kiimpt Titus Andronicus
heraufs, hat das Tuck, so mit Blut besprll1lget, noch vmb,
vnd ein Meuer in der Hand, der Keyser vnd die Key-
serin geken hinter jhm, dar folget die Andronica vnd
V espasianus vnd Victoriades.
TITUS ANDRON!
Grofsmiichtiger Keyser vnd schOne Keyserin ich
thue mich hOchlich bedancken, dafs jhr auff meine Bitte
erschienen seyd. Ich bitte aber Ewer Majestat wolle
sich mit seiner Keyserinne setzen, vnd dieses mein ge-
ringe tractament vorlieb auff vnd annehmen.
KAYSER.
Guter Freund Titus Andronicus, hOchlich bin ich
drob erfrewet, dafs dieser blutiger gefiihrlicher Krieg
ein ende genommen, vnd wir zu Fried vnd Eintracht
seyn gerathen.
[ Geltet oben an die Ta./fel Bitzen, die Keyserin
bey jhm.
Aber sagt mir, warumb gehet jhr mit der Schiirtzen?
[ Victoriades gehet &itzll1l.
TlTUS ANDRON:
Grofsmichtiger Keyser, ich bin selber Koch ge-
worden, vnd die Paste ten fiir E. May: zugerichtet.
KAYSER.
Nun es i ~ t alles gut, ich bitte Titus, kompt mit
ewrem Sohne bey vns sitzen.
EMPEROR.
Your message, that old Titus Andronicus wishes to
make peace with me, rejoices and delights my heart.
Tell him therefore on my part, that I am highly pleased,
and that I will immediately come in person with my
Empress.
MESSENGER.
High and mighty Emperor, I will duly deliver this
message.
[Ezit.
EMPRESS.
It is quite certain, my lord and Emperor, that my
sons have brought about this tender of peace from old
Titus.
EMPEROR.
If so be that they have brought this about, I pro-
mise them high promotion. So lovely Empress, let us
not tarry longer, but betake ourselves forthwith to old
Titus Andronicus.
They go to Titus; hautboys sound, whik the tahk is being
dressed and the pies served. Presently enter Titus .An-
dronicus still wearing the blood-stained apron, and with
a knife in his hand. The Emperor and Empre-BB follow
him, then Andronica, V espasian and Victoriade&.
TITUS ANDRONICUS.
Mighty Emperor and lovely Empress, I most hum-
bly thank you for responding to my invitation. I pray
your Majesty and the Empress to be seated and kindly
to partake of my humble repast.
EMPEROR.
My good friend Titus Andronicus, I am highly re-
joiced that this bloody and desolating war is come to
an end, and that we are joined in peace and amity.
[He sit& down at the upper end of the tabre; the
Empress Bits at his Bide.
But tell me, why wear you this apron P
[ Victoriades Bits down.
TITUS ANDitONICUS.
Mighty Emperor, I have become cook myself, and
have made pasties for your Majesty.
EMPEROR.
I am right pleMed, but pray Titus, come with your
son and sit at our side.
231 TRAGEDY OF TITUS ANDRONICUS. 232
TITUS AND RON:
Nein grofsmichtiger Keyser, ich werde jetzt nicht
eitzen gehen, sondern wilE. May: dienen, du aber hertz-
lieber Sohn V espasianus, gehe sitzen, vnd leiste dem
Keyser Freundsehafft.
V ESPASIANUS.
Ja hertzlieber Vater, ewerm Befehl bin ieb jeder-
zeit willig naehzukommen.
[ Gehet Bitzen.
KAYSERIN.
Lieber Titus Andronieus, ich bitte lasset ewre Toch-
ter Andronica auch sitzen.
TITUS.
Nein sebOne Keyserin, dafs kan nicht seyn, sie mufs
fiir euch stehen vnd dienen. Ich bitte aber E. May:
wollen essen vnd frolich seyn.
' Gehet hin zu den Pasteten, schneidet dem Keyser, auch
der Keyserin davon fur, V espasianus aber i8set nichts, der
alte Titus gehet furm Tische betrii.bet spatzieren.
KAYSERIN.
Warlich die Tage meines Lebens hab ich nicht bes-
sers von Pasteten gegessen, alfs jetzt, kan aber nicht
wissen, worvon es moge zugerichtet seyn, oder was
dasselbige ist, so drein gebacket.
TITUS .ANI>RON :
0 schOne Keyserin, ich bitte, esset besser davon,
weil er euch so wol thut schmecken, worvon er aber
gemaehet, wil ich der Keyserinnen darnach erzehlen.
Schneidet noch ein Stii.cklein davon, legts der
Keyserinnen fur.
KAYSERIN.
Aber mein lieber Titus .Andronicus, saget warumb
seyd jhr so melancholisch, vnd esset nit.
TITUS ANDRON:
0 schone Keyserin, esset jhr nun wol davon, ich
aber bin voll grosser Betriibnifs, ja der Betriibste in
der gantzen Welt, dafs ich auch nicht weirs, was ich
vor Angst sol thun oder anfahen.
KAYSERIN.
.Aber ich bitte euch, saget mir warumb seyd jhr
so betriibet, vnd was hat euch betriibt gemaeht?
Titus geht fiir die Andronica.
TITUS AND RON:
Keyserin, durch dieses elende Mensche, meine hertz-
liebe Tochter, bin ich so vnmenschlich sehre betriibet.
Nun aber ist mir linger vnmiiglich, dich also elendig-
TITUS ANDRONICUS.
My gracious Emperor, I will not sit down now,
but will wait upon you, but you my dear son Vespa-
sian, go and bear the Emperor company.
VESPASIAN.
Yes my beloved father, I am ever ready to obey
your orders.
[He Bits down.
EMPRESS.
My dear Titus Andronicus, pray bid your daughter
sit also.
TITUS .ANDRONICUS.
No my lovely Empress, that cannot be; she must
stand and wait upon you. But I entreat your Majesty
to eat and be cheerful.
[He goes up to the pies, carves them, and places
portions of them before the Emperor and the
EmpreBB. V espasian eats nothing; Titus walk&
sorrowfully up and down.
EMPRESS.
I have never eaten a better pie than this in all my
life, but I cannot imagine what they are made of.
TITCS ANDRONICUS.
0 my lovely Empress, pray take some more as
you relish it so much; and I will tell my Empress after-
wards what they were made of.
[He cuts off another piece, and places it before her.
EMPRESS.
But my dear Titus Andronicus, tell me why you
are so melancholy, and why you do not eat.
T!T'GS Al-'DRONICUS.
0 my ,lovely Empress, please you eat heartily.
.As to myself I am filled with grief, indeed the most
afllicted man in the world, and know not what to do
in my aflliction.
EMPRESS
But pray tell me why are you so sorrowful, and
what has caused you this grief?
TITUS .ANDrtONicus, going up to Andronica.
My Empress, it is on account of this unhappy
damsel, my beloved daughter, that I am so deeply af-
flicted. But it is no longer possible for me to see you so
233 TRAGEDY OF TITUS ANDRONICUS. 234
lich fiir meinen Augen zusehen, vnd fiir V ngedult wil
mir mein Hertz im Leibe zerplatzen, sieh da nimh das
ZU dir.
[ Sto&&et jhr das Me&&er durch& Hertz, Bie felt
todtlich nieder zu der Erden.
KAYSER.
Ach ach Titus Andronicus, seyd jhr auch noch bey
Sinnen, wie kompts, dafs jhr ewer eigen Fleisch vnd
ermordet, ach wehe dieses erbltrmliche W esen.
TITUS ANDRON.
Ja Keyser, die grosseste Pein vnd Hellen Angest
meines Hertzen, hab ich durch jhr empfangen, aber
bOre mich recht zu, deine verfluchte vnd hoffertige Key-
serin ist eine Vrsache, denn sie meine armselige Toch-
ter durch jhre Sohne, die Hiinde hat abhawen lassen,
auch die Zunge aufsgerissen. Wisse aber nun du ver-
flucbte Keyserin, dafs du jetzt mit grosser Anmuth von
deines Sohnes Hiiuptern gegessen hast, welche ich drin-
nen gebacket.
[Keyserin zittert vnd bebet, verschrecket Bich graw-
samlich.
Nun aber soltu also keinen Mensch en mehr betrii-
ben, wie du mich gethan, nim also dieses dafiir.
[Springet mit dem Messer zu jhr, ersticht Bie an
des Keysers Seiten beym Tiscl1e.
0 mordio wehe.
[Felt todt zur Erden.
KEYSER.
0 wehe solte ich solche Mordt dolden, das ist mir
vnmiiglich.
[Zieht das Schwerdt aufs, ersticht Titum Andron:
form Tische, felt todtlich zur Erden, Vespa-
Bian: springet vber Tisch rum Keyser.
VESPASIANUS.
Nun Keyser du must wiederumb sterben, soltu auch
tausendt Leiber haben.
[Ersticht den Kayser, felt todt zur Erden.
V ICTORIADES.
Ach we he, ach we he, difs erbiirmliche vnd kliig-
liche W esen, 0 wehe nimmermehr werde ich mich kon-
\ nen zu frieden geben. Nun V espasian: das Keyser-
thumb gehOret euch jetzt zu, setzet die Krone aufl' ewer
Haupt, vii regierts mit frieden.
VESPASIANUS.
0 gnidiger Herr Vetter, was sol ich das Keyser-
thumb regieren, mein Hertz wil mir im Leibe zersprin-
gen wegen dieser Tragredi, welche nimmermehr mag
unhappy before mine eyes, and my heart is breaking
for anguish. Here take this.
[He stabs her, she falls down dead.
EMPEROR.
0 Titus Andronicus, are you in your senses? how
comes it that you murder your own flesh and blood?
0 poor creature?
TITUS ANDRONICUS.
Ay, Emperor, my heart has been wrung with pain
and anguish on her account; but hear the rest. Your
accursed and haughty Empress is the cause of this, for
it is she who made her sons cut off the hands and
tongue of my unfortunate daughter. But know ye now,
you accursed Empress, that you have just regaled your-
self upon the heads of your sons which I had baked
in this pie.
[The Empre&& trembles with horror and dismay.
But you shall no longer afflict any man, as you
have done me. Take this in return.
[He rtUJhes upon her with the knife, and stabs
her by the Bide of the Emperor at table.
(EMPRESS.)
Help I Murder I
[She dies.
EMPEROR.
0 horrible I Shall I suffer such murder? no, im-
possible!
[He draws l1is sword and pierces Titus Andro-
nicus, who falhl down dead. T' espasian leaps
over the table to the Emperor.
VESPASIAN.
Emperor, now must you die in your turn, and though
you bad a thousand lives.
[He stabs the Emperor.
V ICTORIADES.
0 woeful, woeful! most harrowing sight. Ah, I shall
never be happy again. Now Vespasian the Empire be-
longs to you; place the crown on your head, and rule
in peace.
VESPASIAN.
0 my beloved uncle I how can I rule the Empire,
when my heart is ready to break at tragedy, more
pitiful than has ever been heard of before? I know
235 TRAGEDY OF TITUS ANDRONICUS. 286
kliglicher erhOret, ich weifs fiir grots Betriibnifs nicht
was ich sol anfahen, fiihrt jhr nun die Keyserliche Crone
auff ewrem Haupte, dann jhr seyd der neheste darzu.
VICTORIADES.
0 nein ich begehre sie nimmermehr zufiihren, jhr
aber seyd ein rechter Erbe dazn, vnd seyd wegen ewer
tapffer Thaten beschreyet worden vber die gantze Welt,
das ewers gleichen nirgends ist. So wisaet jhr, daCs
das Keyserthumb viel Anfeehtung vnd Feinde hat, auch
sehr boeh von nothen hat einen streitbaren Regenten,
derhalben weigert euch nit, vnd empfahet das Keyser-
thumb, vnd machet damach allenthalben widerumb Fried,
vnd regieret es mit Einigkeit vii Frewde.
VESPASIAN:
So last vns nun hinein gehen, daCs ich die Krone
fiir jederminniglieh empfahe, aber nimmermehr werd
ich konnen frolich sein.
FINIS.
not what to do in my great sorrow. Place you the
Imperial crown on your head, for your claim is the
nearest.
V ICTORIADES.
0 no I I will never wear it. You are the lawful
heir, and are so renowned for your brave deeds all over
the world, that you have not your equal. Know then
tnat the Empire has many troubles and enemies, and
wants a warlike ruler. Therefore resist not, but accept
the Empire. Bring about a general peace, and rule in
joy and harmony.
VESPABIA.'i.
So let us then go in, that l may receive the crown
in the name of the people; but I shall never be happy
again.
Tm: END.
TRAGEDY OF FRATRICIDE PUNISHED
OR
PRINCE HAMLET OF DENMARK
ACTED IN GERMANY, ABOUT THE YEAR 1603, BY ENGLISH PLAYERS.
The TRAGEDY OF PRINCE HAMLET has been preserved to us only by a late and modernised copy of a
much older manuscript. That copy, bearing the date, "Pretz, den 27. Oktober 1710", has once been in the pos-
session of CoNRAD EKHOF, the celebrated actor and manager of the Theatre of Giltha, (born at Hamburg, Aug.
12, 1720 -died at Gotha June 16, 1778) after whose death some extracts of it were published in the "Theater-
Kalender auf dcu Jahr 1779" Gotha 24mo, pag. 47 to 60, by the care of its editor, H. A. 0. REICHARD, who in
1781 gave the full text of the play in his Periodical, "Olla Potrida", Berlin, 8vo, Part II of 1781, pag. 18 to 68.
It is entitled:
TRAGOEDIA.
'6eftrnfte mrubennorb
ober:
,Pnmlet aue
(TRAGEDY. FRATRICIDE PUNISHED, OR PRINCE HAMLET OF DENllARK.)
In the present impression the German text has been given as it stands in the "Olla Potrida".
TRAG CEDI A
VON
PRINZ HAMLET AUS DANNEMARK.
Personen.
I. Jm Prologe.
NACHT in einer gelltiruten Mucbine.
ALEcro.
THISIPHONB.
MAGBRA.
2. In der Tragoedle.
GEIST des alten Konig& von DllDnemark.
Emco, Bruder des Konigs.
HAMLET, Prinz dee ennordeten Kllnigs.
8IGRIE, die Konigin, Hamlets Mutter.
HoRATIO, ein hoher Freund des Prinzen.
CoRAMBUs, Kllniglicher Hofmarscball.
LEONRABDtJS, dessen Sohn.
OPHELIA, dessen Tocbter.
PoMI'TASMO, HofnaiT.
FRANCisco, Offizier der Wache.
JsNs, eiu Bauer.
CARL, der Principal von den Comlidianten.
CoBPORAL von der Wacbe.
ZwEI REDE.."DE BAl(DITRN.
ZwKI ScmLDWACHBl'!.
TRABANTU, }
HoFDIE!IER, l Stumme.
ZwRI 1
PROLOG US.
DIE NAcHT von oben.
lch bin die dunkle N acht, die alles schlafend maeht,
Ich bin des Morpheus W eib, der Laster Zeitvertreib,
Ich bin der Die he Schutz, und der V erliebten Trutz,
lch bin die dunkle Nacht, und hab in meiner Macht,
Die Bosheit auszuiiben, die Menschen zu betriiben,
Mein Mantel decket zu der Huren Schand' und Ruh',
Eh' PhObus noch wird prangen, will ich ein Spiel anfangen;
Ihr Kinder meiner Brust, ihr Tiichter meiner Lust,
lhr Furien, auf, auf, hervor und last euch sehen,
Kommt, bOret fleifsig zu, was kurzens soH geschehen.
TRAGEDY
OF
PRINCE HAMLET OF DENMARK.
Persom represented:
1. In the PrologoL
NIGHT, in a car, covered with stare.
ALBcro.
TIIISIPHONB.
M&GEBA.
2. Ia tbe Tragedy.
GHoST of the old King of Denmuk.
ERlco, brother to the King.
ILutLET, Prince, sou of the murdered King.
Sroms, the Queen, Hamlet's mother.
HoRATIO, the Prince's ftiend, of high rank.
CoRAMnus, Lord Chamberlain.
LKONAIU>UB, his son.
OPHELIA, his daughter,
PnANTA&Mo, the clown.
FBANClsco, Officer of the guard.
JKNS, a peasant.
CHARLES, the principal or the comedians.
A CoRPORAL of the guard.
Two RuFFIA..'<S,
Two SoLDIERS.
LII'I!l-GOARDS
SII:RVAl(TS Mute persons.
Two COMEDIANS
PROLOGUE.
NIGHT, from above.
I am the sable Night, all feel in sleep my might.
Of Morpheus I'm the wife, in vicious pleasures rife;
I'm guardian of the thief, I bring to love relief,
I am the sable Night, who have it in my might
All wickedness to do, and cause mankind to rue.
Concealed my veil shall keep the harlot's shame and sleep.
Ere Phoebus lights the sky, I have a game to try.
Y e children of my breast, daughters of lust confessed.
Ye furies, up, arise, come forth and shew your face,
Come listen all to me what shortly shall take place.
16
243 TRAGEDY OF PRINCE HAMLET OF DENMARK. 2
ALECTO.
Was sagt die dunkle N acht, die Konigin der Stille,
Was giebt sie N eues an, was ist ibr Lust und Wille?
M!GERA.
Aus Acherons :fi.nstrer Roble komm icb Miigera her,
Von dir, du Ungliicksfrau, zu Mren dein Begehr.
TmsiPHONE.
Und icb Thisiphone, was hast du vor, sag an,
Du scbwarze Hecate, ob ich dir dienen kann?
NACHT.
Hort an, ihr Furien aile drey, hOrt an, ihr Kinder
der Finstemifs und Gebarerin alles Ungliicks, hOrt an
eure mit Mohnbiiupter gekronte Konigin der Nacht, eine
Gebietherin der Diebe und Rauber, eine Freundin und
Klarheit der Mordbrenner, eine Liebhaberin des ver-
stohlnen Gutes, und hOchstgeliebte Gottin der Verlieb-
ten in Unebren, wie ofte wird mein Laster-Altar durch
diese genannte That verehret! Diese Nacht und kunfti-
gen Tag miifst ihr mir beystehn, denn es ist der Konig
dieses Reichs in Liebe gegen seines Bruders W eib ent-
brannt, welchen er um ihrenthalben ermordet, um sie
und das Konigreich zu bekommen. Nun ist die Stunde
vorhanden, dafs er sein Beylager mit ihr hlilt, ich will
meinen Mantel uber sie decken, dafs sie beyde ihre Sun-
den nicht sehn sollen, derowegen seyd bereit, den Saa-
men der U neinigkeit auszustreuen, miscbet Gift unter ihre
Eh', und Eifersucht in ihre Herzen. Legt ein Rachfeuer
an, lafst die Funken in dem ganzen Reich berumfliegen,
verwirret die Blutsfreunde in dem Lasternetz, und macht
der Holle eine Freude, damit diejenigen, welche in der
Mord-See schwimmen, bald ersaufen; gehet, eilet, und
verrichtet meinen Befehl.
TmsiPHONE.
Ich bOre schon genung, und werde bald verrichten
Mebr als die dunkle N acht von ihr selbst kann erdichten.
M.AGERA.
Der Pluto selbst soil mir so viel im Sinn nicht geben,
Als man in kurzer Zeit von mir bald wird erleben.
ALEC TO.
Ich blas' die Funken an, und mach' das Feuer brennen,
Jch will, eh's zweymal tagt, die ganze Lust zertrennen.
NACHT.
So eilt, ich fahre auf, verricbtet euren Lauf.
[Fiihrt auf. Mtuik.
ALECTO.
What saith the sable Night, the Queen of sleep and rest?
What is her wish and will, what thoughts do move her
breast?
M.EGERA.
From Aeheron's dark pit, Mregera I, appear,
From thee, ill-omened hag, thy wishes now to hear.
THISIPHONE.
And I, Thisiphone, say on what is thy plan,
Hecate thou dark one, say, I'll serve thee if I can.
NIGHT.
Listen ye furies all, listen ye three, offspring of
darkness, messengers of hate, listen to your poppy-
crowned Queen of Night, protectress of all midnight
thieves and robbers, friend and light to the incendiary,
lover of stolen property, and much-beloved goddess of
all secret and unhallowed love, bow often is my altar
honoured by this said deed I This night and coming
day I pray your help, for the sovereign of this realm
bums in lust to his brother's wife, for whose sake he
hath murdered him that he may possess her and the
kingdom. Now is the hour at band in which they
consummate their nuptials. I shall cmer them with
my mantle that they see not their sin. Wherefore be
ready to sow the seeds of discord, mingle with poison
their marriage vows, envenom their hearts with envy.
Kindle the fire of revenge, and scatter the sparks
throughout the kingdom, lead blindly brother blood into
the snare of incest, rejoice the infernal regions with
deeds of ruth and rancorous malice; be gone, speed ye
and fulfill my behests.
THISlPBONE.
Enough. I've heard enough, I hie me on my way,
And shall do more than Night e'en of herself can say.
MGERA.
Pluto himself, I swear, shall not such things conceive,
As soon performed by me, you shortly shall believe.
ALECTO.
I'll fan the glowing spark, make fiercer burn the flame,
I will, ere day dawns twice, completely spoil the game.
NIGHT.
Make haste, for I ascend, quick to your task attend.
[Ascends. Music.
245 TRAGEDY OF PRINCE HAMLET OF DENMAHK. 246
ERSTER ACT.
SCENE I.
(Zwei Soldaten.)
1. ScHILDW. Wer da?
2. ScBILDw. Gut Freund I
1. ScHILDW. Was vor Freund?
2. Scnn.nw. Schildwache l
1. ScHILDW. Oho, Camerad, kommst du, mich ab-
zulosen, ich wiinsche, dafs dir die Stunde nicht moge
so lang werden, als mir.
2. Scnn.nw. Ey, Camerad, es ist ja nun so kalt
nicht.
1. ScHILDW. Ob es gleich kalt ist, so hab ich doch
bier einen Hollenschweifs ausgehalten.
2. ScHILDW. Wie so zaghaft I das stehet keinen
Soldaten an; er mufs weder .Freund noch Feind, ja den
Teufel selbst nicht filrchten.
1. ScmLDw. Ja wenn er dich einst bey der Car-
tause kriegen wird, du wirst d.as Miserere Domine wohl
beten lernen?
2. ScHILDW. Was ist denn eigentlich deine Furcht?
1. ScHILDW. Wisse denn, dafs sich ein Gespenst an
der V orderseite des Caste Is sehen lifst, es hat mich
schon wollen zweymal von der Bastey herunterwerfen.
2. ScHILDW. So los' ab, du 'Narr, ein todter Hund
heist nicb t mehr; ich werde ja sehen, ob ein Geist, wel-
cher weder Fleisch noch Bein hat, mir wird schaden
konnen.
1. ScHILDW. Siebe nur zu, wenn es dir andere er-
scheinen wird, was es vor Handel macht; ich gehe nacb
der Hauptwache. Adieu. [ab.
2. Scnn.nw. Gehe du nur hin, vielleicht bist du ein
Sonntagskind, die sollen aile Gespenster sehen konnen,
ich warte meines Dienstes.
[Ea werden inwendig Guundheiten geblaaen.
2. Scnn.nw. Unser neuer Konig macht sich Iustig;
sie trinken Gesundheiten.
SCENE II.
GEIST du Kaniga tritt neben die Schildwache, und er-
achrickt ihn. [ab.
2. Scnn.nw. Ach heiliger Anton von Padua stehe
mir bey; nun sehe ich erstlich, was mein Camerad ge-
sagt. 0 Saint Velten, wenn nur erstlich die Hauptrunde
vorbey ware, ich llerals ein Schelm von der Post weg.
[Es wird wieder geblaaen und gepauckt.
2. Scnn.nw. Batte ich doch einen Trunk Wein
von des Konigs Tafel, damit ich mein an
gebranntes Herz begiessen konnte.
ACT I.
SCENE I.
Two Soldiers.
1. SENT. Who's there?
2. SENT. A friend I
1. SENT. What friend?
2. SENT. Sentinel.
1. SENT. HoI comrade, you come to relieve me.
I wish the hours may not be so long to you as they
have been to me.
2. SENT. Nay, comrade, 'tis not so bitter cold.
1. SENT. Cold or no, I have bad an infernal fright.
2. SENT. How now so chicken-hearted! that be-
seemeth _ not a soldier; he must fear neither friend nor
foe, nay, nor the devil himself.
1. SENT. Ay, if he once grip you behind he'll teach
you to pray Miserere Domine.
2. SENT. Tell me then, what is it that has fright-
ened you?
1. SENT. Know then that a ghost hath appeared
on the platform of the castle; twice it tried to cast me
down from the battlements.
2. SENT. Fool, I'm here to relieve you, a dead dog
bites not; I shall soon see whether a ghost which hath
neither bones nor sinews will do me any harm.
1. SENT. Only look out well, what trouble he may
give you, if he appears to you; I go to the guard-house.
Farewell. [E.xit.
2. SENT. Begone with you; - perhaps you were
born on a Sunday, and can see ghosts. I'll now mount
guard.
[HealthJJ within drunk, with ajfouri8h of trumpets.
2. SENT. Our new King takes his rouse right mer-
rily; they are drinking healths.
SCENE II.
GHOST of tl1e King apProaches the 8enfiMI. and startles
him. [ E.xit.
2. SENT. 01 St. Anthony of Padua, defend me!
Now I see for the first time what my comrade spoke of.
0 l St. Velten, an the first round were over I'd quit my
post like a rogue.
[Another flourish of drum& and kettle-drums.
2. SENT. 0! for a draught of wine from the King's
board to bedew my unmanned cowardly heart!
16"'
TRAGEDY OF PRINCE HAMLET OF DENMARK. 2 ~ 8
(GEIST giebt von kinten der SchildwacktJ eintJ Okr-
feige, dafs er die MtUJquettJ fallen liifst. [ab.
2. ScHILDW. Da spielt der Teufel leibhaftig mit.
Ach, ich bin so erschroeken, dafs ich nicht aus der Stelle
kommen kann.
SCENE UI.
HoRATIO UND SoLDATEN.
2. ScBILDW. Wer da?
HORAT. Runde!
2. Scan.nw. WBB fiir Runde?
HoRAT. Hauptrunde!
2. ScHILDW. Steh Runde! Corporal heraus, Bnr-
sche ins Gewehr I
[l<'RANCisco und Wacke heraWJ, geben da3 Wort
auf der andern SeittJ.
HoRAT. Schildwacht, gieb wol Achtung allf deinen
Posten, der Prinz mochte selbst patrolliren; dafs du ja
nicht etwan schlafest, sonst kostet es deinen besten Hals:
2. ScmLDw. Ach wenn auch die ganze Compagnie
bier wli.re, es wiirde keiner schlafen, und man mufs mich
ablosen, oder ich laufe davon, und solt ich auch morgen
an den hOchsten Galgen gehenkt werden.
HoRAT. WBB ist denn die Ursach?
2. Scan.nw. Ach, gnadiger Herr, es liifst sich aile
Viertelstunde ein Geist allhier sehn, welcher mir so viel
zusetzt, dafs ich mir einbilden mufs, als sisse ich !eben-
dig im l<'egfeuer.
l<'RANcxsco. Eben also hat mir die erste Schildwacht
auch erzlihlt, welche in der vorigen Stunde abgeloset.
2. ScHILDW. Ja, ja, verziehet nur ein wenig, es
wird nicht lange bleiben.
[Geist gehet iiber das Theater.
HoRAT. Bey meinem Leben, es ist ein Geist, und
sieht recht iihnlich dem letztverstorbenen Konig von Dan-
nemark.
l<'RANCISCO. Er gebehrdet sich klliglich, und llifst,
als ob er was sagen wollte.
HoRAT. Hierunter ist etwas verborgen.
SCENE IV.
HAMLET.
2. ScHILnw. Wer da?
HAMLET. Schweigl
2. Scmww. Wer da?
HAMLET. Schweigl
2. ScBILDW. Antwort, oder ich werde dir was an-
ders weisen.
HAMLET. Freund!
[GHOST gives the Sentinel a boz on tM ear from
behind, and make& him drop his 7nU&ket. Erit.
2. SENT. The devil himself is in this game. 0 I'm
too sore afraid to move from the spot
SCENE lli.
HoRATIO AND SoLDIERS.
2 . .SENT. Who's there?
HoRAT. Watch!
2. SENT. Which?
HoRAT. First!
2. SENT. Stand, watch - corporal out! to arms!
[FRANCisco and watch come out, give the word
from the other Bide.
HoRAT. Sentinel, look well to your post, mayhap
the Prince himself will go the rounds; look to it ye
be not found asleep, it might cost you the best head
upon your shoulders.
2. SENT. Ohl I warrant were the whole company
here, not a man amongst them all would sleep at his
post; 1 must be relieved, else I'll run for't at the risk
of hanging on the highest gallows to-morrow.
HoRAT. And wherefore?
2. SENT. l'faith, your worship, a ghost appears here
in this place every quarter of an hour, and frightens me
so horribly, I'd think I WBB all alive in purgatory.
FRANCISco. The first sentinel, who watched }ap,t
hour, has just told me the same story.
2. SENT. Ay, ay, tarry but a little while, it will
soon appear again.
[Ghost stalks acroBB thtJ 1tage.
HoRAT. Upon my life, it is a ghost, and looks ex-
tremely like the late King of Denmark I
FRANCISCO. To judge by his gestures, he is mise-
rable, and seems BB if he wished to say something.
ners.
HoRAT. There is some mystery under all this.
SCENE IV.
HAMLET
2. SENT. Who's there?
HAMLET. Hu11hl
2. SENT. Who's there?
HAMLET. Hush I
2. SENT-. Answer, or I'll teach thee better man-
HAMLET. A friend!
249 TRAGEDY OF PRINCE HAMLET O.ll' DENMARK. 250
2. ScHILDW. Was vor Freund?
ILun.ET. Des Reichs Freund.
FRANCISCO. Bey meinem Leben, es ist der Prinz I
HORAT. Ihro Durchlaucht, sind Sie es, oder nicht?
HAMLET. Siebe, Horatio, seyd Ihr esl Was macht
Ihr bier?
HoRAT. Ew. Durchl. aufzuwarten, icb babe die
W achen etwas visitirt, ob auch alle Posten wohl besetzt
seyn.
HAMLET. Ihr thut, als ein ehrlicber Soldat, denn
auf Euch ruhet des Konigs und des Reichs Sicherheit.
HoRAT. Ihro Durchlaucht, es trligt sich ein wun-
derlicher Casus zu, massen sich allhier alle Viertelstunde
ein Geist sebn lli.fst; er gleicht, meinen Einbildung(m
nach, recht dem verstorbenen Konig, Dero Herrn Vater.
Er thut auf diesem Rundeel der Schildwacht grossen
Schad en.
HAMLET. Das will ich nicht hoffen, denn die See-
len der Frommen ruben wohl his zu der Zeit ihrer Er-
neurung.
HoRAT. Es ist nicht anders, Ihro Durchlaucht, ich
babe ibn selbst gesehn.
FRANCISCO. Mich hat er sehr erschreckt, Ihro
Durchl.
2. ScHILDW. Und Inich hat er eine brave Ohrfeige
gegeben.
HAMLET. Wie ist es an der Zeit?
FRANcisco. Es ist recht Mitternacht.
HAMLET. Eben recht, denn urn dieselbe Zeit pfl.e-
gen sich die Geister sehn zu lassen, wenn sie wandeln.
[ Es wird wieder Ge&undheit geblasen.
lliMLET. Holla.l was ist dieses ?
HoRAT. Mich diinkt, als wann sie zu Hofe noch
Iustig Gesundheiten trinken.
lliMI.ET. Recht, Horatio I mein Herr Vater und
Vetter wird sich Init seinen Adhrerenten noch wacker
Iustig machen. Ach I Horatio, ich weifs nicht, warum
nach meines Herro Vaters Tod ich allezeit solche Her-
zensangst gehabt; dahergegen meine Konigliche Fran
Mutter ibn gar bald vergessen, dieser Konig aber ibn
noch eher: denn weil icb in Teutsch land gewesen, hat
er sich geschwinde zum Konig in Dannemark kronen
lassen, unter dem Schein des Rechtens aber hat er mir
die Krone von N orwegen iiberlassen, und beruft sich
auf die W a.hl der Stan de.
SCENE V.
GEIST.
2. ScHILDW. 0 wehe, der Geist kommt wiederl
HoRAT. Sehen nun Ihro Durchlaucht?
2. SENT. What friend?
HAMLET. Friend to the kingdom.
FRANCISCO. By my life, it is the Prince I
HORAT. Your Highness, is it you or no?
HAMLET. Hal Horatio, is it you? What make you
here?
HoRAT. Your Highness, I have gone the rounds,
to see that all sentries are at their posts.
HAMLET. You act as an honest soldier, for on you
rests the safety of the king and kingdom.
HoRAT. My lord, a strange thing hath happened,
in as much as a ghost appears here every quarter of an
hour. To my fancy, he is very like your father the
late king. He doeth much harm to the sentinels on
the rounds.
HAMLET. I hope not, for the souls of the pious rest
quietly till the day of their revival.
HoRAT. But so it is, my lord; I have seen him
myself.
FRANCISCO. He frightened me most horribly, my
lord.
2. SENT. And me he dealt a good .box on the ears.
HAMLET. What hour now?
FRANCISCO. Midnight hath struck.
HAMLET. 'Tis well,for it is about this time that tPe
spirits are accustomed to shew themselves when they walk.
[.Again health& drunlc to sou.nd of trumpet3.
HAMLET. Hoi What does this mean?
HoRAT. Methinks that at court they are still very
merry with their health-drinking.
HAMLET. Ay marry, Horatio! my father and uncle
keeps wassail still with his friends and followers. Ho-
ratio, I know not wherefore since my father's death
so strange a boding doth at all times weigh me down;
whereas my royal mother hath so soon forgot him, but
this king still sooner; for whilst I was in Germany, he
bad hiiuself crowned in all haste King of Denmark,
and under semblance of right made over to me the
crown of Norway appealing to the election of the
states.
SCENE V.
GnosT.
2. SENT. Look I where the spirit comes again I
HoRAT. Doth your lordship see now?
251 TRAGEDY OF PRINCE HAMLET OF DENMARK. 252
FRANCISCO. Ihro Durchlaucbt erschrecken nicht I
[Der GEIST geht ii.ber da8 Theater, und winket
Hamlet.
HAMLET. Der Geist winkt mir; lbr Herren, Sie
treten ein wenig an die Seite, Horatio mache dich nicht
zu weit, ich will den Geist folgen und sein Begehren
vemehmen. [ab.
HoRATIO. lhr Herren, wir wollen ibm folgen, da-
mit ibm kein Leid wiederfahre. [gehen ab.
[GEIST winket bi& aufs halbe Theater, und thut
etlichemal !!._0-!l M a u ~ __ a1Jf.
HAMLET. Rede, wer du bist, und sage, waa du be-
gehrest.
GEIST. Hamlet!
HAMLET. Herr I
GEIST. Hamlet!
HAMLET. W sa begebrst du?
GEIST. Hi.ire mich, Hamlet, denn die Zeit kommt
bald, dafs ich mich wieder an denselben Ort begeben
mufs, wo ich bergekommen; bOre, und gieb wohl Ach-
tung, waa ich dir erziihlen werde.
HAMLET. Rede, du seeliger Schatten meines Ko-
niglichen Herrn Vaters.
GEIST. So hc'ire, mein Sobn Hamlet, waa ich dir
erzlihlen will von deines Vaters unnatiirlichem Tode.
HAMLET. Was? unnatiirlichem Tode?
GEIST. Ja, nnnatiirlichem Tode I Wisse, dafs ich
den Gebrauch hatte, welchen mir die Natur angewohnet,
dafs ich tiiglich nach der Mahlzeit zu Mittage in meineJR
Koniglichen Lustgarten zu gehn pflegte, urn allda mich
eine Stunde der Rube zu bedienen. Als ich denn eines
Tages auch also that, siehe da kommt mein Kronsiich-
tiger Bruder zu mir, und hatte einen subtilen Saft von
Ebeno genannt bey sich; dieses Oel oder Saft bat diese
Wirkung, dafs, sobald etlicbe Tropfen von diesen unter
das menschliche Gebliit kommen, sie alsobald alle Le-
bensadem verstopfen, und ibm das Leben nehmen.
Diesen Saft gofs er mir, als icb schlief, in meine Ohren,
sobald dasselbe in den Kopf kam, mufste ich augen-
blicklich sterben, hernach gab man vor, ich hlitte einen
starken Schlagflufs bekommen. Also bin ich meines
Reichs, meines W eibes, und meines Lebens von diesem
Tyrannen beraubt.
HAMLET. Gerechter Himmel, wo dieses wabr, so
scbwor ich dir die Rache.
GEIST. lch werde nicht eher ruhen, bis mein un-
natiirlicher Tod gerochen ist. [ab.
HAMLET. Ich schwore, nicht zu ruben. bis ich mich
an diesem Brudermorder gerochen babe.
FRANcisco. Pray, my lord, be not afraid.
[The ghost stalk& over the &tage and beckon& to
Hamlet.
!Lun.ET. The spirit beckons me to go away -
Gendemen stand aside. Horatio, do not go too far. I
will follow the ghost and learn his will.
[Exit.
HoRAT. Gentlemen, let's follow him that no mis-
chief happen to him. [Exeunt.
[The ghost beckom Hamlet to the -middle of the
stage, and opens hi& jaws several times.
HAMLET. Speak, who art thou? say, what tboo
desirest?
GHOST. Hamlet!
HAMLET . Sir!
GHOST. Hamlet!
HAMLET. What desirest thou?
GHOST. Mark me, Hamlet, for the time draws near
when I must return to whence I came: list, and mark
thou well what I shall tell thee.
HAMLET. Speak, thou departed spirit of my royal
father.
GHOST. Then listen, Hamlet, my son, what rm
about to tell thee of thy father's most unnatural death.
HAMLET. What? Unnatural death?
GHOST. Ay, unnatural death. Know that it was
my custom, which nature had made habitual to me, to
retire every afternoon within my royal orchard, there
to enjoy an hour's repose. One day, when doing this
as usual, behold my crown-thirsty brother comes to me,
bearing with him a phial of the subtle juice of hebenon;
this oil or juice hath this effect, that as soon as a few
drops' of it mix with the blood of man, it immediately
stops up the veins, and takes away life. While I slept,
he poured this juice into my ear, which entering my
bead, I could not but die immediately; whereupon it
was given out I bad died of apoplexy. Thus was I
robbed of kingdom, wife, and life by this foul t)Tant.
HAMLET. Just heaven, if this be true, I swear re-
venge.
GHOST. I cannot rest until my most unnatural
murder be revenged. [Exit.
HAMLET. I swear I will not rest till this foul mur-
der be revenged.
258 TRAGEDY OF PRINCE HAMLET OF DENMARK. 254:
SCENE VI.
HORATIO. HAMI.ET. FRANCISCO.
HORAT. Wie stehts mit lhro Durchlaucht? wie so
erschrocken? Raben Sie sicb vielleicht alterirt?
HAMLET. Ach freylich, und zwar iiber die m!U!fsen I
HoRAT. Raben Ihro Durchlaueht den Geist gesehn?
HAMLET. J a I sieherlieh bah ich ihn gesehn, aueh
mit ibm geredet.
HoaAT. 0 Himmel, dieses wird etwas Sonderliches
bedeuten!
HAMLET. Er hat mir cine greuliche Bache offenbart,
darum bitte ich, Ihr Herren, stehet mir bey in eiher
Sache, welche Rache erfodert.
HoRAT . Meiner Treue sind Sie gewifs versichert,
darum offenbaren Sie mir es nur.
FRANCisco. Thro Durchlaucht zweifeln an meiner
Hiilfe auch nichtl
HAMLET. Thr Herren, ehe und bevor ich Euch sol
ches offenbare, so solt lhr mir bey Ehre und Treu ei-
nen Eid scbworen.
FRA:scisco. Ihro Durchlaucht wissen, dafs ich Sic
hOchst liebe, ich will auch gem mein Leben darbey
aufsetzen, wenn Sie sich riichen wollen.
HoRAT. Sie fordem nur den Eid von uns, wir
wollen Sie getreu beystehn.
HAMLET. So leget Eure Finger auf meinen Degen:
Wir schworen.
HoRAT. und FRANciSco. Wir schworen.
GEIST [inwendig]. W i ~ . schworen.
HAMLET. Rolla! was ist dieses? Noch einmal, wir
schworen.
HORAT. und FRANCisco. Wir schworen.
GEIST. Wf schworen.
HAMLET. Dieses mufs was Sonderliches bedeuten.
Kommt noch einmal, wir wollen auf die andre Seite
gehn. Wir schworen.
HoRAT. und FRANciSco. Wir schworen.
GEIST. \Y.ir schworen.
HAMLET. Was ist dieses? Sollte wohl ein Echo den
Wiederschall von unsem W orten wieder zuriickschicken.
Kommt wir wollen noch an einen andem Ort gehen.
Wir scbworen.
GEisT. "1! scbworen.
HAMLET. 0 ich bore schon, was dieses ist: es
scheinet, dafs der Geist meines Berm Vaters nicbt da
mit zufrieden, dafs ichs offenbaren soiL Ihr Herren,
ich bitte, verlafst mich, ich will Euch morgen alles of
fenbaren.
HoRAT. und FRANCISCO. Ihro Durchlauebt Ieben
wohl. [Franci8co ab.
SCENE VI.
HoRATIO. HAMLET. .FRANcisco.
HORAT. How is't, my noble lord? How so terror-
stricken? Mayhap you've suffered offence?
HAMLET. Why yes, Horatio, beyond all measure.
Hoau. Have you seen the ghost, my lord?
HAMLET. Ay, verily I have seen it, and held dis-
course with it too.
HoRAT. 0 Heavens! this bodeth something strange!
HAMLET. He hath revealed to me a horrible thing;
therefore, I pray you, gentlemen, stand by me in a
matter that demandeth vengeance.
HoaAT. Most certainly you are assured of my
loyalty; only explain, my lord.
FRANciSco. Your lordship cannot doubt of my aid
in this matter.
HAMLET. Gentlemen, before I make this matter
known to you, you must swear an oath by your loyalty
and honour.
FRANciSco. Your lordship knows the love I bear
you - and how willingly I would lend my life if you
wish to be revenged.
HoaAT. Ask us then to swear, and we will stand
by you loyally and faithfully.
HAMLET. Then swear by my sword.
HoRAT. and FRANciSco. We swear.
GHOST [within]. We swear.
HAMLET. Ha, ha, what's this! Again, we swear.
HoRAT. and FRANcisco. We swear.
GHOST. We swear.
HAMLET. 0 this is wondrous strange! Come, once
more; we will shift our ground. We swear.
HoRAT. and FRANcisco. We swear.
GHOST. We swear.
HAMLET. What is this? Can there be an echo here,
to give us back our words? Come, gentlemen, we will
go to another spot. We swear.
GHoST. We swear.
HAMLET. 01 now I understand what it is. The
spirit of my father is perturbed that 1 should make this
matter known. Good friends, leave me - to-morrow
I will reveal the whole to Y!>U.
HoRAT. and FRANCisco. My lord, farewell I
[E.cit FrancUco.
255 TRAGEDY m' PRINCE HAMLET OF DENMARK. 256
HAMLET. Horatio, komm her.
HoRAT. Was verlangen Eure Durchlaucht?
HAMLET. 1st der andre weg?
HoiUT. Ja, er ist scbon weg.
HAMLET. lcb weifs, Horatio, du bist mir jederzeit
getreu gewesen, dir will ichs oft'enbaren, was mir der
Geist gesagt, nemlich dafs mein Vater eines unnatiirli-
chen Todes gestorben. Mein Vater, der anjetzo auch
mein Vater ist, der hat ibn ermordet.
HoRAT. 0 Himmel, was hOre ich!
HAl\lLET. Du weifst, Horatio, dafs mein seeliger Herr
Vater die Gewohnheit hatte, dafs er taglicb nach der
Mittagsmahlzeit in seinem Lustgarten sich einer Stunde
des Schlafs bediente. Solches dieser Bosewicht wissend,
kommt zu meinem Herrn Vater, und im Schlaf giefst
er ibm den Saft von Ebeno in das Ohr, dafs er also-
bald von diesem starken Gift mufs den Geist aufgeben.
Dieses bat der verfiucbte Hund darum gethan, die Krone
zu erlangen: aber von dieser Stunde an will ich anfan-
gen cine simulirte Tollheit, und in derselben Simulation
will ich meine Rolle so artig spielen, bis ich Gelegen-
heit fin de, meines Herrn Vaters Tod zu riichen.
HoRAT. 1st es also, Ihro Durchlaucht, so will ich
Sie getreue Hand bieten. .
HAMLET. Horatio, icb will micb an d.iesen Kron-
siichtigen, an diesen Ehebrecher und Murder also riichen,
dafs die Nachwelt der Ewigkeit davon nacbsagen soil;
ich will itzund gehn, und ibm verstellterwcise aufwar-
ten, his dafs ich Gelegenheit finde, die Rache auszuiiben.
[Gehen ab.
SCENE VII.
Koxm. KoNIGINN. HAMLET. CoRAl\lBUS und Staat.
Koxm. Obschon unsers Herrn Bruders Tod noch
in friscbem Gediichtnifs bey jedermann ist, und uns ge-
bietet, alle Solennitaten einzustellen, werden wir docb
anjetzo genothiget, unsere scbwarze Trauerkleider in Car-
mosin, Purpur und Scbarlacb zu verandern, weil nun-
mebro meines seeligen Herro Bruders hinterhliebene
Wittwe unsere liebste Gemahlin worden; darum erzeige
sich ein jeder freudig, und mache sicb unser Lust theil-
baftig. lbr aber, Prinz Hamlet, gebet Euch zufrieden;
sehet bier Eure Frau Mutter, wie traurig und betriibt
dafs sie ist iiber Eure Melancholic. Auch baben wir
vernommen, dafs lhr gesonnen seyd, wieder nacb Wit-
tenberg zu reisen, tbut solches nicht Eurer Mutter we-
gen; bleibt bier, denn wir Euch lie ben und gerne sehen,
wollten also nicht gerne, dafs Euch einiger Schade wie-
derfahren sollte, bleibt bey uns am Ilofe, oder wo ja
nicht, so konnt Ihr Euch nach Norwegen in Euer Ko-
nigreich begeben.
HAMLET. Come hither, Horatio.
HoRAT. My lord, what is your will?
HAMLET. Is the other away?
HoRAT. Ay, he is away.
HAMLET. I know, Horatio, thou hast at all times
been faithful to me, wherefore to thee will I reveal what
the ghost bath told me, namely, that my father died an
unnatural death. My father, be who is now my father,
bath murdered him.
HORAT. 0 heavens! what do I hear!
HAMLET. Thou know'st, Horatio, that my late father
was accustomed to sleep an hour every day after dinner
within his orchard. Knowing this, the villain comes to
my father and pours the juice of hebenon into his ear
while he is asleep; and thereupon, affected by this strong
poison, he immediately yields up the ghost. And this
the accursed dog hath done to win the crown: but from
this hour I will put on the semblance of madness, and
play my part so prettily, that surely I shall find occasion
to revenge my father's death.
HORAT. My lord, if the matter stands thus, I offer
you the hand of faithful fellowship.
HAMLET. Horatio, I swear so to revenge myself
on this envious thief, this adulterer, this murderer, that
posterity shall speak of it to all eternity; now I go,
and with dissembling art will wait upon him till I find
an opportunity to take revenge.
[E.reunt.
SCENE Vll.
K.ING, QUEEN, RAlllLET, CoRAMBUS, and Attendant&.
Krna. Though yet of our dear brother's death the
memory is green to all and it befi.tteth us to suspend
all joyous demonstrations, yet from this time 'tis mt>et
we change our suits of solemn black to crimson, purple,
and scarlet, seeing my sometime late brother's widow has
now become our dearest spouse. Wherefore I pray you,
let each one show a joyous countenance and share our
mirth. But you, Prince Hamlet, content ye; see here
your mother, how sad and full of grief she is that ye
are melancholy. Likewise we have learned your intent
to go back to Wittenberg. We do beseech you remain
here for the sake of your mother. Stay with us, for we
love you and like to see you, and should not like any
harm to overtake you. Stay with us at court, or if not,
betake yourself to Norway, to your kingdom.
257 TRAGEDY OF PRINCE HAMLET OF DENMARK.
258
KliNIGIN. Sohn Prinz Hamlet, es nimmt
uns grofs Wunder, dafs lhr Euch habt vorgenommen,
von hier zu reisen, und Euch nacher Wittenberg zu be-
geben. Nun wisset Ihr ja wohl, dafs Euer Koniglicher
Herr Vater unlingst Todes verblichen, weswegen uns
grofse Traurigkeit und Melancholie zu Herzen gestofsen,
und wenn Ihr solltet von uns reisen, wii.rde sich dieselbe
ein grofses vermehren; darum, liebster Sohn, bleibt hier:
aile Freude und Lust, so Euch beliebt, sollt Ihr ohne
W eigerung geniefsen.
HAMLET. lhrem Befehl will ich von Herzen gem ge-
horsamen, und vor diesesmal hier bleiben und nicht ver-
reisen.
KoNIG. Thut solches, liebster Prinz. Aber Coram-
bus, wie ist es mit eurem Sohn Leonhardo, ist er
hinweg nacher Frankreich verreiset.
CoRum. Ja, gnidiger Herr und Konig, er ist schon
weg.
KoNIG. 1st es aber mit eurem Cousens geschehen?
CoRAMB. Ja, mit Ober-Consens, mit Mittel-Con-
sene und mit Unter-Consens. 0, Ihro Majestat, er hat
einen iiber die maafsen herrlichen, treflichen, priichtigen
Cousens von mir bekommen.
KoNIG. W eilen er mit eurem Cousens verreiset, so
mag es ibm wohlgehen, und die Gotter wollen ibm ge-
sund wieder anhero helfen. Wir aber sind gesonnen,
ein Carisell anzustellen, damit unserer liebsten Gemah-
lin die Traurigkeit vergehe. Ihr aber, Prinz Hamlet,
sollet Euch auch nebst andern hohen Personen Iustig
erzeigen , vor diesesmal aber wollen wir der Lustig-
keit ein Ende machen, weil der Tag sich nahet, die
schwarze Nacht zu vertreiben. Sie aber, wertheste Ge-
mahlin, werd ich nach lhrem Schlafgemach begleiten.
Kommt, lafst uns Hand in Hand, und Arm urn Arm
einschliefsen,
Lafst uns das siifse Pfand der Lieb und Ruh geniefsen.
ZWEYTER ACT.
SCENE I.
KoNrG. KoNrmN.
K6NIG. Liebste Gemahlin, wie kommt es, dafs Ihr
so traurig seyd, Sie entdecke doch die Ursache lhrer Be-
trii.bnisse, Sie ist ja unsere Konigin, wir lieben Sie, und
alles, was das ganze Reich vermag, ist lhr eigen, wor-
ii.ber hat Sie sicb denn zu betrii.ben?
KoNIGIN. Mein Konig, ich babe grofse Betrii.bnisse
ii.ber die Melancholic meines Sohnes Hamlets, welcher
mein einziger Prinz ist, und dieses schmerzt mich.
QUEEN. My much loved son, Prince Hamlet, it
greatly doth astonish us to learn your intent to leave
us and to go to Wittenberg. You know full well your
royal father died a short time ago, which causeth us
great sadness and heaviness of heart, and should you
go from us, it would increase the same; for which
reason, dear son, stay with us: you shall enjoy your
fill of pleasure at our court without restraint, an it so
pleaseth you.
HAMLET. I shall obey you with all my heart, Ma-
dam, I will not go, but will remain here.
KING. Do so, dear Prince! Say, Corambus, how
is it with your son Leonardo. Is he already gone to
France?
CoRAMB. Ay, my gracious lord and king, he is.
KING. But had he your consent, Corambus?
CoRAMB. Ay marry, your majesty, he got a top
consent, a bottom consent, and a middle consent! I'faitb
he got a rare, a wonderful, a most excellent consent
from me.
KING. As he has your consent, I hope he may
prosper, and that the gods may speed him hither again
in peace and safety. Now for ourself, it is our will to
hold a carousal, that an end may be put to our dear
spouse's grief. And you, Prince Hamlet, and other noble
persons of our court, shew yourselves mirthful; but for
this present we shall break up our festivities, for the
day is approaching to put black night to flight. You,
my dearest consort, shall I follow to your bed-chamber.
Come, let us hand in hand and arm in arm entwine,
Ourselves to the sweet joys of love and rest resign.
ACT II.
SCENE I.
KING. Qt:EEN.
KING. Dearest consort, whence comes it that you
are so sad? Pray tell me the cause of your melancholy l
You are our Queen; we love you, and all we have is
yours, even to the whole of our Kingdom. What is it
then that troubles you?
QcEEN. My gracious lord and master, I am greatly
troubled at the melancholy of my son Hamlet, who is
my only prince; it is this that grieves me.
17
259 TRAGEDY OF PRINCE HAMLET OF DENMARK. 260
KliNIG. Wie? ist er melancbolisch ?. Wir wollen alle
vornehme Doctores und Aerzte in unserm ganzen Ko-
nigreich zusammen verschreiben, damit ibm geholfen
werde.
SCENE II.
CoRAMBUS ZU diesen.
CoRAMBUS. Neue Zeutung, gnadiger Herr und Konig!
KoNIG. Was ist denn N eues vorhanden?
CoRAMB. Prinz Hamlet ist toll, ja so toll, als der
griechische Tolleran jemals gewesen.
KONIG. Und warum ist er toll?
CoRAMB. Darum, dafs er seinen V erstand verloren.
KoNIG. 'Vo hat er denn seinen V erstand verloren?
CoRAMB. Das weirs ich nicht, das mag derjenige
wissen, welcher ibn gefunden hat.
SCENE Ill.
OPHELIA.
OPHELIA. Ach, Herr Vater, beschirmet mich l
CoRAMB. Was ist es denn, mein Kind?
OPHELIA. Ach, Herr Vater, Prinz Hamlet plagt
mich, ich kann keinen Frieden fiir i.hn haben l
CoRAMB. Stelle dich zufrieden, Hebe Tochter: aber
er hat dich ja sonsten nichts gethan. 0 nun weifs ich
schon, warum Prinz Hamlet toll ist; er ist gewirs in
meine Tochter verliebt?
KoNIG. Hat denn die Liebe eine solche Kraft, ei.nen
Menschen toll r;u machen ?
CoRAMB. Gniidiger Herr und Konig, freylich ist sie
kraftig genug, ei.nen Menschen toll zu machen. Denn
ich gedenke noch, da ich noch jung war, wie mi.ch die
Liebe plagte, ja sie hat mich so toll gemacht, als ei.nen
Miirzhaasen, anjetzo aber acht ich sie nicht mehr: Ich
sitze lieber bey dem Ofen, und ziihle meine rothe Pfen-
nige, und trinke Ihro Majestat Gesundheit.
KoNIG. Kann man aber seine Raserey und Tollheit
nicht selbst in Augenschein nehmen?
CoRAMB. Ja, lhro Majestat, wir wollen nur ein we-
nig an die Seite treten, und meine Tocht.er soll ihm das
Kleinod, welches er ihr verebrt hat, zeigen, so konnen
Ihro Majestat seine Tollheit sehn.
KoNIG. Liebste Gemahlin, Sie lasse sich belieben,
i.n Ihr Gemach zu gehn, wir wollen unterdessen seine
Tollheit in Augenschein nehmen. [verstecken sich.
SCENE IV.
-HAMLET und OPHELIA.
OPHELIA. :E{ure Durchlaucht nehmen doch da.s Kleinod
wieder, welches Sie mir geschenket.
KINo. What! is he melancholy? Then will we gather
together all the learned doctors and physicians through-
out our whole Kingdom, that they may bring him aid.
SCENE II.
CoRAMBus, to the above.
CoRAMB. News, news! my gracioU8 lord and king!
KINo. What news, CorambU8?
CoRAMB. Prince Hamlet is mad, aye, as mad as ever
the Greek madman was.
KINo. And wherefore is he mad?
CoRAMB. Because he hath lost his wits.
KINo. Where hath he lost his wits?
. CoRAMB. that I know not, mayhap he knows who
hath found them.
SCENE III.
OPHELIA.
OPHELIA. Alas I my father protect me.
CoRAMB. How now Ophelia, what aileth thee?
OPHELIA. Alas l my father, Prince Hamlet doth
plague me; I can have no peace for him.
CoRAMB. Never mil),d it, my dear daughter. But
tell me, he hath not done anything else to you? 0!
now I know why Prince Hamlet is mad: he is certainly
in love with my daughter.
KINo. Hath love then so much potency that it
depriveth a man of his wits.
CoRAMB. My gracious master and king, most as-
suredly is love potent enough to deprive a man of his
wits. I remember when I myself was young, bow love
plagued me, - nay, but it made me mad as a march
hare. But now, I care for it no longer. I prefer to sit
by the fire, to my bright new coins, and drink
your Majesty's health.
KING. May not ourselves be a witness to his
distempered fancies?
CoRAMB. Yes, your Majesty. We will stand a little
on one side, and my daughter shall shew him the jewel
which he has !Jiven her. Then will your Majesty be able
to see his madness.
KINo. Dearest wife, we beseech yon, go to your
chamber. Meanwhile we will be a witness of his mad-
ness. the1118elc&.
SCENE IV.
HAMLET. OPHELIA.
OPHELIA. I pray your Highness to take back the
jewel which you gave me.
261 TRAGEDY OF PRINCE HAMLET OF DENMARK. 262
HAMLET. Was, Midchen, willst du gern einen Mann
haben? Gehe weg von mir - doch, komm her. Hore,
Miidchen, ihr J ungfem, ihr thut nichts anders, als die
junge Gesellen verfiihren, cure SchOnheit kauft ihr bey
den Apothekern und Kriimem: hOret, ich will eueh eine
Historic erziihlen. Es war ein Kavalier in Anion, der
verliebte sich in eine Dame, welche anzusehen war wie
die Gottin Venus, wie sie nun sollten zueammen zu
Bette gehen, ging die Braut vor, und fi.ng an, eieh aus-
zuziehen, nahm erstlieh das eine Auge aue, welches kiinst-
lieherweise war eingesetzt, hernach die V orderziihne,
welche von Elfenbein auch so kiinstlieh waren einge-
macht, dafs mans nicht sehn konnte, hernach wuseh sie
sich, da ging die Sehminke, womit sie sieh angestriehen
hatte, auch fort. Der Brautigam kam endlieh, gedaehte
seine Braut zu umfangen, wie er sie aber ansichtig ward,
erschrak er, und gedachte, es ware ein Gespenst. Also
betriigt ihr die Junggesellen, darum hOret mieh auch.
Aber warte, Midchen - doch, gehe nur fort nach dem
Kloster, aber nicht nach einem Kloster, wo zwey Paar
Pantoffeln vor dein Bette stehen. [ab.
CoRAMB. 1st er nicht perfect und veritabel toll,
gniidiger Herr und Konig.
KoNIG. Corambus, verlafs uns, wenn wir werden
euch vonnothen haben, wollen wir eueh sehon rufen
lassen. [Corambm ab.] Wir haben des Prinzen Tollheit
und Raserey mit grofser V erwunderung gesehn, uns diinkt
aber, dafs es keine rechte Tollheit, sondern vielmehr cine
simulirte sey; wir miissen verschaffen, dafs er
an--die Seite gar ums Leben gebracht werde, es
mochte sonst was Uebels daraue entstehen. [ab.
SCENE V.
liAMLET. HoRATIO.
H.un.ET. Mein werther Freund, Horatio, durch diese
angenommene Tollheit hoffe ich Gelegenheit zu bekom
men, meines Vaters Tod zu riichen. Ihr wifst aber, mein
Vater ist allezeit mit vielen Trabanten umgeben, darum
so es etwa mir mifslingen mi.ichte, und ihr etwa meinen
Leichnam fi.ndet, so lafst ibn doch ehrlich zu der Erden
bestiitigen, denn die erste Gelegenheit, die ich fi.nde,
werde ich mich an ibm wagen,
HoRAT. lch bitte lhro Durehlaucht, Sie wollen
solches nicht thun, vielleicht hat Sie der Geist betrogen.
HAMLET. 0 nein, seine W orte waren allzuwohl aus-
gesprochen, ich kann ibm wohl Glauben geben. Was
aber brlngt der alte Narr Neues?
SCE:NE VI.
ConAMBus.
CoRAMB. Neue Zeitung, gnlidiger Herr! Die Comi.i-
dianten sind angekommen.
1 HAMLET. What, maiden! dost thmrwant a husband?
Get thee from me - nay, pr'ythee come back. List girl,
you maidens do make nothing but fools of us bachelors,
you buy your beauty of the apothecaries and pedlers;
listen while I tell thee a tale. There lived once a cavalier
in Anion, who fell in love with a lady, who, to look
at, was like the goddess Venus. Now when they were to
go to bed together, the bride went before and began to
undress. First she took out one eye, which had been set
in a most artificial manner - then the front teeth made
of ivory, likewise wrought with utmost art, whereupon
she washed, and the skillfully laid on paint disappeared
also. At length came the bridegroom expecting to em-
brace his bride. But as soon as he caught sight of her,
he started back, for he thought he saw a ghost. Thus
it is ye deceive us bachelors; therefore listen to me.
Pr'ythee tarry maiden - nay go, go thy ways to a nun-
nery, but not to a nunnery where two pair of slippers
stand at the bedside.
[E.rit.
CoRAMB. Is he not truly and veritably mad my
gracious lord?
KINo. Corambus leave us now. when we have
need of you, we'll send for you. [E.rit Coramb.] We
have heard the Prince's distempered fancies with great
wonder and astonishment. It seems to us no real mad-
ness, but rather dissembled, We must contrive to get
rid of him, or perhaps indeed put him out of the way
altogether, or else some harm may come of it.
[E.rit.
SCENE V.
HAMLET. HORATIO.
HAMLET. Horatio, my good friend, I trust by my
dissembled madness to hit upon a fitting time for re-
venging my father's death. You know my father is at
all times surrounded with his guards, for which reason
my attempt may fail. Should fOU perchance find my
body, have it honourably buried, for on the first oeca
sion whit.h present itself, I shall try my chance with him.
HoRAT. 1 entreat your lordship to do nothing of
the kind. Perchance the ghost hath deceived you.
HAMLET. No, oh not the words he uttered were too
lucid and distinctly spoken. J believe him, ay, that I
do. Ha I what news brings that old fool?
SCENE VI.
CORAMBUS.
CoRAMB. News, news! my lord! l have news to
tell you. The actors are come, my lord.
17
(
263 TRAGEDY OF PRINCE HAMLET OF DENMARK. 264
HAMLET. Da Marus Russig ein Comodiant war zu
Rom, was war da vor eine sclifine Zeit l
CoRAMB. Ha, ha, ha I Allezeit vexiren mich Ihro
Hoheiten.
HAMLET. 0 Jeptha, Jeptha, was hast du vor ein
schOnes Tochterlein!
CoRAMB. Alle Zeiten wollen lhro Hoheiten, dafs
meine Tochter soll herhalten.
HAMLET. Wohlan, Alter, lafs den Meister von den
Comodianten hereinkommen.
CoRAMB. Es soil geschehn. [ab.
HAMLET. Diese Comodianten kommen eben recht,
denn durch ihnen will ich probiren, ob mich der Geist
mit 'V ahrheit berichtet, oder nicht. Ich babe vor diesem
eine TragOdie gesehn, dafs ein Bruder den andern im
Garten ermordet, diese sollen sie agiren; wird sich der
Konig nun entfarben, so hat er gethan, was mir der
Geist gesagt hat.
SCENE VII.
CoM6DIANTEN. PRINciPAL CARL.
CARL. Ihro Hoheiten wollen die Gi.itter allezeit mit
Seegen, Gliick und Gesundheit beschenken.
HAMLET. Ich dank euch, mein Freund, was ver-
langet ihr?
CARL. Ihro Hoheiten wollen uns in Gnaden ver-
zeihen, wir sind fremde hochteutsche Comodianten, und
hiitten gewiinscht, das Gliick zu haben, auf lhro Ma-
jestat des Konigs Beylager zu agiren, allein das Gliick
hat uns den Riicken, der contraire Wind aber das Ge-
sichte zugekehret, ersuchen also an Ihro Hoheiten, ob
wir nicht noch cine Historic vorstellen konnten, damit
wir unsere weite Reise nicht gar umsonst mochten ge-
than haben.
HAMLET. Seyd ihr nicht vor wenig Jahren zu Wit-
tenberg ,auf der Universitat gewesen, mich diinckt, ich
habe euch da sehn agiren.
CARL. J a, Ihro Hoheiten, wir sind von denselben
Comodianten.
HAMLET. Habt ihr dieselbe Compagnie noch ganz
bey euch.
CARL. Wir sind zwar nicht so stark, weilen etliche
Studenten in Hamburg Condition genommen, doch seynd
wir zu vielen lustigen Comodien und Tragodien stark
genug.
HAMLET. Konnt ihr uns nun wohl diese Nacht eine
Comodie priisentiren?
CARL. Ja, Ihro Hoheiten, wir sind stark und exer-
cirt genug.
HAMLET. When Marins Roscius was an actor at
Rome, what fine times those were!
CoRAMB. Ha, ha, ha, how you always do laugh at
me, my lord!
HAMLET. 0! Jephthah, Jephthahl what a fair
daughter hast thou!
CoRAMB. Why, my lord, you are still harping on
my daughter.
HAMLET. Well, well, old graybeard, let the master
of the actors come in.
CoRAMB. I will, my lord. [E.tit.
HAMLET. These actors come in the nick of time,
for through them I shall prove whether the ghost's story
'is true or no. I have once seen a tragedy wherein one
brother murders the other in the garden; this shall they
act. And if the king turn pale, then has he done what
the ghost has told me.
SCENE VII.
ACTORS. CHARLES, THE PRINCIPAL.
CHARLES. May the gods bestow on your Highness
peace, happiness, and health!
HAMLET. I thank you, my friend. What brings
you hither?
CHARLES. Pardon, your Highness, but we are strange
High-German actors, and were ambitious of the honour
of acting at his Majesty's wedding. But Fortune turned
her back on us, and contrary winds their face towards
us. We therefore beseech your Highness to allow us to
act a story, that our long journey be not all in vain.
HAMLET. Were you not some years ago at the
University at Wittenberg? It seems to me I have seen
you act before.
CHARLES. Yes, your Highness, we are the self same
actors.
HAMLET. Have you the whole of the same company
still?
CHARLES. We are not quite so numerous, becall!!e
some students took engagements in Hamburg. Never-
theless we are numerous enough for many merry co-
medies and tragedies.
HAMLET. Could you give us a play to-night?
CHARLES. Yes, your Highness, we are numerous
enough, and well practised.
265 TRAGEDY OF PRINCE HAMLET OF DENMARK. 266
HAMLET. Habt ihr noch alle drey W eibspersonen
bey eucb, sie agirten sehr wohl?
CARL. Nein, nur zwey, die eine ist mit ihrem Mann
an den Sichsischen Hof geblieben.
HAMLET. Wie ihr zu Wittenberg waret, so agirtet
ihr dazumal gute Comodien. Allein, ihr .hattet etliche
Bursche bey euch, die batten gute Kleider an, aber
schwarze Hemden, etliche batten Stiefeln an, aber keine
Sporen.
CARL. Ihro Hoheiten, man kann oft nicht alles
haben, vielleicht haben sie gedacht, sie diirfen nicht
rei ten.
HAMLET. Doch ist es besser, wenn alles accurat ist:
doch hOret noch mehr, und bitte zu verzeihen, ihr hOret
oft nicht gleich, was die Zuschauer urtheilen, denn da
waren auch etliche, die batten seidne Striimpfe und weisse
Schuh an, aber auf dem Haupte batten sie schwarn
Hiite, die waren voll Federn, unten bald so voll als
oben, die Plomaschen waren, ich glaube, sie musten an-
statt der Schlafmiitzen damit in den Betten gelegen
haben, das steht so schlimm, und ist Ieicht zu andern.
. Auch konnt ihr wohl etlichen davon sagen, wenn sie
eine konigliche oder fiirstliche Person agiren, dafs sie doch
nicht so sehr gucken, wenn sie ein Compliment gegen
eine Dame machen, auch nicht so viel spanische Pfauen-
tritte und solche Fechtermienen, denn ein Potentat lacht
dariiber, fein naturell ist das beste: der einen Konig
agiret, mufs sich einbilden, dafs er in dem Spiel ein
Konig sey, und ein Bauer auch wie ein Bauer.
CARL. Ihro Hoheit, ich nehme mit unterthiiniger
Ehrerbietung diese Correction an, und werden uns kiinf-
1 tig besser gewohnen.
1 HAMLET. Ich bin ein grofser Liebhaber eurer Ex-
' ercitien, und meine es nicht iibel, denn man kan in ei-
nem Spiegel seine Flecken sehen : Horet mir nun, ihr
agirtet dazumahlen eine Materie in Wittenberg von dem
Konig Pir Pir - es pirt sich so.
CARL. Ach es wird vielleicht von dem grossen
. Konig Pyrro seyn?
HAMLET. Mich diinkt es, doch weifs ich es eigent-
lich nicht.
CARL. W eun Ihro Hoheit nur noch etliche Personen
nennen, oder etwas von dem Inhalt melden wollten.
HAMLET. Es war so, dafs ein Bruder den andern
im Garten ermordet.
CARL. So wird es doch diese Materie seyn. Giefst
des Konigs Bruder nicht dem Konige einen Gift in
das Ohr?
HAMLET. Recht, recht, eben dieselbe ist es; konnt
ihr wohl sie diesen Abend noch priisentiren?
HAMLET. Have you still the three actresses with
you? They used to play well.
CHARLES. No, only two, the one stayed behind with
her husband at the court of Saxony.
HAMLET. You acted good comedies in Wittenberg
at that time. But you bad some fellows in your com-
pany, who had good clothes, but black shirts, others,
who had boots but no spurs.
CHARLES. Your Highness, it is often hard to procure
everything; perchance they thought they might not ride.
HAMLET. Still it is better to have everything cor-
rect. But listen to another thing or two, and excuse
me, for you do not often hear directly what judgments
the spectators pass on you. There were also a few who
wore silk stockings and white shoes, but had on their
heads black hats full of feathers, nearly as many below
as on the top; and for my part, I think they must have
gone to bed in them instead nightcaps. Now that does
not look well, and may easily be reformed. Moreover
you may tell some of them, that when they have to act
a royal or a princely personage, they should not make
such eyes whenever they pay a lady a compliment.
Neither should they strut, nor take on such braggart
airs; a potentate laughs at such things. Natural ease
and elegance is the best. He who plays a king must
in the play fancy himself a king; and he who plays a
peasant, must fancy himself a peasant.
CHARLES. Your Highness, I accept your Higness'
reproof with the deepest respect and will endeavour to
do better in future.
HAMLET. I am a great lover of your art, and mean
you well, for it is in a mirror that one can best see
one's blemishes. I remember you once acted a piece in
Wittenberg about a King Pyr, Pyr - Pyr something.
CHARLES. Ah, it was perhaps about the great_ king
Pyrrhus?
HAMLET. Methinks it was, but I am not quite
sure.
CHARLES. Perhaps your Highness would name some
persons in it, or give me some idea of the matter.
HAMLET. Let me see - one brother murdered
the other in the garden.
CHARLEs. Ay, ay, I'll swear 'tis the same. Did not
the king's brother pour poison into the king's ear?
HAMLET. True, true, the self same story; could you
play that pieee to-night?
267 TRAGEDY OF PRINCE HAMLET OF DENMARK. 268
CARL. 0 ja, d88 konnen wir Ieicht maeben, denn
es kommen wenig Personen dazu.
HAMLET. So gehet bin, machet das Theater fertig
in dem grofsen Saal; W88 euch an BehOlzung mangelt,
kiinnt ihr von dem Schlofsbaumeister fordern; steht euch
etwas aus der Riistkammer an, oder habt ihr nicht Klei-
der genug, so meldet eucb bey den Quatrober oder In-
tendanten an, wir wollen, dafs euch alles soU gefolgt
werden.
CARL. Ich bedanke mich in Unterthitnigkeit gegen
Eure Hoheiten fiir diese bohe Gnade, wir wollen zum
Anfang eilen. Sie leben wohl. [ab.
HAMLET. Diese Comodianten kommen mir itzo sehr
wohl zu Passe. Horatio, gieb wohl acht auf den Ko-
nig: wo er sich entfiirbt oder alterirt, so hat er gewifs
die That verrichtet, denn die Comodianten treffen oft
mit ihren erdichteten Dingen den Zweck der W ahrheit.
Hore, ich will dir eine artige Historie In
Teutschland hat sich zu Strafsbru;g ein artiger C88us
zugetragen, indem ein W eib ihren Mann mit einen
Schuhpfriemen durchs Herze ermordet, hemaeh hat sie
mit ihrem llurenbuhler den Mann unter die Tbiirscbwelle
begraben, solches ist neun ganzer Jabr verborgen ge-
blieben, his endlich Comodianten allda zukamen, und
von Dingen eine TragOdie agirten; das W eib,
welches mit ihrem Mann aucb in dem Spiel war, fiingt
iiberlaut (weil ihr das Gewissen geriihret wurde) an zu
rufen, und schreyt: o web, das trift mieh, denn also
hab ich auch mcinen unschuldigen Ehemann urns Leben
gebracht. Sic raufte ihre Haare, lief aus dem Schau-
spiel nach dem Richter, bekannte freywillig ihren Mord,
und als solches wahrhaft befunden, wurde sie in grofser
Reue ihrer Siindcn von denen Geistlichen getrostet, und
in wahrer Bufse iibergab sie ihren Leib den Scharfrich-
ter, den Himmel aber befahl sie ihre Seele. - Ach,
wo mein Vater und Vetter auch in sich gehen mochte,
wo er diese Saehe begangen hat I Komm, Horatio, wir
wollen gehen, und den Konig aufwarten; ich bitte dich
aber, observire allc Dinge genau, denn ich werde simu-
liren.
HoRAT. Ihro Durchlaucht, ich werde meinen Augen
eine scharfe Aufsicht anbefehlen. [qehen ab.
SCENE VIII.
KONIG. HAMLET. HoRATIO. CoRAMBus.
OPHELIA. Staat.
Ko:-<IG. Meine wertheste Gemablin, nun hoffe ich,
dafs Sie Ihre Traurigkeit wird verbannen, und der Freude
den W ohnplatz einriiumen, es soli vor der Abendtafel
CHARLES. Oh yes, my lord, we can manage that ea-
sily enough, for there are but few personages in the play.
H.4.MLET. Now go get ready, h88ten to prepare the
stage in the great hall: whatever wood you may require,
you can get from the castellan; if you want anything
from the armoury or if you have not dresses enough,
make known your wants to the m88ter of the robes or
the steward; we wish you should be provided with every-
thing.
CHARLES. We thank your Highness most humbly for
your favour, and will hasten to get ready. Farewell.
[E.rit.
HAMLET. These actors come most opportunely. Ho-
ratio, pr'ytbee watch the king; if he grow pale or alter
favour, then ohl most surely hath he done the deed, for
play actQrs with their feigned fables oft hit the truth.
Give ear, I'll tell thee a pretty tale. In Germany, at
Strasburg, there was once a pretty case. A wife mur-
dered her husband by piercing him to the heart with an
awl. Afterwards she buried the man under the thresh-
old, she and her paramour. This deed remained hid full
nine years, till at last it chanced that some actors came
that way, and played a tragedy of like import; the woman
who was likewise present at the play with her husband,
began to cry aloud (her conscience being touched) alas I
alas! you bit at me for in such manner did I murder my
innocent husband. She tore her hair, ran straight way
to the judge, freely confessed the murder which being
proved true, in deep repentance for her sins she received
the holy unction from the priest, gave her body to the
executioner, and recommended her soul to God. - Oh
that my uncle-father would thus honestly take it to heart
an he be the doer of this crime I Come Horatio, let us
go and wait upon the King; but pray note all things
exactly, for I must play a part.
HoRAT. Well my lord, I shall impose on my eyes
the duty of keeping a sharp look-out. f E.reunt.
SCE?."'E VTII.
KING. QuEEN. HAMLET. HoRATIO. CoRAMBt:s.
OPHELIA. Retinue.
KI!'<G. Our best beloved spouse, now do we hopt>
that you will banish your sadnl.'ss, and make it give place
to joy; before our evening's repast, there is to be a

269 TRAGEDY Ol!' PRINCE HAMLET OF DENMARK. 270
Ihr von den Teutschen eine Komodie und nach der Tafel
von unsern Landskindern ein Ballet gehalten werden.
KoNIGL.,... Ich will solche Lust gar gerne sehn, ich
glaube schwerlich, dafs sich mein Herz wird zufrieden
geben, denn ich weifs nicht, was vor ein bevorstehendes
Ungliick unser Gemiith verunruhiget.
KoNIG. Sie gebe sich doch zllfrieden. Prinz Ham
let, wir haben vernommen, dafs Comodianten sind an
hero kommen, welche uns noch diesen Abend eine Como-
die prlisentiren wollen: sagt uns, verhii.lt sich das also?
HAMLET. Ja, Herr Vater, sie haben bey mir ange-
halten, ich babe es ihnen auch permittirt. Ich hoffe,
lhro :Majestat werden es auch zufrieden seyn.
I
KoNIG. Was ist es vor eine Materie, es ist ja wohl
nicht etwa was Widerwartiges oder was Unhofliches?
HAMLET. Es ist eine gute Materie; uns, die wir
gutes Gewissen haben, denen gehet es nichts an.
KoNIG. Wo sind sic? lafst sic nur bald anfangen,
denn wir wollen zusehen, was die Teutschen thun
konnen.
HAMLET. Herr Marschall, sehet zu, ob die Como-
dianten fertig, saget, dafs sie anfangen.
CoRAMB. Ihr Herren Comodianten, wo seyd ihr?
Fort, ihr sollt gescbwinde anfangen. Rolla, sie kommen
sehonl
[Hier kommt dU Comodie: Der Konig mit seiner
Gemahlin. Er will 8ich schlafen ltgen: die
Konigin bittet, er soll es nicht thun, er legt
sich doch nieder, die Konigin nimmt ihren
Abschied mit einem Kufs, und geht ab. Des
Konigs Bruder kommt mit einem Gliiscl1en,
giefst ihm was ins Ohr, und geht ab.
HA!IILET. Das ist der Konig Pyrrus, der geht naeh
den Garten schlafen. Die Konigin bittet ibn, er soli es
nicht thun, er aber legt sich doch. Das arme W eibchen
geht weg: sehet, da kommt des Konigs Bruder, wel-
cher das Gift von Ebeno hat, giefset ibm ins Ohr,
welches sobald das menschliche Gebhithe empfingt, des-
. sen Leib alsobald ertOdtet.
KoNIG. Fackeln, Windlicb.ter her, die Comodie ge-
':fiillt uns nichtl
CoRAllB. Pagen, Lakeyen, brennt die Fackeln an,
1
der Konig will abgehn: Geschwinde, brennet an, die
Comodianten haben einen stumpf gemacht.
[Konig, Konigin, Corambus und Staat gehen ab.
HAMLET. Fackeln her, die Comodie gefiillt uns nicht
-Nun, siehst du, dafs mich der Geist nicht betrogen hat!
ComOdianten! gehet nur von bier mit diesem Beschlufs,
comedy, played by German actors, and after the same,
a ballet given by our own people.
QUEEN. Most gladly shall I behold such merry-
making; still, I hardly believe that my heart will be at
peace, for gloomy forebodings of mischief, I know not
what, disturb my soul.
KING. Pray, do not be uneasy. Prince Hamlet,
we are informed that actors have arrived here, and will
perform a comedy to-night. Tell me, is it so?
HAMLET. Ay, my father it is so. They preferred
a request to me to that intent, and I have given them
permiSSion. I hope your Majesty has no objection.
KING. What is the argument? There's no offence
in it?
HAMLET. It is a good argument. We that have a
good conscience, it touches us not.
KING. Why do they tarry? Let them begin, we
would fain see what the Germans can do.
HAMLET. Marshall, go bid the actors make haste;
tell them to b e ~ n .
CoRAMB. Rolla! you actors, where are you? Quick,
you are to begin directly. Ahl here they come.
[The dumb show enters: The King with his spouse .
He is going to lie to sltep; the Queen entreats
him not to do so. He liu down all the same.
The Queen kisses him, and takes her leate.
The King's brother comes with a phial and
pours something into his ear. Exit.
HAMLET. That is King Pyrrhus who goes to sleep
in the garden. The Queen entreats him not to do so,
but he does not harken to her. The poor wife goes
away: behold l there comes the King's brother bearing
the poisonous juiee of hebenon which he pours into the
King's ear, and which as soon as it mixes with the blood
of man, immediately destroys life.
KING. HoI torches, lanterns! the comedy offends
us!
CoRAMB. Pages, lackeys, light the torches! It is
the King's will to depart: quick here with the torches!
The actors have made a botch of it.
[Exeunt King, Queer&, Corambus and retinue.
HAMLET. HoI torches, . the comedy offends us.
Now didst perceive, good Horatio, the spirit hath not
deceived mel Actors, go and understand this, that al-
271 TRAGEDY OF PRINCE HAMLET OF DENMARK. 272
ob ihr zwar die Materie nicht zum Ende gespielt, und
es dem Konig nicht behaget, so hat es uns doch wohl-
gefallen, Horatio soU euch meinetwegen contentiren.
C.o\RL. Wir bedanken uns, und bitten urn einen
Reisepafs.
HAMLET. Den sollt ihr haben. [Comodianten ab.]
l
Nun darf ich die Rache kiih!1li!!_ Sahet ihr,
: wie sich der Konig entflirbte, da er das Spiel sahe?
( HoRAT. Ja, Ihro Durchlaucht, die That ist gewifs.
IIAMLET. Eben also meinen Vater getOdtet, wie ihr
in diesem Schauspiel gesehn. Aber ich will ibm den Lohn
fiir seine bose That geben.
SCENE IX.
C{)RAMBUS.
CoRAMBVS. Die Comodianten werden eine schlechte
Belohnung bekommen, denn ihre Action hat den Konig
sehr mifsfallen.
HAMLET. 'Vas sagst du, Alter, werden sie eine
schlechte Belohnung empfangen? und ob sie schon iibel
von dem Konig belohnt werden, so werden sie doch von
dem Himmel desto besser belohnet werden.
CoRAMB. Ihro Hoheit, kommen denn die Como-
dianten auch in den Hhnmel?
HAMLET. 'Vas meynest du, alter Narr, dafs sie
nicht auch allda werden ihren Platz finden, darum gehet
bin und tractiret mir diese Leute wohl.
CoRAMB. Ja ja, ich will sie tractiren, wie sie es
verdienen.
IIAMLET. Tractiret sie wohl, sag ich, denn es ge-
schiehet kein grofser Lob, als durch Comudianten, denn
dieselben reisen weit in die Welt: geschiehet ihnen an
einem Orte etwas Gutes, I'O wissen sie es an einem an-
dern Orte nicht genug zu riihmen, denn ihr Theatrum
ist wie eine kleine Welt, darinnen sie fast alles, was in
der grofsen Welt geschieht, repriisentiren. Sie erneuern
die alten, vergessenen Geschichten, und stellen uns gute
und bOse Exempel vor; sie brei ten aus die Gerechtigkeit
und lobliche Regierung der Fiirsten, sie strafen die La-
ster und erheben die Tugenden, sie riihmen die From-
men, und weisen, wie die Tyranney gestraft wird: dar-
urn sollt ihr sie wohl belohnen.
CoRAMB. Nun, sie sol! en schon ihren Lohn haben,
weil es solche Leute sind. Ihro Hobeiten Ieben wohll
[a b.
HAMLET. Komm, Horatio, irh gebe, und von dieser
Stund an will ich darnac}l trachten, wo icb den Konig
. allein finde, ibm das Leben zu nehmen, wie er meinem
Vater get han hat.
t!tough you have not played the piece out, and it bas
not pleased the King, it has pleased us all the same.
Horatio shall bring you your reward.
CHARLES. We thank your honour and beg for a
pass-port.
HAMLET. You shall have one. [Exeunt Actors.] Now
may I go boldly on to vengeance. Did you perceive
how the king blenched, when he saw the play?
HoR.AT. Yes, your Highness; the thing is certain.
HAMLET. My poor father murdered, just as we have
seen in this play! But I will reward him for this wicked
deed.
SCENE IX.
CoRA Mil us.
CoRAMB. The actors, I fear, will get a sorry re-
compense, for their play bath sore displeased the King.
HAMLET. What say you, old man, a sorry recom-
pense? And if they are but ill-rewarded by the King,
they will be all the better rewarded by Heaven.
CoRAMB. My lord, do comedians then get into
heaven?
HAMLET. Think'st thou, old fool, they'll not find a
corner there? Wherefore get you gone and see them
well bestowed.
CoR.AMB. My lord, I will use them according to
their deserts.
HAMLET. Use them well, I say, for there is no
greater praise to be gained than through actors, for they
travel far and wide in the world. If they are treated
well at one place, they don't know how to praise it
enough at the next; for their stage is a little world, in
which they represent all that takes place in the big
world. They revive the old forgotten stories, and pre-
sent to us good and bad examples; they publish abroad
justice, and the praiseworthy government of princes,
they punish the vices, and exalt the virtues, they extol
the good, and show the reward of tyranny - wherefore
entreat them well.
CoR.AMB. Well, they
they are such great folk.
shall have their reward, as
Good bye, my Lord.
[E.rit.
HAMLET. Come Horatio, I am going, and from this
hour all my thoughts are bent on finding the King alone,
that I may take his life, as he has taken my father's.
273 TRAGEDY OF PRINCE HAMLET OF DENMARK.
274
HoRAT. Ihro Durchlaucht sehen sich aber wohl vor, HoaAT. My lord, be prudent, lest you should come
dafs Sie nicht auch zu Schaden kommen. to harm.
Vera.
!Lua.ET. Ich soli, ich mufs, ich will mich an den
Morder riichen,
Kann ich mit List nichts thun, will ich mit Macht
durchbrechen I
DRITTER ACT.
SCENE I.
KoNio.
Hier prii$entirt sich im Tempel ein Altar.
KoNIG [allein]. Nunmehro beginnet mein Gewissen
aufzuwachen, der Stachel der Betnigerey beginnet mich
hart zu stechen, es ist Zeit, daCs ich mich zur Bekehrung
wende, und dem Himmel mein gethanes Unrecht be-
kenne. Ich fiirchte, daCs meine Missethat so grofs ist,
daCs sie mir nicht wird konnen werden, doch
will ich die Gotter inhriinstig bitten, dafs sie mir meine
schwere Siinden vergeben wollen.
[Konig kniet vor dem Altar.
SCENE II.
HAMLET mit blofsem Degen.
HAMLET. So lange bin ich den verfiuchten Hund
nachgegangen, bis ich ibn einmal angetroffen, nun ist es
Zeit, well er allein ist, ich will ibn in seiner grosten
Andacht urns Leben bringen. [will ihn durchstechen.]
Doch nein, ich will ibn erstlich sein Gebet thun lassen.
Aber ach I wenn- ich mich bedenke, meinen Vater hat er
nicht so viel Zeit gelassen, dafs er erstlich ein Gebet hatte
thun konnen, sondern hat ihn vielleicht in seinen Siinden
schlafend nach der Hollen geschickt, darum will ich ibn
auch an denselbigen Ort nachsenden. [will ihn von hinten
wieder durchatofaen.] -poch, halt ein, Hamlet! Warum
willst du seine Siinden auf dich laden? Icb will ibm sein
Gebet thun lassen, und vor diesesmal von bier gehen,
und das Leben schenken. Zur andern Zeit aber will
ich schon meine Rache ausiiben. [ab.
KoNI9. Mein Gewissen ist etwa.s erleichtert, aber
der nagende Hund liegt noch unter meinem Herzen.
Nun will ich hingehen, und mit Fast!ln und Allmosen,
wie auch durch inbriinstiges GebN, dem Hochsten ver-
sohnen. Ach verfiuchte Ehrsucht., WOZU hast du mich
gehracht! [ ab.
Verse.
HAMLET. I shall, I must, I will revenge this bloody
deed,
If cunning fail, come force, thou'lt help me in
my need!
ACT III.
SCENE I.
KINo.
A church and altar.
KINo [alone]. Now does my conscience begin to
awaken, - the sting of my gross deceit begins to prick
me. 'Tis time I bethink me of repentance, and confess
to Heaven the wrong I have done. I fear my guilt is
so great, that it can never be forgiven. But I will pray
fervently to the gods, that they will pardon my great
sins.
[Kneels before the altar.
SCENE II.
HAMLET, with a drawn sword.
HAMLET. So long have I dodged the accursed dog,
till at last I have found him. Now it is time as he is
alone. I will take his life while he is praying [he t$
about to atab him]. But no, I will first let him finish
his prayer. Hal when I think of it, he did not leave
my father so much time as to say a prayer first, but
sent him to hell in his sleep, perhaps in his sins; where-
fore, I'll send him to the same place too [again about
to stab hi:m from behind]. Nay, hold Hamlet! Why
should'st thou take his sins upon thee? I will let him
end his prayer, and escape this time, and will give him
his life. But I will find another time to wreak my ven-
geance.
[Exit.
KINo. My conscience is somewhat lightened, but
still the insatiate dog gnaws at my heart. Now will I
go and make my peace with heaven by fasting, alms,
and fervent prayer. Ah cursed ambition I To what
thou brought me.
[E.rit.
18
275 TRAGEDY OF PRINCE HAMLET OF DENMARK. 276
SCENE III.
KoNIGIN. CoRAMBus.
KoNIGIN. Corambus, saget doeh, wie ist es mit
unsern Sohn, Prinz Hamlet, beschaffen, lii.Cst seine Toll-
heit in etwas ab, und will seine Raserey kein Ende
nehmen?
CoRAMB. Ach nein, Ihro Majestat, er ist eben noch
so toll, als er vorhin gewesen.
SCENE IV.
HoRATIO.
HoRA T. Gnadigste Konigin, Prinz Hamlet ist im
Vorgemach, und begehret in geheim Audienz.
KoNIGIN. Er ist uns sehr lieb, darum lafst ibn
alsobald hereintreten.
HoRAT. Es soli geschehen, Ihro Majestat. [ab.
KoNIGIN. Verberget euch, Coram bus, hinter die
Tapeten, bis wir euch rufen.
CoRAMB. J a ja, ich werde mich ein wenig verstecken.
[ versteckt Bich.
SCENE V.
HAMLET.
HAMLET. Frau Mutter, habt Ihr Euren ersten Ge-
mal wohl gekannt?
KoNIGIN. Ach, erinnert mich nicht mehr meiner
vorigen Traurigkeit, ich kann mich der Thriinen nicht
enthalten, wenn ich an denselben gedenke.
HAIIILET. Weint ihr? ach, lasts our bleiben, es sind
doch lauter Crocodillsthriinen. Aber sehet, dort in je-
ner Gallerie hiingt das Conterfait Eures ersten Ehege-
mals, und da hiingt das Conterfait des itzigen: Wll.S
diinkt Euch wohl, welches ist doch der ansehnlichste
unter ihnen? Ist der erste nicht ein majestatischer Herr?
KoNIGIN. Ja freylich ist es wahr.
HA!IILET. Wie habt Thr ibn denn sobald vergessen
konncn? Pfui I schiimet Euch, lhr habt fast auf einen
Tag Begriibnifs und Beylager gehalten. Aber still, sind
auch aile Thiircn vest verschlossen?
K5NIGIN. W arum fraget Ihr das?
[ Corambus hustet hinter der Tapete.
HAMLET. Wer ist es, der uns belauert?
[sticht ihm nieder.
CoRA!IIB. 0 weh, Prinz, was thut Ihr I Ich sterbe.
K i i ~ I G I N . 0 Himmel, mein Sohn, was thut Thr?
Es ist Corambus, der Hofmarschall.
SCENE HI.
QUEEN. CoRAMfms.
QUEEN. Corambus say, how is it with my son,
Prince Hamlet? Does his madness abate at all, or will
his ravings never come to an end?
CoRAIIIB. Ah no, your Majesty, he is just as mad
as ever he was.
SCENE IV.
HoRATIO.
HORAT. Most gracious Queen, Prince Hamlet is in
the antechamber, and desires a private audience.
QuEEN. He is most welcome, admit him imme-
diately.
HoRAT. It shall be done, your Majesty. [Ezit.
QUEEN. Conceal yourself behind the arras, Coram-
bus, till we call you.
CoRAMB. Ay, ay, your Majesty, I will hide my-
self. [He hides himself.
SCENE V.
HAMLET.
HAMLET. Mother, did you perchance know your
first husband?
QcEEN. 01 recall not my former sadness. I can-
not restrain my tears when I think of him.
HAMLET. You weep? Pr'ythee weep not, they are
but crocodile's tears. But look, in that gallery hangs the
counterfeit resemblance of your first husband, and there
hangs the counterfeit of your present husband. What
think ye now, which hath more dignity and presence?
Does not the first bear him with majestic grace I
QuEEN. Nay but he doth, 'tis true.
HAIIILET. How then could you forget him so soon?
Out upon you! Shamel You celebrated your nuptials
almost on the same day with his funeral! But hush !
are all the doors locked?
QuEEN. Why do you ask?
[Coramb. coughs behind the arras.
HA!IILET. Hal hal What eaves-dropper have we
here? [Stabs him.
CoRA!IIB. 01 Prince, what have yon done! I am
slain!
QUEEN. 0 Heavens! My son, what have you done?
It is Coram bus, the chamberlain I
277 TRAGEDY OF PRINCE HAMLET OF DENMARK. 278
SCENE VI.
GEIST geht iiber da8 Theater. [geblitzet.]
IiuiLET. Ach werther Schatten meines Vaters,
stehe still! Achl JWhl was ist dein Begehren? forderst
du Rache? dieselbe will ich schon zu rechter Zeit ausiiben.
KliNIGIN. Was macht Ihr, und mit wem redet Ihr?
HAMLET. Sehet Ihr nicht den Geist Eures seeligen
Ehegemals? Sehet, er winket, als wollte er mit Euch
red en.
K<>NIGIN. Wie? ich sehe ja nichts.
HAMLET. Ich glaube es wohl, dafs lhr nicbts sebet,
denn Ihr seyd nicht mehr wiirdig, seine Gestalt zu se-
hen. Pfui, schiimt Euch, ich mag kein Wort mehr mit
Euch reden. [ ab.
KoNIGIX [alleine]. Ach Himmel, wie bat doch die
Melancholic diesen Prinzen so viele Raserey zugebrachtl
Ach, mein einziger Prinz hat seinen V erstand ganz ver-
loren I Ach, ach, ich bin viel Schuld daran I Hiitte ich
meinen Schwager, meines vorigen Gemahls Bruder, nicht
zu der Ehe genommen, so hiitte ich meinem (Sohn) nicht
\
die Krone Diinoemark aus der Hand gespielt. Was ist
aber bey geschehenen Dingen zu thun? nicbts, es mufs
)
I
hingehen, und mich aufs hOchste bemilhen, wie ich mei-
nen Sohn wieder zu seinem vorigen V erstand und Ge-
sundheit helfen kann. [ab.
SCENE VII.
JENS a/lein.
Ich bin nun lange nicht zu Hofe gewesen, und meine
Zinsen abgegeben, Ich befilrcbte, wo ich werde hin-
kommen, ich werde miissen ins Loch kriechen. Konnt
ich our einen guten Freund fin den, der ein gutes Wort
vor mich redete, damit ich nicht abgestraft werde.
SCENE VIII.
PHANTASl\10.
PHANTASMO. Es gehet zu Hofe anjetzo wunderlich
zu. Prinz Hamlet ist tQll, die Ophelia ist auch toll;
in Summa, es geht ganz wunderlich da h.er, dafs ich
auch fast Lust babe, hinwegzulaufen.
JENS. Potz tausend, da sebe ich meinen guten Freund
Phantasmo, ich hiitte keinen bessern antreffen konnen,
ich inufs ibn bitten, dafs er ein gut Wort vor Inich
redct. Gliick J;u, Herr Phantasmo I
PnANTASMO. Grofsen Dank! 'Vas ist dein Begeh-
ren, Herr Bauer?
JENS. Ey, mein Herr Phantasmo, ich bin lange
SCENE VI.
Gaos1 stal/cs over the stage. [Thunder and lightning.]
IIAMLET. Stay gracious figure of my father, what
would'st thou? Dost thou demande revenge? I will exe-
cute it at the right time.
QUEEN. How is't with you? With whom do you
speak?
HAMLET. See you not the spirit of your departed
consort? Look, he beckons as if he would speak with
you.
QuEEN. How? I see nothing.
HAMLET. Well, I believe you do see nothing, for
you are no longer worthy to look upon his form. Out
upon you, I can no longer hold converse with you.
[E.rit.
QuEEN [alone]. 0 God! How has this melancholy
such madness on the Prince l Alas my only
son has entirely lost his wits! And I am much to blame!
Had I not wedded my husband's brother, I should not
have robbed my son of the crown of Denmark. But
what can be done, when things are past? Nothing, they
must remain as they are. Had not the pope allowed
this marriage, it would never have taken place. I will
go and spare no pains to restore my son to his former
understanding and health.
SCENE VII.
JENS, alone.
[E.rit.
It's many a day since I have been at court to pay
my taxes. I am afraid, go where I may, I shall be put
in gaol. 0 dear I if I had but one good friend to put
in a good word for me that I Inight get off.
SCENE vm.
PHANTASMO.
PHANT. There are odd goings on at court now.
Prince Hamlet is mad, Ophelia is mad too, sum total
is, that it's very queer here altogether, so that I have a
good mind to take myself off.
JENS. By all that's holy there's my good old friend
Phantasmo, the very man I want. I'll beg him to put
in a good word for me. Rolla! Master Phantasmol
PnANT. Thank you mightily! What do you want
Master clod-hopper?
JENS. Ay, good Master Phantasmo 'tis many a
18
279 TRAGEDY OF PRINCE HAMLET OF DENMARK. 280
nicht zu Hofe gewesen, und bin viel schuldig, darum bitte
ich Euch, Thr wollet doch ein gutes Wort vor mich ein-
legen, ich will Euch auch einen guten Kii.fs spendiren.
PHANTASMO. Was( meynst du Flegel, dafs ich zu
Hofe nichts zu fressen babe?
SCENE IX.
OPHELIA toll.
Ich laufe und renne, und kann doch mein Schlitz-
chen nicbt antreffen. Er hat mir Boten geschickt, ich
soU zu ibm kommen, wir wollen Hochzeit machen, ich
babe mich schon angezogen. Aber da ist mein Liebchen I
Siebe bist du da, mein Liimmchen, ich babe dich so ge-
sucht, ja gesucht hab ich dich. Ach gedenke doch, der
Schneider hat mir meinen cartunen Rock ganz verdorben.
Siebe, da hast du ein schones Bliimchen, mein Herzl
PHANTASMO. 0 der Teufel, wer nur von ihr weg
ware; sie meynt, ich bin ihr Liebster.
OPHELIA. Was sagst du, mein Liebchen? Wir wol-
len mit einander zu Bette gehen, ich will dich ganz
reine waschen.
PIIANTASMO. Ja, ja, ich will dich wieder einseifen
und auch auswaschen.
OPHELIA. Hiire, mein Liebchen, hast du dein neues
Kleid schon angezogen? Ey, das ist schon gemacht,
recht auf die neue Mode.
PHANTASMO. DaCs weifs ich ohnedem wohl- - -
OPHELIA. 0 potz tausend, was hiitte ich bald ver-
gessen I Der Konig hat mich zu Gaste gebeten, ich mufs
geschwinde laufen. Siebe da, mein Kiitschchen, mein
Kiitschchen I [ab.
PHANTASMO. 0 Hecate, du Kiinigin der Hexen, wie
bin ich so froh, dafs diefs tolle Ding weg ist; ware sie
!linger geblieben, ich ware mit toll worden. lch muCs
nur gehen, eh' das nirrische Ding wiederkommen wird.
JENS. Ach barmherziger Herr Phantasmo I Ich bitte
meiner nicht zu vergessen.
PHANTASMO. Nun, komm nur mit, Bruder Hunds-
fott; ich will sehn, daCs ich dir bey dem Ober-Einneh-
mer zurechte helfe. [gehen ab.
SCENE X.
Koma. HAMLEt. HoRATIO. Z"'EY DmNER.
KoNIG. W o ist Coram bus sein Leichnam geblieben?
1st er noch nicht hinweggebrachtr
HoRATIO. Er liegt noch an den Ort, wo er ersto-
chen ist.
KoNIG. Es ist leid uns, dafs er so unverhoft urn
das Leben kommen. Gehet hin, und lasset ibn wegtra-
day since I have been at coqrt, and I am greatly in
arrears with my taxes; so pr'ythee put in a good word
for me, and I'll bestow a good cheese on you.
PHANt. Eh I Master Clown, think ye I get naught
to eat at court?
SCENE IX.
OPHELIA, mad.
I run and run and cannot find my sweetheart. He
sent a messenger to me to fetch me to him, - we are
to have our wedding, and I am dressed for it already.
But ah I there is my love. Is it thou my lamb? Oh t
how I have sought thee everywhere, everywhere have
I sought thee. Ah, only think the tailor has spoiled
me my muslin robe! See! there's a pretty flower for
you, my l!eart I
PHANT. 0 the devil! I wish I were away!- she
takes me for her lover.
OPHELIA. What say'st thou my love? Let's go to
bed together, I'll wash thee quite clean.
PHANT. Ay, ay, I'll soap and wash you and wring
you out.
OPHELIA. Hark! my sweet one, hast already donn'd
thy beautiful new suit? Ayl how finely 'tis made, quite
in the new fashion.
PHANT. Well do I know that without - - -
OPHELIA. Alack! alack! what is't I had nearly for-
gotten I The King has bidden me to supper, I must make
haste. Look, there stands my little coach, my pretty
little coach! [Exit.
PHANT. 0 Hecate! thou queen of witches, how glad
I am that that mad thing's away; I should have gone
mad with her if she had remained any longer. I mUBt
be off before the crazy chit come back again.
JENS. Oh kind master Phantasmo I Pr'ythee do not
forget me.
PHANT. Come along, brother Bumpkin, we'll see
if we can't put you all straight at the custom-house.
[Exeunt.
SCENE X.
KING. HAMLET. HoRATIO. Two AtTENDANts.
KING. Where is the body of Coram bus bestowed?
Has it not yet been removed r
HoRA'l". He is still lying in the place where he was
stabbed.
KINo. It grieveth us that Corambus hath lost his
life thus suddenly. Go bear the body away; 'tis our "'-ill
281 TRAGEDY OF PRL."iCE HAMLET OF DENMARK. 282
gen; wir wollen ihn adlich zur Erden bestiit}gen lassen.
Ach! Prinz Hamlet, was baht Ihr gethan, dafs Ihr den
alten Corambus so unschuldig durc.hstochen I Es ist uns
herzlich leid, doch weil es ohngefahr geschehen, ist zwar
djese_ Mordthat in etwas zu entschuldigen; allein ich
fiirchte, wo es unter den Adel kommt, dafs es bey den
Unterthanen Ieicht einen Aufruhr bringen konnte, und
konnten also seinen Tod an Euch rachen.- Wir aber
a.us vaterlicher V orsorge haben ein Mittel erfunden, wel-
ches dieses Unglilek abbalten kann.
HAIIILET. Es ist mir leid, Herr Vetter und Vater I Ich
babe etwas mit der Konigin in geheim reden wollen, die-
ser Spion aber hat uns belauert, doeh hab ich nicht ge-
wufst, dafs es dieser alte Narr seyn sollte: was meynen
aber lhro Majestat, wie nun am besten mit mir zu pro-
cediren sey ?
KoNIG. Wir haben bey uns beschlossen, Euch nacher
England zu schicken, weil diese Krone nahe mit der un-
srigen befreundet; als konnt Ihr Euch eine Zeit, weil
eine gesundere Luft allda, in etwas refrigiren, und zu
Eurer Genesung besser als hier gelangen. 'Vir wollen
Euch etliche von unsern Bedienten mitgeben, die Euch
begleiten und treulich aufwarten sollen.
HAIIILET. Ja ja, Konig, schickt mich nur nach Por-
tugall, auf dafs ich nimmer wieder komme, das ist das beste.
KoNIG. N ein, nicht nach Portugall, sondern nach
England, und diese beyden sollen mit Euch auf der
Reise seyn; wenn Ihr aber in England kommt, sollt Ihr
mehr Diener bekommen.
HAIIILET. Sind das die Laquaien? Das sind saubere
Burschel
KoNIG. Horet ihr beyden! [heimlich zu den begden
.Dienern]. Sobald ihr nacher England kommt, so ver-
richtet, was ich euch befohlen babe. Nehmet einen De-
gen, oder ein jeder eine Pistole, und bringet ibn urns
Leben. 'Vo aber dieser Anschlag nicht mochte von
statten gehn, so nehmet diesen Brief, und bringet ibn
nebst den Prinzen an aufgeschriebenen Ort; derselbige
wird wohl dahin bedacht seyn, dafs er nimmer wieuer
aus England kommen soli. Aber das rathe ich euch,
dafs ihr keinem Menschen was oft'enbaret. Eure Be-
zahlung sollt ihr haben, sobald ihr zurilckkommt.
H.un.ET. Nun, Ihro Majestat, welches sind denn
die rechten, die mitreisen sollen?
KoNIG. Diese zwey. Nun, die Gotter wollen Euch
begleiten, dafs Ihr moget mit gutem Winde an Ort und
Stelle kommen.
HAMLET. Nun Adieu, Frau Mutter!
K ~ N I G . 'Vie, mein Prinz, warum heist Ihr uns
Frau Mutter?
it should have a noble burial. Ah, Prince Hamlet, what
made you stab that poor innocent old man? It grieveth
us sorely, still this murderous deed admits of some ex-
cuse, seeing it was done unwittingly. Nevertheless I
fear that when this gets known amongst the nobles, it
may easily excite a rebellion among my subjects, and
they may revenge his death on you. This our paternal
care hath duly weighed, and we have devised a means
to ward this danger from you.
HAMLET. I sincerely grieve this deed, my uncle and
my father. I had begged a private audience of the Queen,
and this fellow came eaves-dropping; but I did not know
that it was this silly old fool. But how does your Ma-
jesty think it were best to proceed?
KINo. We have determined to send you to Eng-
land, because this crown is friendly to our own, as if
to refresh yourself there for a time, because the air is
wholesomer, and may better promote your recovery. We
will give you some of our own attendants, who shall
accompany you, and serve you faithfully.
HAMLET. Ay ay, King, send me off to Portugal,
that I may never come back again, that is the best plan.
KINo. No, not to Portugal but to England, and
those two shall accompany you on the journey. But
when you arrive in England, you shall have more at-
tendants.
HAIIILET. Those are the- lackeys are they? A pair
of nice fellows!
K.rNo. Hark ye [secretly to the two atrendants]. As
soon as ye reach England, do as I have commanded
you. Arm yourselves each with a sword or pistol and
take his life. But in case your attempt should miscarry,
take this letter and the prince to the place indicated
thereon; there our prince will be so well cared for that
he will never leave England again. Beware that ye make
known this plan to no man. Your reward shall be de-
livered to you on your return.
HAIIILET. Well, your Majesty, who are they then
that are to bear me company?
KINo. These two. The gods be with you, and
give you a fair wind to reach the place of your desti-
nation.
HAMLET. Now farewell dear mother I
K.rJSo. What, Prince l Why do you call us mo-
ther?
283 TRAGEDY OF PRINCE HAMLET OF DENMARK. 284
HAMLET. Mann und Weib ist ja ein Leib, Vater
oder Mutter, es ist mir alles gleich.
'KoNIG. Nun so fahrt wohl, der Himmel sey mit
Euch. [ab.
HAMLET. Nun, ihr noblen Quantchen, sollt ihr
meine Getahrten seyn?
DIENERS. Ja, lbro Durchlauchtl
HAMLET. So kommt denn, ihr noblen Gesellen,
[nimmt sie beyde an jede Hand) laf.'!t uns fahren, lafst
I uns fahren nach England, nehmt das Botchen in die
Hand, du bist ja ein braver Quant. Lafst uns fahren,
lafst uns fahren nach England. [gehen ab.
SCENE XI.
PHANTASMO. OPHELIA.
PHANTASMO. Wo ich gehe oder stehe, da lauft das
elementische Miidchen, die Ophelia, aus allen Winkeln
mir nach; ich kann keinen Frieden vor ihr haben, sie
sagt allezeit, dafs ich ihr Liebster bin, und ist doch nicht
wahr. W enn ich mich nur verstecken konnte, damit sie
mich nicht find e. Nun wird der Henker wieder los wer-
den: da kommt sie wieder.
OPHELIA. W o mag mein Liebchen seyn ( Der
Scbelm will nicht bey mir bleiben, eher vor mir weg -
Aber siehe, da ist er. Hore, mein Liebchen, ich bin bey
dem Priester gewesen, der will uns noch heute zusam-
men copuliren; ich babe alles zu der Hochzeit fertig ge-
macht, ich babe Hiihner, Haasen, Fleisch, Butter und
Kase eingekauft; es mangelt nichts mehr, als dafs die
Musikanten uns zu Bette
PHANTASMO. lch mufs nur ja sagen. Komm denn,
wir wollen miteinander zu Bette gehn.
OPHELIA. N ein, nein, mein Piippc.ben, wir miissen
erstlich miteinander zur Kirche gehen, hernach wollen
wir essen und trinken, und denn wollen wir tanzen -
Ach, wie wollen wir uns Iustig machen I
PBANTASMO. Ja, es wird Iustig hergehn; es werden
wohl drey von Einem Teller essen.
OPHELIA. Was sagst du? Wilt du mich nicht haben,
so will ich dich auch nicht haben. Siebe
dort, dort ist mein Liebchen, er winkt mir. Siebe da,
welch ein schOn Kleid dafs er an hat: siehe er will mich
zu sich Iocken, er wirft mit einem Roslein und Lilien
auf mich zu; er will mich in seine Arme nehmen, er
winkt mir, ich komme, ich komme. [ab.
Bey der Niihe ist sie nicht klug, aber
weit davon ist sie gar toll. Ich wollte, dafs sie aufge-
henkt ware, so konnte mir das Rabenaas so nicht nach-
laufen. [ab.
HAMLET. Man and wife is one flesh - father or
mother, it is all the same to me.
Knw. Well, fare ye well. May heaven attend you.
[E.rit.
HAMLET. Ehl you chips of nobility, are you f{) be
my companions?
ATTEND. We are my lord.
HAMLET. Come then, my noble sirs, [taking each
by the. hand], let's start, let's start for England! Put
your best foot forward; you are indeed a cunning fel-
low. Let's start, let's start for England!
[E.reunt.
SCENE XI.
PHANTASMO. OPHELIA.
PliANT. Go where I will, that simpleton, that Ophelia
runs after me out of every corner. I've not a moment's
peace for her, she fancies day and night that I'm her
lover; and that's not true. If I could only hide where
she can't find me! The deuce is in it. there she is
again!
OPHELIA. Where can my love be? The rogue will
not remain with me, he flies me - but ah I there he
is. Listen sweet love, I've been with the priest, he will
unite us this very day; I have made all ready for the
wedding; pullets, hares, meat, butter, cheese, all, all
bought - now there is nothing more wanting than that
the musicians should play us to bed.
I can only say yes. Come then let's go
to bed together.
OPHELIA. No, no, my puppet, we must first go to
church together, afterwards feast, and then dance - ah!
we will be right merry!
PBANT. Ay, ay, merry as crickets; three will eat
out of one plate.
OPHELIA. Hal What do you say? If you will not
have me, I will not have you [strikes him]. There, there,
is my love, my dearest, he beckons me to him. Look,
what a beautiful suit he has on I - look, he wants to
entice me to him, he casts a lily and a rose at me; he
will embrace me, he beckons to me, I come, I come.
[E.rit.
PHANT. At close quarters she's lost her wits, but
at arm's length she's elean mad. I wish she were hanged,
and then the carrion could not pester me so.
[Exit.
285 TRAGEDY OF PRINCE HAMLET OF DENMARK. 286
VIERTER ACT.
SCENE I.
HAMLET. ZwEY BANDITEN.
HAMLET. Es ist bier ein lustiger Ort auf dieser
Insel, wir wollen etwas bier verbleiben und speisen:
da ist ein lustiger W ald, und da ein kiihler W asserstrom;
darum holet mir das beste vom Schiff, wir uns
bier recht lustig machen.
1. BAND. Gniidiger Herr, bier ist nicht Essenzeit,
denn von diesem Eiland werden Sic nimmer kommen ;
denn bier ist der Ort, der Ihnen zum Kirchhof bestellt ist.
HAMLET. Was sagst du Schelm, du Esclavl Weifst
du wohl, wer ich bin? Sollst du wqhl mit einem Ko-
niglichen Prinzen also scherzen? Doch es sey dir ver-
ge ben vor diesesmaL
2. BAND. N ein, es ist kein Scherz, sondern unser
rechter Ernst. Sie prapariren sich nur zum Tode.
HAMLET. Warum das? Was hab ich euch denn
Leides gethan? Ich weifs mich ja auf nichts zu besinnen:
darum sagt ana, warum kommt ihr auf solche boshafte
Gedanken?
I. BAND. Es ist uns von dem Konig anbefohlen
worden: so bald wir Ihro Durchlaucht auf dieses Eiland
bringen, sollen wir ihm das Leben nehmen.
HAMLET. Ihr lieben Freunde, verschonet mein Le-
ben; saget, dafs ihrs verrichtet; ieh will die Zeit meines
Lebens nicht wieder zu dem Konig kommen; bedenkt es
wohl, was ist euch mit einer Hand voll unscbuldiges Fiir-
stenblut gedient? Wollt ibr euer Gewissen mit meinen
Siinden befiecken? Acb dafs ich zu allem U ngliick ohne
Gewehr bin! Iliitte ieh nur etwas in meinen Handen.
[greift einem nach dem Degen.
2. BAND. Du, Camerad, nimm dein Gewehr in acht.
L BAND. Ich werde mich wohl in acht nehmen.
Nun, Prinz, macht Euch fertig; wir haben nicht lange
Zeit.
HAMLET. W eil es denn nicht anders seyn kann und
ich vor euch sterben mufs, aus Antrieb des tyrannischen
Konigs, so will ichs gern erdulden, ob ich gleich un-
schuldig, und ihr aus Armuth hierzu erkauft, will ichs
euch gerne verzeihen, das Blut aber wird der Bruder-
und V atcrmorder verantworten miissen an jenem grossen ,
Gerichtstage.
1. BAND. Ey was fragen wir nach jenem Tage;
wir miissen verrichten, was uns heute befohlen.
2. BAND. Es ist auch wa.hr, Bruder ! N ur frisch
darauf, es mufs doch seyn. Gieb Feuer, icb auf der
einen, und du auf der andern Seite.
ACT IV.
SCENE I.
HAMLET. Two RuFFIANs.
HAMLET. It is a pleasant place here upon this is-
land! Let us linger here a-while and dine. There is a
merry green wood , and here a cool spring of water;
so fetch the best from our ship, and we will make right
merry here.
RuFF. 1. There's no dinner time more for you, my
lord, for you will never leave this island again, for
here's the spot destined for your grave.
HAMLET. How say'st thou, knave? Know'st thou
then who I am? Wouldst thou jest thus with a royal
prince? Let it pass this time, I pardon thee.
RUFF. 2. Nay, but 'tis no jest, we are in earnest.
Prepare yourself for death, my lord.
HAMLET. Wherefore this? What harm have I ever
done you? I cannot recollect any; therefore speak out,
why do ye entertain such wicked thoughts?
RUFF. 1. We have received orders for it from the
King: as soon as we have brought your Highness to this
island, we are to take your life.
HAMLET. Most excellent friends, spare my life!
bring word ye have fulfilled the King's commission. I
swear nevermore to return to the King, as long as I live.
Consider well, what are ye better for staining your bands
with the innocent blood of a royal prince? Why would
ye pollute your consciences with my sins? Accursed fate
that I came here unarmed! Had I but some weapon in
my hand! [Makes an attempt to seize a
RuFF. 2. Hollal Comrade, look to thy weapon!
RtJFF. 1. I will look well to it. Now prince, pre-
pare; our time is short.
HAMLET. If then it must be so, and I must die by
your bands, impelled by a tyrannical king, I must submit.
And although I am innocent, and poverty hath driven
you to this deed, I pardon you from my heart; at the
great day this murderer of my father and his brother
must answer for my blood.
RuFF. l. Eh! what is that great day to us? we must
execute the commission entrusted to us this day.
RuFF. 2. That's true, comrade! Let us go to work;
there is no help for it. You fire from this side, I from
the other.
287 TRAGEDY OF PRINCE HAMLET OF DENMARK. 288
HAMLET. Horet mich noch ein Wort: weil auch
dem alleriirgsten Uebeltbiiter solcbes nicht abgeschlagen
wird. sondern wird ibm Zeit zur Bufse gelassen, also
bitte ich, als ein unschuldiger Prinz, ihr wollet mich
erstlicb zu meinem SchOpfer ein andiichtiges Gebet ver-
richten lassen, bernach will icb gerne sterben; ieh will
eueb aber ein Zeichen geben: ich werde meine Hinde
nach dem Himmel wenden, sobald ich meine Arme aus-
strecke, 80 gebt Feuer, setzt mir beyde Pistolen in die
Seite, und wenn ieh werde sagen: schiefst! so gebt mir
80 viel, als ich bedarf, und trefft mich gewifs, damit ich
nicht lange gemartert werde.
2. BAND. Nun dieses konnen wir ibm auch wohl
noch zu Gefallen thun, darum macht nur fort!
/: HAMLET. [schliigt die Hiinde voneinander.] Schiefst
) ' zu I [indem fiillt er zwischen den beyden vorwiirts nieder,
, , die Diener aber erschiefsen eich selbsten.] Ach gerechter
Himmel, dir sey Dank gesagt vor dein englisches Ein-
geben, denn diesen Schutzengel werde ich ewig prei-
sen, welchl'r mir dnrch meine Gedanken das Leben er-
halten hat. Diese Schelme aber, wie gearbeitet, so ist
aucb ihr Lohn. Die Runde rilhren sich noch, sie haben
sich selber harquebusirt, ich aber will zu meiner Revange
ihnen den Todesstich vollends geben, es sollte ein Schelm
sonsten davon kommen. [er _EitWht eie mit ihren eignen
Degen.] Ich mufs sie besuchen, ob sie auch etwa Steck-
briefe bey sich haben. Dieser hat nichts; bier fin de
ich einen Brief bey diesem Morder, ich will ibn lesen.
Dieser Brief ist an einen Erzmorder in England ge-
schrieben, wenn etwa dieser Anschlag mochte mifslin-
gen, sollten sie mich nur dem iiberantworten, der wiirde
mir schon das Lebenslicht ausblasen. Allein die Gotter
stehn docb dem Gerechten bey: Nun will ich mich mei-
nem Vater zum Schrecken wiederum zuriickbegeben.
Aber zu Wasser trau ich nicht mehr, wer weif.s, ob der
Schifscapitain nicht auch ein Schelm ist. Ich will den
ersten Platz suchen, und die Post nehmen; den Schiffer
will ich nach Dannemark wieder zuriick commandiren,
diese Schelme aber will ich ins Wasser werfen. [ab.
SCENE II.
KoNIG mit Staat.
K o ~ > o ' l o . U ns verlanget zu erfahren, wie es mit un-
serm Sohn, Prinz Hamlet, mufs abgelaufen sein, und
ob diejenigen, welche wir als Rcisegefiihrten ihm mitge-
geben, auch treulich werden verrichtet haben, was wir
befoblen.
HAMLET. One word more: - as the meanest cri-
minal is not refused his last request for time to repent
him of his sins, I, an innocent prince, do beseech you
to grant me time to address a prayer to my Creator,
which done I will willingly die. I will give you the
sign: I will raise my hands to heaven, and fire the mo-
ment I spread out my arms. Level both pistols at my
sides, and when I call, fire, give me as much as I re-
quire, and be sure and hit me that I may not suffer
long.
RuFF. 2. Well, we may do that much to please
him; therefore let us proceed.
HAMLET. [Spreads out his arms.] Fire! [Meanwhile
he falls forward between the two servants, who consequently
shoot each other.] Just heaven! I thank thee for the
divine inspiration, and henceforth I will worship this
guardian angel, who through my thoughts hath pre-
served my life. These rogues have received the due
recompense of their work. Hal the dogs, they move
still. They have butchered each other, but to satisfy
my revenge let th>m take the coup de grace from my
band, else one of the rogues might escape. [He stabs
them with their own sword.] Nay, now I'll search them,
it may be I find some writ or warrant on them.
There's nothing here, but here I find a letter on this
murderer. I'll read it. Hal this letter is directed to an
arch-hangman in England, importing that should this
attempt miscarry, I should be banded over to him, and
he would make no bones about puffing out my rush-light
life! But the gods are ever on the side of the just.
Now I will go back again to the terror of my father,
but I will not trust myself by water, for who knows
whether the captain may not likewise prove a rogue.
I will go to the first place and take the post, order the
sailors back to Denmark, and cast these dogs into the
water. [E.rit.
SCENE II.
KING, and retinue.
KING. We long greatly to hear how it is with our
son, Prince Hamlet, and whether the two companions
we gave him on his journE'y, have faithfully fulfilled
our commission.
289 TRAGEDY OF PRINCE HAMLET OF DENMARK. 290
SCENE III.
PHANTASMO.
PnANTASMO. Neue Zeitung, Monsieur Konig! Haupt-
neue Zeitung I
KoNIG. Was ist es, Phanta.smo?
Leonhardus aus Frankreich ist wieder
zu Hause kommen.
KoNIG. Das ist uns lieb, ibn vor uns kommen.
SCENE IV.
LEONHARD US.
LEONH. Gniidiger Herr und Konig, ich begehre von
Ihro Majestat meinen Vater, oder die Rache der Ge-
rechtigkeit, weil er so jiimmerlich ermordet. W o dieses
nicht geschieht, werde ich vergessen, daCs Ihr Konig seyd,
und mich an den Thiiter riichen.
Ki)NIG. Leonhardus, gieb dich zufrieden, wir sind
unschuldig an deines Vaters Tod. Prinz Hamlet hat ihn
unversehenerweise hinter den Tapeten erstochen, wir aber
wollen dahin bedacht seyn, dafs er wieder gestraft werde.
LEONH. W eil denn Ihro Majestat unschuldig sein
an den Tod meines Vaters, als bitte ich auf gefiiUten
Knieen, mir solches zu verzeihen. Der Zorn hatte mich,
wie auch die kindliche Liebe iibernommen, dafs ich fast
selber nicht gewufst, was ich gethan.
KoNIG. Es sey dir vergeben, denn wir konnen wohl
gedenken, dafs es dir sehr zu Herzen gangen sey, dafs
du deinen Vater so erbiirmlich hast verlieren miissen.
Doch gieb dich zufrieden, du solt einen Vater wieder
an uns haben. .
LEOxn. Ich bedanke mich vor dlese hohe Konig-
liebe Gnade.
SCENE V.
PHAXTASMO.
PHANTASMO. Herr Vetter Konig, noch mehr neue
Zeitnngl
Ko:nG. Was bringst du wieder vor neue Zeitung?
PHANTABMO. Prinz Hamlet ist wieder kommen.
KoNIG. Der Teufel ist wieder kommen, und nicht
Prinz Hamlet.
Prinz Hamlet ist wieder kommen, und
nicht der Teufel.
Ko!'l'l.G. Leonhardus, bore bier, nun kannst du dei-
nes Vaters Tod rich en, weil der Prinz wieder zu Hause
kommen; aUein du must uns t>idlich versprechen, dafs
du solches keinem Mensehen offenbaren wilt.
LEmm. Ihro Majestat zweifeln an mir nicht; was
Sie mir offenbaren, soil verschwiegen seyn, als ob Sie
zu einem Stein gesprochen batten.
SCENE III.
PHANTASMO.
PHANT. News, news, Monsieur King! News spick
and span new I
KING. Wbat news, Phantasmo?
PHANT. Leonardo has come back from France.
KING. We are glad of it, admit him to our pre-
sence.
SCENE IV.
LEOXARDO.
LEON. My gracious Lord and King, I come to
demand my father at your hands, or vengeance, just
vengeance for his miserable murder. If you do not
grant it, I shall forget that you are king, and will re-
venge myself on the perpetrator.
KING. Be satisfied, Leonardo, that we are inno-
cent of your father's death. Prince Hamlet unwittingly
ran him through while behind the arras: but we will
see that he is punished for it.
LEON. As your Majesty is quite innocent of my
father's death, I humbly crave your pardon on my knees.
My anger as also filial love, had so overcome me, that
I myself hardly knew what I did.
KINo. Let it pass, we can easily believe how it
must have cut you to the heart to lose your noble father
by such a miserable death. But rest contented, - you
shall find another father in ourselves.
LEON. I thank you for your royal fawour.
SCENE V.
PIIANTASMO.
PHANT. Uncle King, more news still!
KINo, What fresh news do you bring?
PHANT. Prince Hamlet has come back I
KING. The devil has come back, and not Prince
Hamlet!
PHANT. Prince Hamlet has come back and not the
devil, I sayl
K.rxo. Leonardo, hear. Now you can revenge your
father's death, for the Prince has come home again.
But you must swear an oath not to disclose your design
to any man.
LEON. Your Majesty may trust me; what you re-
veal shall be kept as close, as if you had spoken to a
stone.
19
291 TRAGEDY OF PRINCE HAMLET OF DENMARK. 292
KoNIG. Wir wollen zwischen dir und ihm einen
W ettstreit anstellen, nemlich also: ihr sollt mit Rapieren
fechten, und der von euch beyden die ersten drey Srofse
bekommt, soll ein weifs neapolitanisch Pferd gewonnen
haben. Aher mitten in diesem Gefecht sollt ihr euer
Rapier fallen lassen, und anstatt desselben sollt ihr einen
scharf gespitzten Degen bey der Hand haben, welcher
dem Rapier ganz iihnlich gemacht mufs seyn, die Spitze
desselben aber must du mit stark en Gift bestreichen;
sobald du nun seinen Leib damit verwunden wirst, wird
er alsdenn gewifs sterben miissen, du aber sollst doch
den Preifs und hierbey des Kiinigs Gnade gewinnen.
LEONB. Ihro Majestat wollen mir verzeihen; ich
darf mich dieses nicht unterstehen, dieweil der Prinz
ein geiibter Fechtmeister ist, und konnte mir dieses wohl
selbst wiederfahren.
KoNIG. Leonhardus, weigere dich hierinnen nicht,
sondern thue deinem Konige solches zu gefallen, um dei-
nes Vaters Tod zu rachen, must du dieses thun. Denn
wisset, dafs der Prinz als ein Todtschliigel" eures Vaters
solchen Tod verdienet. Allein wir konnen keine Gerech-
tigkeit an ibn haben, weil ihm seine Frau Mutter den
Riicken hii.lt, und ibn die Unterthanen sehr lie ben: diirfte
also, wenn wir offentlich uns an ihm rachen wollten,
ein Aufruhr Ieicht geschehen; dafs 'wir aber ibn als un-
sern Stiefsohn und Vetter meide!l, geschieht urn der hei-
ligen Gerechtigkeit willen, denn er ist mordgierig und
unsinnig, und miissen uns kiinftig selpsten vor einem
solchen bosen Menschen fiirchten. Thut solches, W118
wir von euch verlangen, so werdet ihr den Konig seiner
Furcht benehmen, und euch verbliimterweise an euren
v atermorder rich en.
LEONH. Es ist eine schwere Sache, welcher ich
mich fast nicht unterstehe. Denn sollte dieses auskom-
men, wiirde es gewifs mein Leben kosten.
KoNIG. Zweifelt nicht; im Fall es ja euch mifslin-
gen sollte, so haben wir schon eine andere List erdacht.
Wir wollen einen orientalischen Diamant klein stof11en
lassen, und ihm denselben, wenn er erhitzt, in einem
Becher voll 'Vein mit Zucker sill's vermischt beybringen:
so soll er auf unsere Gesundheit doch den Tod saufen.
LEONH. Wohl denn, lhro Majestat, unter dessen
Schutz will ichs verrichten.
SCENE VI.

KoNIGIN. Gniidiger Herr und Konig, liebstes Ehe-
gemahl, ich bringe Euch eine schlechte Zeitung!
KoNIG. 'Vas ist es, liebste Seele?
.KING. We will arrange a match between yourself
and him, and on these terms: you shall fence with foils,
and he who makes the first three hits, shall have won
a white Neapolitan horse. In the middle of the bout
you let your foil drop, and instead of it, you must have
a sword with a sharp point ready at hand, which must
be made quite like the foil, but you must rub the point
of it with a strong poison; 118 soon as you shall wound
his body with it, he will certainly die, but you shall
win the prize, and your king's favour as well
LEoN. Pardon, your Majesty! I dare not undertake
this, seeing the Prince is a practised swordsman, and so
might turn the tables on me.
.KING. Leonardo, do not refuse but do it to please
your King; you must do it to revenge your father's
death. For know, the Prince as assassin of your father
deserves such a death. But we cannot execute justice
against him, because his mother supports him, and my
subjects love him. If therefore we would revenge our-
selves on him openly, it might easily give rise to are-
bellion. The love of holy justice turneth our heart and
favour from our step-son apd our cousin, for he is blood-
thirsty and full of pranks, and for the future we must
ourselves be on our guard against such a bad man. If
you do what we require, you will relieve your King of
his fears, and secretly revenge yourself on the murderer
of your father.
LEONB. It is a difficult matter which I scarce like
to venture on. For should the truth get wind, my life
would be the forfeit.
KING. Nay, doubt not; if this should fail we have
already devised another trick. We'll have prepared for
him a chalice filled with wine mixed with sugar and
the fine powder of an eastern diamond which we will
give him, when he is hot: thus shall he drink his death
to our health.
LEON. Well then, your Majesty, I will do it under
your protection.
SCENE VI.
QUEEN.
QuEEN. My gracious lord and King, my dearest
consort, I bring thee woeful tidings.
KING. What are they, dear soul?
293 TRAGEDY OF PRINCE HAMLET OF DENMARK. 294
Kl)mam. Meine liebste Staatsjungfer, die Ophelia,
liiuft hin und wieder, ruft und schreyt, sie isset und
trinket nichts; man meynet, dafs sie glinzlich von ihrem
V erstande ist.
KoNIG. Ach, hOret man doch nichts als Iauter trau-
rige und unglii.ckliche Zeitungen l
SCENE VII.
OPHELIA mit Blumsn.
OPHELIA.. Siebe da hast du ein Blii.mchen, du auch,
du auch. [giebt jedem eine Blu11U!]. Aber potz tausend,
was hlitte ich achier vergessen: ich mufs geschwinde
laufen, ich babe meinen Schmuck vergessen. Ach, meine
Fronte ; ich mufs geschwinde nach dem Hofschmidt gehn,
und fragen, was er vor neue Moden bekommen. Sa,
sa, decket geschwinde den Tisch, ieh werde bald wieder
bier seyn. [liiujt weg.
LEoNH. Bin ieh denn zu allem Unglii.ek geboren l
Mein Vater ist todt, Wld me ina Schwester ist ihres V er-
standes beraubt l Mein Herz will mir vor grofser Trau-
rigkeit fast zerbersten.
Kl}NIG. Leonhardus, stelle dich zufrieden, du sollst
alleine bey uns in Gnaden Ieben. Sie aber, liebste Ge-
mablin, wolle belieben, mit uns hineinzuspatzieren, denn
wir baben ihr noch etwas in Geheim zu oft'enbaren.
Leonbardus, vergesset nicht, was wir euch gesagt.
LEONH. Ich werde emsig seyn, solches zu verriehten.
KoxiGIN. Mein Konig, wir miissen Rath jjchaft'en,
daCs diese unglii.ckseelige Jungfer moge wieder zu ihrem
V erstande verholfen werden.
KoNIG. Man lasse die Saehe an unsre Leibmedici
gelangen. Ihr aber folget uns, Leonhardus. [ab.
ACT.
SCENE I.
HAMLET.
U ngliickseeliger Prinz, wie lange sollt du noch ohne
Rube Ieben! Wie lange verhangst du, gerechte Nemesis,-
dafs dein gerechtes Rachschwerdt auf meinem Vetter,
den Brudermorder wetzest t Ich bin nun wieder anbero
gelanget, kann aber noch zu keiner Revange kommen,
der Brudermorder allezeit mit viel V olk umgeben.
Aber ich schwore, ehe die Sonne ihre Reise von Osten
in's Westen gethan, will icb micb an ibm rlichen.
QUEEN. The favourite of my retinue, my sweet
Ophelia, runs up and down, and erys, and screams, and
neither eats nor drinks; they think that she bas quite
lost her senses.
KINo. Alas! one hears nothing but sad and Wl-
happy news!
SCENE VII.
OPHELIA, 'With ftowera.
OPHELIA. Ab! hold, there's a flower for thee, and
for thee too, and for thee too (gittea a flower to each].
Well-a-day, what had I not clean forgotten I I must run
quick, I have forgotten my jewels. Hal my diadem. I
must go quick to the court goldsmith and ask what new
fashions he has got. So, so, spread the table quick, I
shall soon be back again. [Runa away.
LEoN. Am I then born to misery! My father dead,
and my sister robbed of her wits! My heart will almost
break with its weight of grief!
KINo. Take comfort, Leonardo, you shall live in
our favour. But you, sweet Queen, be pleased to follow
us, for we have something to communicate to you in
private. Leonardo, do not forget what we have told
you.
LEON. I shall be diligent to do your bidding.
QuEEN. My King, we must devise some means that
this unhappy maiden be restored to her senses.
KINo. Submit the case to our own physician. Fol-
low us, Leonardo.
ACT V.
SCENE I.
HAMLET.
Unhappy Prince, how long wilt thou know no rest!
How long a time, 0 just Nemesis, dost thou appoint for
whetting thy just sword of vengeance against my uncle,
this fratricide! Now am I here once more, and cannot
yet come to my revenge, because this fratricide is at
all times surrounded by so many people. But I swear,
that ere the sun hath compassed his journey from east
to west, I'll wreak my vengeance on him.
19
295 TRAGEDY OF PRINCE HAMLET OF DENMARK. 296
SCENE II.
HORATIO.
HoRAT. Ihro Durchlaucht, ich bin von Herzen er-
freuet, dafs icb Sie mit guter Gesundheit wieder allhier
sebe. lcb bitte aber, Sie wollen mir docb offenharen,
warum Sie sobald wieder zuriickgekommen.
HAMLET. Ach, Horatio, du hiittest mich bald nicht
mehr lebendig gesehn, dieweil mein Leben bereits auf
dem Spiel gestanden, wo mich die gottliche Allmacht
nicht sonderlich hiltte bewahret.
HoRAT. Wie, was _sagen lbro Durchlaucht? Wie
ist es zugegangen?
HAMLET. Du weist, dafs mir der Konig zwey Reise-
gefiihrten als Diener, mich zu begleiten, mitgegeben
hatte. Nun begab es sich, dafs wir eines Tages con-
trairen Wind batten, und an ein Eyland, nicht ferne von
Dovern anker setzten. Icb stieg mit meinen zwey Die-
nero aus dem Schiff, etwas frische Luft zu schOpfen.
Da kamen diese verfluchten Schelme, und wollten mir
das Leben nehmen, und sagten, der Konig hiitte sie dazu
erkauft. Ich bat urn mein Leben, ich wollte ihnen eben
soviel geben, und soli ten den Konig doch unterdessen
meinen Tod berichten, ich wollte auch nimmermebr zu
Hofe kommen, es war aber kein Erbarmen bey ihnen.
Endlich gaben mir die Gotter etwas im Sinn: hierauf bat
ich sie, dafs vor meinem Ende ich noch ein Gebet thun
mochte, und wenn ich rufen wiirde: schiefst zu I so soli-
ten sie auf mich Feuer geben: indem aber dafs ich rief,
fiel ich zur Erden nieder, sie aber erschossen sicb selb-
sten einander; bin also diesesmal noch so mit dem Le-
ben darvon kommen. Meine Ankunft aher wird dem
Konige nicht angenehm seyn.
HoRATIO. 0 unerhOrte V erriitherey I
SCENE III.
PnANTASMO.
HAMLET. Siebe, Horatio, dieser Narr ist dem Ko-
nige viel Iieber, als meine Person. Wir wollen horen,
was er vorhringt.
PHANTASMO. Willkommen zu Hause, Prinz Hamlet!
Wisset Ihr waB Neues? der Konig hat eine Wette auf
Euch und auf dem jungen Leonhardo geschlagen. Ihr
sollt zusammen in Rapieren fechten, und wer dem an-
dern die ersten zwey Silifse anbringen wird, der soli ein
weifs neapolitanisch Pferd gewonnen haben.
HAMLET. 1st dieses gewifs, was du sagest?
PHANTASMO. Ja es ist nicht anders.
HAMLET. Horatio, WaB mag dieses bedeuten? ich
und Leonhardus sollen miteinander fechten. lch glaube,
SCENE II.
HORATIO.
HoRAT. My noble Prince, I am heartily rejoiced
to see you here again in health and safety. Pray tell
me what bath brought you so soon back again.
HAMLET. Alas I Horatio, you were very nearly not
seeing me alive again, for my life waB already at stake,
had not the Almighty taken me under his special pro-
tection.
HoRAT. What does your Highness say? How did
it all happen?
HAMLET. You know that my father gave me two
fellows as servants and companions of my traveL Now
it chanc'd one day that contrary winds beset us and we
cast anchor by an island not far from Dover. I, and my
two attendants left the ship to breathe the fresh air.
Hereupon the cursed villains came and would take my
life, saying, they were hired to do so by the King. I
begged for my life, promised to give them as much,
and that if they would report my death to the King, I
would never show myself at court again. But there
WaB no mercy to be had of them. At length the gods
inspired me with a thought: I begged the knaves for
time to say a prayer to Heaven before my end, and
when I called fire I they were to lodge their bullets in
my breast. But when I called, I fell flat on the ground,
so that they shot each other. Thus I escaped this time
with myJife. But my arrival will not be very agreeable
to the King.
HoRAT. 0 unheard of treachery!
SCENE III.
PHANTASMO.
HAMLET. Look Horatio, this fool is infinitely dearer
to the king than my poor person. Let's hear what be
has to say.
PHANT. Welcome to home, Prince Hamlet! Have
you heard the last news? The King has laid a wager
on you and young Leonardo. You are to measure
your skill at fencing, and he who gives his opponent
the first two thn&Sts is to win a white Neapolitan
horse.
HAMLET. Are you sure of what you say?
PHANT. Ay, ay, so it is, as I say.
HAMLET. Horatio, what may this mean? I and
Leonardo to fight! They have been imposing on this
297 TRAGEDY OF PRINCE HAMLET OF DENMARK. 298
sie werden diesen Narren etwas weifs gemacht haben,
denn man kann ibm einbilden, waa man will. Sehet
nur, Signora Phantasmo, es ist greulich kalt.
PHANTASMO. Ja ja, es ist greulich kalt -
[#ttert mit dem Munde.
HAMLET. Nun ist es schon nicbt so kalt mebr.
PHANTASMO. Ja ja, es ist so recbt ins MitteL
HAMLET. Aber nun ist eine grofse Hitze.
[wi&cht das Gesicht.
PHANTASMO. 0 welch eine greuliche Hitzel -
[wiacht auch den Schweija.
HAMLET. Nun ists nicbt recht kalt, auch nicht recbt
warm.
PHANTASMO. Ja es ist nun eben recht temperirt.
HAMLET. Da siehest du, Horatio, dafs man ibm
weifs machen kann, was man will. Phantasmo, gebe
wieder bin zum Konige, und sage ibm, dafs ich ibm
bald aufwarten werde - [Phantasmo ab]. Nun kommt,
, Horatio, icb will gleichwohl gebn, und mich dem Konig
1
,: prlisentiren. Aber achl was bedeutet dieses? mir fallen
j Blutstropfen aus der Nase; mir schiittert der gauze Leibl
( 0 webe, wie geschieht mirl [fiillt in Olmmacht.
1
HonAT. Durchlauchtigster Prinz, o Himmel, waa
' bedeutet diesesl Ihro Durchlaucbt kommen doch wieder
zu sich selbstl Durchlauchtigster Prinz, wie ists, waa
wiederfillui Ihnen!
HAMLET. Ich weifs nicbt, Horatio. Indem ich ge-
l dachte, nach Hofe zu gehn, iiberfiel mich eine schleu-
nige Obnmacbt; waa dieses bedeuten wird, ist den Got-
tern bekannt.
HoRAT. Acb, der Himmel gebe doch, dafs dieses
Omen nicht etwas Boses bedeuten moge.
HAMLET. So sey es wie es will, ich will dennoch
zu Hofe gehn, und sollte es auch mein Leben kosten.
[ab.
SCENE IV.
Klima. LEoNaARDus. PHANTASMo.
K l i ~ I G . Leonhardus, mache dicb fertig, denn Prinz
Hamlet wird auch bald bier seyn.
LEONH. Ihro Majestat, ich bin schon fertig, und
werde scbon mein Bestes thun.
KoNIG. Sebet wobl zu; bier kommt der Prinz
schon---
SCENE V.
poor fool, for one can make him believe what one
likes. Observe, Signor Pbantasmo, 'tis horribly cold.
PHANT. Ay, ay, 'tis horribly cold -
[His teeth chattering with cold.
HAMLET. Now it is no more so cold.
PHANT. You're right my lord, just the happy me-
dium.
HAMLET. But now it is very hot.
[Wiping his face.
PHANT. 0 what a dreadful heat!
[Also wiping away the perspiration.
HAMLET. It seems to me 'tis neither very cold nor
very warm.
PHANT. Yes, now it is just temperate.
HAMLET. Do you see, Horatio, one can make him
believe what one will. Phantasmo, go get thee to the
King, and say I'll wait upon him instantly. [Phant. exit.]
Come, Horatio, I go this very minute, and present myself
to the King. Ha I What does this bode? See, these drops
of blood which fall from my nose. I tremble from head
to foot! Alas! alas! how is it with me?
[Faint8.
HoRAT. Most noble Prince! 0 Heavens! what does
this import? Come to your senses my lord! My noble
Prince, what is the matter with you?
HAMLET. I do not know, Horatio. When I thought
of going to court, a sudden swoon came over me. The
gods alone know what it signifies.
HoRAT. Heaven grant this be no evil omen!
HAMLET. Be it what it may, I go to court, ay and
should it cost me my life.
[Exeunt.
SCENE IV.
KING. LEOSARDO. PHANTASMO.
KING. Leonardo prepare, for Prince Hamlet will
also be here directly.
LEON. I am prepared, your Majesty, and will do
my utmost.
KINa. Look well to it; but here comes the Prince
in happy time - - -
SCENE V.
HAMLET. HoRATIO. HAMLET. HoRATIO.
IIAliLET. Alles Gliick und Hell warte auf Ihro ' HAnET. All health and happiness wait on your
Majestat! I Majesty I
Kosw. Wir danken Euch, Prinz! Wir sind hOchst-, KING. We thank you, Prince! We are extremely
erfreut, dafs Euch die Mclancholie in etwas verlassen, glad, that your melancholy has somewhat abated; where-
l
\
\
299 TRAGEDY OF PRINCE HAMLET OF DENMARK. 300
derowegen haben wir heut einen Luststreit angestellt
zwischen Euch und dem jungen Leonhardo: Ihr sollt
mit ibm in Rapieren fechten, und welcher von Euch
beyden die ersten drey Stofse bekommen wird, der soU
ein weifs neapolitanisch Pferd mit Sattelzeug und allem
ZubehOr gewonnen haben.
HAMLET. Ihro Majestat wollen mir verzeihen, denn
ich in den Rappier wenig geiibt bin. Leonhardus aber
kommt kiirzlich aus Frankreich, allda er sich ohne Zwei-
fel wird gut exercirt haben , darum wollen Sie mich
entschuldiget halten.
KoNIG. Prinz Hamlet thut uns dieses zu gefallen,
denn wir sind begierig zu erfahren, was die Teutschen-
und die Franzosen vor Finten haben.
SCENE VI.
KoNxorN.
KoNIGIN. Gniidiger Herr und Konig, ich werde
Ihnen ein grofses U ngliick erziiblen !
KoNIG. Der Himmel bewahre uns davor! WM ist
es denn?
KoNIGIN. Die Ophelia ist auf einen hohen Berg
gestiegen, und hat sicb selber heruntergestiirzt und urn
das Leben gebracht.
LEONH. Ach ungliickseeliger Leonhardus! du hll8t
in kurzer Zeit einen Vater und Schwester verlohren!
W ohin will doch das Ungliick dich leiten! lch wiinsche
mir selbsten vor Betriibnifs den Tod.
KoNIG. Stellet euch zufrieden, Leonhard us! wir sind
euch gniidig, fanget nur das Gefechte an. Phantasmo
bringe die Rappiere; Ihr aber, Horatio, sollet urtheilen.
PHANTASMO. Da sind die warmen Biere.
HAMLET. Wohlan denn, Leonhardus, so kommet
denn an, wir wollen zusehn, wer dem andern die Schel-
len wird anhingen. W o icb aber einen Exces begehen
mochte, bitte ich zu excusiren, denn ich lange nicht
gefocbten.
LEONH. Ich bin Ihro Durchlaucht Diener, Sie scher-
zen nur.
[In dem ersten Gang fechten sie reine. L e o n ~
hardus bekommt einen Stojs.
HAMLET. Nun das war eins, Leonhard us!
LEONH. Es ist wahr, Ihro Dureblaucht! Allo Re-
nnge 1 [Dieser lajst das Rappier fallen, und ergreift den
vergifteten Degen, welcher parat lieget, und stofst dem
Prinzen die Quarte in den Arm. Hamlet pariret auf
1
Leonhardo, dajs sie beyde die Gewehre fallen lassen. Sie
laufen ein jeder nacll dem Rappier. Hamlet bekommt den
vergifteten Degen, und sticht Leonhardus todt.
LEONH. 0 wehe, ich babe einen todtlicben Stofs 1
fore we have arranged a fencing match between you
and young Leonardo. He who makes the first three
hits, has gained the prize, a white Neapolitan horse with
saddle and housings complete.
II.uo.ET. Your Majesty will pardon me, for I am
little practised with the foils, while Leonardo comes
direct from France, where be has undoubtedly had
plenty of practice; wherefore I pr'ythee hold me ex-
cused.
KING. Prince Hamlet will do it to please us, for
we are curious to learn the feints of the Germans and
the French.
SCENE VI.
QUEEN.
QUEEN. My gracious Lord and King, I am the
bearer of sad tidings.
KING. Heaven forbid, say on.
QUEEN. Ophelia h118 ascended a high hill, and cast
herself from the top of it, and taken her life.
LEON. Ah, ill-fated Leonardo l In how short a space
of time hast thou lost a father and a sister 1 'Vhither
will mischance lead me 1 0! that death would come to
free me from my woe and misery!
Kr.m. Content ye, Leonardo l You enjoy our fa-
vour, only begin the play. Phantasmo fetch the rapiers,
Horatio shall be umpire.
PliANT. Here is the warm beer.
HAMLET. Come on, Leonardo, let's see who is to
wear the fool's bells. Should I b)under, pray excuse
me Leonardo, for I am somewhat out of practict>.
LEON. My lord you jest with your servant.
[During the first bout they fence fairly. Leon-
ardo receives a thrust.
HAMLET. That was a bit, Leonardo!
LEON. True, your Highness. Now for my re-
vt>nge1 [He lets his foil fall, and seizes the poisoned
sword which is lying ready and deals ldm a thrust in the
left arm. Hamlet parries, so that both drop their weapons.
They run to pick them up. Hamlet takes the poisoned
sword and mortally wounds Leonardo.
LEON. Alack! I am mortally wounded 1 I receive
301 TRAGEDY OF PRINCE HAMLET OF DENMARK. 302
ich bekomme den Lohn, mit welchem ich dachte einen
andern zu bezahlen. Der Himmel sey mir gniidig.
HAMLET. Was zum Teufel ist diesesl Leonhardus,
hab ich euch mit dem Rap pier erstochen? Wie geht
dieses zu?
I
K a ~ u o . Gehet geschwinde, und gebt meinen Mund-
becher mit W ein her, damit die Fechter sich ein wenig
erquicken. Gehe, Pbantasmo, und hole ibn. [tritt vom
Thron. FUr Bich.] lch hoffe, wenn sie beyde von dem
I
, W ein trinken werden, dafs sie alsdenn sterben, und
diese Finte nicht offenbar werde.
!
HAMLET. Sagt mir, Leonhardus, wie ist dieses zu-
gegangen?
LEONH. Ach, Prinz, ich bin von dem Konig zu
diesem Unghick verfiihret worden! Sehet, was Ihr in
Eurer Hand habt I es ist ein vergifteter Degen.
HAMLET. 0 Himmel, was ist diesesl Bewahre mich
doch davorl
LEOim. Ich sollte Euch damit verletzen, denn er
ist so stark vergiftet, daCs, wer nur die geringste W unde
damit bekommt, augenscheinlich sterben mtlli!.
K()NIG. Holla, Ihr Herren, erhohlet Eucb ein wenig
und trinket. [Indem der Kiinig vom Stuhl aufatehet, und
die&e lVorte redet, so nimmt die Konigin dem Phantaamo
den Becher aus der Hand und trinlcet, der Konig ruft:]
Hollal wo bleibt der Becher? Ach, wertheste Gemah-
lin, was thut sie? Dieses, was hier eingeschenket, ist
mit dem sUirksten Gift vermenget. Ach wehe, was baht
Ihr gethanl
KoNIGI!'I. 0 wehe, ich sterbe I
[Der Konig_ stehet vor der Konigin.
HAMLET. Und Du, Tyranne, sollst sie in dem Tode
begleiten. [llamlet eraticht ihm von hinten zu.
KoNIG. 0 wehe, ich empfange meinen bOsen Lohn I
LEONH. Adieu, Prinz Hamlet! Adieu, Welt! ich
sterbe auch. Ach, verzeihet mir, Prinz!
HAMLET. Der Himmel geleite deine Seele, weil du
unschuldig. Diesen Tyrannen aber wiinsche ich, daCs er
seine schwarze Siinden in der Hollen abwaschen moge.
Ach, Horatio, nun ist meine Seele ruhig, nun ich mich
an meinen Feinden gerochen babe. lch babe zwar auch
einen Stofs in den Arm, aber ich hoffe, es werde nichts
zu bedeuten haben. Es ist mir leid, dais ich Leonhar-
dum erstochen babe, ich weifs aber nicht, wie ich den
verzweifelten Degen in meine Hand bekommen; doch
the recompense with which I thought to pay another.
Heaven, have mercy on mel
HAMLET. What the devil is this, Leonardo? have
I slain you with this foil? Say, say, how is this pos-
sible?
KINo. Go quick, and fetch a cup of wine to re-
fresh our swords-men a little. Go, Phantasmo, and fetch
it. [De&cends from the throne. Aside.] I hope they may
both drink and die, and that this trick may not become
known.
I
ILua.ET. Tell me, Leonardo, bow did this all come
about?
LEON. Alas I Prince, I have been seduced to this
misfortune by the King I Look at what you have in your
hand! It is a poisoned sword.
HAMLET. 01 Heavens, what is this! Preserve me
from it!
LEON. It was agreed that I should wound you
with it, for it is eo strongly poisoned, that whoever re-
ceives the slightest wound from it, must die.
KINo. Hot gentlemen, take this cup and drink.
[Whilst the King is ronng from hi8 chair and speaking the
above words, the Queen takes the cup out of Phantasmo'1
hand and drinks; the King uclaiTM:] Hot where is the
cup? Alas! my dearest wife, what are you doing? This
drink is mixed with the strongest poi&on. Alack! a.lackl
what have you done I
QUEEN. Alas! I die!
[The King stands before the Queen.
HAMLET. And thou, tyrant, shalt bear her company
in death. [Stab1 him from behind.
Knw. Alas I alas I I receive my due recompense I
LEoN. Farewell, Prince Hainletl Farewell, world!
I die too. Ah, forgive me, Prince I
HAMLET. May heaven receive thy soul for thou art
innocent. But for this tyrant, I wish that he may purge
his sins in the hell Al1, Horatio I now is my soul at
peace, I am revenged of mine enemies. 'Tis true I have
received a touch upon the arm, but I hope it will be
of no consequence. It grieveth me that I have slain
Leonardo. I know not how the accursed weapon came
to my hand; but as he hath sown, so hath he reaped.
He has received his reward. My wretched mother! most
303 TRAGEDY OF PRINCE HAMLET OF DENMARK. 304
wie die Arbeit, so ist auch der Lohn, er hat seine Be-
zahlung bekommen. Nichts jammert mir mehr, als
meine Frau Mutter. Doch sie hat diesen Tod wegen
ihrer Siinden halben auch verdienet. Aber sagt mir,
wer hat ihr den Becher gegeben, dafs sie Gift bekommen?
PHANTASMO. Ich, Herr Prinz l icb babe aucb den
vergifteten Degen gebracht, aber den vergifteten W ein
habt Ibr allein sollen austrinken.
HAMLET. Bist du auch ein Werkzeug dieses Ungliicks
gewesen? Siebe, da hast du auch deine Belohnungl
[ sticht ihn todt.
PHANTASMO. Stecht, dafs euch die Klinge verlahme l
HAMLET. Acb, Horatio, ich fiirchte, es wird nach
meiner veriibten Racbe auch mein Leben kostcn, denn
ich bin am Arme sehr verwundet. Ich werde ganz matt,
meine Glieder werden schwach, und meine Beine wollen
nicht mehr stehn; meine Sprache vergeht mir, ich fiihle
den Gift in allen meinen Gliedern. Doch bitte icb
euch, lieber Horatio, und bringet die Krone nach Nor-
wegen an meinen Vetter, den Herzog Fortempras, da-
mit das Konigreicb nicht in andre Hande falle. Ach,
o web, ich sterbe!
HoRATIO. Ach, Durchlauchtigster Prinz, erwartet
doch Hiilfe, 0 Himmel, er bleibt mir unter den Han den!
Ach, was bat doch dieses Konigreich eine zeither vor
schwere Kriege gefiihretl Kaum hatte es Friede, so ist
es aufs neue mit innerlicher U nruhe, Regier- Streit- und
Mordsucht angefiillet worden. Dieser traurige Vngliicks-
fall mag wohl in keinem Seculo der Welt jemals ge-
schehn seyn, wie man Ieider jetzt an diesem Hofe erie-
bet hat. Ich will alle Anstalt mit Hiilfe der treuen
Rathe machen, dafs diese hohe Personen nach ihrem
Stan de beerdiget werden, alsdenn mich cito mit der Krone
nach Norwegen verftigen, und dieselbe iibergeben, wie
mir dieser ungliickseelige Prinz befohlen hat.
Fer&.
So gehts, wenn ein Regent mit List zur Kron sich dringet,
U nd durch V erriitherey diesel be an sicb bringet,
Derselb erlebet nicbts, als Iauter Spott und Hohn,
Denn wi<' die Arbeit ist, so folget auch der Lobn.
ENDE.
do I grieve for her - her sins have brought this just
punishment down on her. Say, who gave her the poi-
soned cup?
PHANT. I, Prince. I have also brought the poisoned
sword, but the poisoned wine was intended for you alone.
HAMLET. Hast thou too been an instrument of all
this woe and miBery? There, take thy due reward?
[Stabs him.
PHANT. Run it in, and may your blade grow lame l
HAMLET. Horatio, alas! I fear my revenge has
cost me my life, for I am sorely wounded in the arm.
I grow faint, my limbs grow weak and refuse to sup-
port me, my voice fails, I feel the poison in all my
members. Gentle Horatio, take the crown to my cousin,
Duke Fortinbras of Norway, that the kingdom may not
fall into other hands. Ala.S! I die!
HoRATIO. 01 Noble Prince, aid may still come!
Heavens I be is dying in my arms. Alas I 0! how this
Kingdom of Denmark hath been scourged with long
wars! Scarce was peace established, when anew internal
disturbances, murders, ambition, and contentions fill the
land. In no age of the world hath such a tragedy been
played as now, alas, at this court. And now, with aid
from the faithful counsellors of the kingdom, I will take
all fitting measures that these high personages be buri('d
according to their rank. Which done, I will go to X orway
with the crown at once, and d('lin'r it as this unhappy
Prince commanded.
rerse.
Thus is it when a prince by craft the crown will S<'ize,
And take it for himself by treach'rous practices,
'Tis nothing that he gets but mockery and scorn,
For be shall reap at eve. what h(' has sown at morn.
THE END.
_./TRAGEDY OF ROMEO AND JULIET
ACTED IN GERMANY, IN THE YEAR 1626, BY ENGLISH PLAYERS.
20
The German Text of the TRAGEDY OF RoMEo AND JULIET is printed from the only known Manuscript
in the Imperial Library at Vienna. E;xtracts from it have been published (very incorrectly) in EDuARD DEVRIENT's
Guchichte der deutechen Schatl8pielkun&t, Band I, Leipzig 1848, 8vo, pag. 408-434. The present impression is
the first ever published of the complete play. - The Manuscript has no title-page and bears no date.
TRAGEDIA
VON ROMIO UND JULIETTA.
Pers011en.
FiiasT.
CAPOLBT.
MUNDIGE.
PARI8.
ROMIG.
MKRCUTIUS.
PK.SVOLIO.
TIPOLT.
PATER.
PICKELHABL'IG.
Em Ju:ms.
GR.ii'J.S CAPOLII:T.
JULIETA.
AMME (ANroNETA).
ACTGS PRIMUS.
SCENA PRIMA.
FORsT mit KAPOLETH vnd MuNDIGE.
Hoffstadt.
FCRsT. Die Sonne schawet an den blaw Saphir
glantzenden Himmel den Erdtkreifs nur darumb, damit
alles wachse bliie vnd zeitig werde, vnd dem Menschen
zu N utzen diene, wo aber die ftinstere Hagelswolckhen
mit einer frostniifs solche beriihret, so ist die gefahr
vnd der Schad vorhanden. Capolet vnd Mundige weillen
in vnserer Regirung nichts Jrrsamber vnd vnleidiger
scheinet alfs Euer beyder Heuser vneinigkeit saget vnnfs
in was N utzen bestehet Euer Zorn Hafs vnd Feind-
schafft alfs dafs Euer Geschlecht gemiindert vnd nach
der Zeit mit bluetigen Kempfen ausgerodt vnd zerge-
hen mufs vnd ihr habt nichts bessers zu boffen alfs dafs
Euch beyden nichts mehr iibrig nach Euren todt, alfs
der Nahmb vnd die nachfolgcnde weldt sagen wir(d) sie
sein gewe(sen).
CAPOLET. Gnlidiger Fiirst und Herr nach dero Be-
lieben zu reden gestehe ich, dafs vnser beyde Heuser
von Geschlecbt zu Gescblecht in solche Erbfeindschaft
TRAGEDY
OF ROMEO AND JULIET.
Persons re.pre1enled:
PRINcE.
CAPULET.
MOl!ITAGUE.
P.AIWI.
Ro:MBo.
MltaCUTIO.
BBlfVOLIO.
TIBALT,
A FIIIAR.
CLOWN (PickelhleriDg).
A BoY.
LADY CAPULET.
JULIET.
Nuas11:.
ACT I.
SCENE I.
PRINCE with CAPULET and MoNTAGUE.
Retinue.
PRINcE. The sun looks at this earth in heaven's
azure only that every thing may grow, flower, and ma-
ture, and be of use to man: but wherever the dark hail-
clouds strike her with a chill, there is danger and loss.
Capulet and Montague! since in our reign nothing ap-
pears more erratic and intolerable than the quarrel of
your two houses, tell us then, what else do you gain
by your wrath, hatred, and enmity but that your race
dwindle away, and in the course of time become ex-
tirpated in bloody fights and disappear, and that you
have nothing better to hope, but that after your death
nothing remains of both of you, except your names and
the saying of future generations: they have been.
CAPULET. Gracious Prince and Lord! To speak
according to your pleasure, I confess that both our
houses from generation to generation have grown into
2o
au
TRAGEDY OF ROMEO AND JULIET. 312
geratben, dafs es scheinet, ale ob der Himmel darob
ein W ohlgefallen vnd mit seinen influenzen das Kindt
in Muetterleib mit der geburthstundt schon feindlich be-
kleitet. Der Himmel ist mein Zeug, das meine grawe
Haar daran keinen gefallen, sondem viel mebr beseufftze
den Schadenfohl vndtergang, vnsers so alten Stammen
Haufs.
FiiRsT. Was sagt ihr graff Mandige, wie gefalt
Euch diese meinung?
MUNDIGE. Gnidiger Fiirst und Herr diese meinung
des Capoleth ist nicbt verwerfflich, aber die o1ft be-
schehene affront vnd iiberfallung der Meinigen so sie
von den Capoleten erliden ist weldt kiindig vnd vnserer
V orfahrer bluetvergiefsung gantze cronicen voll voll (sic)
sein ist also meinem bedunckben nach nicht Rathsamb
dafs mein feindt zuesehe dafs mir das wasser in das
maul rinnt.
FilRST. Graff Mundige der tugendtwiirdige titul
bestehet nicht in hiitzigen Euffer des Zorns sondern
mit Nachlassung des Empfangenen Schaden, der ist
Ruhmbwiirdig zu nennen, so seinen feindt verzeihen vnd
mit freundtschafft obsigen kan.
MuNDIGE. Die Natar lehrent aber viel ein anders
gnidiger Fiirst und Herr.
FCRsT. Und was dan?
MuNDIGE. Nicht zuelassen, das man von feindt
iiberwunden vnd bezwllllgen werde.
FuRsT. Es ist wahr was den Krieg vnd landtsver-
wiistung betriifft.
CAPOLET. Wan es so wAhre wolte ich vmb wiir-
diger gleich meine grawe Haar mit Sigesblitter vmb
winden, oder einen Ehrlichen todt hoffen, aber dieser
Haufs vnd Nahmben Krieg legt mich selber eher in das
grab, alfs Hoffnung haben einen friden zu erleben.
FURST. Der Himmel kan keinen gefallen an einer
einheimbischen Vnrube oder Stattsverderben haben noch
weniger an dem, das zwey so vornehme Stammenheiifser
fallen vnd selbst sich zu grundte richten sollen.
CAPOLET. Wie vorgesagt gnidiger Fiirst vnd Herr
ich Iiebe die Einigkeit den Frieden vnd basse das vn-
rechte Bluetvergie8Sen.
Mt:NDIGE. W er gezwungen das gewohr zu braucben,
der vergiefst nicht vnrechtes blueth.
CAPOLET. Der fridlich Ieben will, braucht kein ge-
wiihr zu wetzen.
.Mum>IGE. Der leichtlich glaubet, wird Ieicht be-
trogen.
CAPOLET. Der nicht die Ehre acht, kan Ieicht ein
betriiger sein.
such hereditary feud, that it seems as if heaven taketh
delight in it, and by its influences renders the child in
the mother's womb hostile from its birth. Heaven is
my witness, that my gray hair does not delight in it,
but that I sigh over the hurtful ruin of our so ancient
stock.
PruNcE. How say you, count Montague? bow do
you like this sentiment?
MONTAGUE. Gracious Prince and Lord! This sen
timent of Capulet is not to be rejected; but the often
repeated affronts and attacks which my kinsmen have
had to suffer from the Capulets, are well-known to all
the world; and whole chronicles are full of our fore-
father's bloodshed. Therefore methinks it is not advis-
able, that my enemy should stand by and see the waters
rise up to my mouth.
PRINcE. Count Montague! The title to virtue does
not consist in heat of anger but in remission of received
injury. That man is worthy of praise who forgives his
enemy and conquers by kindness.
MONT AGUE. Yet nature teaches something very dif-
ferent, gracious Prince and Lord I
PRINCE. And what?
MONT AGUE. Not to suffer oneself to be conquered
and overcome by enemies.
PRINCE. That is true as far as concerns war and
devastation.
CAPULET. If it were so, I should all the more
worthily at once entwine my gray hair with victorious
leaves, or hope for an honourable death. But sooner
will the feud of these houses and names lay me in my
grave, than there will be hope of my living to see a
peace.
PRINCE. Heaven cannot be pleased with civil dis-
turbance or ruin of the state, still less with the fall and
mutual destruction of two such noble houses.
CAPULET. As I have said before, gracious Prince
and Lord, I love union, and peace, and bate unlawful
bloodshed.
MoNTAGUE. He who is forced to use his weapon,
does not shed unlawful blood.
CAPULET. He who will live peacably, need whet
no weapon.
MoNTAGUE. He who easily believes, is easily de-
ceived.
CAPOLET. He who does not regard his honour, may
easily tum deceiver.
818 TRAGEDY OF ROMEO AND JULIET. 814
MUNDIGE. Der die meinigen beleidiget, greifft mich
vnd meine Ehre an.
CAPOLET. Der mein Herkommen be8chimpfet ohne
vrsach, ist nicht zu achten.
MUNDIGE. Wan aber die feindtschafft sein vrsach
hat?
CAPOLET. Wer feindtschafft haben will, der darf
kein vrsach 8uechen.
MUNDIGE. Die Beleidigung hat kein gedult.
CAPOLET. Der Beleidiget ist 8traffwii.rdig.
MuNDIGE. So 8traff man den 80 der beleidigung
anfenger ist.
CAPOLET. 0 Mundige, Mundige, ich wintsche das
kein beleidiger Nie gewesen wehre.
MUNDIGE. Wan wintschen giiltig wehre, so bette
ich auch mehr von meiner freundtschafft vnd familia bey
Ieben.
F'irnsT. Es gehet vnnCs 8elb8t zu Hertzen, in deme
wiir bedrachten was thorheit das seyn ein Ge8chlecht
das ander zu verdilgen, die freyheit zu verliehren, tiig-
lich vnruhe suechen, sich selb8t in vnglickh stiirtzen vnd
Entlichen iibel sterben.
MuNDIGE. Ich wintsche wol zu sterben vnd fridlich
zu Ieben.
CAPOLET. Der Himmel gebe, das e8 Inir auch wi
derfahre.
FuRST. Vemehmet, ein Konig Fiir8t oder Herr,
der da in seiner Regierung sitzet, wafs steht ihm besser
an alfs seine V ndterthanen in friden vnd Recht zu er-
halten, thuet Er solches 80 lebt Er glickselig, wo aber
in Regirungs8achen ein Unruhe vnd Feindtseeligkeit 8ich
8ehen las8et, 80 ist daCs V erderben verbanden, man 8ehe
in allen land ten, wo der frid vnd Einigkeit sich vmb-
halsen da wohnet lauther frewd. Euer V ndterthanen
blueten selbst mit Euch voter den schwaren Joch Eurer
Feindtschafft, darumb leget"8b den Hafs vnd 8uechet
nicht Euer V erderben, wo man nicht mit Scharpffe vnd
Statuten des faderlandes Init Euch verfahren soll.
CAPOLET. Gniidigster Furst vnd Herr, dem die sache
angehet der fiiblt den Schaden vnd weillen mir gebiih
reo will zu gehorsamben, 80 setze ich mich nicht wider
die gesetz des V erbots.
MuNDIGE. Graff, das guete Vomehmen, so ich an
Euch verspiihre soll mich nicht hindern den gehorsamb,
die gesetz vnd lie be vnsers V atterlandts zu vollziehen,
wo nur der grundtstein Eure8 willen woblgelegt.
CAPOLET. G r ~ ich will Eurer meinung beyfallen,
vnd wan mein will anders alfs der Eure, 80 verspreche
ich hier in gegenwarth vnsers gnidigen Fiirstens, das
ich alle schuld ertragen, wo Euch vnd den Eurigen von
MoNTAGUE. He who insults my kinsmen, attacks
me and my honour.
CAPuLET. He who defames my extraction without
reason, deserves no respect.
MONTAGUE. But if there be a reason for enmity?
CAPULET. He who will have enmity, need not seek
for a reason.
MoNTAGUE. Offence has no patience.
CAPULET. The offender is liable to punishment.
MoNTAGUE. Then let him be punished who began
offending.
CAPULET. Oh Montague, Montague! I wish there
had never been an offender.
MoNTAGUE. If wishing were of any good, I also
should have more joy of my friends and family in my
life-time.
PRINCE. It makes our own heart ache, to think
what folly it is one race destroying the other, losing
one's liberty, seeking quarrel day by day, precipitating
oneself into misfortune, and in the end dying miserably.
MONTAGUE. I wish to die well and to live in peace.
CAPULET. Would to Heaven that the same be my
lot tool
PRINcE. Hear yel a King, Prince, or Lord who
sits in his government, what becomes him better than
keeping his subjects in peace and right? If be does that,
he lives in happiness; but wherever trouble and hostility
appear in matters of government, there ruin is at hand.
Look at all countries: where peace and unanimity exist
in fond embrace, there is joy. Even your vassals are
bleeding from the heavy yoke of your enmity. There-
fore discard your hatred and do not court your ruin,
unless you would be treated with severity, and accord-
ing to the statutes of the land.
CAPULET. Most gracious Prince and Lordi He,
whose concern it is, feels the injury; and as it behoves
me to obey I do not set myself against the law.
MoNTAGUE. Count! The good intention I observe
in you shall not hinder me fr9m obedience , from fol-
lowing the laws and love of our country, provided the
corner-stone of your will be well laid.
CAPL'LET. Count I I approve of your sentiment; and
when my will shall differ from yours, I do here pro-
mise, in the presence of our gracious Prince, to take
upon myself all responsibility in case you and your
315 TRAGEDY OF ROMEO AND JULiET. 316
den Capoleten so lie eine beleidigung geschehen, vnd
hier ist meine Handt.
Ml'NDIGE. Und bier die meine.
CAPOLET. Zu einer wahren trew.
MUNDIGE. Vnd Rechten freundschafftsbandt.
CAPOLET. W er dise bricht
MtTNDIGE. Verfiuechet sey sein Handt.
FuRsT. Dises ist ein wei:kh, daran wiir einen ge-
fallen tragen vnd wintschen
Euren heiden Stammen
Die weifse Fridensbliie
Die waxe Nestors Jahr
Mit 1000 g l i c l ~ e s Nahmen.
MUNDIGE.
Der Himmel hat bifsher gantz zornig aufsgesehen
Nun aber muefs der Krieg vnd Hars zu Ende gehen.
CAPOLET.
Es bat der Krieges N ewd vnfs beyde bart gekrenkt
J ezt vnser will an frid vnd Siifse Rube gedenkt.
Mt.rNDIGE.
Die Rube nimbt micb ein, die Rach ligt ietzo vnten
Nun ist das vngemach vnd aller Zankh verschwunden.
CAPOLET.
Nun bin ich sorgenfrey vnd sag vonn hertzen reeht,
Ich werd mieh allzeit nennen sein Diener vnd sein Knecht.
MUNDIGE.
Den ieh ertodten wolt nennt mich ietzt seinen freind
Nun mehr hats keine noth, ieh weifs von keinem feind.
FURST.
W ehe in dem Hertzen dem der da hegt Krieges glueth
Vnd lescht die tugendt aufs, acht weder freind noch blueth
Es will dafs llion durch solches Krieges fewer
Dafs Troia muest vergehn in diesem vngehewer
Dafs laster weiehe weith aurs Euren tugendt Sinn
Die freindtsehafft gebe Euch, die balmen zu gewiinn.
SCENA 2DA.
JULIETA vnd ANTONETA
in garthen.
[Alle ab.
JULIETA. 0 grofse Belustigung dieser FriihlingsZeit,
wan man sieh ergotzen kan in den lustbahren Garten,
felder vnd wilder, wan man hOret die rauschende Biieh-
lein die ihren lauff zwischen den Kifselsteinen zerbre-
chen, welches das gehor ergetzet, wan der zephirus den
bliitterreichen Bawmen schmeichlet, vnd mit ihnen schert-
zet, wan die Vogl singen, vnd mit ihrem gefider die lufft
durchstreichen, vnd andere tausend anmuethungen die
das Hertz erquickhen. Aber sage Julieta wafs frewde
geniiest du, weil ich wie eine Einsambe turteltaube ein-
people should suffer any injury from the Capulets ; and
there is my hand.
MONTAGUE. And here is mine.
CAPULET. Unto a true faith -
MoNTAGUE. And genuine bond of friendship.
CAPULET. The which whoever breaks -
MONTAGUE. Accursed be his hand!
PRINCE. This is a work therein we delight, and
wish
Both your houses
The white blossom of Peace;
May it grow to Nestor's age
With a thousand ]Jlcky names!
MONTAGUE.
The Heavens did as yet anger and wrath portend
But now henceforth must war and hatred have an end.
CA.PULET.
War's envy on us both hath grievous suffering brought
To sweet repose and peace our will now turns our thought.
MoNTAGUE.
Quiet now fills my heart, revenge lies low too here,
Now does our wrangling all and trouble disappear.
CAPULET.
Now am I free from care, and from my heart I say
I'll call myself your slave and servant from to-day.
MONTAGUE.
He whom I wished to kill now makes a friend of me,
No more I wish his death, I have no enemy.
PRINCE.
Woe to the man whose heart with warlike ardour glows,
Who quenches virtue's light, nor blood nor friendship knows.
'Twas Ilion's fate indeed through just such warlike fire,
That Troy must pass away in monstrous wrong and dire.
Before your virtuous souls may all the vices flee,
And friendship grant to you to gain the victory!
[Exeunt omnu.
SCENE II.
J VLIET and NURSE.
In tht garden.
JULlET. Oh! how great is the enjoyment of this
spring-time, when one may delight in the merry gardens,
fields, and woods; when one bears the murmuring brooks
breaking their course betwixt the pebbles, so pleasant to
the ear; when the zephyr dallies with the leafy tree;
when the birds chant and with their plumage sweep
through the air, and a thousand other charms gladden
the heart! But say, Juliet, what pleasure dost thou en-
joy while I am pent up like a solitary turtle and forced
to live like a prisoner, deprived of every enjoyment by
317 TRAGEDY OF ROMEO AND JULIET. 318
gesperrt, vnd alis eine gefangene Ieben muefs indeme
mich meiner Eltern Zucht aller frewd berauben, o Ita-
lia was lur gesetz gibest du dem weiblichen geschlecht,
dafa sie nichts geniifsen als die Einsambkeit, sage mir
Anton eta soU ich die Blumen besuechen oder schlaffen?
ANTONETA. SchOne Julieta mich wundert selber das
sie sich Ihrer Eltern gehorsamb so starkh vnterwiirfft,
vnd den gehorsamb nicht vberschreidten will, o wehre
mir also ich wolte mir scbon belffen.
JULIETA. Vnd wie in deme mir nichts mehr erlau-
bet ist, alfs in disen garthen vnter den Blumen mich z11
erfrewen.
ANTON. Vnd was Blumen sind blumen, aber
ein beth das ware eine linderung.
JULIETA. Wafs linderung?
ANTON. Linderung der glider.
JULIETA. Wafs glider?
ANTON. Nun der gantze theil defs Menschen, ihr
versteht mich ja wohl, wan ihr nur wolt, o wie Ein-
feldig seht ihr doch aus.
JuLIETA. Und wafs dan?
ANTON. Nichts nichts, aber wan ich reden dorffte.
JULIETA. Rede nur frey.
ANTON. Gn. Fraulein, sie verzeihe mir wan ich sa-
gen darf dafa besser wiihre einen discurs mit einen
wackheren gaualier zu fiihren, alfs sich in die stumme
garthenblumen zu uerlieben.
JULIETA. Ach Antoneta wafa redest du?
ANtoN. Worumb firbet sie sich sehOne Julieta vnd
wird roth.
JULIETA. Roth bedeutet lieb.
ANTON. So liebt sie dan.
JULIETA. Worumb solt ich nicht lieben, ich Iiebe
aber weiCs nicht wafs.
ANTON. Es muefs was sein dafs sie blagt, dan sie
bald roth bald weifs ihr gesicht verendert, sie jagt mir
bald ein forcht ein.
JULIETA. Antoneta wisset ihr nicht wer roth vnd
weifs erfunden? Habe ichs in meinem gesicht, so ist es
nicht ohne vrsach, dan die tugendt lebt in mir, vndt
tugendt hats erworben.
ANTON. Tugendt vnd wafa fiir tugendt?
JULIETA. Tugendt des gemiiths.
ANTON. Seit ihr ein Soldat?
JULIETA. Nicht mit waffen.
ANTON. Mit was dan?
JULIETA.. Ach 1
ANTON. Wie ist Euch?
JULIETA. Ach Ieider!
ANTON. Leidet ihr?
parental control? Oh ltalial what law givest thou to
womankind, leaving them nothing to enjoy but solitude I
Say, Antoneta, shall I visit the flowers or go to sleep?
NURsE. Fair Juliet! I really wonder you should
pay such strict obedience to your parents, and never
transgress it. lf I were in your case, I should know
how to make shift.
JULIET. And how, since nothing is allowed me
but to enjoy myself in this garden among the flowers.
NURSE. And what of Flowers are flowers,
but a bed would be some comfort.
JULIET. What comfort?
NURSE. For the limbs.
JULIET. Which limbs?
NURSE. Why, for the whole frame. I dare say
you can understand me if you choose. How simple
you look!
Jt.i'LIET. And what then?
NURSE. Nothing, nothing. But if I might speak-
JuLIET. Speak your mind freely.
NURSE. Pardon me, my lady, for saying, you would
do better to carry on a discourse with some gallant ca-
valier than to make love to the dumb garden-flowers.
JULIET. Ob, Antoneta, what are your talking?
NuRSE. Why do you colour, fair Juliet, and
JuLIET. Red means love.
NURsE. So you love?
JuLIET. Why should I not love? I love, but I
know not what.
NuRsE. Something must torment you, for you now
blush, and now blench. You make me almost afraid.
JULIET. Antoneta, do you not know who invented
red and white? If I wear them in my face, there is
a reason for it; for virtue lives in me, and colour is
virtue's own.
NuRSE. Virtue? and what virtue?
JULIET. The virtue of the mind.
NURSE. Are you a soldier?
JULIET. Not in arms.
NURSE. In what then?
JULIET. Alas!
NURsE. How do you
JULIET. Woe!
NURSE. Are you
319 TRAGEDY OF ROMEO AND JULJET.
320
JULIETA. Ach nur gahr zu viel
ANTON. W essentwegen?
JULIETA. Ich wei.fs es nicht.
ANTON. Ich auch nicht.
JULIET A. Wafs sagt ihr?
ANTON. Nichts alfs das mir Ihr Jammer zu Hert-
zen gehet.
JULIETA. Geduld.
ANToN. Ich sehe e i n ~ veriinderung an ihr, darumb
bitt ich, schiine Julieta, sie verhalte mir nicht ihr an-
ligen, kan icb ihr helffen, ich will niehts vnterlassen
ilir zu dienen.
JULIETA. Nichts nichts ist mir, wa.s soli mir sein,
ich babe nur geschlaffen, obwohlen mir in den schlaff
wunderliche sachen vorkommen, so sein es sachen die
nicht wahr ki.innen werden, vnd begehr es auch nicht,
da.s es wahr wehre.
ANTON. W arumb dises?
JuLIETA. Darumb weil mir vorkommen airs solte
ich einen Mundiqueser lie ben, welcber meines Herrn
Vatter irgister feindt, derwegen begehre ich nicht dafs
es wabr werde.
ANTON. Feindtschafft kan sich in freindschafft ver-
wandlen wan es den blinden bogen Schiitz gefiillig wiihre.
JL"LIETA. Schweige vnd rede mir nicht von solchen
sachen wo du meine gnad nicht verliehren wil.st.
ANTON. Ac.h wann sie our ein mabl kosten soli
die 1000 feldigen frewden die ein verliebtes Hertz ge-
niist sie wurde sagen die Zeit ist vbel verlohren die
man nicht auf Liebe wendt.
Jt:LIETA. Wann ich dafs thuen werde, so werden
die wasser zuriicklauffen, die wolff vor den lammern
tliehen, die Hundt den Haasen weicben vnd der Beer
das Meer, vnd der Delphin die gebiirg lieben, die Ein-
sambkeit ist meine Kurtzweil.
ANTON. Ach vngesaltzene Kurtzweil vndt wider-
spenstige tugendt wie sie ietzundt ist so wahr icb auch
einmahl aber ich legte meine Zeit befser an.
JcLIETA. Es scbeinet Antoneta ihr wollet mich mit
Fleifs zum Zorn reitzen, darumb schweiget mir von der
liebe, die nichts bringt alfs stette vnruehe vndt Schmert-
zen. [abit.
ANTON. Ja Ja ich babe sie zornig gemacht, sie
gehet daruon, o ihr arme Magdlein ihr seit wohl Nar-
risch, da.s ibr die Hebe veracht, vnd denkhet nicbt ein-
mabl auf den grofsen Jahrmarkh da ihr must tleder-
wisch verkauffen, o giitiger Himmel ich babe bald kein
Zahn mehr in maul, o wie wohl wirts mir thuen wan
du deinen Seegen Iiest fiber mich kommen, dafs ich bald
einen Munn hette. [abit.
JULIET. Ala.s! only too much.
NURSE. What for?
JULIET. I do not know.
NURSE. Nor I either.
JULIET. What do you say1
NuRSE. Nothing but that your misery grieves me
to the heart.
JuLIET. Patience!
NURsE. I observe a change in yon; therefore 1
pray, fair Juliet, do not keep back from me anything
that concerns you; if I can help you I will leave nothing
undone to serve you.
JuLIET. Nothing, nothing ails me: what should ail
me? I have slept, that is all; and though strange things
come to me in my sleep, yet are they things that can-
not come true, nor do I desire them to come true.
Nt:RSE. And why so?
JULIET. Because it seemed to me a.s if I was to
marry a Montague, who is my father's worst enemy:
therefore I do not desire it to come true.
NuRsE. Enmity may change to amity, if it were
the blind archer's pleasure.
JuLIET. Be silent and do not talk to me of such
things under pain of my displeasure.
NuRsE. Ob, if you were only once to taste the
thousand pleasures enjoyed by a heart in love, you would
say: the time is ill spent that is not spent on love.
Jt'LIET. Ere I do that, the waters will run up hill,
the wolf fly before the lambs, the dog shun the hare,
the ~ e a r love the sea and the dolphin the mountains.
Solitude is my pastime.
NURSE. Ay, saltless pastime and reluctant virtue!
As you are now, so have I been once, but I made better
use of my time.
JuLIET. It seems, Antoneta, you are determined to
excite my wrath; therefore do not talk of love, for it
brings forth nothing but perpetual trouble and pain.
[E.rit.
NcnsE. Forsooth I have made her angry: there
she goes. Oh, ye poor damsels, ye are foolish indeed to
despise love and not to think of that great fair where
ye will have to sell goosewing-dusters. Oh graciow
heavens! I have hardly a tooth left in my mouth: wha1
a comfort it would be if you would bestow that blessing
on me to let me soon have a husband I
[Exit.
821 TRAGEDY OF ROMEO AND JULIET. 322
SCENA &TU,
PARIS. CAPOLET.
CAPOLET. Herr Graft' die Ehr so sie zu vnseren
Haufs tragen ist grofs zu aestimiren, darumb bitt ich
noch mahlen, sie wollen ibn en gefallen larsen die
Schlecbte tractament, so ibnen zu gefallen bereithet
nicht verscbmiben, dan was in Capolets vermogen ba-
ben sie zu beuehlen.
PARIS. Herr Capo let icb bin Niemahlen gewobnet
eine solcbe Ehr zu empfangen, da icb dieselbe nicbt mit
Ebr belobnen solle, darumb scbiitze icb sein Haufs
preifswiirdig micb darinnen zu bewiirden.
CAPOLET. Mein scblecbte wobnung wird
dig durcb dero gegtmwarth.
PARIS. Herr Capolet icb bitte.
CAPOLET. Sie befehlen Herr Graft'.
PARIS. Mich zu verscbonen.
CAPOLET. Mit was?
PARIS. Mit Ehren ceremonien.
CAPOLET. Sie sein es aber wiirdig aile Ebre von
meinen Hause zu nehmen.
PARIS. So wird Graft' Paris wiirdig sein aile Ebre
zu ersetzen.
CAPOLET. Da kompt mein Pickl Hiring zu geleg-
ner Zeit. Hore Pickl Hliring merkbe aber wohl, wars
icb dir sage.
PICKL HIRING.
PICKL. Noch habt ihr mir nichts gesagt, das icb
merkhen kan.
CAPOLET. Du bist ein Narr.
Ptcn. Es kan wohl sein.
CAPOLET. Dises was du verrichten sollst will icb
dir sagen.
Ptcn. W &J'UQlb kana kein gescbeider verrichten?
CAPOLET. Well icb baben will du all's der Narr
soli es thuen, weillen die anderen bedienten andere
ricbtungen haben.
PtcXL. Mit Euren schnarchen, ietzt bah ich alles
vergefsen, wars ich thuen soli.
CAPOLET. Scbelm icb babe dir ja noch nicbts be-
uohlen oder gesagt.
Plcn. Ich hab vermeint ibr babt scbon ausge-
redt.
0APOLET. Icb vermeine du bist Iustig.
PICKL. A so nicbt gar sehr, es thuets wohl aber,
gegeq 12 Vbr werd ich lustiger werden.
CAPOLET. Vnd warumb vmb 12 Vhr?
PICXL. Da wird der Koch anricbten.
CAPOLET. Du halts nur viel von frefsen.
SCENE m.
PARIS. CAPULET.
CAPULET. My Lord, the honour you do our house
is to be highly estimated. I therefore beg once more
you will be pleased not to disdain the poor treatment
provided for you; for whatever is in Capulet's power is
at your command.
PARIS. Sir! I am not at all accustomed to receive
such honour, as I am not able to return it. Therefore
I think your bouse quite worthy to receive me.
CAPULET. My poor habitation becomes worthy by
your presence.
PARIS. Sir! I beg-
CAPULET. What is your command, Count?
PARIS. To forbear.
CAPULET. What?
PARis. Treating me with such honour and ceremony.
CAPULET. But you are worthy to receive all ho-
nour from my house.
PARIS. Then Count Paris will be worthy to repay
all honour.
CAPULET. There comes my clown in the very nick
of time. Hark, clown, and mind what I tell you.
Enter CLoWN.
CLoWN. You have not said anything that I could
mind.
CAPULET. Thou art a fool.
CLoWN. That may be.
CAPULET. _ I am going to tell thee what thou art
to do.
CLOWN. Why can it not be done by some one in
his senses?
CAPULET. Because it is my pleasure that thou, as
fool, shouldst do it; because the other servants have
something else to do.
CLoWN. With your blustering I have quite
gotten all I am to do.
CAPL'LET. Why, I have not yet commanded nor
told thee anything, thou rogue r
CLoWN. I fancied you had already done talking.
CAPULET. I fancy, thou art merry.
CLoWN. Not overmuch, just sufficient; but near to
twelve o'clock I shall be merrier.
CAPULET. And why at twelve o'cloek?
CLoWN. Then the cook will serve up the dinner.
CAPULET. Thou carest only for feeding.
21
823. TRAGEDY OF ROMEO AND JULIET.
824
PICKL. Das halt Leib vnd Seel zusammen.
CAPOLET. Hore Picklhii.ring nimh disen Zetl, vnd
die darinnen aufge%eichnet sein al.Cs Herr vnd frawen,
die lade ein morgen bey mir auf ein Panquet zu er-
seheinen.
PicKL. Wissen sie schon, daCs sie kommen sollen?
CAPOLET. Nein du solt sie einladen.
PICKL. Wie solt ieh sie einladen in Pistollen oder
in ein gezogenes Rohr.
CAPOLET. In ein Efsels Kopff solst du laden du
vnuerstindiger Schelm.
PICKL. Nun man darf ja fragen.
CAPOLET. Die Zettl wird es weisen wer da kom-
men soli.
PxcKL. So hat der Zettl mehr verstandt al.Cs ich,
so lafst die Zettl hingehen und einladen.
CAPOLET. Ich sage du solt es thuen.
PicKL. V nd ich sag die Zettl soU es thuen.
CAPOLET. Piekl Hiring bring mich nicht zum Zorn,
ieh lafse dieh in die Kochel fiihren.
PicKL. Das wire guet vor mieh.
CAPOLET. Warumb?
PxcKL. Das ich etwas zu Essen bekomb.
CAPOLET. Nein gestrichen solst du werden.
PtcKL. Ich bedankhe mich dauor.
CAPOLET. Gehe vnd verrichte was ich dir befoh-
len,, oder du wirst gestrafft werden.
PicKL. Nu Nu wan ichs thuen muefs, so thue ichs
gehrn, iezt bin ich Herr Latein, o wo werd icb die Heu-
ser abfinden, wo sie wohnen, ich will gehen vnd ein
wenig Studiren, wie man die gast anrlidt wan man sie
einladen soU - alfs Edl Ebrnuester Insonders Hoch-
geehrte fraw pfanne Scbmidin vnd so. Ey Ihr lacht
mich nur aufs ich wils schon machen. [abit.
PARIS. In warheit Herr Capolet difs ist ein lusti-
ger Mensch, damit man die Zeit verkiirtzen kann.
CAPOLET. Herr Graff so einfeldig er ist so getrew
ist er, ich babe ibn von Jugendt an auft'erzogen, vnd
last sich brauehen Recht' vnd links.
PARIS. Dergleichen babe ich nicht gesehen, wie
wird ers aber machen die rechte eingeladene gist zu
find en.
CAPOLET. So guet alfs durch einen gescheiden wird
es verricbtet werden. Herr Graff die Zeit verlauft't, will
ihme belieben etwas in den garthen zu spatziren, vnd
sich der springenden wasser beliebt zu machen vnd an-
dere 1000 annehmbligkeiten zu sehen.
PARIS. Mein Herr Capolet ich folge ibm, ein gar-
then ist ein belustigung des gemiiths.
[beyde ab.
CLoWN. Eating keeps soul and body together.
CAPULET. Listen, clown; take this paper and in-
vite those put down thereon , gentlemen and ladies, to
appear to-morrow at my banquet.
CLoWN. Are they aware that they are to come?
CAPULET. No, thou shalt charge them.
CLoWN. How shall I charge them? In a pistol or
a rifled barrel?
CAPULET. Charge an ass-head, thou silly rogue!
CLo\VN. Well, I suppose one may ask a question.
CAPULET. The paper will show who is to come.
CLOWN. Then the paper is cleverer than I am;
let the paper go and invite them.
CAPULET. I say, thou shalt do it.
CLowN. And I say, the paper shall do it.
CAPULET. Clown, don't rouse my anger, or I shall
send thee to the kitchen.
CLowN. That would be a nice thing for me.
CAPULET. How so?
CLoWN. As I should get some victuals.
CAPULET. No, thou would'st get some whipping.
CLoWN. No, thank you.
CAPULET. Go, and do as thou art ordered, or thou
wilt be punished.
CLowN. Well, well, if it cannot be helped, I will do
it with all my heart. Now I am Mr. Invite; how shall
I find out the houses where they l i v e ~ I will go and
study a little how to address guests that are to be in-
vited,- as, Noble, worshipful Sir; Especially respected
Mrs. Tinker, and so forth. You laugh at me? Never
mind, I shall manage. [Ezit.
PARIS. In truth, Sir! a jolly fellow that, with whom
one may idle away the time.
CAPL'LET. As simple as faithful. I brought him
up; he makes himself useful right and left.
PARIS. I never saw his like; but how will he ma-
nage to find out the right persons to be invited?
CAPULET. As well as a clever man would do it.
My Lord, time wears on; would you like to take a walk
in the garden and enjoy the fountains and look at a
thousand other pleasant things?
PARIS. Sir! I follow you; a garden is a refresh-
ment for the mind.
[Ezeunt.
825 TRAGEDY Oil' ROMEO AND JULIET. 826
SCENA ,u,
RoMio. PENUOLIO.
RoMIO. Ach verwundetes Hertz vnd stets brennen
der Siinne ich, der ich vor disem aile Adeliche gemiieths
ergotzung geliebet alCs Reithen Fechten Tantzen vnd
was Edl ist, aber Ey bus. Nun trachte ich aile in meiner
schOnen Rosalina zu gefallen, in dero Diensten zu Ieben,
durch Amors will bin ich ein liebsgefangener worden,
o armseeliger Romio wohin bringt dich dein fata? ob-
wohl nur meine Schmertzliche anfechtung mir die augen
verdunklen ibr schOne zu bedrachten, dannoch blickt der
glantz ihres angesichts in meinen Hertzen herfiir wie
die Hell glantzende Sonn , ibre augen sein zwey Hell
glantzende stern, darin die fewrigen Strahlen verborgen,
welehe mein Hertz verwundt, ibr athem ist viel Sfifser
wohlrieehender airs Zephirus oder angenehme windt von
westen, wann Er bin vnd wider dureh die bletter riih-
rende beume wehet, die liebliehen blumen so die felder
alfs eine tappzerey bekleidet, dises ist noch niehts in ver-
gleichung der erwfinschten Sfifsigkeit ibres Holdseeligen
Munds, ach Roealina Roealina I
PENUOLIO. Wie ists Romio, ieh glaub du redest in
traum, aber schaw, wals kompt da vor ein abentheuer.
PtcKL HlmNo auf&.
Gueten morgen oder Mittag ihr Herrn, Mein ich
bitte sagt klint ihr lesen ?
RoMio. J a wan ich die buechstaben kann vnd ver-
stehe.
PxcKL. 0 Ho Herr buchstabenversteher, wan ieh
die buchstaben konnt, so wolte ich sie selber wohl
lesen.
Romo. Du verstehst mich nit, es mochte vielleicht
eine frembde Sprach sein die ich nieht verstunde, laCs
mieh die Zettl sehen, so will ich dir bald sagen, ob ieh
es verstehe oder nicht.
PxcKL. Ich wolts seiher wohl lesen, aber .bueeh-
stabiren kan ich nicht.
Romo. Ja das verstehe ieh vnd es ist zu teutseh,
lad ein die fraw Margarita mit ihrer ~ e h t e r Mellina.
PicKL. Ja ja ich kenne sie sehr wohl, die Muetter
ist fast schOner airs die tochter.
RoMIA. Lad ein Don Horatio den Jiingeren.
PxcKL. Den kenn ich, er gab mir gestern eine
guete ohrfeigen vnd einen dugaten daruor.
Romo. So ist die ohrfeigen wohl bezahlt worden,
weither lad ein Don Fortuniam vnd seinen bruder Flo-
risell.
PicKL. DaCe sein zwey rechte Eifsenbeifser die
fangen gleich grachel an.
SCENE IV.
RoMEo. BENVOLIO.
RoMEo. Alas I wounded in the heart and burning
more and more, now am I immersed in thought, who
formerly was so fond of every noble sport, as riding,
fencing, dancing, and everything noble. But let that
pass. Now my sole endeavour is to be agreeable to
fair Rosaline, in whose service to live I am by Cupid's
will a prisoner of love. Oh miserable Romeo l whither
does thy fate lead thee? Although my painful aflliction
makes my eyes dull to contemplate her beauty, yet the
radiance of her face strikes my soul like the resplendent
sun. Her eyes are two splendent stars, the source of
those fiery rays that have wounded my heart. Her breath
is much sweeter than Zephirus, or the pleasant breezes
from the West, sporting through trees that shake their
leaves. The charming flowers that cover the fields like
some tapestry, are not to be compared with the coveted
sweetness of her lovely mouth. Ah Rosaline, Rosa-
line!
BENVOLIO. What is that, Romeo? I suppose you are
talking in a dream. But look, what strange thing is that
coming here?
Entw CLoWN.
CLOWN. Good morning or midday, gentlemen. Pray,
can you read ?
RoMEo. Ay, if I know and understal}d the letters.
CLoWN. 0 ho, Mr. Letter-wise I If I knew the let-
ters I would read them myself.
RoMEo. Thou dost not understand me; it might be
a foreign tongue, which I do not understand. Let me
see the paper and I will soon tell you, whether I under-
stand it or not.
CLoWN. I would read it myself, but I cannot spell.
RoMEo. Yes, I understand this, and it is in German :
'Invite Mrs. Margerita with her daughter Mellina.'
CLoWN. Ay, I know them well, the mother is al-
most handsomer than the daughter.
RoMEo. 'Invite Don Horatio the younger.'
CLoWN. Him I know; he gave me a sound box on
the ear yesterday and a ducat for it.
RoMEo. So the box on the ear is well paid for.
'Further, invite Don Fortuniam and his brother Flori-
aell.'
CLoWN. Two regular bullies, - they are, always
ready for a row.
21*
327
TRAGEDY OF ROMEO AND JULIET. 828
RoMio. Lad ein Don Lueentio vnd Amaranta seine
Bafs.
PrcKL. Die wohnen in der Schuestergassen gegen
den Meykeffer iiber.
RoMio. Lad ein die SchOne Rosalina, o Honnig-
1 siifser Nahmb dich will ich kiissen 1000 mabL
\
, PrcKL. Dafs ist ein Narr er kiist das papir, wan
'\ er das Mensch hett, er kundt sie kiissen, wo ihr ruck
grad ein Ende hat.
. RoMio. Lad ein Madam Fioleta. Catharina.
I PICKL. Ist recht, die wohnt in Sauwinld
)
. RoMio. Lad ein Madam Flora.
PrcKL. Hum dafs ist ein Mensch, ist wahr sie tragt
allezeit ein flor iiber das gesicht, das man ihr Nasen
nicht sieht, dan die Naafs steht ihr recht mitts in dem
gesicht.
RoMio. Lad ein graff Paris, das ist ein wackherer
gaualier.
PrcKL. Ja aber er stinkt zwischen den Zehen wie
bauern.
RoliiiO. Aber sage mir wo wird dise V ersamblung
geschehen?
PrcKL. In Meines Herro Haufs.
RoliiO. Wie heist dein Herr?
PrcKL. Mein Herr heifst Capolet.
RoMio. Wafs? soli meine liebste Rosalina in mei-
nes feindes Haufs kommen? (zerrei8t den Zettl) difs will
ich nicht haben.
PrcKL. 0 Potz schlapperment was macht ihr? mein
lade in Zetl zerrifsen vnd Rosalina ist entzwey gerissen?
o du schelm.
RoMio. Gehe forth oder ich brech dir den Halfs.
I
PrcKL. J a brich du mir den pod ex o du bernheu-
ter du du Morder: wie viel Herro vnd frawen hast du
entzwei gerissen, vnd vmbs leben gebracht.
RoMio. Wilt du gehen oder ich will dir fiiefs
machen.
PrcKL. V nd wan du mir gleich 6 fiiefs woltest
mach en so darf ich nicht mehr heimb, o Potztausendt
die Rosalina hat recht ein ritz in der mitten bekommen,
o ich armer ladein was werde icb thuen.
RoMro. lch sag gehe.
PrcKL. lch sag be. [abit.
PENUOL. Auf disen fest, welches Herr Capolet hal-
ten wird, wird deine schone Rosalina auch sein, die du
so sehr liebest, mein ich bitte gehe mit mir ich will
dir daselbst solche gesichter weisen, die deiner Rosalina
weith vorgehen vnd ich weifs gewifs dafs die J enige so
du vor deinen schwanen gebalten, soli bey anderer ge
genwarth alfs eine Kre<> aufl'lseheo.
RoMEo. 'Invite Don Lucentio and his cousin Ama-
ranta.'
CLoWN. They live in Cobbler's Lane, opposite the
cock-chafer.
RoMEo. 'Invite fair Rosaline.' Oh honey-sweet
name I Thee do I kiss a thousand times.
CLOWN. What a fool! to kiss the paper. H he had
got the wench he might kiss her where her spine ends.
RoMEo. 'Invite Madam Fioleta Catharina.'
CLowN. All right, she lives in Sow-alley.
RoMEO. 'Invite Madam Flora.'
CLOWN. What a wench! she always wears a gauze
before her face that people may not see her n o s ~ ; for
her nose stands right in the middle of her face.
RoMEO. 'Invite Count Paris?' And a gallant ca-
valier he is.
CLoWN. True, but he stinks between his toes like
a peasant.
RoMEO. But tell me, where is this assembly to be?
CLowN. At my master's.
RoliEo. What is the name of thy master?
CLOWN. Capulet is his name.
RoMEo. What! is my dearest Rosaline to go to the
house of my enemy? (Tears the paper up.) I won't
have that.
CLoWN. Odds bobs! what are you doing? tearing
up my invitation paper, and Rosaline rent asunder! Oh
you rogue!
RoMEO. Get along with thee, or I'll break thy neck.
CLOWN. You may break my podex, you idle fellow,
you murderer l How many gentlemen and ladies have
you torn in pieces and killed I
RoMEO. Wilt thou be off? or I will find thee
legs.
. CLOWN. And if you would find me six legs at
once, I could not go home. Confound your eyes r Ro-
saline has got a rent right in the middle. Oh poor
messenger, what am I to do?
RoMEo. I say, go I
CLOWN. I say, bot [Exit.
BENVOLIO. At this feast of Capulet's thy fair Ro-
saline too will appear, whom thou lovest so much. Pray,
go with me, I will there show thee faces far superior
to Rosaline's, and am quite sure, she whom thou. hast
taken for thy swan will look a crow in the presence of
others.
329 TRAGEDY OF ROMEO AND JULIET. 330
RoMio. Du redest nach deinem Belieben, aber
meine Rosalina ist allein der stern meines Hertzens,
vnd ihrer schOnheit miissen alle weichen.
PENUOL. Sie kompt dir nur so schon vor wan
kein schOnere darbey ist. Hore Romio komb auf die-
sen fest will ich weisen die best.
R o : ~ n o . lch will dir zwar folgen aber du wirst mir
hierinnen wenig helft'en konnen. [beyde ab.
PICXL HIRING.
PICXL. Ich babe gleichwohl so viel in meinen Poe-
tischen Kopff gebracht, dafs ich sie alle geladen babe,
aufsgenobmen etzliche haben daa Zahnwehe starkh aber
scbadt niclit es bleibt nur desto mehr frefsen iiber, ich
will schon zerschroden ich babe kein Zahnwehe, aber
ich versaume nach Hauls zu kommen dan es wird braff
angehen, an frefsen vnd sauffen, dan bin ich gehrn dar-
bey, drumb mufs ich lauffen.
ACTUS SECUNDUS.
SCENA PRiliA.
RoMio. MERCUTrns. PENUOLIO.
RoMio. Ihr Herrn habt ihr vernohmen von den
grofsen Panquet defs Capolet, darauf erseheindt der
beste Adl vnd die sehOnsten Damen, darunder sich auch
die schOne Rosalina befindet, difs ist der Sporn der mich
treibt dahin zu kommen meine schOne zu sehen, die da
wird glantzen vnd ein vndterscheid wird machen zwi-
schen allen Damen gleich die Sonn gegen den Mon.
MERcUT. lhr Herrn ich achte wenig dafs Frawen
Zimmer, meine frewd ist scblagen vnd balgen, ich will
mich Iieber 3 mabl scblagen, alfs einmahl einem weibs
bild aufwarthen.
RoMio. Ach Mercutio lege doch einmahl ab deine
dolheit, wo ist der, der durch Kragel reich worden, dar-
umb zihme dich, verehre daa Frauenzimmer, so wirst
du baben Ehr vnd lob.
PEJSUOL. Ich halt es mit dem Romio, vnd weil
dafs Panquet so stattlich, so will vnnfs gebuhren einen
Pallet oder Mascara darauf zu praesentiren vnd dafs
Frauenzimmer damit verehren.
MERcuT. Ich laCs mirs entlich gefallen, aber was
wollen wir tantzen?
PENUO. Eine Maaquara wie es breuchlich ist.
RoMio. V nd ich will verkleidter die fackl tragen.
MERe. Wafs fackl du muest tantzen deiner Rosa-
tina zn gefallen.
RoMEo. You may talk as you please, but my Ro-
saline is the only star of my heart, and all must give
way before her beauty.
BENVOLIO. She appears so fair to thee only when
there is none fairer present. Go to that feast, Romeo,
I will point out to thee the best.
RoMEo. I will follow thee, yet in this thou wilt
afford me little help. [E.reunt.
Re-enter CLOWN.
CLowN. All the same, I crammed so much into my
poetical head that I was able to invite them all, except
that some few have got the tooth-ache. But never mind;
so much the more victuals will come down - I will
mounch away, and have no tooth-ache. However I ought
to be on my way home; they will take bravely to eat-
ing and drinking and then I like to be one of the party;
so I must run.
ACT II.
SCENE I.
RoMEO. MERCUTIO. BENVOLIO.
RoMEo. Gentlemen, have you heard of the great
banquet of Capulet's which is to be attended by the
best nobility and the fairest ladies, fair Rosaline among
them? That is the spur that urges me to go there -
to see my fair one, who will outshine all the other la-
dies as the sun does the moon.
MERCUTIO. Gentlemen, I don't care much for wo-
men, my delight is fighting and scuffle. I would rather
haYe three fights than once attend upon a woman.
Rom:o. Nay, Mercutio, pray at last lay aside your
folly. Who ever grew rich by quarrelling? Restrain
yourself, do homage to woman, and you will earn both
honour and praise.
BENVOLIO. I side with Romeo. And as the banquet
is so magnificent, it will behove us to represent there
a ballet or mascara in honour of the ladies.
MERCUTIO. Well, I agree; but what sort of dance
shall we perform?
BENVOLIO. A mascara, as the custom is.
RoMEo. And I will disguise myself and bear the torch.
MERcUTIO. What torch I thou must dance to please
thy Rosaline.
881 TRAGEDY OF ROMEO AND JULIET.
Romo. Ich kan nicht.
MERCUT. W arumb?
Romo. Mein leib vnd fiiefs sein gantz schwir-
miithig.
MERCUT. So entlehne des Cupido fliigl vnd fliege,
ich schwore wen ich verliebt wiihre vnd bette nur ein
fues so wolte ich doch hupffen.
PENUo. Ey Er last sich schon bereden dem Frawen
Zimmer zn gefallen.
Romo. Ihr Herrn mich taucht wii.r thuen iibel das
wilr hingehen.
PENUOL. W arumb das?
RoMio. Ich babe heunt einen schwliren traum ge
baht.
MERCUT. Ich. glaub fiirwahr die Map has oder truth
hat dich getruckt, ich babe auch einen traum gehabt.
Romo. WaCs war es vor ein traum.
MERCUT. Mir hat getraumt, daCs alle traum erlo-
gen sein.
PENUO. Ihr Herrn was wiir thuen wollen daCs thuen
wir bald, vielleicht seind sie schon von der taffel auf
gestanden, so kommen wiir zu Spath, ich will Euch
folgen aber der Himmel gebe daCs kein vnheil daraufs
entstehe. [alle ab.
SCENA 2A.
CAPOLET, TmoLT, PARIS, alle an der taffl.
CAPPOLET. Ihr Herrn mich nimbt wonder daCs vnfs
Niemand besuecht bey vnserer Mahlzeit, etwan wie ge-
breuchlich mit einer masquara, da ich noch jung wahr,
wahr ich nicht zu faul wie ietziger Zeit die Jungen ge
sell en, es dorffte kein Panquet geschehen, ich funde
mich alle Zeit darbey mit einer Mascara oder sonsten
was lustiges.
FRAw. Ja ich glaub es wohl in Eurer Jugendt seit
ihr ein grosser gewesen, aber anietzo miest
ihr es wohl lassen.
TmoLD. Wie lang ist es wohl Herr Vatter daCs
Er keine Mascara mehr getantzt?
CAPPOLET. DaCs kan ich micb nicht mehr erindern
wie viel Jahr es seyn.
TmoLD. Es ist so lang nicht das mans nicht wis
sen soli, ich gedenckhe es noch wohl, daCs der Herr
Vatter auf der Mabilia ihrer Hochzeit gedanzt.
CAPPOLET. Es kan sein, in dem alter ist bald alles
vergessen.
TmOLD. Aber so micb bedunkt so ist schon eine
Mascara vorbanden, willkommen Ihr Herrn.
RoMEo. I t'Jlnnot.
MERcuT. Why not?
RoMEo. My body and feet are quite melancholy.
.
MERCUT. Then borrow wings from Cupid and fly.
I swear, if I were in love and had but one foot, I should
bop.
BENVOL. Aye, he gives in, and is ready to please
the ladies.
RoMEo. Gentlemen, methinks, we do wrong to go
there.
BENVOL. How so?
RoMEo. I had a heavy dream last night.
MERCUT. Really I suppose Maphas or alp has
pressed you. I too had a dream.
RoMEO. What was yours?
MERCUT. I dreamt that all dreams are lies.
BENVOL. Gentlemen, whatever we intend to do, let
it be done soon. Perhaps they have risen from table and
then we shall be too late. I will follow you, but heaven
grant that no mischief come of it.
[E.reunt.
SCENE 11.
CAPULET. TmALT. PAms. AU at tabl8.
CAPL'LET. Gentlemen, I wonder that nobody visits
us at supper, as the custom is, with some masquara.
When I was young, I was not so lazy as our young
fellows are at the present day. There was no banquet I
did not attend with some mascara or other frolic.
LADY (CAPULET). I readily believe, you have been
a mouse-hound in your youth, but now you must leave
it off.
TmALT. How long is it, father, you have no1
danced a mascara?
CAPL'LET. I cannot remember how many years.
TmALT. It is not so long ago that one should no1
know it. I well remember your dancing at Mabilia'i
wedding.
CAPULET. That may be; in my age everything il
soon forgotten.
TmALT. But it appears there is already a mascara
Welcome, gentlemen!
TRAGEDY OF ROMEO AND JULIET.
SCENA BTU,
ROMIO. PENUOLIO.
CAPPOLET. lhr Herrn sie seind freindlich willk.om
men in meiner Behausung.
PARIS. Wiir seind ihnen hOchlich verp8.ieht vor
dise Ehr so sie hierinnen vnfe beweisen.
[ teird getanzt.
RoMIO. &bOnete Dam die Ehr so ich gehabt mit
ihr zu tantzen kan weder meine Zung oder Hertz be-
zeiehen, ieh bitte sie vergonne doch einen Schambhafften
Pilgramb dero Handt zu kiissen.
JULIETA. Gueter Pilgramb ihr entheiliget Eueh nicht,
dan solche bilder wie ich haben Hinde zum iuhlen vnd
lippen zum kiissen.
RoMio. Die Kiinheit entachuldiget mich dan [K?{fst
sie] vnd nun bin ieh slier meiner Siinden lofs.
JuLIET. Wie? so hab ich Eure Sunden Empfangen?
RoYio. Schonete Dam, wan sie es nieht behalten
wil, so gebe sie mir dieselbigen wieder. [KU8t Sit
wider.]
AMMA. Holla was ist dae, die fraw Muetter siehts.
JULIETA. Fahret wohl mein Herr.
RoYio. Fabre wohl du Zierte aller Damen, ach
Romio wie bald seind dein Siinn vnd gedanckhen ver-
endert worden [bi&t].
AMMA. Wafs beliebt den Herrn?
RoYIA. Sagt mir was ist das vor eine Damen so
mit mir gedanzet?
AMMA. Mein Herr der sie bekommen, wird an gelt
vnd guet keinen mangel leiden, sie ist des Herrn Cap-
polet sein eintzige Tochter.
Rmoo. 0 Himmel warS bOre ich, defs Cappolets
tochter, wie geschieht mir, muefs vnd solle ich nun ein
liebes gefangener sein der Jenigen deren Vatter mein
irgister ist, in wahrheit sie glantzet vnter an
dern damen herfiir wie ein sehoner stern, o Rosalina
du bist nur der bl.afse Mondt gegen dieer glantzenden
Sonnen.
TmOLD. Was bOre ich, ist dae nicht der verftuchte
Hundt Romio mein feind vnd darf sich vnterstehen an
hero zu kommen, dafs ist nieht zu leiden. Holla Jung
mein stofsdegen her.
CAPPOL. Vetter Tibold wafs ist Euch, warumb rast
ihr so?
TmoLD. Ha solt ich das leiden, das vnser feind
anhero koinmen vnser Panquet zn verspotten?
CAPPOL. W er ist es dan?
TmoLD. Es ist mein feind der Romio, Rolla Jung
mein stofsdegen, du Hum Sohn wo bleibst du so lang.
SCENE Ill.
RoMEo. BENVOLIO.
CAPULET. Gentlemen, you are welcome in my
house.
PARIS. We are deeply indebted to you for the ho-
nour you shew us.
[Dancing.
RoMEo. Fairest lady, neither my tongue nor my
heart can appreciate the honour I have had of dancing
with you. Pray, grant a blushing pilgrim your hand to
kiss.
JULIET. Good pilgrim, you do not profane your-
self; for saints like me have hands to feel and lips to
kiss.
RoMEO. Then boldness e::r.cuses me, [kiues hsr], and
now all my sin is purged.
JuLIET. Why? Then I have taken your sin?
RoMEo. Fairest lady, if yon won't keep it, give it
me back again. [Kiue& her again.]
NURSE. Hollah! what is that? your lady mother
sees it.
JvLIET. Farewell, sir! _
RoMEo. Farewell, thou ornament of women! Ah
Romeo, bow soon have your feelings and thoughts
changed! [ABide.] Whist!
NURSE. What is your pleasure?
RoMEo. Tell me, who is that lady with whom I
danced just now?
NURSE. Sir, the man who carries her off, will not
want for money and goods. She is my lord Capulet's
only daughter.
RoMEO. 0 Heaven, what do I hear! Capulet's
daughter? What has become of mel Must and shall I
henceforth be love's captive to her whose father is my
most bitter and most deadly foe? In truth she shines
above all other ladies like a beantiful star. 0 Rosaline!
thou art but the pale moon to this resplendent sun t
Tm.ALT. What do I hear! Is not that that accursed
dog Romeo, my enemy? And does he dare to come
here? That is not' to be endured f Fetch me my ra-
pier, boy!
CAPULET. What is the matter with you, cousin Ti
balt? Why are you so angry?
TmALT. What, should I suffer our enemy to come
here to scorn our banquet?
CAPULET. Who is it?
TmALT. It is my enemy Romeo. Hollah boy, my
rapier! Thou whore's son, what makes thee so slow?
835 TRAGEDY OF ROMEO AND JULIET. 336
CAPPOL. W of ern es Romio ist, so ist er vnfs will-
kommen vnd wiir seind ibm hOeblicb verpflicht vor die
Ehr so er vnfs erweist, darumb seit zufriden vnd ma
chet kein Molest.
TIBOLD. lcb will es aber nicht haben.
CAPPOL. Wie wolt ihr es nicht haben, so will icb
es aber haben, wer ist Herr im Haufs ich oder ihr?
AMMA. Ja seit ihr Herr im Haufs oder ist der Herr
Cappolet Herr im Haufs?
TmoLD. Gehe du alte Hex oder ich schlage dich
an ein Ohr.
AMMA. Ia ia alle zeit wolt ihr our die weiber schla-
gen aber ihr habt nicht einmal das Hertz einen Mann
anznriihren.
CAPPOL. Ich sage Vetter Tibold fangt mir nichts
an in diser gesellschatft oder da stehet die thier vor
Eucb offen.
TmoLD. 0 himmel, was muefs ich horen, ein freindt
soil hinwekh gehen vnd ein feindt bier verbleiben, wollan
ich gehe, aber Romio meine Rach sey dir gescbworen.
[ahit.
CAPPOL. Ich bitte ihr Herro sie lassen sich des
Tibolds raserey nicht verstoren sondern verbleiben gehrn
alhier.
Ro:mo. Wtir bedankhen vns fiir die Ehre so wtir
genossen die Zeit fordert vnfs wider von bier zu gehen.
CAPPOL. Ich bitte ihr Herro sie verbleiben.
PENUOL. Komb forth Romio lafs vnfs gehen vnser
kurtzweil ist geendet.
PARIS. W o es moglich so wollen Sie noch ver-
bleiben.
RoMio. Wir bedankhen vnfs aller Ehre vnd neb
men also abschied. [ abeunt.
CAPPOL. In wahrheit Romio ist hOfflich discret vnd
jung, es ist mir leid das ich sein feind mues sein.
PARIS. Ich babe offtermahl gewtinscht dafs das Hans
Cappolet mit Mundige mochte vereiubahret werden, babe
auch vernohmen, dafs sich gar die Herrschafft bemtihet
difs lebensstreit beyzulegen.
CAPPOL. Es ist deme also Herr Graff, aber lhro
fiirstl. Gn. haben es noch nicht proclamiren lassen, so
stehet die feindschafft noch bis dato. Herr Graff er
wolle ihme belieben lassen weil die Mahlzeit vorbey vnd
alle Vrlaub nehmen mit mir ins Zimmer zu gehen, ich
babe mehrers mit dero selben zu reden.
PARIS. lch folge Herr Cappolet, aber schOne Ju-
lieta beliebt ihr mit zu kommen. [abit.
JniETA. Ich bin schuldig lhro Gn. auf den fues
zu folgen. - Aroma gehe sehe vnd frage wer diser ge-
wesen so mit mir gedanzt.
CAPULET. If it be Romeo, he is welcome, and we
are deeply indebted to him for the honour he shews us.
Therefore be quiet, and do not make any disturbance.
TIBALT. But I won't haYe it.
CAPULET. Indeed! You won't have it? But I will
have it; who is master of the house, I or you?
NuRsE. Aye, are you master of the house or is
my lord Capulet master of the house?
TmALT. Be off, old witch, or I shall box your ears.
NURsE. Aye, aye, you always want to beat the
women, but you have not the heart to touch a man.
CAPULET. I say, cousin Tibalt, don't make any
trouble in this party or there is the door.
TIBALT. 0 heavens! what must I hear? a friend
must go away and an enemy stay! Well then, I will
go, but Romeo, I swear you vengeance. [E.rit.
CAPULET. Pray, gentlemen, do not mind the fury
of Tibalt., but stay longer.
RoMEo. We thank you for the honour we have en
joyed; our time obliges us to depart.
CAPULET. Pray, gentlemen, stay.
BENVOL. Come Romeo, let us go, our pastime is
over.
PARIS. Pray, remain, if possible.
ROMEO. We thank you for all the honour and take
our leave. - [E.reunt.
CAPFLET. In truth, Romeo is polite, discreet, and
young; I am sorry I must be his enemy.
PARIS. I have often wished, the house of Capulet
might become reconciled with that of Montague, and hear
that even the Prince endeavours to lay this deadly
strife.
CAPtTLET. So it is, Count Paris, but His Grace has
not yet issued the proclamation. Therefore the feud
stands to this hour. As supper is over, and all the
guests taking leave, may it please you to go with me
to my cabinet; I have various things to discuss with
you.
PARIS. I follow, my lord; but, fair Juliet, be pleased
to go with us. - [Exit.
JuLIET. I am bound to follow your Grace instantly.
- Nurse dear, go and enquire who the gentleman was
who danced with me.
337 TRAGEDY OF ROMEO AND JULIET. 838
AMMA. Ich glaub fiirwahr Julieta ist schon verJiebt,
aber ich will gleichwohl ihren Befehl verrichten.
PENUOL. Ich babe mich verirrt in disem Hans,
saget mir wo geht man hinaufs?
AMMA. Mein Herr verzeihe mir, das ich frage, was
wahr das vor einer in den rothen Kleid?
PENt:OL. Sein Nahmb heifst Romio.
AMMA. Ist es der Junge Romio? icb bedankhe micb
mein Hen, dafs er es mir gesagt.
PENt:OL. Habt ihr auch noch etwas mehrers zu
fragen?
AMMA. Nein mein Herr.
PENl'OL. Und icb in der Wabrheit auch nicht.
[abit.
AMMA. V nd icb auch nicht.
JuLIETA. Amma sage bald, wer wahr er, vnd wie
ist sein N abmb.
AMMA. SchOne Julieta, es wabr der Junge Romio.
J GLIETA. Wie der Junge Romio?
AMMA. J a der Junge Romio.
JuLIETA. 0 ein Mnig siilser Nahmb, aber es ist
ein vergiiffter stachel darin verborgen, acb Romio du
hast mein Hertz verwund. [abit.
j NuRSE. Forsooth I believe Juliet is already in l<we;
but I will do her bidding all the same.
BENVOLIO. I have lost myself in this house: can you
tell me the way out?
NuRSE. Pardon, Sir, my question; who was the
gentleman in the red dress?
BENVOLIO. His name is Romeo.
NuRSE. Young Romeo? I thank you, Sir, for tell-
ing me.
BENVOLIO. ~ v e you anything more to ask?
NURSE. No, Sir.
BENVOLIO. Nor I indeed.
NURSE. Nor I.
[Exit.
JuLIET. Tell me quick, who he was, and what is
his name?
NuRSE. Fair Juliet, it was young Romeo.
Jn.IET. What, the young Romeo?
NuRSE. Yes, the young Romeo.
JULIET. Oh a honey-sweet name! but therein lurks
a poisoned sting. Ah Romeo, you have wounded my
heart. [Exit.
SCENE IV.
Romo allein. Hernach PENUOLIO, MERCUTIUS. RoMEo alone. Then BENYOLIO, MERCUTIO.
Romo. Ach Siifser liebesgott, wie veranderst du RoMEo. Ah, sweet Cupid, how dost thou change the
die Hertzen deiner leib Eigenen, ich liebte Rosalina,
1
hearts of thy lieges! I did love Rosaline and now I
vnd nun bin icb ein liebes gefangener worden der iiber- have become the love-prisoner of the heavenly Juliet. I
irrdischen Julieta, ich weifs mir nicht zu helffen in di- know not where to turn in this maze. But silence, Ro-
sen Irrgarthen, aber stille Romio, da kompt Mercutius meo, there Mercutio and Benvolio are coming; I will
vnd Penuolio, ich will mich verbergen vnd ihr gesell- hide myself and fly their company.
schafft ftiehen. [abit. [Exit.
PENUOL. Romio, Vetter Romio.
MERCUT. Wir lohlen den weeg, da ist er nicht her.
PENUOL. Nein er ging disen weeg. Rueff ibn doch
Mercurio.
MERCUT. W ohl ich will ihn rueffen, Romio, liebes-
gefangener, erscheine vor vnnfs alhier, ich beschwore dich
bey Rosalina augen, bey ihren schOnen wangen, bey
\
ihren corallinen leffzen, bey ihren Alabasternen Handen,
gerathen leib, schonen bnisten, armen, bein, vnd alles was
oben vnd vnten an ihr ist, dafs du alliier erscheinest.
PENUOL. Woiem er dich hOret, er wird z"omig
werden.
MERCUT. Warumb soli er zornig werden, ich sage
BENVOLIO. Romeo, cousin Romeo I
MERcuTio. We have come the wrong way; he is not
here.
BENVOLIO. No, he went this way; call him, Mer-
curio.
MERcuno. Well, I will call him. Romeo, captive
of love, appear before us here I I conjure you by Ro-
saline's eyes, by her fair cheeks, by her coral lips, her
alabaster hands, her lithe body, her beautiful bosom,
arms, legs, and every part of her above and below -
appear!
BENVOLIO. If he bear you, you will vex him.
MEacUTIO. Why should I? I say nothing against
his Rosaline or himself. ja nichts das wider seine Rosalina oder ihn sein kan. \
PENUOL. Komb W. vnJlo gehen, begehrt koin \
BENVOLIO. Come, let us go. He does not desire
22
339 TRAGEDY OF ROMEO AND JULmT. 340
andere gesellschafft, alfs die dunkle nacht, die lieb ist
blind, darumb halt sie am meisten von der fiinster-
nufs.
MERCUT. Ich muefs ibm noch einmal rueffen, Romio l
er ligt gewifs vnter einen baumb, vnd wintschet, das
die friichte Rosalina wihren vnd ihme in sein schofs
fallen, o wie anmuethig wire es ibm.
PENUOL. Ey komb, es ist vergeblich den Jenigen
zu suechen, welcher nicht will gefunden werden.
[abit.
SCENA I)TA.
RoMio mit einem Jung vnd lautten.
RoMio. 0 angenehme gelegenheit, die sicherheit zeigt
mir den weeg, weil der frid geschlossen zwischen mei-
nen Herro Vatter vnd den Capolet, so weiset mich die
Iiebe zu der himmlischen schOnheit der Julieta, deren
ich mich schon liingsten verpflichtet babe, o Julieta die
du mein Hertz gefangen haltest, wan du sehen kontest
wie dein gottllcher blickh ein fewer in meinem Hertzen
entziindet, du wurdest mit etlichen thrinen der Ehr-
barmmung begiefsen, du kanst meiner Marter nicht ge-
wahr werden, weil du nicht weift, das ich dich Iiebe,
ich weifs deine vortreffliche schonheit, auch weifs ich
dafs ich Jiebe aber nicht geliebt werde, so seze keinen
fues mehr weither Romio, vnd fafs ein Hertz, o Iiebe
ich ruefl"e dich an stehe mir bey, an disem orth ist nicht
weith ihr Schlafgemach, darumb Jung komb her vnd
singe dafs gemachte lied.
Lied.
1.
Ach willkommen schOnste blumb, aufenthalt so vieller
gaben,
Deine tugendt mufs den Ruhm vor allen schonen ha-
ben,
Julieta liecht der Zeit, keine Sonn ist dir zu gleichen,
Deiner Zier vnd trefflichkeit miessen aile Damen wei-
chen.
2.
Ach Julieta dein verstand welcher himmlisch ist zu
schetzen,
Gib mir nur ein liebespfandt, dafs mich Ewig kan er-
getzen.
Julieta du mein Herzt, Julieta mein behagen,
Stille meiner Seelen Schmertz den ich ietzt so starkh
mns tragen.
~ ? M I O . Aber nun o ihr meine augen, schauet an
den orth wo eure Sonnen verborgen, o nacht ziehe vor
die schwartze Gardin vnd durch eine dunkle wolkhe
any other company but the dark night. Love is blind,
therefore he takes most to darkness.
MERCUTIO. I must call him once more. Romeo !
I am sure he is lying under some tree, and wishing that
the fruits were Rosaline and would fall into his lap. How
very agreeable he would think that.
BENVOLIO. Come then; it is in vain to seek a man,
that does not mean to be found.
[Exeunt.
SCENE V.
RoMEo. A Page with a lute.
RoMEo. Oh welcome opportunity! safety points to
the way. Since peace is concluded between my father
and Capulet, love directs me to the heavenly beauty of
Juliet, to whom I have long devoted myself. Oh Juliet,
thou who hast taken my heart captive, if thou couldst see
how thy divine glance kindles a fire in my breast, thou
wouldst quench it by some tears of pity. Yet thou canst
not be aware of my torment, because thou dost not know
that I love thee. I know thy surpassing beauty, I know
too that I love but am not loved. Move not then from
here, Romeo, and take heart. Love l I invoke thee,
assist me I Not far from this spot is her chamber.
Come here then, boy, and sing the song 1 made.
Song.
1.
Welcome to thee fairest flower, of so many gifts the
dwelling,
Fame is thine, by virtue's power over all the fair ex-
celling.
Juliet, the light of days, there's no sun to equal thee,
To thy beauty and thy praise, all must yield the lictory.
2.
Ah my Juliet thy mind is indeed a heavenly treasure,
Canst thou no love-token find to afford me endless
pleasure.
Ah my Juliet, thou my heart, Juliet my consolation,
Still my soul's devouring smart which now I bear with-
out cessation.
RoMEo. But now, ye eyes of mine, gaze at that
spot where my sun is hidden. Oh Night, draw the black
curtain, and by a dark cloud prevent me from being
.... ~ .
341 TRAGEDY OF ROMEO AND JULIET. 342
balte zuruck dafs erkbennen meiner persobn, ich sebe
liecht, darumb will icb wafs naher binzuetretten, vnd
sehen ob ich Etwas vernehmen kan.
J l1LIETA. Hoila was soli dises bedeuten, ein Music
vor meinen Kammerfenster? wer soil sich wohl vnter-
stehen bey nii.chtlicher weil mir vnruhe zu mach en?
mein schlaff ist vnterbrochen, die gedankben sein ver-
i wiirt, die Natur verhiingnus vnd liebes brunst stiirmen
alle drey iiber mich zu sam ben, vnd suecben mein
' verderben, die natur vnd lieb halten einen streitt in mir,
doch will die licbe Meister sein, die natur aber will,
dafs ohne ihre gaben kein ding moglich ist zu vollbrin-
gen, wan die Krafft der natur nicht wiihre, wafs wolte
doch die liebe thuen, o Romio warumb heist du Romio,
mein traum ist aufsgelegt, du bist der Mundigeser den
ich in schlatf gesehen, ach Romio verendere den gehes-
sigen Namen, die verhangnufs stiirtzet mich, die liebe
reget sich, die natur treibet mich, o Romio wann ich an
dich gedenkhe, vor frewd ich dir mein liebe schenkhe.
- Ro:mo. Das stumme wordt der augen thuet seine
meinung. Ach konte meine schOnste dises aufs meinem
gesicht sehen, mein Hertz wurde noch so frohlich sein,
die Hoffnung wird mich blofs erhalten, weil ich verlie-
bet bin.
J L'LIETA. Wie? wafs seit ihr vor eine bersohn, vnd
wie ist euer Nahmb? das ibr euch vnterstehet bey
Schlaffender Zeit vnter mein fenster zu kommen?
Romo. Mein Nahmb ist (o ibr Gotter soil ich mich
offenbahren, es seyn Ja.) mein Nahmb, schOnste Julieta,
ist zwar ein fe,ndseliger Nahmb vnd heist Romio, aber
o schone, sie verendre denselben nach ihren belieben,
wan nur mein Hertz stehts zu dero Diensten sein kan.
JuLIET. Wafs Romiol o Himmel wie geschiecht mir,
ist Romio vorhanden vnd hat mein Klagen gehort? o
liebe, liebe, zu was bringst du mich, Romio Romio, seit
ihr noch vorhanden vnd habt meine Reden gehOrt?
Romo. Etwas schOnste Julieta.
Jt:LIETA. Ach Romio.
RoMio. Wafs seuffzet sie meine schOne?
JniETA. Habt ihr
RoMIO. Wafs gebieth sie?
JULIETA. Mein Clagen vernohmen?
Ro:mo. Nicht ailes.
JuLIETA. Ach Romio ich wolte, das ihr nicht wuste,
das ieh euch Iiebe.
Romo. Worumb schOnste Julieta, veracht sie dan
meine getrewe Iiebe, schonste Julieta, womit soli ich
dann genugsamb meine getrewe Iiebe vnd das Inner-
liche brennende fewer meines Hertzens bezeugen, oder
will sie nicht wissen dafs ich sie liebe? wollan so sterbe
recognised. I see a light; I will draw nearer, and try
if I can hear anything.
JULIET. Hollahl What does this mean? Music
under JIIY window? Who should dare to disturb me at
night-time? My sleep is broken, my thoughts disturbed.
Nature, fate, and love's fire are violently rushing upon
me, and compassiog my ruin. Nature and love fight
within me, yet love "will conquer. But nature will
that without her gifts nothing can ever be accomplished.
H the power of nature were not, what could love do?
Oh Romeo! wherefore is thy name Romeo? My dream
is interpreted, thou art the Montague whom I saw in
my sleep. Ah, Romeo I change that loathsome name I
Fate strikes me down ;o' love moves within me; . nature-
urges me on I Oh, Romeo I when I think of thee, I
give thee joyfully my love I
RoMEo. The dumb word of the eyes discourses.
Ah, could my fair one read this in my face, my heart
would be far more joyous. Hope alone will keep me up,
because I am in love.
JULIET. Why? who are you, what is your name,
that you dare come under my window at this hour of
sleep?
RoMEo. My name is (aside: Ye gods, shall I dis-
close myself? Well, be it sol) my name, fair Juliet, is a
hostile name, is Romeo; but, Oh fair one, change it as
you like, provided my heart may be in your service.
JULIET. What? Romeo? Oh Heavens! what hath
befallen me? Is Romeo present and has heard my wail?
Oh, love, love! what dost thou bring me to? Romeo,
Romeo I are you still there, and did you hear my words?
RoMEo. Some of them, fairest Juliet.
JULIET. Ah, Romeo I
RoMEo. Why do you sigh, my fair one?
JULIET. Have you -
RoMEo. What is your behest?
JULIET. Have you heard my wailing?
RoMEo. Not all.
JULIET. Ah, Romeo I I wish you did not know I
love you.
RoMEo. Why, fairest Juliet, do you despise my tntl'
love? How shall I prove sufficiently my true love and
the inward burning fire of my heart? Or do you not
choose to know that I love you? Well, let me die,
and let my tomb be a monument of your virtue. But
22
TRAGEDY OF ROMEO AND JULIET.
ieh, vnd mein grab soil sein ein Denkhmahl ihrer tu-
gendt, aber Ey lafs, mein Hertz ist viel zu wenig auf
dem Altar einer so iibertroffliehen schtinheit aufgeopffert
zu werden, ach sehOnste Julieta, acht sie mich dan nicht
wiirdig ihrer Iiebe in deme sie dafs selbe wider auruekh
wintsehet was sie mir versproehen?
Jt.:LIET. Werthester Romio, ich wintsche sie darumb
wider zuruekh, auf das ieh sie noeh einmahl wider-
schenkhen moehte.
Romo. SchOnste gebietherin, so lafset vns dan eine
Verbindnufs vnserer getrewen liebe anietzo aufriehten,
dan ich sebwore alhier bey dem bellglanzenden Mond.
JuLIET. Aeh sc.hworet nicht bey den wankelmueti-
gen vnd vnbestandigen Mond.
Romo. Ach bey wemb solt ich den schworen?
Schworet lieber gahr nicht.
AMMA.
AMMA. Julieta, die fraw Muetter ruefft.
JuLIETA. Ich komme. Ach Romio macht euch von
bier, der orth ist gefiihrlich, wofern eueh meines V atters
Diener alhier solten gewahr werden, dorfften sie euch
das leben nehmen.
A:MMA. Dafs euch Sanct Velten hol, so geht forth.
,Jt'LIET. Ich komm, ich komm, fahret wohl Romio.
RoMIO. .Fahret wohl schune Julieta, es ist mir un-
mf>glich von disen orth zu gehen, mich daucht ich mochte
die gantze nacht alhier verbleiben.
JuLIETA. Romio Romio, ach Himmel er ist schon
forth.
Romo. Nein schOnste gebietherin, euer getrewe-
ster Diener ist noch bier vnd erwarthet dero selben be-
fehl, wei chen er in aller V nterthiinigkeit aufszurichten
willens ist.
AMMA. Julieta Julieta, wie wirds werdeu, habt ihr
nicht gehi:irt das die fraw Muetter ruefft?
JuLIETA. Amma noch ein kleine geduld, ich komme
gleich. Edler Romio, ich babe euch etwas offenbahren
wollen, aber es ist mir aus den Siinn entf11llen.
RoMio. Ach schOnste Julieta, ich bitte sie befriedige
mein Hertz mit einer glickseligen V ersprechung ihrer
gegenlieb.
AMMA. Ey so blaudert das vnd keins mehr, heist
das der fraw Muetter gehorsambt? warth ihr werds
kriegen.
J L"LIETA. Nun ich komme ja gleich. N ehmet bin
Romio dises von mir, vnd morgen vmb 9 Vhr will ich
euch meine meinung wissen lassen.
AMMA. Potz tausendt Schlaper most seit ihr noch
da? Ey was denkt ihr? ist dafs nicht ein schand, dafs
man das Mensch nicht heimb kan bringen, so gehts
no I My heart is far too mean to be sacrificed on the
altar of so surpassing a beauty. Ah, fairest Juliet, do
you not think me worthy of your love, that you would
take back what you have promised me?
JuLIET. Dearest Romeo! 1 wished it back that I
might give it you again.
RoMEo. Fair lady! let ns set up a contract of our
true love here. .For here I swear by yonder splendent
moon-
JULIET. Oh swear not by the fickle inconstant moon I
RoMEo. What shall I swear by?
JULIET. Do not swear at all.
Enter NURSE.
NURSE. Juliet! Your mother calls.
JuLIET. Anon, good nurse l Oh Romeo, go, the
place is dangerous. If my father's servants were to
find you here, they might take your life.
N l'RSE. Zounds! take yourself off!
JULIET. Coming, coming! Farewell, Romeo!
RoMEo. Farewell, fair Juliet! I cannot leave this
place; methinks I would rather tarry here all night.
JuLIET. Romeo, Romeo! Oh Heavens, he is already
gone.
RoMEO. :So, fair lady, your most faithful servant is
still here and awaits your commands, which he is ready
to carry out in due submission.
NuRsE. Juliet, Juliet! How will this end! Did you
not hear your mother call?
JULIET. Nurse, have a little patience! I am coming
directly. Noble Romeo, I was going to reveal something
to you but it has escaped me.
RoMEo. Ah, fair Juliet, pray satisfy my heart with
a blessed promise of your love.
NrRSE. Oh dear, there's no one for chattering like
her! Do you call that obeying your mother? You will
catch it.
JuLIET. Well, I am coming directly. Take this,
Romeo, from me, and to-morrow at nine o'clock I will
let you know my mind.
NURSE. Confound you l are you still there? \Vhat
can you be thinking of? Is it not a shame, one cannot
bring that wench home l That is the way with the young
345 TRAGEDY OF ROMEO AND JCLIET. 346
mit den jungen Dirnel, wan man ihnen zueliifst ein fin-
ger, so wollen sie die gantze Handt haben. Nun geht
oder ich sags .
Tt:LIETA. Nun ich komme ja, lebet wohl Romio.
RoMIO. Vnd sie auch schOnste Julieta.
Jl'LIETA. Ach Romio. [abit.
RoMio. Ach Julieta. -Nun gibe dich zufriden Ro-
mio, die weillen du gegenliebe verspiihrest von der vn-
vergleichlicben Julieta, ich will mich wider nacher Haufs
verfiigen, dan ich sehe dafs Aurora ihr langes ligen bey
dem alten Titon iiberdriissig, vnd Phebus fangt an al-
gemach herfiir ZU brecben vnd seine errotbete Wangen
aufszubreitten.
PATER.
PATER. Gueten Morgen Herr Romio, wie so fruhe
aus dem Schlatf, doch ein Verliebter hat wenig rube
wan er stehts an seine geliebte Rosalina gedenkt. Wafs
macht die guete Rosalina?
RoMio. Geehrter Herr Pater, sie wissen wie wun-
derbahrlich sich der Mensch vnd deren gedankhen ver-
iindem, so ists mir armen Romio auch geschehen.
PATER. Wie da, wie da Herr Romio?
R011no. Rosalina. ist liingsten aufs meinen Siinn vnd
gedankhen, also dafs ich wenig mehr an sie gedenkhe.
PATER. Solches gefalt mir sehr wohl Herr Romio,
das er einmahl bcfrewet worden von dem liebes Joch.
RoMIO. Frey Herr Pater, o nein, ich babe mein
Hertz einer andem geben vnd die selbige mich auch mit
gegenliebe belohnet.
PATER. 0 Himmel kan es wohl moglich sein, das
ein Mensch so wankelmuetig vnd iibel bestandig in der
Iiebe sein kan, aber sagt mir Herr Romio, was ist das
vor eine die er liebt?
Romo. Es ist die schOne Julieta, des Capolets ei-
nige Tochter.
PATER. Solches bore ich nicht gehrn, vnd wie ist
es rnoglich seines feindts tochter zu lieben, doeh viel-
leicht will der Himmel dardurcb einen frieden beyden
Hiiusern geben, welches mich von Hertzen erfrewen
soU, aber ich halte mich zu lang auf, Herr Romio ich
wintsche demselben glickh vnd wohlergehens, hat er
rneinen geistlichen Rath von nothen so weifs er schon
mein Zeit. [abit.
RoMIO. Der Himmel begleite ihn Herr Pater. Nun
ist es Zeit mich auch von bier zu begeben, vnd discs
guten geistlichen Rathes werde icb wohl von nothen ha-
ben in allen meinen vorgenohmenen werkhen.
[abit.
girls; if you give them a finger, they want the whole
hand. Now do you go in, or I tell your mama.
JULIET. Well, I am coming. Good bye, Romeo.
RoMEo. Good bye to you, fair Juliet!
JULIET. Ah, Romeo I [ E ~ i t .
RoMEo. Ah, Juliet!- Now thou mayst be satisfied,
Romeo, since thou art aware that thy love is returned by
the incomparable Juliet. I will return home again, for
I observe that Aurora is tired of lying with old Titon,
and Phoebus is beginning to break forth, and display
his ruddy cheeks.
Enter FRIAR.
FRIAR. Good morning, Romeo I What, up so early ?
True, a lover has little rest, when he is always thinking
of his beloved Rosaline. How is the good Rosaline?
RoMEo. Honoured father! You knaw how strangely
man and his thought change. The same has happened
to me, poor Romeo.
FiuAR. How so, how so, Romeo?
RoMEo. Rosaline has long gone out of my mind
and memory; I little think of her.
FiuAR. I am much pleased to hear, sir, that you at
last are freed from the yoke of love.
RoMEo. Freed, father? Oh, no; I have given my
love to another lady, and she rewards me by return-
ing it.
l:<'RIAR. Oh Heavens! is it possible, that a man
should be so fickle and inconstant in love I But tell me,
sir, who is it whom you are in love with?
RoMEO. It is the fair Juliet, Capulet's only daugh-
ter.
FiuAR. I don't like that at all: how is it possible
to love the daughter of one's enemy I But may be that
God in this way means to give peace to the two houses,
which would gladden my heart. But I am tarrying too
long, Sir, I wish you luck and prosperity. If you need
my spiritual advice, you know my cell.
[Exit.

RoMEo. Heavens be with you, father. It is time
for me also to leave this place; I am likely to need
this good father's advice in all my enterprises.
[Exit.

847 TRAGEDY OF ROMEO AND JULIET. 348
ACTUS TERTIDS.
SCENA PRIMA.
FRA w mit AMMA.
FRAw. Amma!
AMMA. Wafs beliebt ihr gnadige Frau?
FIL\.W. Sagt mir wo ist vnser tochter Julieta? be-
findt sie sich noch wohl bey ihrer gesundtheit?
AMMA. Sie ist, gnidigste Fraw, bey gueter gesundt-
heit, vnd thuet nichts alfs biiecher lesen.
FRA w. Es ist guet, aber sagt vnnfs Aroma soli sie
nicht schon alt genug sein einen Mann zu nehmen?
AMMA. Ist mir recht gnadige Fraw, so ist sie scbon
in den 16ten Jahr, dan ich weifs mich noch wohl zu
entsinnen wie lang ich ihr gewarthet hab.
FRAw. Noch nicht gahr 16 Jahr? Amma rueffet
sie zu mir, ich hab mit ihr zu reden.
AMMA. Alsobald gnidige Fraw will ich rueffen, Ju-
lieta siifses turtelteublein, fiirwahr ich mag 11ie wohl so
nennen, dan sie ist so fromb vnd angenehmb alfs ein
turtelteublein. Julieta kompt herfiir, die Frau Muetter
ruefft euch.
SCENA 2DA.
JULIETA.
JuLIETA. Geliebte Fraw Muetter, in gehorsamb er-
schein ich, was hat sie mit mir alfs dero gehorsamben
tochter zu befehlen ?
FRAw. Liebes Kind Julieta, du hast einen sorg-
{eltigen Vatter.
JULIETA. Warumb das Frau Muetter?
FRAw. Darumb dafs dein Vatter sorgfeltig ist ge-
wefsen in auferziehung deiner Jugendt, so will er auch
sorgfeldig sein in wachstumb deiner Jahren vor dich
sorg zu tragen, vnd weil du mannbabr, hat er dir einen
wackhern gaualier aufserkoren, den du heyrathen solst.
JuLIETA. Wie Fraw Muetter, meine Jahr sein noch
zu wenig mich in eine wiirthschafft zu schickhen, vnd
einen Mann zu nehmen.
FRAw. Du wirst deines Vatters gebott nicht ver-
werffen, sondern wafs er von dir haben will in obbacht
nehmen, da ist kein entsch.Udigung giiltig deinem Vat-
tern zu widerstreben, er tragt sorg fiir dich vnd dir
einen dapfferen gaualier aufserko.ren, nemblich den Graff
Paris, darumb sage mir deine Meinung.
JULIETA. Wie Fraw Muetter? ich lebe in der gehor-
samb, vnd bitte mich mit heyrathen nicht zu zwingen.
MuETTER. So lebst du mir vnd deinen Vatter zu
wider.
ACT III.
SCENE I.
LADY CAPl'LET with NURSE.
LADY. Nurse!
NURSE. What is your ladyship's pleasure?
LADY. Tell me, where is my daughter Juliet? is
she still in good health?
NURsE. She is in good health, my lady; and does
nothing but read books.
LADY. That is well. But tell me, nurse, don't you
think her old enough to take a husband?
Nt:RSE. If I am not mistaken, my lady, she is al-
ready turned fifteen; for I remember well how long I
have waited on her.
LADY. Not quite sixteen? Nurse, call her, I have
something to talk over with her.
NURSE. I will call her at once, my lady; - Juliet,
you sweet little dove! - Forsooth I may call her that,
for she is as good-tempered and as gentle as a turtle. -
Juliet, come! your mother wants you.
SCENE II.
JL""LIF.T.
JuLIET. Dear mother, in duty I appear before you:
what commands have you for your obedient daughter?
LADY. Juliet, my dear child, thou hast a careful
father.
JULIET. Why mention that, dear mother?
LADY. Because thy father, careful as be bas bet>n
in bringing thee up, will be equally so in providing
tor thee according to thy age; and as thou art mar-
riageable he has chosen for thee a gallant cavalier whom
thou art to marry.
JuLIET. Why, mother, my years are still too ft>w
to fit me for the conduct of a household a,nd the mar-
ried state.
LADY. Thou wilt not reject the command of thy
father, but observe what he requires of thee. There is
no excuse for opposing a father. He cares for thy wel-
fare, and has selected a gallant cavalier, Count Paris.
Now tell me thy mind.
JuLIET. Why, mother, I live in obedience, but pray
do not force me to marry.
LADY. Then thou livest in opposition to me and
to thy father.
349 TRAGEDY OF ROMEO AND JULIET. 350
JuLIET. Fraw Muetter nein, ich bin geboren zu
gehorsamben aber mit heyrathen zu uerschonen.
MuETTER. Wie tochter Julieta( du solst dich glick-
selig schiitzen einen solchen gaualier wie Graff Paris
ist zu bekommen.
JuLIETA. Liebste Fraw Muetter, verschonet meiner
Jugendt vnd schlaget solche gedanckhen aufs den Siinn,
dann der gehorsamb meiner Eltern zu folgen, achte ich
mehr alfs eine Princessin zu sein.
MuETTER. Julieta du bist halfsstii.rrig, deiner Stin-
nen verruckt, aber stille, da kompt dein Herr Vatter,
siehe zue wie er deine worter annehmen wird. [Abit.
SCENE STU.
CAPOLET.
CAPoL. Wie ists liebes Kind Julieta? Hast du die
meinung deiner Fraw Muetter verstanden?
JULIE. Ja gn. Herr vnd Vatter, ich habe es wohl
verstanden, aber ich bitte in der Jugendt meiner Jahren
mich zu uerschonen einen Mann zu nehmen, dan mir
gebiihren will noch meinen Eltern zu gehorsamben.
CAPUL. Julieta, mir ist wissendt dein gehorsamb
von Jugendt auf, darumb ich dir nicht iibel rathen, son-
dern wohl versorgen will.
JL'LIE. Herr Vatter, die Meriten des Graff Paris
seind nicht verwerlflich, aber ich bitte mit heyrathen
mich zu uerschonen. ,
CAPOL. Wie, widerspenstige tochter, wilst du auch
anfangen ein vngehorsambes Kind zu werden?
JuLIET. Ach nein gn. Herr vnd Vatter der gehor-
samb ist. mein glickh, die E h r ~ mein Reuchthumb, wan
eB ja nach meiner Eltern willen gehen soll, so bitte ich
vmb bedenckh Zeit, damit solches mit wohl bedachtem
mueth vnd reiffen verstandt geschehen moge.
CAPCI .. Wollan dan, liebe tochter Julieta, bedenckhe
dich vndt erfrewe deinen Vatter mit einem friilichen
Ja, den Graff Paris zu haben. [abit.
SCENA -iTA.
AMMA.
JULIET. Fahret wohl Herr Vatter, ich will wafs
einer gehorsamben tochter gebiihren will, verrichten.
Aber Ey, lafs armseelige Julieta, wafs wirstu anfangen
in dem du dein Hertz schon den Romio gegeben. Ach
Romio komb vnd erledige deine armselige Julieta von
den Zwang diser Heyrath, aber Amma ich babe dir eine
sach zu offenbahren wofern du mir getrew vnd ver-
schwigen sein wilst.
AMMA. SchOnste Julieta babe ich nicht mehr ver-
JuLIET. No, mother, I am born to be obedient but
also to be excused marrying.
LADY. Why, my daughter, thou shouldst consider
thyself fortunate to get a cavalier like Count Paris.
JuLIET. Dearest mother, have pity on my youth, and
give up all such thoughts; for I think it more to be
obedient to my parents than to be a princess.
LADY. Juliet, thou art obstinate, thy mind is per-
verted. But silence I there comes thy father. Now you
will see how he will take thy words. [Exit.
SCENE III.
CAPULET.
CAPULET. Well, my dear Juliet? Hast thou under-
stood the opinion of thy lady mother?
JuLIET. Yes, my gracious lord and father, I have
quite understood it, but pray for the sake of my youth
that you will excuse me from taking a husband, for it
is more fitting that I should still remain u n d ~ r the au-
thority of my parents.
CAPULET. Juliet, I well know thy obedience from
childhood; therefore I will not advise thee ill, but well
provide for thee.
JuLIET. My lord and father, the merits of Count
Paris are unexceptionable; but I pray you to excuse me
from marrying.
CAPCLET. Why, thou headstrong girl, wilt thou also
turn a disobedient child?
JULIET. Oh no, my gracious lord and father, obe-
dience is my happiness, chasteness my fortune. If the
will of my parents is to be carried out, I pray for respite
that the thing may bl done with consideration and mature
judgment.
CAPULET. Well, my dear daughter, reflect upon it,
and cheer thy father with a cheerful assent to take Count
Paris. [E.rit.
SCENE IV.
J VLIET. NURSE.
JULIET. Farewell, father! I will perform what be-
hoves a dutiful daughter. But, alas, wretched Juliet I
what art thou to do, now that thou bast already given
thy heart to Romeo? Ab, Romeo, come and deliver thy
poor Juliet from the constraint of this marriage. - Look
here, nurse, I have something to reveal to you, provided
you will be faithful to me and secret.
NuRSE. Fair Juliet, do I not enjoy more confidence
351 TRAGEDY OF ROMEO AND JULIET. 352
trawen bey ihr alfs dises? offenbahret mir was ihr walt,
es wir<l bey mir sicher verschwigen bleiben, alfs ob ihr
es einen stein vertrawet.
JuLIE. So wisse dan, seid der Zeit ich mit Romio
gedanzt, ist mein Hertz also in liebe gegen ibm ver-
strickhet, dafs wofern ich nicht heylsambe mittel :finden
werde, so ist es vmb mich geschehen, darumb sage mir
Amma, wilst du mir etwas zu gefallen thuen.
AMMA. Wie Julieta? was gedenkt ihr? Romio ist
ja euer Erztfeindt, darumb wibre mein rath ihr verlii.fst
ihn, vnd verhe}Tatbet euch mit Graff Paris.
JuLIE. Hinweckb mit deinen Ratb, gedenkhe nicbt
mehr daran, dan ich scbwore, wofern ich nicbt Romio
fiir einen Mann bekomme, so ist es schon gcschehen,
vnd ich will mein vnglickh so ich anietzo fiihle noch
iirger machen ails es ist.
AMMA. Wollan Julieta, weil ich den ernst bey ibr
verspiire, so will ich alles verrichten, wafs sie mir be-
fehlen wird.
JULIE. So gehe alsobald zu Romio, vnd vermelde
ihm, dafs er sich vnfehlbar wan er sich meinen Ehe-
man nennen wil vmb 9 Vhr in defs Paters Zeit be:finde,
alda ich mich mit ibm will vermahlen oder trauen lassen,
verricht es wol, sey verschwigen, eine guete belohnung
wirst du zu gewartben haben. [abit.
AMMA. Geliebte Julieta, ich bedankhe mieh ihrer
Zuneigung, ich gehe vnd verrichte wafs sie mir befohlen
h ~ ~ ~
SCENA 6TA.
MERCUTIUS. PE:-<l'OLIO.
MERCU. Es nimbt mich grofs wunder dafs Romio
nicht anzutreffen sey, sage mir Penuolio, ist er zu Haufs
zu :finden?
PENUO. N ein zu Haufs ist er nieht, ich babe mit
seinen Diener geredt, der weifs eben so viel von ibm
alfs ich vnd du.
MEReu. W o zum Krankheit muefs er sich dan ver-
stekht haben?
PENUO. Tipold, des Capo lets Vetter, hat Romio
einen Brief geschrieben vnd denselbigen in seines Vat-
ters Haufs geschickbt.
MEReu. So ist gewifs ein duell oder aufsforderungs-
brieff.
PENUo. Du bast es erratben, und Romio will ibn
be&Ddtwortten.
MEReU. Das glaub ich wahl, ein Jeder der sebrei-
ben kan, kan aueh einen brieff beandtwortten.
PENUO. Nein, Romio will ibn beandtwortten mit
den Degen in de.r Faust.
with you? Reveal to me whatever it may be: it shall
remain as secret with me as if you had confided it to
a stone.
JuLIET. Know ye then, that since the day I danced
with Romeo my heart is entangled in love to him and
that I am undone unless some remedy be found. There-
fore tell me, nurse, will you do something to oblige me?
NURSE. Why Juliet l What are you thinking about?
Romeo is your enemy; therefore my advice is you leave
him and marry Count Paris.
JuLIET. Away with your advice! don't think of it:
for I swear, unless I get Romeo for my husband I am
undone, and will make my present misery still worse
than it is.
NURsE. Well, Juliet! since I see you are in ear-
nest, I will perform whatever you command me to do.
JL"LIET. Then go at once to Romeo, and tell him,
that if he wants to call himself my husband he should
be at the "father's cell to-morrow at nine o'clock, where
I will be married to him. Do your errand well, be secret,
and you may expect a good reward. [E.xit.
N l.:RSE. Dear Juliet, I am sensible of your affection,
I will go and do what you have ordered.
[E.rit.
SCENE V.
MERCUTIO. BENVOLIO.
MERCUT. I am much surprised, that I cannot find
Romeo. Tell me, Benvolio, is be to be met with at his
own bouse?
BENVOL. No, he is not at home, I have spoken to
his servant, and he knows as much of him as I and
you do.
MERCVT. Where the deuce can he be hiding?
BENVOL. Tibalt, Capulet's cousin, has written him
a letter, and sent it to his father's house.
MERCUT. It is a duel to be sure or a challenge.
BENVOL. You are right, and Romeo is going to
answer it.
MERCUT. Very likely; a man wbq_ can write, can
also answer a letter.
BENVOL. No, Romeo intends to answer sword in
hand.
353 TRAGEDY OF ROMEO AND JULIET. 354
MEReu. Ach armer Romio du bist schon halbtodt,
dan er ist gescbossen mit einem pfeil von einen blinden
Knaben, vnd wie soU er bestehen mit den Tipold zu
fechten.
PErmo. Vnd wafs ist dan Tipold?
MEacu. Nichts mehr als ein Katzen Konig der
PENUO. Wafs der?
MERCG. Der viel prallens aber wenig Hertz bat.
PENt:O. Das ist wabr, aber stille da kombt Romio.
RoMio.
MERCU. Warth ich will ibm einen grues auf fran-
zesiscb bringen, Monsieur Monsieur Romio, das ist fran-
zesisch, Romio, vor den gestrigen Schimpff den du vnfs
gegeben.
RoMIO. Ihr Herrn verzeiht es mir, ich weifs nichts
darumb.
MEncu. Ja Ja du hast recbt sagen deine gedankben
sein nur an Rosalina, icb weifs es gahr zu wohl.
RoMIO. Ja Ja glaub es nur, ich verstehe dein Schertz
...
aucb gahr zu wohl.
SCENA su.
AMMA.
MEReu. Wafs zum Henkber kompt da vor eine
Hex?
AMMA. Ich gehe lauff vnd renn, vnd sueche den
Herrn Romio, kan ibm aber nicht antreffen, aber bier
steben wakbere Herren, die will jch fragen ob sie mich
nicbt bericbten konnen wo Herr Romio anzutretfen,
mein Herr auf ein wordt, ist nicht in diser gesellschafft
Herr Romio?
Rmno. Geehrte Fraw, ich bin es seiher nach dem
sie fragt vnd mein Nahmb heist Romio.
1 AMMA. Ach Herr Romio ich bring ibm Zeitung,
, das er sich bey der Julieta zur Mahlzeit. einfinden soll.
MEReu. Wafs will das alte Miitterlein?
PENUO. Sie redt von einer Mnhlzeit, sie wird ge-
wifs Romio auff ein Panquet laden.
MEReu. Nichts anders, so mag er kommen nach
seinem belie ben, ihr Herrn mir falt eine V errichtung
cin, darumb adio, ich gehe von bier. [abit.
AMMA. Mein Herr wafs gibt er mir vor ein andt-
wordt, dns ich eylents meine botschafft verrichten kan.
Rowo. Geliebte Fraw, ich werde mich gehorsamb
einfinden, vnd gehorsamb aufwarthen.
AMMA. Wollan ich gehe, die Herren
V ngnad auf mich.
RoMro. Penuolio warumb lachstu?
wertfen kein
[abit.
PENCO. lch Iache nicbt sondern weine vielmehr.
MEncuT. Poor Romeo! he is already half killed;
for he is hit by an arrow of the blind boy, and how is
he to stand a fight with Tibalt l
BENVOL. And what is Tibalt then?
MERCUT. He is nothing more or less than a cats-
king, a-
BEN VOL. A what?
MERCUT. A hectoring fellow with little courage.
BENVOL. True, but there comes Romeo.
Enter RoMEo.
MERCUT. Look here, I will salute him in French.
Monsieur, Monsieur Romeo! That is French, Romeo,
in exchange for the insult you offered us yesterday.
RoMEo. Pardon, gentlemen, I am not aware of
any.
MEncuT. It is all very well to say your thoughts
are all with Rosaline; I know it well enough.
RoMEo. Depend upon it, I also understand your
joke well enough.
SCENE VI.
NURSE.
MEncuT. What, the deuce is that witch coming
here?
NURSE. I am running about to look for Mr. Ro-
meo, but cannot meet with him. But there arc some
gallant cavaliers; I will ask them where to find him.-
Sir, one word; is not Mr. Romeo one of this company?
RoMEo. Madam, I am the person for whom you
enquire; Romeo is my name.
NuRSE. Ah, Sir Romeo! I bring you a message, that
Juliet wants you to dinner.
MERCUT. What does that old woman want?
BENVOL. She talks of dinner; to be sure she has
come to invite Romeo to a banquet.
MERCUT. Nothing else; be may go if be likes.
Gentlemen, I remember some business; so adio, I will
take my leave. [Exit.
NURSE. Sir, what is your answer? Tell me, that
I may do my errand without loss of time.
RoMEO. My dear madam, I shall come obediently
and wait upon you obediently.
NunsE. Very well, I go, and command myself to
your favour. [Exit.
RoMEo. Benvolio, what art thou laughing at?
BENVOL. I am not laughing, - rather crying.
23
355 TRAGEDY OF ROMEO AND JULIET. 356
RoMio. W arumb das?
PENL'. Vmb dafs, das dir dein armes Hertz also
geiingstigt ist.
RoMIO. Ach du wurdest es noch hiirtter kriinkhen
mich weither zu vexiren, Adieu darumb fahre wohl.
PENUO. Nein, ich will mitgehen, mich also zu uer-
lassen thuest du vnrecht.
ROIIIIO. So schertze nicht mehr, mein Hertz ist ohne
dafs mit iiberfliifsiger betriibnufs iiberladen.
PENUO. Deine Seuffzer vnd traurigkeit geben zu
erkhennen, das dir etwas mangelt.
RoMro. Wafs manglen, ich weifs von keinen Scuff-
zen vnd Klagen.
PENUO. Nein bekhenne vnd sage mir, du bist ver-
lieht vnd dein Hertz ist zertheilt.
Ro11no. Etwas hast du errathen, dafs mein Hertz
nicht mehr mein sondern einer andern gehorig.
PENUO. So viell kont ich wohl merkhen aufs dei-
ne traurigkeit, dafs du verliebt wahrest.
Romo. Ich bestehe dir Penuolio, dafs die Jenige
so ich Iiebe auch schon ist.
PEl'mo. Ein schones Zihl, darnach man pflegt zu
schiefsen ist am ersten getroffen.
RoMro. Ey lafs Penuolio eben dafs qulilet mein
Hertz, das ich lhrcr Liebe nicht theilhafftig werden
kann.
PENUO. So hat sie dan geschworen ullezeit keusch
zu Ieben?
R011no. So viel mir bewust so basset sie viel mehr
das 1\lannsgeschlecht alfs zu lichen.
P:Nl'O. So folge Rath vnd denkhe nicht
mehr an sie.
RoMIO. Nicht an sie gedenkhen? ach so wurde
mein Ieben auch sich bald enden.
PENt:O. Herr Vetter gebet euren Augen die frey-
beit, vnd erwehlet cine andere, dan es gibt ja nicbt
Hiindt sondern liinder voll weibsbilder.
Ro11no. Ich sebe dein Schertzen kan mir nicht helf-
fen, drumb verlafs ich dicb vnd bleibe der verliebte vnd
betriibte Romio. [abit.
PENUO. Nein icb folge dir, vnd will mich befleifsen
dein Doctor zu scin, bifs ich ein gewisses recept zu
deiner traurigkeit fin de. [ abit.
SCENA 7MA.
JULIETA. AMMA.
,J UJ.IE. Liebste Amma wafs bringt ihr mir von mei-
nen Romio guete oder befse Zeittung, dan mich ver- ,
langt zu wissen, wafs er euch vor eine andtwortt ge- '
gebcn.
RoMEo. What for?
BENVOL. For thy poor heart being so tormented.
RoMEo. Thou wouldst not mind adding to its torments
merely for the sake of chafing me. Adieu then, farewell.
BEsvoL. No I shall go with thee; thou art wrong
to leave me thus.
RoMEo. Then leave off joking; my heart is already
overburdened with sorrow.
BENVOL. Thy sighing and despondency show tha1
there is something the matter with thee.
RoMEO. What should be the matter? I know
of sighing nor lamenting.
BENYOL. No, confess and tell me, thou art in love
thy heart is divided.
RoMEo. So far thou art right that my heart is m
longer mine, but belongs to some one else.
BENYOL. So much I could perceive from thy sad
ness, that thou art in love.
RoMEO. I confess to thee. that she whon
I love, is also handsome.
BEsvoL. A handsome mark to shoot at is mos
ea.o;ily bit.
RoMEO. Alas, Benvolio, it is just that which tor
ments my heart, that I cannot gain her affection.
BEN VOL. Has she, then, sworn to remain chaste?
RoMEO. As far as I know she rather hates ou
sex than loves it.
BENVOL. Then take my advice and do not thin!
of her any longer.
RoMEO. think of her! there would soon be a1
end. of my life.
BENVOL. Cousin, set thy eyes free and choose an
other woman; there are handfuls, nay countryfuls ('
iliem.
RoMEo. Thy playfulness cannot aid me; I leave the
remaining what I am, Romeo in love and in sadness.
[E.rit.
BENVOL. No I will follow thee, and try to be th
doctor till I have found out a certain prescription fo
thy sadness. [E.rit.
SCENE VII.
JuLIET. NlTRSE.
JuLIET. What news, good or bad, do you brin
me from my Romeo? I long to know what answer b
sends.
357 TRAGEDY OF ROMEO AND JULIET. 358
AMMA. Er redt gleich wie es einen Ehrlichen Jun-
gen gesellen zuestehet.
JuLIETA. Wie Amma, wafs saget ihr? Er redt gleicb
wie es einen Jungen gesellen zuestehet, pfuy schamet
euch er ist ein gaualier vnd kein gemeine persohn.
AMMA. Hobo, verdriist Euch dises dars ich ihn einen
Jungen gesellen heirs, gehet ein andermahl selber, bringt
ibm die bottschafft, hernach m()gt ihr ihn nennen wie
ibr wolt.
JuLIET. Ey Iiebe Amma nicht so zornig, es wahr
nur mein Schertz mit euch also zu reden, drumb sagt
mir geschwind, was sagt mein lieber Romio?
AMMA. Ach wafs soli er sagen?
Juu. Wie wolt Ihr mich noch Ianger aufbalten
mich zu qualen.
Ey nun er sagt
Juu. Vnd was sagt er?
AmiA. Er weirs selber nicht ob er krankh oder
gesundt sey.
JULIE. Ach der Himmel bewahre ihn.
AI>mA. Ich muefs euch doch nicht gahr erschrock-
hen, er sagt, er will nacb ihren Befehl zu Ieben
wissen.
Jru. So will er kommen?
AMMA. Ich hab schon gesagt, ja ia er will kom-
men, seit ihr darmit zufriden?
Juu. Ach ja Iiebe Amma, bedankhe mich vor dise
froliche Zeitung ich gehe ihn zu erwartben, vnd euer
recompens klint ibr bey mir abholen. [abit.
AliMA. So so, ist das mein Dankh vor mein Miihe
vnd lauffen, warth ein andersmahl will ichs bleiben las-
sen, dan wer das trinkl:welt in Handen hat, da richten
sie die bosten seiher aus, aber ich gehe vnd will sehen,
wafs das verliebte frewlein Julieta noch wird anfangen.
[abit.
SCENA 8.
PATER. RoMio.
PATER. Herr Romio, die sachen so er mir vorge-
tragen seind schwiir der V ernunfft nach, bedenkh er sich,
das ich alfs ein Priester nicbt thuen kan mit recht nach
seinen begehren, in deme dero Eltern von disen allen
keine wissenschafft haben.
Ro11no. Geehrter Herr Pater, es ist aber mein vnd
der Julieta willen, vnd ehe sie sich will zwingen lassen
den Graff Paris zu ebligen, will sie Iieber sterben, dar-
umb were mein bitt, sie wollen alhier ein mittel finden
vnd disen gefiilligen werkh beyhiilff leisten.
PATER. Sohn Romio difs sein scbwar sachen zu
. tbuen, dennoch euch zu lieb, wofern Julieta auch zu-
NuRSE. He speaks as it behoves an honest young
fellow.
JULIET. Why, nurse, bow can you talk so? He
speaks as it behoves an honest young fellow I For
shame I He is a cavalier, not a common person.
NuRSE. Oho I If you take it amiss that I call him
a young fellow, go yourself another time, be yonr own
messenger; after that you may call him as you like.
JuLIET. Ay, dear nurse, don't be angry. It was
but my joke. Now be quick and tell me, what dues my
dear Romeo say?
NURSE. Why, what sho?ld he say?
JuLIET. How can you keep me in suspense, and
tease me so?
NuRSE. Well, he says ...
JULIET. What is it he says?
NURSE. He does not know himself whether be is
well or ill.
JuLIET. May Heaven protect him I
NuRsE. 1 must not frighten you too mnch. He says
he will know how to live according to your commands.
JULIET. He will come then?
NuRsE. I told you yes, he will. Are you satis-
fied?
JuLIET. Yes, nurse dear; thanks for these glad
tidings. I go to await him; you may call for your re-
ward. [ E.rit.
NuRSE. Ahem! are these the thanks for my trouble
and running about? Next time I shall let it alone. For
when I have once got my glove-money in my hand, they
may do their errands themselves. But let me go and
see what that love-stricken girl Juliet is about.
[E.rit.
SCENE VIII.
FRIAR. RoMEo.
F'RuR. Sir, the matter you have broached to me
is difficult; that stands to reason. Remember that, being
a priest, I cannot in duty do what you desire, as your
parents are ignorant of all this.
RoMEO. But, Reverend Sir, it is my and Juliet's
will; and sooner than marry Count Paris, she will die.
Therefore my prayer is you would devise some meant!.
and lend your aid to such agreeable busine:;s.
FRIAR. My son, these are difficult things to do.
However, to please you, and provided Juliet
23
859 TRAGEDY OF ROMEO AND JULIET. 360
friden, wollen wiir sehen, wie der sach zu thuen, dan
es will sich gebiihreri der Julieta freywillige meinung
aucb zu uernehmen, darumb lasset sie wissen wan sie
willens ist mich sambt Euch zu besuechen.
RoMlo. Sie ist, hochgeehrter Herr Pater, willens
vmb 9 Vhr alhier zu erscheinen, dan sie mir solches
durch ihre Amma hat wissen lassen.
PATER. Wohl dan Herr Romio, so wird er sich der
geduld gebrauchen, wie ist die Zeit vorhanden, dan
wollen wir sehen, was einen geistlichen Priester wohl
ansteht zn thuen, hiermit fahre er wohl Herr Romio,
' ich verfiige mich in mein Ze}t'. [abit.
Romo. V nd ich befehle mich in seine freindtschafft
vnd wohlgewogenheit. Ach glickbseeliger Romio , will
dir dan der Himmel die iiberirtische Julieta schenkhen,
ach ja die gunst ihr schOnheit versicheret mich solches,
wollan dan ich gehe dem Himmel zn dankhen, dafs
dise Himmels Stundt mich der schonen Julieta zu einen
Mann beglickhseeligen mi:ige. [abit.
PARIS. CAPULET. JULIETA.
PARIS. Herr Capulet, ibm ist wissendt die lieb vnd
affection so ich zn seiner tochter trage, entlich von ihme
Herr Capulet ein gewintschtes Ja vnd andtwort zu em-
pfangen, weil mein gri:istes V erlangen nichts anders alfs
seine Tochter zu meiner Gemahliii empfangen werde.
CAPU. Herr Graff, die lieb vnd affection so ich zu
dero Haufs trage versicbert midi, dafs ich meioe Toch-
ter Julieta keinem gaualier von .Meriten alfs ihnen Herr
Graff verehren, vnd schenkhen kan, dardurch mein altes
Stammenhaufs glickhseelig zu machen.
PARIS. Herr Capulet, das gewintscbte Ja so ich von
Ibm empfange, wird ein vrsach sein dafs ich ibm vnd
die seinigen ieder zeit auf lebenslang mich verobligiert
vnd dienstbahr befinden werde.
CAPU. lch bedankhe mich Herr Graff, vor dero af-
fection, ich werde thuen, was einem Vatter wohl anstan-
dig ist, darumb bitte ich Herr Graff er wolle auch das
Jawordt von meiner gehorsambcn Tochter Julieta em-
pfangen, welche eben zu rechter Zeit anhero kompt.
Geliebtes Kindt Julieta, bier hab ich mit Graff Paris die
vndterredung deiner bersohn halber gethan, du wirst
dirs gefallen lassen disen tapffern gaualier vor deinen
Ebeherrn zu erkiesen, dadurch wirst du mich vnd deine
Muetter glickseelig machen.
J l'I.I. \Vufs mein Herr Vatter tbuet, das ist auch
mein gehorsamb vnd will.
P.\RIS. Schonste Julieta, von dero Ilerrn Vatter vnd
fraw Muetter babe ich da:; Jawordt erhalten sie vor
we will see how to manage it; for it is right that I
should learn the free opinion of Juliet. Therefore let
her say at what time she would like to come with you
to visit me.
RoMEo. She intends, reverend Father, to make her
appearance here at nine o'clock: she sent me word to
that effect by her nurse.
FRIAR. Well then, Sir Romeo, you must have pa-
tience. In due time we. shall see what it may become a
priest to do. Meanwhile, good bye, Sir Romeo, I will
go to my cell. [Ezit.
RoMEO. And I commend me to your friendship and
goodwill. Ah fortunate Romeo I will Heaven then really
grant thee that heavenly Juliet? Ah yes, the favour of
her beautiful face assures me of it. Well then, I will go
and thank Heaven that that heavenly hour may make
me the blessed husband of the fair Juliet.
[E.rit.
PARIS. CAPL'LET. JULIET.
PARIS. Sir, you are aware what love and affection
to your daughter makes me long for your consent, since
my greatest desire is no other than to obtain your
daughter for my wife.
CAPUL. My lord, the love and affection I bear your
bouse is a guarantee that I cannot give away my daughter
Juliet to any other cavalier of merit than yourself, if I
would ensure the happiness of my ancient race.
PARIS. The much desired Yes which I have received
from you will make me your debtor, and place me at
the service of yourself and your house for the rest of
my life.
CAPUL. I thank you, my lord, for your affection.
I shall do what becomes a father; I pray you therefore
accept the consent of my dutiful daughter Juliet who is
making her appearance just in time. Dear child, I have
just conversed with Count Paris on thy behalf. Thou
wilt be pleased to choose this gallant cavalier for thy
husband, for thus wilt thou make me and thy mother
quite happy.
JuLIET. What my lord and father does, is also my
obedience and will.
PARIS. Beautiful Juliet, I hav-e got the consent of
both your father and mother to make yon my beloved
361 TRAGEDY OF ROMEO AND JULIET. 362
meine liebste vnd gemahlin zu nehmen, so verhoffe ich
auch das meine lieb vnd affection bey dero Sch6nheit
platz vnd statt finden werde.
Juu. Herr Graff, wie vor vermeld, waCs meiner El-
tern befebl, ist auch mein will vnd alfs einer gehor-
samben tochte-r haben Sie mit mir zu befehlen.
C.&PUL. Du thuest wohl daran lie be tochter, der
Himmel wird dir auch se-in gnad vnd seegen geben,
vnd hiermit Herr Graff iiberreicbe ich ibm meine Toch-
ter, er empfange sie von meiner Handt.
PARIS. Ich bedankhe mich Herr Capulet vor dises
edle Kleinod, vnd sie, schOnste Julieta erkhenne ich
vor meine Gebietherin, vnd alles, wafs Graff Paris ver-
mag, erwehle ich sie vor eine gebietherin aller meiner
Bar vnd Habschafft.
JULJ. Herr Graff ich bedankhe mich, ich werde
wissen zu Ieben vnd schuldigste Dienstleistting erzeigen.
PARIS. Wollan dan, ich gehe vnd verlasse sie, da-
mit aile praeparatoria zu vnseren beyliiger auf das ehi-
ste verfertiget werden, vnd also adie Herr Capulet.
[abit.
CAPu. Herr Graff, ich befehle mich dero selben
vnd werde zu disem vorgenohmenen werkb nichts er-
manglen lassen. So A die Tochter Julieta, folge mir vnd
erfrewe deine fraw Muetter. . [abit.
Juu. Ich folge Herr Vatter. [abit.
PATER. ROMIO. JULIETA.
PATER. Kommet herr meine Kinder, in deme ich
von euch naeh geniigen verstanden wie die sach be-
schaffen, aber bedrachte solche hoche sachen besser, da-
mit ich mich sambt euch in keine gefahr vnd Vnglickh
stiirtzen moge.
JuLIET. Herr Pater ich babe ibm geoffenbahret
meiner Elter Meinung, die giintzlich baben wollen den
Graff Paris zu nehmen, welches ich aber bey mir be-
schlossen nicht zu thuen, sondern Romio meine getrewe
Iiebe zu schenkhen, darumb bitte ich dafs wiir beide
durch eucre Hillff mochten vermlihlet werden.
RoMio. V nd ich desselben gleichen bitte Herr Pa-
ter, er wolle keinen aufschub mach en, weillen vnser
beyder ein Hertz vnd Siinn, so empfange sie bier o
schOnste Julieta disen ring, welches ein Zeichen vnd
V erbindnus seyn, ihr alfs meinen Schatz bii.s in mein
grab getrew zu verbleiben.
JuLIET. Vnd bier werthester Romio, nehmet disen
von meiner Handt, auch das Hertz zugleich, welches
euer eigen bifs vnfs der todt scheiden kan, vnd nun
Pater mangelt nichts weither, al.fs eure miihe der Co-
pulation.
wife; let me hope that my love and affection will find
a place also with your beauty.
JuLIET. My lord, as I have said before, whatever
may be the command of my parents is my will also; you
may dispose of me as of an obedient daughter.
CAPUL. In that thou dost well, my dear daughter.
Heaven grant thee its grace and blessing I And there,
my lord, I give you my daughter; receive her from my
hand.
PARIS. I thank you, Sir, for this noble jewel; and
you, fair Juliet, do I acknowledge for my mistress, and
as far as Count Paris can, do I choose you for the
mistress of all my fortune.
JuLIET. I thank you, my lord; I shall know how
to conduct myself and shew you all my bounden duty.
PARIS. Well then, I will go, and leave you to see
all the preparations made for our wedding as speedily as
possible. Adieu, my lord Capulet. [Exit.
CAPL'L. My lord, I commend me to you, and shall
see that there is nothing wanting in the business we have
in band; adieu I Juliet, follow me and gladden the heart
of thy mother. [Exit.
JuLIET. I follow, my father. [Exit.
FRIAR. Rono. JuLIET.
FRuR. Come here, my children; I sufficiently un-
derstand from you how the matter stands, but I must
give such an important matter more consideration, lest
I bring danger and misfortune over myself and you.
JuLIET. Father, I have made known to you the
opinion of my parents who insist upon my taking Count
Paris, while I am resolved never to do that, but, to give
my true love to Romeo. Therefore I beg that we may
be married by your aid.
RoMEo. I likewise, Sir, beg you not to delay, since
both of us are of one heart and mind. Accept then,
fairest Juliet, this ring as a token and covenant that I
will remain faithful to you unto my grave.
JeLIET. And there, dearest Romeo, take that from
my hand together with my heart which is yours till death
part us. And now, Father, there is nothing wanting but
that you take tl1e wouble of uniting us.
363 TRAGEDY OF ROMEO AND .IT'LIET. 364
PATER. W ollan dan, weil Euer beyder will be-
schlofsen, vnd es nicht anderst sein kan, so folget mit
mir in die Capellen alwohe ich euch vermiihlen will.
ACTUS QUARTUS.
SCENA PRIMA.
PENUOLIO. MERCUTIO.
PENUOL. Ich bitte dich Freundt Mercurio, lasse ab
von deinem Vorhaben, lafs vnfs von bier gehen, der
tag ist worden, die Capuletcr finden sich aile zPit vmb
diser reuir, wofern wiir ihnen begt>gnen, gehct I'S ohne
schlagen nicht ab, dan in den heifsen tagen das gebliit
am hiitzigsten.
MEncu. Du bist gleich Penuolio den Jenigen, die
in ein Wirths Haufs kommen, legen sie ihr gewohr auf
dem tisch, vnd sagen ich will dich in keinem Jal1r mehr
aufsziehen, sobald sie aber einen kleinen Tummel in
den Kopff bekommen, ziehen sie den Degen aufs, hawen
in die Stein vnd jauchzen darzue, daR einen die Ohren
klingen.
PENUOL. Haltest du mich dan auch vor einen sol-
eben Kerl.
MEReu. 0 sehweig, du bist der aller erhitzigste, ich
wolte schier sagen in gantz ltalia, hast du nicht mit
einen gezankt nur darumb dafs er -sein wammes vor
1
den Sontag angezogen, widerumb mit einen, der seine
alte Schuechband in newe schuech gezogen.
PENUO. Vnd was weither?
MEHCl'. Aueh hast du mit einem gezankt., der our
auf der strafsen gehuest, dieweil er deinen Hundt wel-
cher an der Sonnen lag vnd sehlielf, aufgewcckt, vnd
gleichwohl wilst du noch von zankhen sagen.
PENUO. Were ich so geneigt zu zankhen alfs du,
ich wiire schon liingsten in der Erden erkalt. Huy ich
schwore bey meinem Kopff bier kompt ein Capulet.
MERCt.:. Vnd ich schwore bey meinen fiiessen, dafs
ich nichts darnach frag.
SCENA 2A.
TIPOLD.
TIPOLD. Ieh bin aufsgegangen vnd gehe noch mei-
nen frindt anzutreffen, aber stille da sehe ich ein paar
von meines feindts consorten, ich muefs sie an red en,
gueten Abend.
MEncu. Nichts mehr. alfs ein gueten Abend, der ist
nicht dankhens werth.
FRIAR. Well, as you have both made up your minds,
and there is no help for it, follow me to the chapel
where I will join you in marriage.
ACT IV.
SCENE I.
BENVOLIO. MEHC"l'TJO.
BENVOL. I entreat thee, Mercurio, give up thy enter-
prise, let us b ~ off. It is day-light. There are always
some Capulets in this quarter, and if we should meet
any, we should not escape a brawl; for in these hot
days the blood is hottest.
MERCUT. Benvolio, thou art like one of those fel-
lows that enter an ion, lay their weapon on the table
and say: I will not draw thee for a twelvemonth. But as
soon as they are half seas over, they draw their swords.
strike the pavement, and shout to make one's ears tingle.
BENYOL. Thou takest me for a fellow like that?
MERCVT. Be silent, thou art the most fiery man, I had
almost said in all Italy. Didst thou not quarrel with one
man for wearing his Sunday doublet, and with another
for tying his new shoes with old riband?
BENYOL. And what else?
MERCeT. And then thou didst quarrel with a man
only for coughing in the street beeause he had wakened
thy dog that was lying asleep in the sun. And yet thou
talkest to me about quarrelling!
BEXYOL. If I were as fond of quarrelling as thou, I
should have been cold in the earth ever so long. Halloh,
I swear by my head, there comes a Capulet!
MERCUT. And I swear by my feet, I do not care
a straw for it.
SCENE II.
TmAI.T.
TIBALT. I went out, and am still wandering about
to meet my enemy. But stop, there I see a couple of
my enemy's eonsoJ;tS. I must accost them. Good eve-
ning!
MERCl'T. Not more than a good evening? That is
not worth a thank.
865 TRAGEDY OF ROMEO AND JULIET. 866
TIPOLD. Wofern ihr mir Vrsach gebt, so bin ich
bereith zu schlagen.
MEReu. Wie Tipold, muest du erst V rsach haben,
kanst du dich nicht schlagen ohne V rsach?
TIPOLD. Discs auf die Seith gesetzt, sagt mir wo
ist euer mit Consort Romio?
MEncu. Wafs teuffl, meinst du das wiir bierfidler
sein ? V nd vnfs Consorten nennen darffst, sehe zue dafs
kein discord daraufs wird, sonsten ist hier mein fidl-
bogen.
RoMio.
TIPOLD. Stillo, stillo, da kompt der eben zu rechter
Zeit den icb begebre.
MERCt'. Holla bier kompt Romio, Tipold wirst du
noch viel von Consorten reden, so ist Romio schon vor
handen.
TIPOLD. Ho ho, uie freindtschaft so ich zu den Mun-
digesern trag ist sebr schlecht, Herr Romio du bist ein
schelm.
RoMio. Wie Tipold, icb babe dir kein V nrecbt ge-
than, kanst du die Jenigen so dich nicht beleidigen auf '
der strassen gehen lassen.
TIPOLD. Hore Romio, du kombst mir vor alfB ein
Jung vnd gehest ohne degen, wofern ich dich noch ein-
mahl so antreffe, so will ich dicb von meinen laggeien
pastiniren lassen.
Romo. Lasse mich zufriden Tipold ich erdulde
mebr alfs zu viel, ach Himmel icb bin nur vor wenig
Stunden sein Schwager worden vnd muefs discs gedul-
den. Julieta halt mich zuruckb ibm widerstand zu thuen,
icb will micb zwingen vnd von bier gehen. [abit.
MEncu. Wafs, will Romio dafs leiden? ich aber bey
meinem Ieben nicht, Bolla Tipold Katzen Konig, komme
hier, sie sagen dais ein Katz nein Ieben hat, darumb
komb, ich will dir eins daruon nehmen.
TIPOLD. Du, Mercutio, mit mir fechten? Komb komb
wan du lust hast in die andere welt, oder ich will dich
gahr nach der Hollen schickhen, so komb an.
Romo aufs. PENUOLIO.
RoMIO. Haltet ein ihr Herrn, ibr vergesset eures
Stands vnd Nahmb.
MEncu. Ja ja, halt ein, halt ein, ich bin schon ver-
wundt.
TIPOLD. So recht, du hast dein theil, fahre nach der
Hollen ich aber gehe von bier. [abit.
PEI'>UO. 0 Himmel, Mereutius ist verwundtl
RoMIO. Wie verwundt, wans nur kein todtliche
wunde ist vnd nicht grofs.
TIBALT. If you give me occasion, you will find me
ready to fight.
MERCUT. Why Tibalt, do you require an occasion?
can't you fight without any occasion?
TIBALT. This apart, tell me where is your consort
Romeo?
MEncuT. What the devil, dost thou take us for
fiddlers, tpat thou call'st us consorts? Take care that
no discords arise from it, else here is my fiddlestick.
Enter RoMEo.
TIBALT. Peace, peace! Here comes the very man
I want.
MERCUT. Hollah, here comes Romeo. Now, Tibalt,
wilt thou talk any more of consorts, there is Romeo!
TIBALT. It is bad friendship I bear to the Mon-
tagues. Thou art a villain, Romeo.
RoMEO. How, Tibalt, I never injured thee! Canst
thou not let those who do not insult thee walk the street
in peace?
TIBALT. Hear me, Romeo, thou appearest to me a
mere boy, and carriest no sword. If I meet thee so
another time I shall make my lackeys bastinado thee.
ROMEO. Leave me in peace, Tibalt I I suffer more
than enough I - Good heavens I it is but a few hours
since I became his brother in law, and must forbear.
Juliet, restrain me from opposing him I I will control
myself, and go from hence. [Exit.
MEncuT. What, will Romeo bear this? I will not,
by my life l Hollah, Tibalt, king of cats, come here I
They say a cat has nine lives, come on, I will bike one
of them.
TIBALT. Thou, Mercutio, fight me? Come on, come
on, if thou hast got a mind for the other world, or I
may send thee even to hell. Come on I
Re-enter RoMEo. BENVOLIO.
RoMEo. Stop, gentlemen, you forget your position
and name.
MERCUT. Ay, ay, stop I I am hurt already.
TIBALT. Right so, thou hast it, go to bell; I am off.
[R.rit.
BENVOL. Oh Heavens, Mercutio is wounded.
RoMEO. How, wounded? Let us hope not fntally,
not
867 TRAGEDY OF ROMEO AND JULIET. 368
MEReu. Ich glaub Ihr spottet mein, so grofs ist
\
aie wunde nicht alfs ein ochsenmaul oder Stadtthor, aber
morgen werdet ihr mich recht gravitetisch begraben
helffen.
Romo. Ich bitte Penuolio, eyle vmb einen balbirer,
damit ibm seine wunde versorget werde.
\
MEReu. Ey bemiihet Euch nicht vor meine wunde
zu heylen, doch bekhenne ich, es wiihre besser ich were
in einen arm gestochen alfs durch lungen vnd Ieber.
Romo. 0 Himmel, ist dan vnser Haus vnd ge-
schlecbt mit lauttern vnglickh behafftet? armseeliger Ro-
mio was wirst du entlich noch vor widerwertigkeit er-
tragen miissen?
PENUO. Wie Mercutius,' riihrst du dich nicht mehr?
o Romio Mercutius ist todt, sein geist ist schon nach
den wolkhen geflogen.
Romo. Wie wafs? Ist Mercutius todt, so trutze
ich das iirgiste so mir kommen kan, vnd der Jenige so
disen freffl begangen, solle gewifs den schaden fiihlen.
TIPOLD.
PENUO. Romio, bier kompt Tipold widerumb.
Romo. Es ist guet. Nun Tipold, anietzo ist es Zeit
das du zuruckh nehmest den Schelmen so du mir zuuor
auferlegt, oder ich halte dich vor einen bifs in deinen
todt.
TIPOLD. Ha ha, hast du einmal einen Degen be-
khommen, es wahre vnbiillich das du vnd Mcrcutius von
einander sollet separirt werden, vnd weil ihr euch in
eurem Leben trewlich einander geliebet, so warthe, ich
will dir alsobald denselben weg :zeigen, den de in mit
consort gewandert.
Du vermeinst vielleicht mich mit deinen
trutzen zu uerjagen, aber es soli dir fiihlen, darumb so
komb an vnd brauche dein gewohr.
[Fecltten. Tipold jiilt.
PENUO. Halt ein Romio, Tipold fait zur Erden vnd
ist verwundt, drumb ist kein Zeit vor dich vnd mich
vnfs liinger aufzuhalten.
T!POLD. 0 wehe ich bin des todts vnd sterbe.
Rm.no. Penuolio folge mir, lals vnfs die flucht neh-
men meiner liebsten Julieta willen. [abit.
PICKLHXRING.
PrcKL. 'V er viel zu thuen hat, hat viel zu schaffen,
ich glaube nicht dafs aile Menschen in der weldt so
viel zu thucn haben alfs ich allein, ietzt soU ich lnuffen
vnd sehen vor ein tumult auf der gassen. Aber
wafs ligt bier vm ein voller potz schlapper-
MERCUT. I believe you are mocking at me. The
wound is not so big as the mouth of an ox or a town-
gate, but to-morrow you will help to bury me right
gravely.
RoMEo. Pray, Benvolio, run for a barber to have
his wound dressed.
MEacuT. Don't trouble yourself about healing my
wound. Yet I must confess, I should rather like to
have got a thrust through my arm than through my lungs
and liver.
RoMEO. Good heavens I Is our house and race
accursed? Miserable Romeo, what misfortune is still in
store for thee I
BENVOL. How, Mercutiol thou dost not move? Oh
Romeo, Mercutio is dead, his soul has already flown to
the clouds.
RoMEo. What? Mercutio dead? Then I defy the
worst that can befal me, and he who committed this
outrage, shall surely suffer.
Re-enter TmALT.
BENVOL. Romeo I there is Tibalt again.
RoMEo. Well so. Now, Tibalt, take the villain
back again, that late thou gavest me, or I shall take
thee for one until thy death.
TmALT. Hast thou at last got a sword? It would
not be right that thou and Mercutio should be sepa-
rated; and as you truly loved each other in life, I shall
soon show thee the same way thy consort went.
RoMEO. Thou mean'st perhaps to scare me by thy
bluster, but thou shalt not succeed: come on and use
thy weapon!
[Tl1ey fight. Tibalt falls.
,BEN,"OL. Hold, Romeo! Tibalt falls and is wounded.
There is no time for thee and me to tarry.
TmALD. Oh, I am slain, I die!
RoMEO. Follow me, Benvolio; let us fly for my
dear Juliet's sake. [E.rit.
Enter CLOWN.
CLOWN. Who has much to do has much to manage. I
don't believe that all the people in the world have as much
to do as I alone. Now I am bid to run and see what is
the tumult in the street. But look what a parcel of snot
this? Zounds, it is Tibalt, bleeding like a pig. Hollah.
369 TRAGEDY OF ROMEO AND JULIET. 870
ment dafs ist Tipold, blut er doch alfs wie ein schwein,
bolla Tipold, ich befehle dir bey des Herzogs V ngnad,
das du aufstehest vnd gehest mit mir, er will nicht andt-
wortten, ja er ist gahr todt, larmen larmen, Tipold ist
todt gestochen, gestorben vnd lebt nicht mehr.
SCENA sTu ..
CAPULET's FRAw.
HoRTZOG. Was ist difs vor ein Tumult vnd wer ist
V reach bieruon?
PicKL. Das weifs ich nicht Herr Hertzog, aber dafs
weifs ich wohl dafs icb bier Tipold todt ligend gefunden
bah. vnd bier ist der Mann, der so praff post bringen
kan.
Hc)RTzoo. Kanst du auch wissen Narr wer dise
\
Mordthat begangen ?
PICKL. Icb kan mir Ieicht einbilden weil er ge-
stochen, es wirts ein Degen gethan haben.
HoRTZOG. Schweig du bist ein Narr.
PICKL. Dafs kan wohl sein ich glaub
PENUOLIO.
es selber.
PENUO. Gniidigster Fiirst vnd Herr, ich komme die
recbte wahrheit zu sagen wie sich difer l_'nglickseelige
Zuefall angefangen, alfs nemblichen Tipold defs Capulets
Vetter kam mit scheldtwortten an Mercutium, Mercutius
ergriff den Degen vnd wurde erstocben.
FRA w. Gniidigster Fiirst vnd Herr, wofern sie ge-
rechtigkeit lieben, so }asset das Jenige bluet widerumb
vergossen werden, der Meinen Vetter so jiimmerlich er-
mordet hat. .
HoRTzoo. Haltet ein Frau, wiir wollen erst die
griindliche warheit vernehmen, alfsdan der gerechtigkeit
ihren lauff lassen.
FRAw. Ach gniidigster Fiirst vnd Herr sie gehen [?]
disen Mundagesen, dan er ist Partheiisch vnd vnsers
Haufs geschworner Feind.
HoRTZOG. W ofern wiir nicht von ihme die warheit
wissen, so konnen wiir nicht richten, darumb sagen wiir
gebet gehOr, vnd ihr Penuolio erzehlet den V erlauff dises
Mords bey eurem gewissen.
PENGO. Gniidigster Fiirst vnd Herr, Tipold kam in
einen hiitzigen Zorn, nannte Romio einen Schelm, Ro-
mio aber gantz sanfftmiithig ihm andtworttet, vnd batte,
mocbte docb bedenkhen wie vnnottig diser streitt
wiihre, dardurch Ihro Hochfiirstl. Gn. nicht beleidiget
wurde, aber alle dise gueten .wordt. ku'llten den erziirn-
ten Tipold nic_l)t .bewegen,' sondern zuge alsohald sein
gewijhr aufs vnd ging auf den tapfern Mercutium los,
welcher sf>in gewuhr gleirhmiifsig gebraucht, Romio
Tibalt, by the Duke's displeasure I command thee to
get up and go with me. He won't answer; dear me,
be is dead I Alarm, alarm I Tibalt is stabbed to death,
is killed, and lives no more.
SCENE Ill.
DuKE. LADY CAPULET.
DcKE. What is this tumult about? Who gave rise
to it?
CLowx. I don't know that, my Lord; but thus
much I know, that I found Tibalt lying here dead. And
here is the man to give you information about it.
DuxE. Can you surmise, fool, who did this murder?
CLOWN. 1 can easily imagine since he is stabbed.
I dare say a sword did it.
Dt:KE. Hold your tongue, you are a fool.
CLowN. That may be; I believe so myself.
BENVOLIO.
BENVOL. Most gracious Prince and Lord I I come
to tell the truth how this fatal brawl began. Tibalt,
Capulet' s cousin, accosted Mercutio with abuse; then
Mercutio took up the sword and was slain.
LADY. Most gracious Prince and Lord I As you
love justice, shed the blood of him who has so miserably
murdered my cousin.
DuKF.. Hold, my Lady I We will first get to the
very truth of the matter, and then let justice take its
course.
LADY. Ah, gracious Prince and Lord I You give
ear to this Montague who is partial, and the sworn
enemy of our house.
DUKE. Unless we get the truth from him we can-
not judge. Therefore we say: give ear. And you, Ben-
volio, tell us how this bloody fray happened, upon your
conscience.
BENVOI.. Most gracious Prince and Lord I Tibalt
got into a rage, and called Romeo a villain. Romeo
him fair, bade him bethink how unnecessary this quarrel
was, and urged Your Grace's high displeasure. All these
good words.Jwl upon the enraged Tibalt, for he
drew his and rushed at bold Mercutio, who like-
wise used his weapon. Romeo cries aloud: Hold friends,
for heaven's 11akel But it was done already: Mercutio had
got a deadly thrust and fell. Romeo, enraged by Mt>r-
24
871 TRAGEDY OF ROMEO AND JULIET. 372
schrier !aut, haltet ein vmb des Himmels willen, aber
es wahr geschehen, Mercutius hatte einen tOdtlichen stofs,
fiiele znr Erden, Romio welcher Mercutii todt nunmehro
a ncb erzurnet wahr, zucket sein gewohr geschwinder
alfs ein plitz, ich aber kunte sobald nicht retten, alfs
Tipold durch einen tOdtlichen stofs zur Erden fiille,
Romio saluirte sich, dises ist wahrhafftig die rechte
wahrheit wie es ergangen, vnd soil ichs auch mit mei-
nem Ieben beantwortten.
HoRTZOG. Wollan, weil Tipold Mercutium erlegt, ist
sein todt durch Romio gerochen, aber dennoch solte
Romio nicht sein eigener Richter gewesen sein, weil er
aber Tipold erstochen, also verbannen wiir ihm von V e-
rona, vnd wird er sich linger alfs 24 Stundt -in Verona
befinden, so kostet es ihm sein Ieben, darumb last dises
publicirt werden, so geschicht der gerechtigkeit ein ver-
gnugen, vnd. ihr fraw von Capnlet werd darmit content
vnd zufriden Ieben. [qehen ab.
SCENA 4TA.
JuLIETA. AMMA.
Juu. Komb liebste Amma vnd saget mir wafs war
difs vor ein Tumult in dem Haufs meines V atters, ist
etwan ein V nglickh geschehen, dan ihr wiist der weiber
freyheit ist schlecht in Italia, sie seind eingesperrt gleich
den gefangenen, o verdriifsliche wollnst.
. A . M ~ I A . Ja freylich wahr larmen, aber nicht in cu-
res V atters Haufs, sondern auf freyer strassen, ach ich
wolte ich wuste nichts darumb.
JuLIE. Ist dan vnserem Haufs oder freundtschafft
ein vnglickh oder leid widerfahren ?
Amu. Ach wehe, ach Vnglickb, ach Romio Romio.
Juu. Wie, wafs sagt ihr mir von Romio?
PrcKLHARING.
PICKL. Ach Ellend, ach noth, ach barmhertzigkeit,
I
ach Vnglickh, was kan schlimrner sein in der welt alfs
', zerrifsene Hofsen vnd nichts zu fressen, ich lauff her-
umb alfs wie ein Jag Hundt vnd sueche Julieta, ower
weifs in wafs vor einen loch oder wiinkl sie steckt vnd
sich verborgen, vnd etwan weint rotz vnd wasser we-
gen defs grossen glicks so den Romio begegnet, weither
lauff ich nicht sie zu suechen, ich bin so miith von !auf-
fen vnd suechen, dafs ich kein Zahn in maul mehr ruh-
ren kan, aber siehe da stehet vnser Amma, Ji Amma
was machet Ihr da? wo ist das freulein Julieta? ich
bring ihr kostliche Zeitung.
A ~ I M A . Schweig Narr, thue deine Kalbsaugen auf,
bist du blind, siehst du nicbt hier dafs frewlein Julieta?
cutio's deatl1, draws his sword as <juick as lightning;
and ere I could part them, Tibalt was mortally wounded
and fell. Romeo fled. This is the exact truth how it
all happened, as I am ready to answer for it with my
life.
DuKE. Well, Mercutio is slain by Tibalt, his death
revenged by Romeo. Yet Romeo ought not to have
taken the law into his own hands. As he has slain Ti-
balt, we banish him from Verona; if he is found in this
city in twenty four hours from this time, it shall cost
him his life. Let this be published. Thus justice will
be fulfilled, and you, Lady Capulet, will be content and
satisfied.
[E.z:eunt.
SCENE IV.
JuLIET. NuRSE.
JuLIET. Come, dear nurse, tell me what the tumult
was in the house of my father? Has there been any
accident? You know it is a poor liberty women enjoy
in Italy; they are kept like prisoners. Oh melancholy
desire!
NURSE. To be sure there was a row, though not
at your father's house but in the open street. I wish I
knew nothing about it.
JULIET. Has any misfortune befallen 'our house or
friends?
NURSE. Ah woe, ah calamity I Alas, Romeo, Romeo!
JuLIET. What? what is it you say of Romeo?
CLO""N.
CLOWN. Oh misery! oh distress! oh pity! oh mis-
fortune! Can there be anything worse in the world than
torn trousers and nothing to eat? I am running about
like a hound seeking for Juliet. God knows in what
hole or corner she hides, shedding tears and snot be-
cause of that good luck of Romeo. I won't run any
farther to seek her. I am so tired with running and
searching, that I cannot move a tooth in my mouth. But
look, there is our nurse. 1 say, nurse, what are you
about? Where is your young lady? I bring her pre-
cious news.
NuRSE. Hold thy tongue, fool. Open thy calfs-eyes.
Art thou blind? Dost thou not see Miss Juliet there?
373 TRAGEDY OF ROMEO AND JULIET. 374
Juu. Der Himmel bewahre mich vor Vuglickh.
Wafs bringst du Pickl Haring?
PicKL. So warth, last mich erst zu athem kommen.
Juu. 1st etwan mein Herr Vatter oder fraw Muet-
ter iibel auf?
PICKL. Ein treckh, es ist tausendtmabl schlimmer.
J ULI. Ach Pickl Haring, halt mich nicbt linger auf,
' ist es ein vnglickh so sag mirs bald.
PrcxL. W either kein vnglickh alfs das er todt ist
wie ein stockfisch.
AMMA. Ja frewlein Julieta, dises ist eben was ich
nicht sagen wollen, ach Romio Romio.
JuLI. Ach Himmel bewahre mich, ist Romio todt?
I PicKL. Wan die Amma das sagt, so liegt sie alfs
\ wie ein Hex, ich bin der Mann der es
! besser weifs.
\ JULI. Ach Iieber Pickl Haring, so sage dan was
du weist.
PicKL. Dessenthalben bin ich her kommen dafs ichs
euch sagen will, Mercutius ist todt, Tipold gestorben,
weil ibn Romio todt gestochen, so ist er entloft'en, vnd
weifs ibn kein Mensch zu finden.
JuLIET. So ist meines lebens auch nicht mehr, o
du grausamber vnd vnbarmbhertziger Himmel, aeh ich
Ellende vndt voller triibsaal, soli ich mich dan entlich
aucb dem todt aufopft'ern?
PicKL. Gehet Heber naeh Haufs vnd legt Euch ins
'beth, ist gesunder als sterben.
' AlimA. 0 du guter Tipold, wie jiimmerlich bist du
ermordt.
J ULI. Wafs Tipold, ware nur Romio zu finden.
PrcKL. Es ist wahr frewlein Julieta, Romio hat den
Tipold erstochen, aber der Hertzog hat ibn verbannt
aufs Verona sein Lebtag nicht mehr darein zu kommen.
JULI. Ach all zu vnglickseelige Julieta, ist Romio
verbannt so ist mein lebenslicht aufsgelescht, vnd ich
mich selbst auch dieser weldt verbannen will.
AlimA. 0 verflucht sey Rumio, es ist kein Menschen
zn trawen wer wolte sagen, das er so falsch seye.
PICKL. 0 du alter fiederwisch, liigst du auft' ein
scheitter Hauft'en, ich wolte selber anziinden vnd mit
frewden zueschawen wie du verbrennest.
Juu. Wie Amma, verfluechest du den Jenigen wei-
chen mein Hertz liebt?
AlimA. Wie frewlein Julieta, wollet ihr den Jenigen
lieben, der Euch Euren Vetter ermordet hat?
Jt:LI. Wie solte ich den Jenigen hassen der mein
Ieben liebet, ach mein lieber ich will seiher sterben.
AliMA. Ach Julieta, verlasset doch den Meineydigen
Romio, vnd nehmet graff Paris zu euren Mann.
JUT.IET. Heaven preserve me from misfortune! \Vhat
news dost thou bring, clown?
CLoWN. Wait till I have first recovered my breath.
JuLIET. Is my father or my mother unwell?
CLOWN. Nonsense! it is a thousand times worse.
JuLIET. Don't keep me any longer in sttspense; is
there any misfortune, tell me at once.
CLowN. No misfortune except that he is as dead
as a stock-fish.
NURsE. Just the thing I did not like to tell you.
Ah, Romeo, Romeo l
JuLIET. Heaven preserve mel Is Romeo dead?
CLoWN. An the nurse says that, she lies like an
arrant witch. I am the man to know better.
JULIET. Sweet clown, tell me what you know.
CLoWN. That is what made me come here to tell
you: Mercurio is dead, Tibalt is dead. Romeo has slain
Tibalt, and fled, and nobody knows where to find him.
JuLIET. Then I have no business to live. Oh cruel,
unrelenting Heaven! Oh miserable, afflicted Juliet I Am
1 too at last to sacrifice myself to death?
CLOWN. You had better g9 home and lie down; it
is far more wholesome than dying.
NuRSE. 0 dear Tibalt, how miserably art thou
slain!
JULIET. What ofTibalt, were but Romeo to be found I
CLowN. It is a fact, Miss Juliet, Romeo did slay
Tibalt, and the Duke has banished him from Verona
never to return as long as he lives.
JULIET. Too miserable Juliet! If Romeo is banished,
then is the light of my life too extinguished, and I will
banish myself from this world.
NuRSE. A curse upon Romeo! There is no faith
in any man; who should have thought him so false!
CLOWN. Oh you old goose-wing! If you were lying
on a pile I myself would set fire to it, and joyfully
stand by to see you burn.
JuLIET. Why, nurse, you curse the man whom my
heart loves?
NURSE. Why, Miss, would you love the man who
slew your cousin ?
JULIET. How should I hate the man who loves my
life I Ah beloved one I will die myself.
NuRsE. Juliet, leave the perjured Romeo, and take
Count Paris for your husband.
24
375 TRAGEDY 01!' ROMEO AND JULIET. 376
PzcKL. Nein Julieta, ich will euch besser rathen,
nehmbt sie alle beide, gefallen sie euch, so nehmbt mich
vor euren breytigamb.
Juu. Schweig Pickl Haring, bier i'lt keine Zeit zu
scbertzen, auch nicht christlich 2 oder 3 Manner zu
nehmen.
PicKL. W arumb nicht? Hat doch der tiirkische Key-
ser so viel weiber welche nicht alle zu zehlen sein, vnd
worumb soli mir oder euch nicbt erlaubt werden, 3, 4,
5, 6, 7, 8, 9, 10, weiber oder manner zu nehmen, ich
wolte nicht weith, wan ich suechen dorfft, welche in der
'\
Stadt Kollschin, Budweifs, Gopplitz, Freystadt, Lintz vnd
tlier,- .;elche._mehr nlfs "eln weib- vnd ein weib-mehr alfs
.. ~ - - - - -
emen Mann verlangen oder gahr haben.
Juu. W ollan icb will es thuen, vnd deinen Rath fol-
gen, gebe mit meiner Amma Pickl Haring, vnd sage mein
Herr Vatter vnd fraw Muetter, ich lie be den Graff Paris.
AMMA. Dafs ist mir lieb, ich will also bald hingehen
vnd solches eurer Fraw Muetter andeuten.
PtcKL. Zuruckh alte, clafs wiihr ein schlechter branch
wan ein Ambasator hinten nach vnd ein altes weib voran
gehen solte. [Amma gehet ab.
Juu. Verfl.uchte Amma, die du mir abradest mei-
nen Ehemann zu lieben, ach mein liebster Romio, dises
solle nimmermehr geschehen, aber ach, ach Romio, war-
umb hast du meinen Vetter ermord, aber recht hast du
gethan, weil er dich alfs meinen Ehemann ermorden
wollen, aber Romio dein Verbannung schmertzet mich,
mein Hertz blutet, vnd gehet mir sehr zu Hertzen, wollan
dan, ich will auf mittel vnd weeg bedacht sein, wie ich
kan zu ibm liommen, vnd von ihm einen schmertzlichen
abschid nehmen, komme bier Pickl Hiiring, ich weifs
du bist getrew vnd verscbwigen, drumb vernehme mich
wafs ich sage, bier empfange diese etliche Dugaten, vnd
bemiihe dich den Romio zu find en, welcher noch in V e-
rona wird zu finden sein, vnd kom mit mir in mein ge-
mach, ieh will dich mit einem brieff an ibn abfertigen.
PzcKL. Ja ia, ihr redt gar recht, frewlein Julieta,
ob meine fiiefs schon so miith dafs ich auf keinen Efsl
steigen kunt, so will ich docb den Dugaten zu gefallen
gantz Verona durchlauffen, alfs wann ich doll wiirc, bifs
ich Romio gefunden hab, vnd von Euch alfsdan mehr
Dugaten empfangen werde. [abeunt.
PATER. RoMro.
PATER. Ich bitte liebster Sohn Rumio, er stelle sich
doch einmahl zufriden vnd lasse die trawrigkeit bey ihm
nicht gahr zu sehr iiber Handt nehmen, dan es ist noch
ein gniidigstes V rtheil von dem Hertzog aufsgesprochen
worden.
CLows. No, Juliet, I will give you better counsel.
Take them both if you like them; take me for your
bridegroom.
JuLIET. Hold your tongue, clown; it is no time
for joking, nor is it christianlike to take two or three
husbands.
CLOWN. Why not? Has not the Turkish Emperor
more wives than you can count? Why should it not be
permitted to me or you to take three, four, fhe, six..,
seven, eight, nine or ten wives or husbands? I should
not have far to go if in Kollschin, Budweiss, Gopplitz,
Freystadt, Linz, and in this town I would find out hus-
bands or wives who desire, nay who have, more than
one wife or husband.
JULIET. Well, l shall follow your advice, clown:
go with my nurse, and tell my father and mother I love
Count Paris.
NURSE. l am glad of it; I will go at once and in-
form your mother.
CLOWN. Keep back, old one I It would be a bad
custom for an ambassador to bring up the rear, and an
old woman to take the lead. [Exit Nurse.
JULIET. Accursed nurse! To dissuade me from loving
my husband I My dearest Romeo, this is never to be. But
alas Romeo, why didst thou slay my cousin! Though thou
wast in thy right as he intended to slay thee, my hus-
band. Yet, Romeo, thy banishment pains me much, cuts
me to the heart; my heart is bleeding. Well, l will think
of ways and means to join him, and to take a painful
leave from him. Look here, clown, I know thou art faith-
ful and secret. Listen then to what I say. Take these
few ducats and try to find Romeo, who probably is still
to be met with in Verona. Come to my closet; I will
charge thee witlt a Jetter to him.
CLowN. Just so, Miss Juliet; you are quite right.
Though my feet are so tired that I could not mount a
donkey, yet for the sake of your ducats I will run all
over Verona like a madman until I find Romeo, and
get some more ducats from you.
[E.zeunt.
FmAR. Rol\IEO.
FRIAR. Pray, my dear son Romeo, take comfort at
last. Do not allow sadness to get the better of you; it
is a merciful judgment the Duke has given.
377 TRAGEDY OF ROMEO AND JULIET. 378
Ro!IIIO. Ach Pater ist es Ieben oder todt? - ist es
todt so will ich billich hiden.
PATER. Nein mein liebes Kindt, das wordt todt ist
in ein gniidigstes verbannen verendert worden.
Ro!IIIO. Ach v erbannen viel arger alfs der todt, 0
grausamber Himmel, soli ich anietzo scheiden vnd Ju-
lieta verlassen? vnd ihrer holdseeligen gegenwarth be-
raubt sein? ach mehr alfs todtes Schmertzen.
PATER. Ich bitte mein Sohn hOret mich.
RoMIO. Ach Pater wars soli ich hOren, ihr wolt
doch widerumb Verbannen sagen.
PICKL HXRL"fG klop.fft inwendig.
PICKL. Rolla, ist alles verspert? Niemandt zu
Haufs? macht die Thier auf.
PATER. Mein Kindt folge mir vnd verstecke dich,
die wacht mochte kommen vnd dich gefiinglich nehmen.
\
Ro:.uo. Ich will nicht, sondern bier will ich mich
in meinen eigenen thriinen ersauffen.
PATER. Ach Himmel, wafs vor ein Dolheit besitzet
seine Siinnen.
PICKL. W o zum Krankheit, werde ich no'ch lang
warthen miissen, macht auf, oder ich werdt doll vnd
niirrisch.
PATER. Ach Romio, verberget euch, die wacht ist
vorhanden.
Ich will nicht vnd kan auch nicht.
PATER. So stiirzt ihr euch selber in gefahr, wer
ist da?
PICKL. Dcr tausendt, macht auf doch ein mahl auf,
ich bin gestanden, dafs mir _t!ie von den Zehen
ich babe ein Post Herr Pater
abzulegen, vnd komme von Julieta.
PATER. Ach froliger bott, kommet herein.
PICKL. Quas gratias, Bonus dies Domine Pater.
PATER. Grossen Dankh Pickl llliring, wo kompt
man l1er?
PwKL. Aufs der gassen von vnsem Haufs, vnd wolte
den Herrn Patribus bitten, er wolle mir sagen, wo ist
der Romio?
F
PATER. Da ligt er vnd ist fast in lauther trawrig-
eit, vnd in sein eigenen thriinen erstickt.
_ PICKL. Das sein Narrenbossen, Herr Romio stehet
auf, icb komme von Julieta.
Ro:MIO. Ach wer nennet den holdseeligen Nahmen
Julieta, ach Pickl Hiiring verHuecht sie micb nicht, dafs
icb ihren Vetter Tipold erstochen?
PxcxL. N ein da hat sie mir nichts gesagt, ich glaubc
wan ihr ihn hett gar aufgebenkt, enviirgt, gradbrecht,
gespiefst, vnd gahr auf dem ECsl gesezt, sie fragte nichts
RoMEo. Ah, father, is it life or death? if death, I
will suffer as is reasonable.
FRIAR. No, my dear child, the word death has been
turned into merciful exile.
RoMEO. Exile is worse than death. Cruel heavens!
am I now to part from Juliet and leave her, and be
deprived of her lovely presence? That is more than
the pangs of death.
FuiAR. Pray, my son, bear me.
RoMEO. What is the use of hearing! you will speak
again of banishment.
CLoWN, knocking within.
CLoWN. Hollah! everything shut up? nobody at
home? Open the door!
FRIAR. My child, follow me and hide yourself: the
watch might come and take you up.
Roneo. I will not do that, but I will rather drown
myself in my own tears.
FRIAR. Good heavens, what madness has got pos-
session of his senses!
CLOWN. The plague! how long am I to wait?
Open the door, or I shall go crazy.
FruAR. Romeo, hide yourself; the watch has come.
RoMEo. I will not, I cannot.
FRIAU. Then you are rushing into danger. Who is
there?
CLOWN. The deuce, open the door at last. I have
been standing till the nails are frozen off my feet. I have
got a message for you, Sir, and come from ,Juliet.
FRIAR. Joyful messenger, come in I
CLOWN. Quos gratias, bonus dies Domine Pater.
FRIAH. Much thanks. Where does the clown come
from?
CLOWN. From the street, from our house, for the
purpose of begging the Patribus to tell me where Ro-
meo is.
FRIAR. There he lies, almost drowned in sadness
and his own tears.
CLO'WN. That is fool's play, Mr. Romeo; get up;
I come from Juliet.
RoMEo. Who pronounces the lovely name of Juliet?
Ah, clown, does she not curse me for having killed her
cousin Tibalt?
Cwwx. Sl1e has said nothing of the kind.' I dare
say if you had hanged him, strangled him, broken him
on the wheel, spitted him, nay put him on the ass,
379 TRAGEDY OF ROMEO AND JULIET. 380
darnach, sondern sie hat mir befohlen euch zu suechen,
vnd wan ich euch gefunden bab zu sagen, sie liist euch
bitten, dafs ihr dise nacht zu ihr wolt kommen, weil
ihr verbannet seit, daCe ualet vnd abschid von euch zu
nehmen.
Romo. Ach ist es moglich, vnd solte ich glauben
dafs Julieta allein voller Sanfftmuth vnd barmhertzig-
keit ist?
PicKL. Freilich ist es moglich, vnd dafs es wahr-
hafftig ist, so schickt euch Julieta durch ihren Arnba-
sador, als meine persobn, diesen ring, wie aucb disen
brieff, vnd ich glaube wan ihr nicht kommen wolt zu
ihr, sie wurde euch ein Schelmen in den buesen werffen.
',{ Romo. Ach brieff! ach ring! seit mir willkommen,
dich mein ring will ich verehrt an meinem finger tra-
gen, bifs der blafse todt den faden meines lebens zer-
schneidt vnd enden wird, darumb gehe Pick! Haring,
vermelte meiner Julieta dafs ich wan die nacht wird
anziehen ihr Schwartzes trauer kleid, will ich mich bey
ihr gehorsamb einfinden, vnd den lezten abschid neh-
men, bier Pickl Haring empfange vor deine miihe dise
wenigen dobulonen vor dein tringgelt.
PicKL. Ich bedankhe mich Herr Romio vor dises
\ wenige, wan es mehr ware, war es noch besser. [abit.
PATER. Ich bitte ibn Herr Romio, er gehe vnd
nehme abschid von seiner liebsten, doch mit solcher
V orsichtigkeit, das er mit anbrechendem tag noch aufs
der Statt kommen kan.
RoMio. Hochgeehrter Herr Pater, ehe sich der
morgenstern retteriret vnd den grossen weldt Hecht platz
maehet, vnd den tag verkhiindiget, will ich von hinnen
mach en, aber mein V ertrawen Herr Pater stehet allein
zu ihm, dafs er mir nach Mantua schriifftlichen bericht
ertheile, wie es mit euch vnd meiner Julieta jeder Zeit
stehen moge.
PATER. Traget keine Sorg mein Sohn, wan ihr euch
in Mantua aufhaltet, salt ihr stets durch brieff ersuechet
werden.
RoMIO. W ollan dan, ich ergebe mich den vnglickh
meines V nsterns, ich reifse zwar verbannt von l1ier, mein
Hertz aber lafs ich bey Julieta. [abit.
PATER. Der Himmel vnd aile Himlische macht ge-
ben ibn glickh auf seine Reifs, vnd Segnen mit solchen
glickh, das er bald mit frewden moge Verona sehen,
ich aber vnterdessen, will den Himmel friihe vnd spat
vor seine wohlfarth bitten. [abit.
SCENE 6u.
R o ~ n o , JuLIETA in der Kammer.
RoMIO. Siifse vnd iiber die Natur mildreicheste Ju-
she would not mind. No she has commanded me to
seek for you, and when found, to tell you she desires
you, being banished, to come to see her to-night and
bid her adieu.
RoMEO. Is it possible? Can I believe that Juliet
alone is sweet and merciful?
CLOwN. To be sure it is possible; and in proof of
it, Juliet sends you through her ambassador in my per-
son, this ring together with this letter: and I think, if
you would not go to her, she would throw a villain at
your face.
RoMEO. A letter, a ring! Be welcome both. Thee,
my ring, will I wear on my finger till pallid death cut
the thread of my life. Go, clown, inform my Juliet, that
when night bas wrapped herself in her black mourning
dress, I shall in due obedience appear and take my
last farewell. There, clown, take these few doubloons
for thy trouble.
CLowN. Thank you for this trifle; if it were more.
I should like it better. [E.rit.
FruAn. Pray, Romeo, go and take leave of your
sweet-heart, but so cautiously that by the break of da..'
you may yet leave the town.
RoMEO. Reverend father, ere the morning-star l"t'-
tires giving way to the world's great luminary, and ht>-
ralds in the day, I shall be from hence. But my confi-
dence is in you alone that you will send me news in
writing to .Mantua from time to time how yourself and
mr .Juliet prosper.
Fnan. Be under no anxiety for that, my son; while
you sojourn in Mantua, there shall never be a letter
wanting.
RoMEO. Well then, I yield to the fate of my un
lucky stars. I go from hence on exile, but my henrt. '
leave with Juliet. [E.rit.
FRIAR. May heaven and all heavenly powers grnn
him good luck on his journey, and bless him with a joy
ful retltrn to Verona. Meantime I will pray to heave1
early and late for his well-being.
[E.rit.
SCENE VI.
RoMEO and JuLIET, in the chamber.
RoMEO. Juliet, sweet and more than in nature kint
381 TRAGEDY OF ROMEO AND JULIET. 882
lieta., vnd gebietterill meines Hertzens, dart' ich mich
woi vndterstehen mit schamhafften augen dero holdsee-
', ligen Schunheit anschawen? ich bin ein Obelthiitter, ich
' bekhenn'es, mir dennoch vor dero Schonheit vnd bitte
vmb perdon, vnd den flihler, so ich gegen ihr begangen
mir zu uerzeihen.
JULIE. Ach Romio I
Rmuo. Muefs ich sterben?
JniE. Nein, stehet auf werther Schatz, vnd em-
pfanget enere Julieta, enere gegenwarth machet, dafs ich
euch zu gefallen noch lebe, wiewohlen ich von thranen,
vnglickh vnd Schmertzen fast verzehret bin, wafs ge-
schehen, kan man nicht mehr enderen.
Ach ist es moglich, das SchOnheit, Tugendt
vnd barmhertzigkeit alle in einen solchen zarten Hert-
zen zu finden, o du all zu grausambes V nglickh, war-
umb scheidest du mich von der Jenigen, der gleichen
auf den gantzen Erdtboden nicht zu fi.nden.
JuLI. Ach liebster Romio, Jammer vnd Hertzens-
angst wollen mein ermiidetes Hertz ersanffen, wan es
moglich ist, 80 lasse zue mir allein in disen bittern
Schmertzen vnd so viel iiberladene triibsalen, das ich
mein Hertz ein wenig trosten kan.
Ach Kummer vnd V nmueth, ibr herschet
nunmehro vnd presset vollkomblich mein vnterdruckte
Siinnen, ach lasset nicht zue meine Schone, das dafs
Jenige Hertz mochte aufgeopffert werden so euch zu
gefallen lebet, vnd haltet ein mit euren Seufftzen ,nd
verursachet nicht den todt des Jenigen der euch liebet.
JeLl. Ach vnuerhofftes Scheiden, ein kleine weil ist
noch dafs gesetz Euch anzuschawen, ach erfrewet doch
eure halblebende Julieta mit brieffen zu ersuechen, vnd
einen lebenden trost zu geben.
1 Aller Siifsestes Hertzens Kindt, euer ge-
trewer Romio soll verrichten wafs ihr ihm befehlet, aber
ach vnser Scheiden ist verhanden, der tag bricht an,
ich werde gezwungen, ach vnglickseelige Zeit, sie zu
uerlassen.
JuLI. W erthester Schatz, es ist nicht der morgen,
, tier hlaf:>P Monscbein.
RO}IJO. Ach wire es moglich' das ich den Mon-
scbein kunte hoffen ein gantzes Monath zu scheinen, so
wurden wiir erfrewet, dan der Schein der Sonnen vnfs
nichts alf,; leid vnd Schmertzen bringt.
J ULI. Ach leid, es ist die morgenroth vnd kompt
mein Hertz blutig zu fiirben, ach Phoebus, ach tag, du
beraubest mich meines lebenstrosts, ach armseelige vnd
verlassene JuliPta.
Rm.uo. Stellet ein, werther Schatz, eure trawrigkeit,
der Himmel wird seinen gefasten Zorn wider vnfs der-
mistress of my heart, may I venture to look with bash-
ful eyes at your lovely beauty? I am a wretch, I con-
fess; yet I appear before you begging pardon and for-
giveness for the fault I have committed against you.
JULIET. Ah Romeo!
RoMEo. Must I die?
JuLIET. No, rise, dearest, and take your Juliet.
Your presence makes me stillliye to please you, though
almost eaten up by tears, misery, and suffering. What
is done, cannot be undone.
RoMEo. Is it possible that beauty, virtue, and mercy
should be found united in such a tender heart! Oh
thou too cruel fate I why dost thou divide me from her
who has no equal on this globe I
JULIET. Dear Romeo, wretchedness and anguish
will overwhelm my worn-out heart. If you can, leave
me to these bitter pains and torture, that I may collect
myself in solitude.
RoMEo. Ahl ye Care and Despondency, ye have
sway over me now, and oppress my down-cast senses.
Ah my fair one, do not allow the heart to be sacrificed
that lives to please you I Repress your lamentations, and
do not cause the death of your lover.
Jr:LIET. Unexpected separation! A little while does
the law allow me to gaze at you still. Comfort your
Juliet who is now but half alive, with your letters, and
give her living consolation.
RoMEO. Sweet child, your faithful Romeo will per-
form what you command. But alas! our separation is at
hand; the day is breaking; I am forced, oh hapless houri
to leave you.
JuLIET. Dearest, it is not the morning, it is the
pale moon.
Oh, could I but hope that that moon would
shine a whole month, it were a comfort to us; for the sun
brings us nothing but grief and suffering.
JLLIET. Alas, it is the dawn; it comes to stain my
heart with blood. Oh Phoebus I oh day! thou rob best
me of the comfort of my life! Ah poor, deserted Ju-
liet!
RoMEO. Restrain your sadness, beloved one; the
wrath of heaven will relent one day. I bid thee farewell
383 TRAGEDY OF ROMEO AND JULIET. 384
mahleins lindern, hiemit nehme ich abschid mit disen
Kufs, vnd sie gedenkhe, das diser Kus die standhafftig-
keit vnd ewige trew euer Romio versigle.
JuLI. Ach Lippen Kufs meines Hertzen,
Mich aufssaugen meine Schmertzen.
Meine blilcke vnd ihr Krafften,
Kumb lafs mich sie anhefften
An den Si1Csen Zucker Mund
Dafs icb gebe nicht zu grund.
RoMIO. Ach waf.'l mach en, wafs begilnncn?
V nser Hertzen, die voll Schmertzen,
Meine Silnnen seind erfillt,
Voller plagen; ach wer stillt
Solches Zagen, wafs mich truckt
V nd bescb"'erdt auch gantz verzehrt.
JuLI. Das lichen mit betrilben
1st ein fewer, brennet mich,
Bifs auf den grundt, ach ach web I
V ncl gantz verwund ich vergeb,
Kumb Seelen Schatz erlaube mir,
Zu Kilssen eh du scbeidst von mir.
Rmuo. Meiner Seelen Zuckher Speis,
Ich gPhe zu begriefsen
Dich, o edle tugendt preifs,
Ich hoffe zu geniissen
Deine trew vnd bstiindigkeit,
Bifs vnfs beyd der todte scheid.
J UI.I. So will ich auch einsamb bier
Wie mir gebilhrt zu Ieben,
V nd die turteltaube thuet
Auf diirn aste so,
[Bis?] mit glickh wird wider geben
Dich mir meinen Romio.
RoMio. Nun Verona fahre wobl,
V nglickseeligs V atterland!
Erhalt mir nur mein Schatz
Bifs ich nicht mehr verbannt
Mein Hertz voll Schmertz bleibt bier,
lch aber bleib hestiindig dir.
ACTCS QCINTI"S.
SCENA PRIMA.
CAJ>OLET. JULIETA. PICKL H.\IUNG.
CAPUL. Geliehte Tochter Julieta, du weist das ich
das Jawordt dem Graff Paris gegeben hnbe, wie auch
schon !VIes zur Hochzeit bereith vnd verfertiget ist,
dennoch ist mein will, das du dem graffen mit aller
with this kiss, and remember that this kiss is the seal
to your Romeo's constancy and everlasting truth.
JULIET. When kissed by him who has my heart.
His lips at once suck out my smart.
My glances and their power too,
Come let me fix them, love, on you.
Hang on thy mouth in sweet delight,
That I may not peri8h quite.
RoMEO. Alas! what can we do, what try?
For our hearts are full of smarts,
And my senses too are filled
With sad distress; ah, who e'er stilled
Such wretchedness, as now on me
Its weight doth lay, wastes me away.
JULIET. To love so dear with many a tear
Is a fire that burneth me.
Aye more and more, ah, ah, alas,
Till wounded sore, away I pass.
Come my darling grant to me
To kiss thee ere thou part'st from fill'.
RoMEo. Sweet food, whereon my soul I feed.
To greet thee now I go,
Thee, thee, 0 noble virtue's meed,
I hope that I may know
Thy truth and constancy of heart.
Till death's sure dart us two do part.
JuLIET. So I then too, all lonely here,
As me beseems will live,
As doetb too the turtle-dove
On branch of leafless tree,
Till fortune once again shall f.dve
My Romeo back to me.
Ro:I!EO. Now Verona, fare tht>e wt>ll,
Most unhappy fatherland!
Only preserve my love
Till I no more am bnnn'd:
My heart will smart for ever,
But I to thee am faithless never.
ACT V.
SCENE J.
CAP('LET. Jn,IET.

Ct.PUL. Beloved daughter Juliet, thou art aware
that I have promised thee to Count Paris and that
everything is ready for the wedding. Therefore I want
thee to mt>et the Count with becoming courtesy and to
385
TRAGEDY OF ROMEO AND JULIET.
386
Hoffligkeit begegnest, dich schmuckest vnd ziihrest, wie
es einer brauth gebiihrt, dan morgen soli dein Hochzeit-
tag sein.
J l"LI. lch weifs Herr Y atter, das ich den gehor-
samu meiner Eltern vnterworffen, aber ach! ,
PtcKL. Huy zue, das Mensch bekompt das Zahn-
wehe.
CAPUL. Wafs seuffzest du tochter, in deme du voile
frewden geniissen kanst.
PtcKL. Ein krankher Mensch kan nicht viel frewd
haben.
Jn1. Ach die Jugendt meiner Jabren!
PICKL. Hab ichs nicht gesagt, sie fOrcht sich schon
vor den sterben.
CAPUL. Die Jugendt deiner Jahren, die du in lau-
ther glickh verzehren kanst.
PtcKL. Wan sie viel gelt zu zehlen hat.
JuLI. Ach da.'! glickh sporet [stOret?] meine lust!
CAPl'L. In was?
PtcKL. W eil sie das Zahnwehe hat.
JuLI. Ach Herr Vatter, in anligenden Krankheiten
vnd andern Zuefiilien die den Menschen plagen.
PicKL. Mich plagt der Hunger, weil der Koch nicht
anrichten will.
CAPOL. Wie Julieta, hast du ein antigen einer Krank-
beit, so sag es mir.
Juu. Acb es [ist] besser ich schweige.
CAPO. W o scbmerzt es dich.
Juu. In den Hertzen.
CAPO. In den Hertzen?
Juu. Ja vnd leide grofse qual.
PrcKL. Herr, Ihr fragt aucb narriscb, sie sagt eucbs
ja, das ihre Schmertzen vmb die brust, bauch vnd na-
bel vnd umb die angrlinzenden lander am meisten re-
gieren.
CAPO. Schweig Pickl Haring, oder ich lasse dich
in die Kucbel fiibren, dich zu streichen.
PrcKL. V nd ich babe vermeindt, ihr wolt mir lassen
ein fruhestuckJ1 geben.
CAPOL. Tochter, deinen Zuestandt muefs man den
Graffen wissen lassen.
JL""LI. Ach Herr Vatter, es ist besser der graff weifs
nichts von meinen antigen, ich bitte Herr Vatter, er
wolle mir zur gnad vmb den Pater schickhen, der sie
gewi:ihnlich besuechen thuet, das er mir einen geistlichen
trost gebe, dan ich bin sehr krankh.
PrcKL. Krankhe Leuth sollen Iustig sein, wer weifs
wie lang sie Ieben.
CAPOI.. Zuestandt Tocbter schmertzet mich,
doch verfiige dich in dein Zimmer, der Pater soli dich
array theeself in bridal pomp; for to-morrow is to be
thy wedding-day.
JuLIET. I know I owe obedience to my parents:
but alas -
CLowN. Hulloa I the wench has got a toothache.
CAPl"L. Why dost thou sigh, my dear daughter,
when thou mayest enjoy so many pleMures?
CLOWN. A sick man cannot have many pleasures.
JLLIET. Ah, my tender years!
CLOWN. Did I not say so? She is already afraid
of dying.
CAPUL. Thy tender years? which thou canst spend
in unalloyed good fortune.
CLowN. Provided she has plenty of money to spend.
JL""LIET. Alas, my good fortune destroys my happiness.
CAPllL. How so?
CLOWN. Because she has got a toothache.
JuLIET. Dear father, in the diseases that may attack
me, and other accidents that torment mankind.
CLOWN. As to me hunger is my torment, since the
cook won't serve the dinner.
CAPUL. Why Juliet, if thou hast any complaint,
tell me.
JULIET. I bad better keep silence.
CAPUL .. Where hast thou any pain?
JcLIET. In the heart.
CAPUL. In the heart?
J L"'LIET. Yes, and I suffer great torture.
CLOWN. Sir, you put foolish questions. Does she
not tell you that her pains are principally in the neigh-
bourhood of her breast, belly, navel, and the adjacent
demesnes?
CAPUL. Be silent, or I will have you led into
the kitchen for a whipping.
CLOws. I fondly imagined you wanted to give me
a breakfast.
CAPt:I.. My daughter, the Count ought to be in-
formed of thy state.
Jt:LIET. Father, it is better the Count knows nothing
of my complaint. For mercy's sake I bt>g you would
send for the father who is in the habit of visiting you,
to give me spiritual comfort, for I am very poorly in-
deed.
Cwws. Invalids ought to be merry; who knows
bow long they have still to live I
CAPUL. Thy state grieves me; go to thy chamber,
the father shall soon come to see you. Make haste to
25
387 TRAGEDY OF ROMEO AI-<1> JL"LIET: 388
bald besuechen, gelange nur bald zue deiner gesundtheit,
damit du vnnf:,s erfrl'west mit deinen Hochzeittag, ich
gehe vnd vedasse dich. [abit.
PICK!.. Ich bleib auch nicht mehr da. [abit.
Juu. Er lebe wohl Herr Vatter. Ach armseelige
Julieta will dan das V erhiingnufs meines V nsterns nicht
aufhoren, mich zu quiilen? ich soil zwey Manner neb-
men, der eine ist verbannt, der andere mich quiilt, wars
Rath? Der Hochzeittag ist vorhanden, ich lie be Romio
vnd nicht graff Paris, meine Siinnen sein verwiirt, ich
weirs mir nicht zu helffen, ach Pater niemahlen hab ich
Euren Rath besser von nothen gehabt alfs aniezo, aber
siehe zu allen gliekh ist er verhanden. Ach willk.om-
men Herr Pater.
PATER.
PATER. Ich bedankhe mich Julieta, wie stehet es
mit ihr, sie siehet sehr betriibt aufs, ist ihr wafs wider-
fahren? oder riihret es von Romio wegen her?
JuuET. Ach Pater, die iiberheuffige Schmertzen so
ich leide machen mich gantz verzweiflen, in deme mein
Vatter haben will, ich solte Graff Paris zu einen Mann
haben, nun aber weirs cr seiher bcsser, Herr Pater,
wcmh ich zuegehore, vnd mit pflicht verbunden bin.
PATER. (Ich willsie ein wenig auf die prob stellen.)
Hort mich Julieta, aufs zweyen iiblen mills man dafs
beste erwehlen, weilen ihr den Romio nicht zu theil,
sondern verbannet wisset, so vollbringet eurer Eltern
befelch, vnd nehmbt den Graff Paris, welcher vor ge-
wifs ein waekherer gaualier ist.
J t 1I.I. 'Vie Pater seit ihr ein geistlicher, vnd wolt
mit einem solchen Ratb, dafs ich die Ehc vnd meine
Ehr bcfleckhen soli? Nein nein, Pater, nein, ehe 10
mahl gestorben alfs Romio vcrlassen.
PATER. Anietzo verstell,e ich euer bestiindigkeit,
,Julieta verzeihet mir, e" war nur meine meinung, euch
auf die prob zu stellen, weillen ich aber euer Hertz vn-
uerenderlich gegen Romio sehe, so babe ich ein werkh
ersunnen, wo ihr folgen wollet, euch aufs aller gefahr
zu helffen, damit ihr Romio erlangen moget.
J t:I.I. Ach Pater, Vatter vnd Erretter meines le-
bens, wemb solte ich mehr gehorsamben alfs euch, weil-
len ich alles trosts beraubet bin, vnd mich in meinen
Ellend vnd Schmert:zen nicht mehr zu trosten weirs.
PATER. So wisset Julieta, das es hochnotbig ench
auf eine Zeit lang :zn uerstellen, dardurch ihr nicht ge-
zwungen werdet den Graffen Paris zu eheligen, wisset
daf:; ieh in der .Medicin sehr wohl erfahren, darumb
sehmuckhet vnd ziehret euch auf das beste alfs ein
brauth, hernaclt will ich euch einen Schlafftrunkh be-
recover, that we may rejoice in thy wedding day. I will
now leave thee. [E.rit.
CLOWN. Nor shall I stay. [Erit.
JuLIET. Good bye, father. Ah, miserable Juliet,
will the fate of my unlucky star never cease to torment
me? I am to take two husbands: one is banished, the
other torments me; what counsel? My wedding-day is at
hand; I love Romeo and not Count Paris. My mind is
bewildered; I know not what to do. Oh, father, I never
stood in greater need of your advice I But fortunately,
there he is. Welcome, father.
Enter the FRIAR.
Fnuu. Thank you, Juliet. How are you? You
look very sad. Has anything happened to you? or is it
about Romeo?
JULIET. Ah, my father, my overwhelming suffering
drives me to despair. My father wants me to take Count
Paris. You know best to whom I belong, to whom I
am in duty bound.
Fru.\R. (ABide: I will try her a little.) Listen to me,
Juliet; of two evils one ought to choose the smaller.
As Romeo is banished, and cannot be yours, you had
petter perform the command of your parents, and take
Count Paris, who is certainly a gallant cavalier.
JuLIET. How so, my father? You, a minister, want
me to contaminate my wedlock and my honour? No,
no, father, no I sooner die a hundred times than give
up :(tomeo.
FRIAR. Now I perceive your constancy, Juliet. Par-
don me, it was but my intention to try you. But now
that I see your heart is unchanged towards Romeo, I
have contrived a plan to help you out of all danger, and
to win your Romeo, provided you will follow me.
JULIET. Ah, father, saviour of my life! to whom
should I pay more willing obedience than to you, be-
reaved, as I am, of every comfort, and not knowing
where to seek for consolation in my grief and misery!
l<'mAn. Know then, Juliet, that it is most necessary
you should dissemble for a time, to elude compulsion.
Understand that I am versed in medicine. Array your-
self in bridal attire. After that I will prepare a potion
which will make you appear dead for a certain time,
and will persuade your parents to have you deposited
389 TRAGEDY OF ROMEO AND JULIET. 390
reithen, welcher euch ohne schaden auf gewisse Zeit
todt vorstellen solle, vnd euere Eltern iiberreden, das
sie euch in dafs Monument legen lassen, das wird ein
V rsach sein dafs bey lager zu uerhindern, indessen aber
will ich den Romio schreiben, in Eyl verkleidter weifs
zu kommen cuch zu entfiihren vnd also von allen Kum-
mer zu entledigen, ist difs euer meinung auch Julieta?
J l'LI. Ach Schmertz, mein V nglickh ist zu grofs
dafs es mich hinwiirfft wo es will, gleich einen ballen,
wafs braucht es weither mein Romio ist verbannt, ich
gezwungen noch einen zu nehmen, ach aber eher ster-
ben alfs dises gut heifsen, darumb Pater brauchet giifft
oder Schlafftrunkh, es ist mir beydes eins, wan ich nur
Romio einmahl sehen kunte.
PATER. Sie stelle sich zufriden Julieta, vnd !asset
eure Schmertzen bey euch nicht iiber Bandt nehmen,
die Hilff ist verhanden, der Schlafftrunkh kan Euch von
allen Ellend vnd Schmertzen erledigen.
J cu. W ollan es sey so, euren will en zu folgen ver-
fertiget den Schlafftrunkh, ich bin bereit solchen zu neb-
men, es geschehe gleich zum todt oder leben.
PATER. Nein Julieta, sie entschlage sich solcher ge-
dankhen vnd der Himmel behiitte sie vor weithern Vn-
glickh, ich verhoffe durch dises vorgeschlagene Mittel,
wird sie allen Kummer vnd Hertzenleid von ihr wenden.
Jvu. Pater auf euer Hilff stehet mein Vertrawen,
\ ich gehe euren Befehl zu volbringen.
, PATER. Wollan so gehe ich den Schlafftrunkh zu
1
. uerfertigen vnd alles zu ihren besten bereithen. [abit.
\ Juu.
'Der Himmel vnd sein Macht geb hiemit seinen Seegen,
Dafs aller V nglickhfssturm damit sich moge legen.
SCENA sru.
FRA w. AMMA. PICKL HARING.
FRAw. Aroma!
AMMA. Wafs beliebt ihr gnaden?
FRAw. Saget mir, ist alles verfertiget vnd bereith
zu meiner tochter beylager?
A:IIMA. Ich weifs nicht anders gnadige fraw, alfs
; dafs alles bereith vnd fertig ist.
FR.\W. So gehe nach meiner Tochter Zimmer vnd
frage sie ob sie geschmuckhet vnd geziehret ist, ihren
breytigamb zu empfangen.
AM:IU.. Es soU geschehen gnadige Fraw.
PxCKL. Alte bleib da, Julieta ligt in Schlaff', vnd
traumet ihr von sachen, die Niemand wissen soU.
AmiA. Schaw der Narr da, hat viel zu sagen, ey
das man nicht thuet was der Herr haben will, Narren
in the vault. Thus will the wedding be delayed. Mean-
time I will write to Romeo to speed hither in disguise,
and to carry you off from this place and from your
grief. Do you agree to this, Juliet?
Jt.:LIET. Alas, my misfortune is so great that it
throws me hither and thither like a ball. There is no
need ef further reflection: my Romeo is banished, they
are driving me to take another husband; I will sooner
die than give in. Therefore, my father, let us use poison
or the potion you mention, I don't care which, if I only
see my Romeo once more.
FRIAR. Make your mind easy, Juliet, and don't allow
yourself to be carried away by your grief. There is
help at hand; my potion can save you from all your
misery.
JULIET. Well, be it so. Prepare the potion, I am
ready to take it for life or for death.
FRIAR. No, Juliet, discard such thoughts; Heaven
will preserve you from further misfortune. I hope that
by the means I propose, you will deliver yourself from
your troubles.
JULIET. All my confidence is in your help; I am
going to do your bidding.
FRIAR. And I am going to prepare
to arrange everything for your welfare.
JULIET.
the potion, and
[Exit.
That Heaven and its power their blessing grant, I pray,
This tempest of misfortune and misery to lay!
SCENE III.
LADY CAPULET. Nt'RSE. CLOWN.
LADY. Nurse!
NURsE. What is Your Grace's pleasure?
LADY. Is everything prepared and ready for my
daughter's wedding?
NURSE. I don't know otherwise, my lady, but that
everything is quite ready.
LADY. Then go to my daughter's chamber, and ask
her if she is dressed to receive her bridegroom.
NURsE. It shall be done, my lady.
CLOWN. Stay, old girl; Juliet is asleep, and dream-
ing of things which no one is to know.
NURSE. Look at the fool! He has got much to say.
Strange, that people should not do what their master
2.j
391 TRAGEDY OF ROMEO AND JULIET. 392
keren in die Kuchel, zu sehen ob das Essen fertig, vnd
nicht mit Frawen Zimmer zu reden.
PrcKL. 0 monstrum horrendum, du ein Frawen
Zimmer, o altes Ribeisen vnd altes waffelscheitt, du alte
abgeschabene ergotzlichkeit der lieb, was hast du mir
zu befehlcn?
FRA w. Schweig Pickl Haring vnd zankhet Euch
nicht, ein Jedes verrichte was ihme befohlen.
AMMA. Gniidige Fraw der N arr.
PrcKL. Gniidige Fraw die Niirrin.
AMMA. Halts maul Holtzbockh.
PicKL. Halts maul alter strohsackh.
AMMA. Du bist halt ein Thue kein gut.
PrcKL. Vnd du auf der welt nichts nutz.
AlllMA. 0 du sauff aufs.
PrcKL. 0 du alte O.edermaufs.
FRAw. Pfuy schiimet euch beyde, in gegenwarth
meiner solche wordt zu brauchen.
AMMA. Gnadige Fraw, es ist ja nicht zu leiden.
PrcKL. Gnadige Fraw, die alte soli mich zufriden
lassen.
AMMA. Du werest mir nit gut genug meine Schuhe
zu butzen.
PrcKL. Vnd du werst mir nicbt guet genug wo
mein ruckhgrad ein End hat mich zu kiissen.
FRAW. Pfuy schiimet euch beyde vnd vergesset
nicht den respect meiner persohn, gehet Amma, ver-
richtet was ich euch befohlen.
AMMA. Ich gehe dero Befehl zu uerrichten.
[abit.
FRAw. Hike Pick! Hiiring, du bist etwas grob wan
du mit Frawenzimmer redest.
PrcKL. Was grob ist, ist auch starkh, ich trauet
mirs noch grober zu machen, wan ich die alte Bockh-
reiterin nicht wegen Eurer verschonete.
Aufs AMMA.
AMMA. Ach gniidige Fraw was V nglickh t Julieta
ligt in ihrer besten Kleitung aufsgesttecket vnd todt.
PrcKL. Das ist crstunkhen vnd erlogen, weil sie
aufsgestreckt ligt, so muefs ich gehen vnd sehen was
ibr schadt, dan ich vcrstehe mich trofflich auf die aufs-
gestreckte Krankheiten. [abit.
FRAW. Der Himmel bewahre mich, Amma, wafs
fUr ein scbrocken hab ich eingenohmen.
AMMA. Ich wolte es wiihre nicht gn. Fraw wafs
ich gesagt, aber irh wolt mir die Nnsen abschneiden
lassen wan Julieta nich t todt ist, dan ich verstehs in
keine Kurtzweil mit den Kleidern in Beth zu ligen.
desires. Fools should look in at the kitchen, and see if
dinner be ready, not converse with ladies.
CLowN. 0 monstrum horrendum! You a lady?
you old grater, you old wafer-iron, you worn-out in-
strument of pleasure, what business have you to com-
mand me?
LADY. Silence, don't quarrel; each of you do what
he is bidden to do.
NcRSE. My lady, that fool of a fellow-
CLowN. My lady, that fool of a woman -
NuRSE. Hold your tongue, you wood-louse I
CLowN. Hold your tongue, old pad of straw!
NURSE. You are a ne'er-do-weel!
CLowN. And you of no possible use in the world.
NURSE. You fuddle-cap.
CLOWN. You old bat.
LADY. Fye, you ought to be ashamed to use words
like these in my presence.
NURSE. My lady, it is not to be borne.
CLOWN. My lady, why does not the old hag leave
me alone.
NuRSE. I should not hold you good enough to
clean my shoes.
CLoWN. And I should not hold you good enough
to kiss me where my spine ends.
LADY. Fye, do not forget the respect due to my
person. Go, nurse, do what I told you.
NURSE. I am going to carry out your orders.
[Exit.
LADY. I tell thee, clown, thou art somewhat rude
when talking to a woman.
CLOWN. Rudeness is strength; I should trust my-
self to do it more rudely still, if I did not spare the
old goat-rider for your sake.
Re-enter NURSE.
NuRSE. My lady, what a disaster! Juliet lies here
dressed out in her best, stretched out, and dead.
CLOWN. You lie in your throat. As she is stretched
out, I must go and see what is the matter with her;
I thoroughly understand stretching complaints. [Exit.
LADY. Heaven preserve mel Nurse, how you did
frighten me!
NunsE. I wish, my lady, what I told you were not
true; but I will have my nose cut off if Juliet be not
dead. I do not take it for a pastime to lie in bed all
dressed.
393 TRAGEDY OF ROMEO AND JULffiT. 394
PrcKL HARING.
PrcKL. 0 Ellend, o noth, o barmbhertzigkeit, o
mausericordia, Julieta hat sich zu todt gestorben, o er-
schrockliche bost Zeitung, sie ligt aufs gestreckt mit
Hiindt vndt Fiiefsen, vnd ist so steuff alfs ein gefrohr-
ner Stockhfisch.
FRAW. Wie wars sagst du, Pickl Haring, Julieta
todt?
PrcKL. Das weifs ich nicht ob sie todt ist, aber sie
ligt vnu riihrt sich nicht, vnd ihre Seel ist schon in den
24 Elementen.
FHAw. 0 Jammer, o Ellend, ist Julieta todt so hat
mein Frewd ein End, ach armer graff Paris, wafs wird
er dar zue sagen, aber hier kompt mein Herr, acb Ju-
lieta, armseelige Julieta.
CAPL'LET. PATER.
CAPOL. Wie ich gesagt, Herr Pater, darbey soll es
verbleiben, den wer eine sacb vornimbt, soll es beschlei-
nig vollfiihren.
PATER. Nach dero Befelch, Herr Capolet, soll alles
mit hOchstem I<'leifs verrichtet werden.
CAPOL. Aber wars hat difs zu bedeuten, dafs meine
gemahlin die thranen abthrukhnet, wie ists liebste ge-
mahlin? was vor eine traurigkeit presset thranen von
Euren augen vnd zwinget Euch zum weinen.
FRAw. Ach liebster Herr vnd Gemahl, Vnglickh
iiber V nglickh.
CAPOL. Der Himmel bewahre vnfs alle vor V n-
glickb, wars soll dises bedeuten?
PrcKL. Herr, der Marder ist ins Tauben Haufs kum-
men vnd hat 2 junge Tauben zu todt gebissen, ob ers
gar gefressen, das weifs ich nicht, vnd dars ist ja vn-
glickhs genug.?
FRAw. Ach liebster Herr vnd Gemahl, Julieta ist
todt.
PrcKL. 1st dan das so grofse sach, das ein Mahl
ein Mensch stirht.
CAPOL. Wie? Wafs? Julieta todt? Das seye der
Himmel vor.
FRA w. Es ist nicht andcrst, dan die Aroma vnd
Pickl Haring haben sie beyde todt gesehen.
CAPoL. 1st es wahr, Pickl Haring?
PrcKL. Ich vermeine wohl, es wird wahr sein, dan
sie ligt vnd riihrt sich nicht, hort vnd siebt nicht, vnd
ligt aufsgestreckt wie ein Holtz Klotz, weither brauchts
nichts mehr, alfs dars die Schueler kommen, tragen sie
binwekh vnd singen: mit frid vnd frewd fabr ich dahin,
vnd reifse meine strafsen.
CLOWN.
CLO""N Oh misery, oh distress, oh pity, o mause-
ricordia I Juliet is dead. Oh dreadful news! There she
lies, bands and feet stretched out, and as stiff as a
frozen stockfish.
LADY. What say you, fool, Juliet dead?
CLOWN. Whether dead or not, I don't know. But
the fact is she lies and does not budge, and her soul is
already in the twenty-four elements.
LADY. Oh woe, oh misery! If Juliet is dead, there
is an end to joy for me. Poor Count Paris; what will
he say to it. But there comes my Lord. Ah, Juliet,
poor Juliet I
CAPULET. FRIAR.
CAPULET. As I said before, father, so shall it be
done; for whoever begins a thing ought to carry it out.
FRIAR. Pursuant to your orders, my lord, everything
shall be executed with tbe greatest promptness.
CAPULET. But what does it mean that my wife is
wiping her tears? What is the matter, dearest wife?
'Vhat sorrow brings the tears into your eyes, and makes
you weep?
LADY. Dearest lord and husband, misery upon mi-
sery!
CAPULET. Heaven preserve us all! what does this
mean?
CLoWN. The marten has broken into the dove-cote
and killed two young pigeons; I do not know whether
be has eaten them too. Is that not misfortune enough?
LADY. Dearest lord and husband, Juliet. is dead.
CLowN. Is it such a great thing that some one
dies?
CAPL'LET. What? Juliet dead? Heaven forbid I
LADY. It is so indeed; both nurse and jester have
seen her dead.
CAPULET. Is it true, clown?
CLOWN. I am indeed of opinion it is true. For she
is lying, and does not move, nor hear, nor see, and is
stretched out like a log. There is nothing wanting but
that the students come, carry her away, and sing: With
peace and joy I hie from hence, and travel on my way.
S95 TRAGEDY OF ROMEO AND JlJLIET. 396
FRAw. Ach wehe, es ist nur all zu wahr, helffet,
ein ohnmacht iiberfallet mich.
CAPUL. Helffet meiner gemahlin vnd bringet sie
von bier in ihr Zimmer sie zu laben [wurd weckh ge-
tragen]. Ach ist Julieta todt? ach ich armer mann, so
ist mein trost vncl frcwd gcstorben. Ach Paris, Paris,
dein lieben ist vmbsonst.
PATER. Mein Herr Capolet, er betriibe sich nicht
so sehr, wans des Himmels will, dessen Befelch mufs
man vollziehen.
CAPOL. Ach Pater, der Fall ist zu grofs, dafs an-
gesezte Beylager i ~ t verhanden, wafs wird Graff Paris
sagen, wan er erfahren, das seine brauth gestorben, sein
lieben vmbsonst, anstatt des brauth Krantz soU er todte
Cypressen auf ihr grab strewen, ach trawer, Kummer
vnd Hertzensangst.
PATER. Mein Herr Capulet, wie schmertzlich es
ihme von Hertzen geht, ist leicht zu glauben, aber aufs
2 Obel muefs vnd soli man das beste envehlen, weillen
es gescheben, wer kan es endern. Es wiihre mein Rath,
man lasse es den Graff Paris wissen, Julieta aber in
ihr Monument legen, vnd anstatt des Frewden fest ein
trawrige leichbegangnufs halten, seine vnd dero Gemah-
lin bekiimmernufs wolle der Herr den himliscben willen
aufopffern.
CAPOL. Ach Pater, weillen es nicht anderst sein
kan, so geschebe des Himmels will, last Euch angelegen
sein auf dafs Julieta in dafs Monument geleget werde,
vnd das man ihr die lezte Ehr erzeigen kan, ich aber
gehe den Graffeo solches schriifftlich zu berichten, wo-
fern mieh nieht auch der Kummer vnd Hertzenleid in
daf,; grab leget. [abit.
PATER. Es soU alles verrichtet werden Gn. Herr,
wollan dan ich Romio geschrieben in hOehster Eyl zu
kommen, ich hoffe der anfang soU noch einen glicklichen
aufsgang erreichen, damit Julieta nicht zwey mahl ver-
heyrathet werde. [abit.
[Traurige Music, Julieta ligt in Monument.]
PARIS mit ein Korb voll Blumen vnd JuNG.
PARIS. Hier ist der orth vnd p l a ~ , wo dafs Mo-
nument aufgericht vml Julieta begraben ligt, auf Paris,
gehe Julieta zu besuechen, erzeige ihr die letzte Ehr,
weil du in ihren leben nicht gewiirdiget worden sie zu
bedienen, o grausumber vnd tyrannischer todt, wie bald
hast du mein gedachte frewd in dafs gri)ste leyd ver-
iindert, wer bette jemahls gedacht, dafs du, liebste Ju-
lieta, vor Geniissung meiner getrewen lieli soltest dei-
nen Geist aufgeben, o meineidiges glickh I der ich ver
LADY. Ah woe, it is but too true! Help, I am going
to faint.
CAPULET. Assist my wife, bring her to her cham-
ber, give her some cordial. [They carry her out.] Ju-
liet dead? Alas, wretched man that I am! With her
my joy and comfort are dead too. Ah Paris, Paris. thy
love is in vain.
FRUR. .My lord, do not be so afflicted. What God
ordains must be fulfilled.
C.U'UI.ET. Ah, my father, the case is too hard. The
wedding is fixed. What will Count Paris say on learn-
ing that his bride is dead, his love in vain, that instead
of the bridal wreath he is to strew cypresses on her
tomb? Oh sadnesil. grief, and anguish!
FRIAR. Sir, I can readily believe bow this cuts you
to the heart. But of two evils one ought always to choose
the least. The thing bas happened; wh6 can alter it?
I should advise you to inform Count Paris, have Juliet
deposited in her monument, and hold a mournful funeral
instead of a joyous feast. Your and your lady's sorrow,
mylord, must be sacrificed to the will of hea,en.
CAI'VLET. As there is no help the will of Heaven
be done. Make it your business to have Juliet depo-
sited in the monument, and everything prepared to show
her the last honours. I will go and write to the Count,
unless sorrow sends me too to the grave.
[Exit.
FRIAR. Ever}ihing shall be done, my gracious lord.
-And now I am off to write to Romeo to hurry hither.
I hope what is begun will end well, and Juliet not be
married twice.
[Exit.
[Doleful music. Juliet is seen lying in the vault.]
PARIS, with a basket of flowers. PAGE.
PARIS. This is the place where the monument is
erected, and where Juliet is buried. Now Paris go and
visit her, and show her the last honours as thou wast not
found worthy of serving her in life. Cruel, tyrant death.
how quickly hast thou changed my anticipated joys to the
deepest grief! Who would ha\'e ever imagined that you,
beloved Julit>t. wouldst depart from this world before
enjoying my true love. Perjured fate! Having dreamt of
all happiness. I come to st>e this miserable end of my
397 TRAGEDY OF ROMEO AND JULIET. 398
meint alle glickbseeligk<>iten zu geniissen, so sehe ich
dafs erbiirmliche Endt meiner Liebe I Ist difs kostliche
Hochzeitfest meiner frewde, ist difs der Lust Saal, darin
ich mich soli ergotzen? wo bleibt der wohl gezierte
brauth Crantz? wo die Stein vnd perlen? wo der Klei-
der Pracht? Ach ach, es ist Ieider nicbts von no then,
airs dafs scbwabre Seuffzen vnd Clagen. Komme bier,
Diener, reiche mir die Blumen, vnd gehe nicht zu weith,
damit so Jemand kompt mir ein Zeichen gebest.
J u:s-o. Es soli gescheben, gnadiger Herr.
. PARIS. Ach vnbarmbhertziges Glickh I warumb hast
du mir das Jenige entzogen, welches mein Hertz so
inniglich geliebet? W ohl, liebste Julieta, also will ich
alle tag dir zu Ehren deinen leichnamb mit
ziehren. [Straut die blumen auf! sie.
RoMio mit DIENER.
Bier bin ich angelangt., weil mir der Pater
geschriben, ich soli so schnell alfs es moglich alhier an-
langen, aber ey lafs, von allen V nglick iibertroffen,
weillen Julieta todt, o betriigliche Hoffnung, die du die
Menschen zu lockhen weist, vnd verspricbst sie nimmer
zu uerlassen, wo ist Julieta hinkommen? o grausambe
Scheidung I Die vollkombneste Ehe, so jemahls gewe-
sen. Julieta ist todtl vnd alle ibre "SchOnheiten, Hold-
secligkeiten, Siifs vnd liebligkeiten, alle ihr Zucht vnd
Kenschheit seint zngleich mit ihr gestorben. Julieta
todt? vnd ich schiime mich nicht, Hinger ein vnglickh-
seeliges Ieben auf Erden zu fiihren? Julieta todtl o
todtliche wor!lt, weil in disen wenigen wordten all mein
vnglickh, Jammer vnd noth begriffen vnd mit der Zeit
auch iiber den armen Romio sollen gesprochen werden,
so verstehe mich. Diener, gib her die fackl vndt ver-
lasse mich, dan ich will dafs Monument besehen, vnd
den Ebering von Julieta nehmen.
DIENEU. Ach gniidiger Herr, ich will bier verblei-
ben, vielieicht haben Sie meiner von nothen.
Romo. X ein verlasse mich, erwarthe meiner 9ey
dem Pater vnd zeige ibm meine Ankunfft an, dan ich
will alhier Julieta beehren.
DIENER. So gehe ich auf Ihr Gn. BefehL [abit.
[Defs Paris Jung pjei.fft.
PARIS. Mein Jung gibt mir dafs Zeichen, das Je-
mand muefs vorhanden sein, wer soU sich wohl vnter- i
steben, vmb dise Zeit in dafs Monument zu gehen? ich
sehe ein fackl, ich will mich etwas auf die Seyth be-
geben, vnd sehen was der anfang sey.
[Romio geht zum Monument.
Holla., weiche zuruckh, V ermessener, wer gibt dir
Befehl, disen orth zu betretten?
love. Is this the delicious marriage-feast of my joy, this
the hall of my revel? Where is the richly ornamented
bridal wreath? where are the jewels and the pearls? where
the splendid dresses? Alas, nothing is required but heM}'
sighing and lamenting. Come here, boy, hand me the
flowers and stand aloof, but do not go too far, and give
me a sign as soon as any one approaches.
PAGE. I will do as you bid, my lord .
PARIS. Ah merciless fate I why hast thou robbed
me of what my heart loved so tenderly! Dearest Ju-
liet, thus will I daily strew flowers on thy body in thy
honour.
[Scatters the flowers over her.
ROMEO. SERVANT.
Romo. Here I am, because the friar wrote to me
to come as quickly as possible, but alas, overwhelmed
by misfortune, for Juliet is dead. Oh deceitful hopei that
allures man ana promises never to fail him! Where is
Juliet? Oh cruel separation I The most perfect marriage
that ever was! Juliet dead! and with her all her beauty,
charm, sweetness, and loveliness, all her modesty and
chastity are dead too! Juliet dead? And I am not
ashamed to protract a miserable existence! Juliet dead?
Oh deadly word, comprising within itself all my misery,
and destined to be pronounced one day also over poor
Romeo! Heed what I say, hoy! Give me the torch and
lea,-e me. I am going to visit the monument. and take
the wedding-ring from J ulict.
SERVANT. Sir, I had bt'tter stay; perhaps you may
need me.
Rom:o. No, leave me and wait for mll at the friar's.
Tell him I have arrived, while I remain here to honour
Juliet.
.
SERVANT. I go at your command. [E.rit.
[The boy of Pari& whistles.
PARIS. The boy gives me warning that something
is approaching. Who dares enter the vault at this
time? I see a torch; I will retire a little, and watch
what happens.
[Romeo goes toward4 the monument.
Hollah, keep off, audacious man I who ga,e thee
authority to enter this place?
399 TRAGEDY OF ROMEO AND Jt'LIET.
RoMio. Freundt, wer ihr seit, last mich zufriden,
vnd saget das ein verzweifelter Mensch Euch Euer le-
ben geschenkhet.
PARIS. lch sage weiehe, verlasse disen orth oder
gib dieh gefangen.
RoMio. Diser orth gebiihrt mir mit recht zu be-
tretten, vnd weil du die V erhindemufs bist mich zu uer-
hinderen, so nihme difs vnd fahre nach der Hollen zue.
[Ersticht Paris.
PARis. Ach Verrlither, was thuest du?
Aeh wehe ich sterbe bier,
Julieta, Jiebste brauth,
Jezt komm ich auch zu dir,
Weil du mir warst vertraut. [Stirbt.
RoMio. lch mufs gleichwohl sehen wer es ist -
ach Himmel es ist der vnglickseelige Graff Paris, ich
glaube dafs diser Corper auch von allen V nglickh zu-
sammen gemncht, aber o ihr meine vnglickhseelige au-
gen,. sehet bier ein rechtes Todten Spectacul, o Julieta,
werther Schatz, viel lieber bette ich den todt lei den
sollen, alfs dich todt vor mir sehen. Ach bifs in todi
geliebste Julieta, well ieh keinen trost mehr weifs vnd
deine Seel schon nach dem Himmel geflogen, ich nur
mein V nglickh alhier beweinen soll, ach nein ich senne
mich nach dir, liebste Seele, ey lafs, dein verblichener
leiehnamb ligt nunmehro ohne gehor, wordt vnd reden,
ach warumb verlast du mich mitten in solchen Ellend,
o wie komb ich mir selbsten so vnglickseelig vor, vnd
wafs? Julieta ist todt vnd ich soH noch Ieben? N ein,
nein, Romio, nein! Nimb den lezten Al>schids Kufs von
Julieta vnd bereitte dich zum stcrben. Komme, mein
gewohr, durchdringe mein abgemattctes Hertz vnd bringe
mich zu meiner Julieta.
Himmel, verzeihe mir,
Wafs ich bier hab gethan.
lcb sterbe willig gahr
Als Julieta Mann. [Stirbt.
Music. Julieta erwacht im Monument.
Jt'LI. 0 ilir Gotter. was ist das? wo befindt icb
mich? in einen todtcn Sarg oder todten Gefiingnufs.
Wie muefs das zuegehen, es brennen liechter alfs ob
man micb begraben bette, dise nnordtnung ist gewifs
von Pater gestellet, dardurch zu glanben, ich seye ge-
storben, der Sehlafftrunkh hat seine wiirkhung gethan,
darumb muefs ich sehen, das ich den Pater antreffe vnd
wafs mein wunder Hochzeit noc.h vor ein Ende gewiin-
nen werde. ALer ihr gotter bewahret mich, wafs ligen
bier todter leuth? Julieta, fafs ein vnd sehe wer
RoliiEO. Friend, whoever you are, leave me alone,
and say, that a desperate man spared your life.
PARIS. I say to thee, give way, leave this spot or
give thyself up.
RoMEO. It belongs to me by right to tread this
spot: and since you interfere take this and go to hell.
[Stabs him.
PARis. Ob traitor, what hast thou done?
Alas I'm dying here!
Now I too, Juliet, come to thee,
To thee, my bride so dear,
For thou belong'st to me. [He dies.
RoMEo. However I must see who it is - good
Heavens, it is the unfortunate Paris. I think, this body
too was made up of misfortune. What a spectacle of
death are my hapless eyes doomed to see! Juliet, thou
treasure of my life, far sooner would I have died myself
than see thee a corpse. Ah, Juliet, thou most loved one
till death 1 for I know no consolation more, and thy
soul has flown up to heaven. I must bewail my misery
here alone. Ah no; I yearn for thee, dearest soul. AJas.
thy pale corpse lies now for evermore without hearing,
word, or speech I Why dost thou leave me in the midst
of so much misery? How wretched do I appear to
myself! What? Juliet dead, and I shall still live? No,
no, Romeo, no! Take Juliet's last parting kiss, and
prepare to die. Out my trusty weapon, pierce my weary
heart, and bring me to my Juliet.
Mercy for what I did
In heaven's eye!
of Juliet
Willing I die. , [He dies.
Music. Juliet wakes.
JULIET. Oh ye gods, what is this? Where am I?
Is it a coffin or a charnel-house? How could this
happen? There are tapers as if they had buried me.
Certainly this is the friar's contrivance to make people
believe I am dead. That potion did its work well. I
must try to see the friar, and find out what is to be
the end of this wondrous wedding. But ye gods preserve
me! what dead men are lying here? Juliet, take heart.
see who they are; no greater e\il can befall thee than
thou art accustomed to bear.
401
TRAGEDY ROMEO AND JULIET.
402
es ist, uan es kan dir kein vnglickh begegnen, das du I
nicht gewohnet bist aufszustehen.
[Nimbt ein liecht geht zu Paris.
Hilff Himmel, hilif, wafs ist dafs? ist das nicht Graff
Paris? Ja er ist es, ach er hat sich gewifs ermord vmb
meinetwillen, weillen seine muethmafsung gewesen, ich
sey gestorben, ach armer liebhabcr ich beklage deincn
todt mit Scufftzen, weil du vmb meinetwillen gestorben
- aber wafs ligt bier vor eincr - ach gercchter Him-
mel bewahre mich, wafs sehen meine Augen? ach ihr
gotter, es ist Romio vnd liget auch ermordet, ach pein,
Martter, angst vnd qual, wie muefs discs zuegehen, ich
weifs kein andere aufslegung alfs dafs sie sich beyde
vmb meinet willen geschlagen vnd todt verbliben, ach
Romio bist du gestorben? so muefs ich dir alfs meinen
Mann billich folgen.
Ach V u.tter, Muetter, Freundt,
Ich nehmb von Euch Valet,
Ich stcrbe voller Schmertz,
Ihr wiist nicht wie mirs geht,
Ach Romio, me in Schatz I
So bist du nun so g'storben,
Du hast durch deinen todt
Mir auch mein todt erworben.
Nimh bin, o Jupiter,
M<;in Seel von disen leib,
Damit ich nicht alhier
In stetten Jammer bleib.
Aufs PATER.
[stoat
[stirbt.
PATER. N nnmebro ist es Zeit, dafs ich mich in das
Monoment verfiige, dan der schlafftrunkh .wird seine
wiirckung verrichtet haben, wan Julieta wider erwacht,
ich sie aufs dem Monoment fiihre vndt errette, da-
mit sie heimlich mit Rumio, ihrcn Eheman, entweichen
kan.
[ Gehet gegen den 1llonoment.
Aber gerechter Himmel, wafs ligt hier auf der Er-
dten, todte Leichnam? Ach web, ich sehe Julieta todt,
Rumio entleibt, Paris in seinen Bluth ligen, ach Frete-
rey, Freterey.
[Takes a candle, and approaches
Help, Heaven, help! what is this? Is this not Count
Paris? Yes, it is he. No doubt, he has destroyed him-
self und for my sake, thinking me dead. Poor lover, I
bewail thy death, becuuse thou hast died for my sake.
But there is another. Ah just Heaven defend me! What
do my eyes behold? Ah ye gods, it is Romeo, and be
also lies here, murdered! Oh torment, fear, and anguish I
How could this happen? No other solution do I know
than that they fought on my account, and both have
fallen I Romeo, art thou dead? - Then it is right that
I follow thee as my husband.
Ah father, mother, friends!
I bid you here adieu.
I die oppressed with grief;
My state ye little knew.
Ah Romeo, my love l
As now thy spirit's flown,
Thy death has been the means
Of bringing me my own.
Take from this frame, I pray,
0 Jove, my soul again, [Stabs herself
That I may not alway
In endless woe remain! (])jes.
Enter FRIAR.
FRIAU. The time has arrived to visit the monument.
The potion will have had its effect. When Juliet awakes
I must lead her from here to some safe place, whence
she may fty with her husband Romeo.
[AppruachPs the monumeut.
But, gracious Heaven, what is this lying here on
the ground? Dead bodies l Alas, I see Juliet dead, Ro-
meo slain, Paris w1ltering in his blood! 0 treachery.
treachery!
Aufs FfHsT, CAPULET tmd PATER. PruNcE. CAPt:LET. FntAU.
Ju:Na. Es ist nicht anderst, gniidigstcr Fiirst vnd PAGE. It is exattly, my gracious PrincP and Lord. ns
Herr, wie ich berichtet, so wiru sich alles fiindten. I have said. You will find everything as I told you.
Fiinsr. Hollal "'afs sehen wir, wafs macht der PIUNCE. Hollah! What do I see? What is tht> friar
Pater in dem Monoment? , about in the m<mument?
PATER. Ach gnad, gnadigster Fiirst vndt Herr, FRIAR. Most gracious Prince, merry!
gnadt.
CAPULET. Wie Pater, wafs bittet ihr vmb Gnadt? CAPULET. What. friar. are you btgging fm n1erty?
:W
403 TRAGEDY OF ROMEO AND JULIET. 404
Habt ihr Wisenschafft vmb dise mord, oder selbsten in-
teressirt, saget, redt die wahrheit, damit wir aufs disen
Irrthumb kommen.
PATER. Ach gniidigster Fiirst vndt Herr, wie auch
Herr Capulet, mir als einen geistlichen gebiihret nicht
zu ligen oder mit der Vnwahrheit vmbzugehen.
FiffisT. Wer mit der Wahrheit handlet, hat sich
keiner straff zu befiirchten, wir begehren nur zu wissen,
wafs Ewere V errichtung vnd wafs ihr vmb dise Zeit in
den Monoment zu thun habet.
PATER. So wissen Sie dan, gniidigster Fiirst vndt
Herr, wie auch Herr Graff Capulet, dafs ij.umio, des
Graffen Mundige leiblicher Sohn, sterblich sicb in Julieta,
Ewere tochter, verliebt, wie auch nicht weniger die J u-
lieta in Rumio, vnd eben damals als Ilerr Capulet dafs
pancket gehalten, vndt Rumio mit Julieta getanzet hat,
die Liebe bey ibnen beyden der massen zu genohmen,
dafs sie zu mir kommen, vndt vorgaben, wan ich sie
nicht in geheimb copuliren wolle, wollen sie ihre er-
bizte Liebe obne Ehestandt vollfiihren. Ich truge ihnen
vor die gefahr, darinn sie sich stiirzen wurden, aber
mein V ermabnen war vmbsonst, endlichen wolte mir als
einen PriJoJter gebiihren aus zweyen 'Obeln das beste zu
erwehlen, vndt hielte den Ehestandt vor b1llicher als die .
vnverheyrate Liebe, gab sie zusammen. diser
Liebe ist leyder dafs erbiirmliche V nglickh erwachsen.
CAPULET. Pater, Ewere Meinung ist nicht in Bosen
geschehen, aber leyder iibel ausgeschlagen, indeme Nie-
mandt nicbts von diser verborgenen Liebe gewust.
PATER. Gniidiger Herr, dafs ich dises gethan ist
gescheben, weillen ieh wuste die grosse Feindsehafft bey-
der Hauser, nemlichen Mundige vnd Capulet, dafs der
Himmel dermaleines durch solche V erbiindnufs der Ehe
des Rumio vndt Julieta mochte zertrennt[?], vnd die Feind-
schafft in ewige Freindschafft verkheret werden, weillen
es aber leyder anderst ausgescblagen, bitte ich mich vor
entscbuldigt zu halten.
.Fi.lRST. Pater, die Faller der Menschen seindt wun-
derbahr, wie Ieicht die Jugend genaygt zu fellen, ist
weltkiindig, darumb haben die faller Rumio, Paris vnd 1
Julieta ins grab gelegt, Herr Graff Capulet, was bier
geschehen, ist nicht mehr zu endern, er lege ab seine
Schmertzen vnd denekhe:
'Vas bier der Himmel nimbt kan er widergeben,
Wir miissen sein bedacht dort vor das ewig Ieben.
CAPUI.ET. Gnadigster Fiirst vndt Herr, meine grawe
Haar dt>s Alters schmertzen mich nicht so sehr, als diser
wdtliche Fall, welcber mich seiher zu grabe ziehen soli,
aber meine sinnen zeichen mir, das ieb disen trawer
Have you cognizance of this murder, or any part in it?
Speak, tell us the truth, that we may at last get out of
this bewilderment.
FRIAR. Most gracious Lord and you, Sir Capulet,
it does not beho\"e m<>, a man of the church. to lie and
deal with untruth.
PRINCE. He who acts with truth, need fear no pu-
nishment. All we want to know is, what business you
have in the monument at this time of night.
FRIAR. Know then, gracious Prince and you, (_',ount
Capulet, that Romeo, Count Montague's son, was en-
amoured with your daughter Juliet, and Juliet not
enamoured with Romeo. At the time of your banquet.
where Romeo danced with Juliet, love waxed so strong
in both, that they came to me to tell me that, I
would unite them in wedlock, they would obey their
burning love without matrimony. I represented to them
the danger they wert> going to incur; but my exhortation
were in '\rain. At last, being a I had to choose
the least of two evils, and prefering matrimony Ion
without it, I united them. Out of that love has this
dire calamity arisen.
CAPULET. What you did was not ill meant, but un-
fortunately it has turned out badly, because nobody knew
anything of this secEet love.
FRIAR. Gracious Sir, I did what I did knowing what
great enmity existed between the houses of Montagne
and Capulet, and hoping by this marriage of Romeo "s
and Juliet's to clear the sky and turn enmity into ever-
lasting friendship. Since, unfortunately, it has turnNl
out otherwise, I crave for mercy.

PRINCE. Father! The ways in which men come to
their fall are wonderful. How prone youth is to fall is
known to all. Thus have their sad fates laid Romeo.
Paris, and Juliet in the grave. Count Capulet, what bas
happened here cannot be undone; lay aside your grief,
and bear in mind:
What Heaven may take here, again can Heaven gin,
We must remember that we shall for ever live.
CAPULET. Most gracious Prince and Lord! My gra.Y
hairs do not press so heavily upon me as this fatal
accident which will drag me to the grave. But reason
teaches me to submit to the justice of heaven.
405 TRAGEDY OF ROMEO AND JULIET. 406
Fall dem gerecbten Himmel heimbstellen solle, darum
will ich ihnen zu ehren. anstalt machen, dafs sie nach
ihren standt zur erden beygelegt werdten.
0 jammervoller Schmertzl Julieta ist gestorben;
0 wunderschOne blum I du bist zu fruh verdorben.
HERTZOG.
0 groser Trawers Fall! Wie hart gebst du zu Hertzen I
Der bier sie ligen sicht, sicht nicbts als Iauter Schmertzen.
CAPULET.
Du Liebe hast's getban! Seind alle drey gefallen,
Die Liebe hat die Schuldt. Seind dafs nicht Hertzens-
quallen?
PATER.
Die Jugend ist nicht klug, sie liebet vnbedacht;
Die liep hat sie gar offt zu solchen Fall gebracbt.
CAPULET.
Kunt Paris nicht mein Kiindt in seinen Leben krigen,
So soli er nach dem todt in ihren grabe liegen.
0 werthe schawer Zabl, heist difs nicht recht betriiben,
Ein ieder hiitte sich vor solchen V nglicks Lieben.
ENDE.

I
J
'
prepare the last honours for them, that they may be
buried according to their rank.
0 miserable woe! My Juliet is dead.
0 loveliest of flowers I Too early droops thy head.
PRINCE.
0 mournful spectacle I Thou to my heart dost go;
Who sees them lying here, sees nought but pain and woe.
CAPULET.
Thou hast done this, 0 love I The death of all these three
Is fault of love alone. Is not that misery.
FRIAR.
Youth is not wise at all, it loves without a thought,
And often love on youth has such destruction brought.
CAPULET.
If Paris during life my daughter could not wed,
In one grave shall he lie with her now that be's dead.
Is't not a sorry sight, 0 ye spectators all,
Beware that none of you, such ill-starred love befall.
THE END .
26*
INDEX.
Aaron, a dancer.
Actor, Flemish, at Vienna. 1560.
Actors by profession, earlier in England than
in Germany.
-- English in Germany etc. &ee Comedians.
xcvii
xxi
vii
Archibold, a Capucin friar.
Arcial, a King in a play.
"Ariodante and Geneuora", a play.
"Arrival of the Saints", a play.
xci
ex
lxxiii
X
--- Flemish, xxix; Foreign, in England. xi 1
''Adulteress", The, a tragedy. xliii, xlvii '
"Art above all arts", a German play.
Arzschar [Archer?], a player.
Athletes, English, abroad.
cxxiv, cxxx
lxxniii
"Ahas,erus and Esther", a play. cix
Albrecht Frederick, Prince of Prussia. lxxxiv
Allegorical characters in Prologues. . cxx
Alleyn, Edward, founder ofDulwich college. xxviii, xxxi
Alleyn, Edward, a player. . xxvii, xxxi
Alphonsus, Cardinal. xxiii
Altorf, University of. xxxv
"Amadis", a comedy. lxxxiii
Ambassadors, foreign, at the court of Elisabeth. xvii
"Amphitrion", a German play. . cxv
Amsterdam, English Comedians in. lxxvi, xc;
incident at a play, acted there by English
Comedians ..
Ancilla, a character in the "'Jew of Venice", a
German play. .
Andreae, Valentine.
Andrewes, Richard, a player.
"Angiers, Count of', a German play.
"'Angry Catharine", The, a German play.
Anhalt, see Ludwig, Prince of, and Hans Ernst.
Prince of.
Anna, Princess of Denmark.
"'Antonio and Malcida", a play by Marston.
Antwerpe, city of.
Apology for actors, by Thom. Heywood.
Aptitude of the English for dramatic enter-
cxxii
cxviii
cvi
XXX
ex vi
cxix
xxxix
CXX
xxiii
xxiii
Augsburg, Theatres at.
Austrian Minstrels in England.
Authorities, Civil and Municipal, the patrons
of the stage.
Ayrer, Jacob, xlii, lvii, lxi-lxxvii; his comedy
of the Beautiful Sidea, lxviii, Part II, 1;
his comedy of the Beautiful Pbaenicia, lxxi,
Part II, 77.
XXI
vii
xi
Vll
Bale, John, his plays printed abroad. x1
Balge, English Comedians in. xcii
Bamberg, city of. lxi, lxii
Bandello. lxvi, lxxii, cxxxii
''Barrabas, Jew of Malta", a German play. cxvi
"Bartholomew Fair", a play by Ben Jonson. cxiii
B ~ s l e , English Comedians in. t:ii
"Battle of the senses", a German play. . cvii
1
Bautin, John. xii
Bavarian Minstrels in England. xi
Bear- baiting in London. . X\'i. xvii
Beaumont and Fletcher, his "Prophetess". cxviii
Beauvois, De, French Ambassador. xii, xh
Ben Jonson, cxiii; his ,Every Man". xxvii
Bentley, George, a dancer. xcvii
Berlin, English Comedians in, xxiv, xxvii, lxxx. lxxxiii
tainments. ix Betulius, Xystus.
lxxxviii, xcii
cvii
409 INDEX. 410
XXV
vi
Casse, Robert, a player. . Beyzandt [Bryan], George, a player ..
Bible, dramatic subjects taken from thP.
"Birtli of the Saviour", a play.
Bishops, English, at Constance.
Blackfriar's Theatre.
"Blanket-washer", a Gennan Droll.
Boccaccio ..
XI
Cassel, English Comedians at.
''Catharina, die bose," a German
Catharine of Navarre ..
play.
c
xviii, lvii
cxxx
xxxix
lxxxvii
X
xxvi, xxvii
cix
xxxvii, cxxxiii
Bodmer.
Bora, Kiithe von, Luthers wife, ridiculed on
the stage in London.
Borck, Baron von, his translation of "Julius
Caesar" ..
Boss lin, J ohu.
cxxxvi
xii
cxxxvi
cii
''Bottom the 'Veaver", a play.
Bouset, John, the clown.
Brake!, an English merchant in Elbing ..
Brandenburg, John Sigismund Elector of.
cxxxi
. xliii, liii
lxxxii
xcii
George William Elector of. xcii
Christian William of, Administrator
of Magdeburg .. XC
Breadstreet, John, a player. xxviii, xxxiii-xxxv, cxxxv
Brederode, G. A. xc
Breitstrass, see Breadstreet.
Bremen, city of. . xv
Breslau, English Comedians in. xciii
Breuningen von Buchenbach, Hans Jacob. . xiv
''British Kings at war", the two, a German play. lviii
Browne, Edw., a player. . . xxx, xxxii
Robert, a player. xxviii, xxx to xxxiii
.Mn. xxri
Brone, Robert, see Browne.
Briinighofen, Hans Georg von. xii
Brunswick, city of. .
Englh;h Comedians in.
-- -- Dorothea, Princefs of.
XXXV
xxxiv, lxxxviii
--- a Prince of, at the court of James I.
Brussels, English Comedians at.
XC
xix
XC
. Bryan, George, a player ..
xxiii, xxv, xxvii, lxxvi
Bull- baiting in London.
Burger, G. A.
Butzbach, Landgrave Philip of ..
Buwinghausen, Benjamin vorr.
Cains, Dr., a character in the "Merry 'Yive8
xvi, xvii
!vi
lxxxix
xiv, xix
of Windsor". liii
Cambridge, Count Frederick of Mompelgard at,
xiii; Prin<e Ludwig of Anhalt at. . X\'
Canterbury. xii, xv
Capitano, a typic character of the old Italian
stage. . xlvi
"Celide and Sedea", a play.
Cellarius, Johannes.
Cervantes, his "Curioso impertinente".
Chalmers.
Charles, Archduke and Bishop of Breslau.
Characters, number of, in early Plays.
Chaucer ..
XXXV
cxiv
xxvii, Iii
xciii
vii
X
"Christabella", a German play. cxv
Christian I, Elector of Saxony. xxiii. lxxvi
His letters to King Fre-
derick II. of Denmark and Hans Thilo, his
Steward.
His appointement of the
English Comedians. .
xxiv
XXV
Christian IV, King of Denmark. xxm, xxxix
Christian William of Brandenburg, Administra-
tor of Magdeburg.
Church questions connected with Plays.
Citizens as actors.
Clant, John, the clown.
Classical antiquity revived.
Clown, the, in Ayrer's plays.
Cockfights in London. .
Cologne, English Comedians in.
1
Comedians, English, on the Continent in 1417, x;
conjectures rei!pecting them, xx; their wan-
derings to the Continent, xxii; the earliest
actors by profession in Germany, xxxvi; char-
ged with corrupting the taste in Germany,
xxxviii; not allowed to uct at Zurich, ciii;
their Repertoire, civ; the language in which
XC
vii
xii
xlii
iv
lxv
xvi
xci
they perfonned. cxxxiv; their costume. . cxxxv.
Comedians, English, in Amsterdam. lxxvi, xc, cxxii
in Balge. xcii
in Basle. cii
in Berlin. lxxvi, lxxvii, lxxx, lxxxiii,
lxxx,:iii, xcii
in Breslau. xciii
in Bruns'l\-lck. xxxiv, lxxxviii
in Brussels .. X ( ~
in Cassel. xviii. lvii
in Cologne .. xci
in Copenhagen xxxix
in Danzig. xci
, ______
----- in Denmark. xxiii
-
"-
- in Dordrecht. ciii
411 INDEX. 412
Comedians, English, in Dresden. xxiv, xxvii, lxxvi, lxxxiii,
lxxxvii, xcv, xcvii, cxiv-cxvi, cxxxv
---- ---- in Elbing. lxxix, lxxxii, xcii
---- ---- in Frankfort. . lix, xc, cxxxviii
---- ---- in Gratz. lxxxiii, xciii
-------in the Hague. lxxix, lxxxi, lxxxiv,
---- ---- in Hildesheim.
--- --- in Konigsberg.
--- ---- in Leiden.
---- ---- in Memmingen.
in Munster.
--- ---- in Nuremberg.
---- ---- in Osnabriick ..
---- ---- in Poland.
--- --- in Prague. .
--- ---- in Regensburg.
----- ---- in Rostock ..
---- in Strasburg.
---- in Stuttgart.
---- ---- in Torgau.
--- --- in Ulm .
lxxxix, xcviii, xcix
. lxi, cxxxv
lxxix, lxxxiv, xcii,
xcviii
lxxvii, lxxxiii, xc
lxxvi
cxxxiv
lxi, lxxxvii, xcviii
xcix
xciii
lviii, xcvi, cii
lxxxviii
lxxx
cii, CXXJU
xiv, lxxvii, l x x x i i ~
cxxxviii
xcvii
lxxvi
---- ---- in Vienna. xcv, cii, ciii
---- ---- in Windsheim. ciii
--- ---- in W olfenbii.ttel. xxxiii, xliii, lxxxviii
---in Zittau. c, ciii
---- ltaJ,ian, at Vienna. xxi
Comedies and Tragedies, English, in the Ger-
man language. lxvii, civ
Comic element, the, in biblical dramas. . x
Constance, Council of, x; Plays acted at. x, xi
Cook, William, a player. . xcix
Cooke, Thomas, a player. xxx
Copenhagen, English Comedians in. xxxix
Corambus, the Polonius of the German Hamlet. cxx
Court- Fools. . viii
Court-theatres, the first, in Germany.
Cox, Rob ...
Crause, Alex. .
"Crysella", a German play.
Cupid in Ayrer's "Phaenicia".
"Daniel, The prophet", a German play.
''Daniel and Susanna", a German play.
Danzig, English Comedians in.
'Daphne", an opera.
Dekker, Thomas, his "Fortunatus ", cix; his
"Honest Whore", cxxxiv; his "Jew of Ve-
xxxvii
cix
lxxxvi
cxv
lxxiii
xlii
lxxvi
xci
xcvii
nice", lxxxix; his "Phaeton", cxxxiv; his
"Rod for Runaways". . xcvi
Denmark, English Comedians in.
Dethick, Sir Will.
xxiii
xiv, lxxvi
"Dexterous thief', a German play.
Dietrich, Master ..
Dietrichstein, Cardinal von.
"Dioclesian", an English play ..
"Diocletian and Maximinus", a German play.
Dixon, John, an Instrumentalist.
Dixon, John, a player.
Docourt, Johann.
Dordrecht, English Comedians in ..
Dorothea of Brunswick.
ex vi
lxxxvi
xeiii, cii
cxviii
cxviii
xcvii
cxxxvili
xii
ciii
XC
"Dorothea the Martyr", a German play. cxv
Dosin, Christopher. lxxxvi
Dover, city of. xii, xv
Dowland, John. xxxv-xxxvi
Drama, the earliest German. iii
----- in six languages performed at Cassel. lvii
Dresden, English Comedians in. xxiv, :r.xl'ii, lxxvi,
lxxxiii, xcv, exiv,....-e:r.vii
Drolls in German from the English. . cviii
Dryden, John, his "Amphytrion" . cxvii
"Duke of 'Florence", a German play. cxv
"Duke of Ferrara", a German play. cxv
"Duke of Venice", a German play. . cxvi
"Dukes of Mantua and Verona", a German
comedy ..
"Dumb knight", by Machin and Markham.
Duyck, A ..
Eckard, L ..
Edinburgh ..
cxv
lxvi
lx.xix
"Edward III", a German comedy by Ayrer
ex vii
xxxix
lxvii
Egg, Baron von ..
Elbing, English Comedians in. .
Elisabeth, Princess of Denmark.
--- --- of England.
XXXV
lxxix, lxxxii, :xcii
---- ---- of Hesse.
Elisabeth, Queen.
Ellidor, a King in a play.
Embden, town of.
xxxviii
xcvii
xxxii
.:xii, xiv, x:xii
ex
English talent appreciated on the Continent.
Essex, Earl of.
xii
xxi
xiii, xiv
cviii, c.x,
CX\iii
lxxxiii
xcvii
"Esther and Haman", a German play.
"Eucasto" (Hecastus) a German comedy.
Eva Christine, Princess of Saxony.
Eydtwartt [Edward?] John, a player.
413 INDEX. 414
Falckenberg, Dietrich von. . xviii
Falstaff, his love-ad\'entures. . liii
"Faustus", a German play. . cxv
Feind, Barthold. . . . . . cxxxvi
"Felismena", by Montemayor. cxi
Fencers, foreign, at Wolfenbiittel. . xi
Ferdinand II, Emperor of Austria. xcv
Ferdinand Ill, Emperor of Austria. xcix
Fiddlers, English, abroad. xxi
Fiorentino, Giovanni, his "Il Peeorone". Iii
Flushin . . . . . . . . xix
Flutists, English, abroad. . . . . xxi
Foltz, Hans, qis Shrovetide Plays. iii
Fools, on the early German stage. xlii
Ford, John. . . . . . exxxiv
"Fortunatus", an English play. . . cix
"Jo'ortunatus", a German play. . . cvm, cxv
"Four resembling brothers", a German play. . cxix
"Four Royal brothers in England", a German
play. . . . . . . . . . . . cxviii
"Four Sons of Aymon", an English play. . . cxxii
Frankfort, English Comedians in. . . . . . lix, xc
Frederick, King of Bohemia (previously Frede-
rick V, Prince Palatine). . . . xcvii
--- Ulric, Duke of Brunswick. . xxxv
---- II, King of Denmark. xxiii, xxxix
---- of M.ompelgard, Count. . . . . xii, Xll1
---- Duke of Wirtemberg. xxviii, xxxix, lii, l x x v ~
Friesland. . .
Frischlin, N. .
"Fryer Francis", an English play.
)<'uller, his "Worthies".
cxxxviii
xxviii
xxxviii
cxxii
xxxi
Gallichoraea, the cuckold. xlvii
Garter, Thomas, his comedy of "Susanna". xli
George, Landgrave of Hesse-Darmstadt. lxxxix, xcvii
George William, Elector of Brandenburg. xcii
Gerando, in Ayrer's "Phaenicia". . lxxiii
Gerwalt, in Ayrer's "Phaenicia". . lxxiv
Giles (Gellius), Gedeon, a player. . c
Globe Theatre. . . . . xxxiii
"Godfather, The", a German play.
G5sslin, John.
Gottsched ..
Gower ...
Gratz, English Comedians in.
Gravesend.. . . . .
Green, John, a player.
Greenwich.
cxvi
cii
cxxxvi, cxxxvii
cxxi
lxxxiii, xciii
xii, xv, xix
XCV
xv, xviii
Grimmelshausen, H. J. Chr. v ..
Gryphius, Andr. . .
Gumpelsheimer. .
Guestrow, town of .
Gustavus Adolphus, King of Sweden.
--- Duke of Mecklenburg.
ciii
cxxx, cxxxvi
cvii
cxix
XX
cxix
Hague, The, English Comedians at. lxxix, lxxxi, lxxxiv,
lxxxix, xcviii, xcix
Hailsbrunn Court at Nuremberg. . . lxxxvii
Halberstadt, bishopric of. . . . . xxxviii
Halle, The "Jew of Venice" acted in. bxxix
"Hamlet", a German play. cxv, cxix, cxxx, Part II, 237.
Hampton Court. . x ~ xv, lxvii
Hanover. exxx
Hansa company. . xx
Hans Ernst, Prince of Anhalt. . xv
Hardydardy, a jester. . . cix
Harryson, William, a player. xxx
Hathwaye, Richard. lxvii
Helmstedt, University of. . . . xxxvi, xxxviii
Helsingor, John Dowland at. xxxvi
Heming, John. . . . . xxvii
Henry IV, of France. . . . xviii
Henry V and the Emperor Sigismund. x
Henry VI, professional actors in his reign. xi
Henry VIII, foreign Minstrels at his court. xi
Henry Julius, Duke of Brunswick. . x x x ~ xxxviii, lv
---- ---- his tragi- comedy of "Su-
sanna". . . . . . . . . . . . . xl
--- - ---- John Dowland at his court. xxxvi
Henry, Prince of Wales. . . . . . xviii, xix, xcvii
Henslowe, Philip. xxxi. x x x i ~ xxxm, cix, cxiii
Hentzner, Paul, his description of England. xvi
Hereswida, Hilda, a British Poetess. . i
Hertlein, Christ. . . . . . . . . lxxxvi
1
<-Hes, Henryke, a Minstrel. . . . . xi
Hesse-Darmstadt, George II, Landgrave of. lxxxix
Hesse, William of, Landgrave. . . . . xii
"Hester and Ahasverus", an English play. cix
---- Su Queen Hester.
--- Su Ahasverus and Esther.
Hengel, treasurer. . . . . . . lviii
"Heurath (die wunderbare) Petruvio mit der bQ-
sen Catharine", a German play. . . . cxxiv
Heywood, Thomas. . . . . xxiii, xxxix, l x x v ~ cxxii
"Hieronymus, Marshal of Spain", a German play. cxv
Hilda Heresvida, a British poetess. i
Hildesheim, English Comedians in. lxi
"Historie of Errors", a play. . . lxvii
415
INDEX. 411
Holzhew [Woodhew?] a player.
"Honest Mistress" the, a G<>rman play ..
'-Honest Whore" the, a play by Dekker.
lxxxviii
cxxxiv
cxxxiv
lxxviii
Hout, J. van.
Howard, C.
Hrotsvita. .
xxix, xxxiii, xxxiv
Humphrey, Laurence.
''Innocentia", a play, by M. Kongehl. cxxxiii
Interludes. . x
Instrumentalists, English, abroad. xxiii
'Isabella, Queen of Little Britain", a German
play. . xcvii
Italian players in France and Spain, xxii; in
London. . xxii
Jacob, Hans. . lxxxvi
James I, King of England. . xiv, xviii, xxxix, xcvii
James, the Hessian, a player. xcvii
Jeliphur, George, a player. . ciii
Jena, University of. xxxv
Jew of Venice", a German play. lxxxix, cxviii
,JOeher, his knowledge of Shakespeare. . cxxxvii
John Frederick of Wirtemberg, Duke. xix
John George, Markgrave of Brandenburg. Jxxvi, lxxxiii
John George I, Elector of Sa-tony. xcv
John Sigisrnund, Elector of Brandenburg. Jix, lxxxiv, xcii
Johnson, Samuel. lii
Jolifus, Joris, a player. cii
Jou('s, Richard, a player. . . xxviii, xxxto xxxiii
",Josepho, the Jew of Venice", a German play. cxv
Caesar", a German play. . cxv
Julius and Hippolyta, a German play. cxi, cxx:l',
Jumpers and Dancers at Dresden.
Jiinger, Michael, a Minstrel ..
Part II, 113.
xxvi
xi
Koerner, Andrew. ]KXX\'
Kong('hl, Michael. cxxxii
Kranenburg, palace of. xxxi:
Krosigk, Bernhard von. x
"Kunst iiber alle Kiinste", a German play. cxxiv, cxx:
"Lear, King of England", a German
Leieester, City of
play. CX'I'
xx:
Earl of.
Leiden, English Comedians in.
Leipsic ..
xxii, xxii
lxxvii, lxxxiii, c:
Leopold, Archduke of Austria.
Lessing.
Leudegast, Prinee of the Wiltau.
Leupold, Duke.
Lewkenor, Sir Lewis.
Lineoln, Earl of, his embassy to Cassel.
Lindner, Miehael.
Linne in incident in a play acted there.
"Locrine", a play.
London, visited by German tranllers, xii-xx;
Engli:;h actors leaving it, xxi; Danish em-
at, xx.xix; mentioned in the German
'Fortuuatus'', ex; ,London Merchant", The.
a play by John Ford. .
Louis Frederick of Wirtemberg, Duke.
Louis of Marburg, Landgrave. .
Loveday, Thomas, a player ..
''Lovers of Pisa'', Two, a tale ..
Love'!! Sweetness" etc., a German play.
Lueanus, John.
Ludoltf, Prinee of Lithuania.
Ludwig, Prince of Anhalt, visit to England.
present at represen-
tations of Shakespeare's plays. .
the description of
xxxi
ci
CXXX\';
lxvii
lxi:
xi:
XXX:
li
ex xi
CX:li
exxxi
xi
X\.]
xci
xcvi
hi
lxvi
xi
X
Keimann, Christian. cxxv his travels to England. X
X
CXJ
vii, J
X
cx.xxi
Kid's "Hpanish Tragedy". cxx Duke of wirtemberg.
"King of Arragon", a G('rman play .. cxv Dominion", a play. .
"-- of Denmark and Sweden", a German
play ..
Luther, his pamphlets against Henry VIII.
cxv --- ridiculed on the stage in London.
___ of England and King of Scotland", a
German play. cxv
"-- of Spain and Vieeroy of Portugal", a
German play. cxv
King (Konigk), Thomas, a player. xxv
Kirkmann, his ,\Yits or Sport upon Sport". cix
Kite, Jeremias, a player. . xcix
Klebe, Henry. lxxnii
Konigsberg, English Comedians in. lxxix, lxxxiv, xcii, xeviii
Lydgate, John.
Lewis.
MagJeburg, Administrator of
"Mahomet", an English play.
" ", a tragedy hy Ayrcr.
and Hiren". by G. Peele.
Landgrave Louis ot:
' Markham, Genvase.
lx
lxxxi
IX\'
lx\'
}X\"
X\'i
lx
417 INDEX. 418
Malone, Edmund.
Marlowe, Christ., his "Doctor Faustus".
------ his "Jew of Malta".
Marston's "Antonio and Malcida".
Mary Eleanor, Duchess of Prussia.
"Mary, the beautiful, and the old cuckold", a
German play. .
Iii
cxvii
cxviii
cxx
lxxx
cviii
Maurice, Landgrave of Hesse. xviii, xxx, xxxii, xxxvi,
lvii, cxxxv
--- of Orange.
Memmingen, English Comedians in.
';Merchant of London", a German play.
" of Padua", a German play.
Merck, .John Cam.
Mercoeur, Duke of.
Meres, Francis
Merry andrews on the German stage.
Minstrels, foreign, in England.
Moliere.
Mompelgard, Count of.
Montemayor, his "Felismena".
"Moor of Veniee", The, a German comedy.
Moralities. .
Morell, John and David, players.
Morboff.
"Mortje", a Dutch play by Brederode.
Miilnbeim, Hans Jacob von ..
Miinster, English Comedians in.
Munday, Anthony, his "Valentin and Orson".
Musieians, English, abroad ..
and actors, English, at Stuttgart.
English, in Stuttgart.
Nassau, Count of.
Nobility, the German and Dutch,
to England.
N onsuch, town of. .
Norway.
their visits
xviii
lxxvi
cxxxiv
lvii
cvii
XV
lxxiv
xlii
xi
cxiv
xii
cxi
cxix
X
cxxxviii
cxxxvi
XC
xii
cxxxiv
lxvii
xxi
Jiv
lxxvi
lxxviii
xii
XV
xxxix
xxxiii
xci
Nottingham, Earl of, his players.
Nugent, friar Francis. .
Nuremberg, town of.
English Comedians in.
-- --- theatres at.
XXXV
lxi, lxxxvii, xcviii
vii
Oldenburg, city of. .
Opslo, town of, in Norway ..
Orange, Maurite of.
XV
xxxix
xviii
iii
Osnabriick, English Comedians in.
Osterhausen, Hans George von.
Otto, Prince of Hesse.
Oxford ..
--- Prince Ludwig of Anhalt at.
xcix
XCV
xvili
xili
XV
Pageants at Antwerpe. xxiii
Pampbilus, a character in the "Adulteress". liii
Papst [Pope], Thomas, a player. xxv
Passion Plays. iv
Pate, Nathan, a player. xcix
Pede!, William, a player. . lxxxiii
1
--- William, Abraham and Jacob, players. xxxviii
Peele, George, his play "Mahomet and Hiren". lxvii
Perst or Pierst, a player. xxv
"Peter Squenz", a comedy acted at Dresden. cxix
"-- -----", a German play by A. Gryphius. cxxx
"Petruvio and Catharine", a German play. cxxiv
Pflugbeil, August, a player. . lxxxviii
"Phaenicia, the beautiful", a comedy by Ayrer. lxxi,
Part II, 77
"Phaeton", a play, by Th. Dekker. .
Philip of Butzbach, Landgrave.
"Philolis and Mariana", a German play.
"Phoenicia", a German play by M. Kongehl.
Plautus.
English Comedians in.
Politics connected with Plays.
Pope, Thomas, a player. .
Praetorius, Michael.
cxxxiv
lxxxix
lxxxvii
cxxxiii
lxvii
xciii
vii
lxxvi
cxxxv
Prague, English Comedians in. . lviii, xcvi, cii
,Jo!ln,_ a musician. . xcvii, c:M.Xviii
Princes, German and Dutch, their visits to
England.
the German, their taste for dramatic
art.
Processions on the stage.
"Proculus, old", a German play.
"Prodigal child", The, a play ..
" Son", a German play.
"Prodigality", a play ..
Profane scenes in eclesiastical dramas.
"Profligate Son", The, a comedy ..
"Prophetess", The, by Beaumont and Fletcher.
"Pyramus and Thisbc"', a German farce.
"Queen Hester", an enterlude.
xii
viii
viii
ex vi
cix
cviii
cix
iii
xliv
cxviii
ex viii
cix
Origin of the German Drama.
"Orlando Furioso", a German play.
Ortelsburg. English Comedians in.
cxv Rathgeb, Jacob ..
lxxxiv ' Reading, town of.
xii
xii
27
419 INDEX. 420
Reformation, the, its influence on the drama.
Regensburg, English Comedians in.
v
lxxxviii
xvi
xvi
Rehdiger, Christoph v.
---- Thomas von.
Religious on the stage. xi
Reynolds, John. . cxiv
Rheinfelden, Hans Christoph von. . . xii
Rhenanns, John. . cvii
Richard III., entertains foreign Minstrels at his
court. xi
'"Rich man", The, a German play. cxvi
Riders, English, abroad. xxi
Robert, a player. xcvii
Roberts, ,James. . lxxxix
Rochell, his chronicle of Munster. cxxxn
Rochester. . xii, xv
Roe, William, a player
"Romeo and Juliet", a German play.
Rose, David, a painter.
Rose Theatre.
Roi'<enblut. Hans, his Shrove-tide Plays.
Rostock, English Comedians in.
Rotterdam.
Runcifax.
Runzifall, the devil.
c
cxvi, cxxiii,
Part II, 305
lxxxv, lxxxvi
ex viii
iii
lxxx
xcvi
ex
lxx
Sachs, Hans. . . iv-vi, xxxviii, lvii, lxii
Sackville[Saxfield] Thomas, a player. xxviii, xxxiii-xxxv,
cxxxv
Saige, Captain.
"St. George of Cappadocia", a play.
Salbcrt, Christ., a cuttler.
Schampitache, a clown.
Schetzel, Burkard. .
Schlegel, John Elias.
Schmidt, Conrad, a MinstreL
Scholars as actors. .
Schriimgen, a clown.
SchUtz, Heinrich.
Schwartzl"nberg, Count Adam of.
Schwenter, Daniel. .
Scortnm, a character in the ''Adultere!!!!".
Scottw(ll, Edward, a player.
Serule and Astrea", a German play.
"---- -- and Hyppolita", a German play.
ShakP!;peare, the London theatres increased by
his impulse, xxi; a member of the Blackfriars
theatre, xxvii; his connection with Thomas
Pope and George Bryan, xxvii; his counce-
xii, xiii
X
lxxxvi
cxiv
xviii
cxxxvi
xi
vii
cxiv
xcvii
xcii
cxxxi
xlviii
xcix
cviii
ex viii
tion with Richard Jones, xxxiii; his name
unknown in Germany .. cxxxvi
lxvii Shake!!peare, his "Comedy of Errors".
his "Cymb!"line".
---- his "Hamlet". .
}vii,
xix, lxxxix, Part II, 239
his "Henry VI". ex xi
---- his "Julius Caesar". cxxxvi
his "Macbeth". . cxxi
---- his '"Merchant of V cniee''. lxxxix, cxviii
- -- his ''Merry Wives of Windsor". . . xhii, li
his ''Midsummernigth's Dream". . cxxx
----his "Muchadoaboutnothing".
Part II, 79
------ his "Othello". xix
---- his '"Passionate Pilgrim''. XX..'lV
his . cx..'li
his "Romeo and Juliet". xc,iii, Part II, 307
his '"Taming of the Shrew". . . c.xix, cxxiv
- his 'Tempest". . xix, lxl'iii, Part II, 3
his "Titus Andronkns". . . xix, Part II. I58
his "Two Gentlemen ofV crona". cxi. Partll, I 1.')
his '"Winter's tale" xix, cxxxi\
Shrove-tide plays, at Nuremberg, iii; their cha-
racter, iv; ob:<cenities in. . xxxvii
"Sidea, the beautiful", a comedy by Ayrer. lxviii, Part II, I
'"Sidonia and Theagene", a German play. cviii
Sigismund, .Emperor of Germany. x, xi
"Silvia and Aminta, a German play". cxiii
Simplicissimus. ciii
Skeydell, Peter, a Minstrel. xi (
Smyth, Conrad, a Minstrel. xi )
Solms, Count Hans Ernst von. . xviii
--- Count Philip von. xiv, xviii
Somebody and Nobody", a German play. cviii, cxv
Sommer, John.- cxxxv
Sophia, Electress of Saxony. lxxvi
--- Princess of Saxony. . xcvii
"Spanish Tragedy", by Thomas Kyd. lxvi
Spencer, John, a player. lxxviii, lxxxiii, lxxxiv, lxxxvi,
Spencer, Sir Robert.
f?tarschedel, Otto von.
Starter, a Dutch dramatist.
lxxxvii, xci
xiv, b:xvi
StPphen [Stephan], Thomas, a player.
Stockfisch, Hans von. .
xviii
lxxv
xxv, xxvi
Xl'ii
xxxvii, Iii, cxxx Straparola ..
Strasburg, English Comedians in.
1
Stuart, Madam Arabella ..
Stuttgart, English Comedians in.
1 '"Susanna", a play.
cii, cxxiii
xix
xiv, lxxvii, lxxxiii
xli, xlii, h-i, lxi
421 INDEX. 422
Sussex, Earl of, his players.
Sydney, Sir Philip. .
Taborino, a player ..
Tanapfel, .Hans, a carver.
cxxii
xxii
Tarlton, his play of the "Seven Deadly Sins."
Tarleton's "Xewes out of Purgatory".
xxi
lxxxvi
xxvi
Iii
cxiv
xviii
ex
Tasso, his "Aminta". .
Thalmuller, Hermann ..
"Theagines and Chariclea", a play.
Theatre in Germany, its state at the end of the
sixteenth cent. ix
Theatres in London increased. xxi
Thilo, Hans, Steward. . xxiii
Thomas, a player. . xcvii
Thouwasen (?], Edward, a merchant. xxxiv
Tieck, Ludwig. lxviii, lxix, lxxi, cix
Timbreo, in Ayrer's "Phaenicia.". lxxii
"Titus Andronicus", a German play. cv, cxii, Part II, 157
"Titus and Vespasian", an English play. cxii
Torgau, English Comedians in. . xcvii
Travellers, foreign, to England. xii
Treu, a stage- manager. xcvii
"Troy and Constantinople, Destruction of", n
German play. . lxxxvii
Trumpeters, English, abroad. xxi
Tunstall, James, a player. xxx
"Two Kings of Britain at war", a German
play. . cxvii
Lim, English Comedians in.
Union, Protestant, of the German Princes.
Utrecht, city of ..
"Valentine and Orson", a play.
Variscus, Joh. Olorinus. .
V eltheim, a stage-manager. .
'"Vincentius", by Duke Henry. Julius.
Vienna, English Comedians in.
V oelkerling, Pastor.
Vulcan in Ayrer's "Phaenicia".
lxxvi
xix
xxii
lxvii
cxxxv
cxx
xliv, lxxi
xcv, cii, ciii
xl
lxxiii
Waide or Wayde, John, a player.
Wakefield, Edward, a player.
wales, Henry Prince of. .
Walpole, Sir Horace. .
""War of 'Vartburg", the first German drama.
"Warning for fair women", a play.
Weise, Christian.
W ensin, Daniel von.
Whitehall ..
Shakespeare's plays acted at.
Widemarkter, Caspar von.
Will, a player.
William of Hesse, Landgravc.
'Wily beguiled", a play ..
Windsheim, English Comedians in.
Windsor, Count Frederick of Mompelgard at.
--- Prince Ludwig of Anhalt at.
W obersnow (?] Arnd von.
c, cxix
xxxiv
xviii
xvii
iii
cxxii
cxxx
cxxxviii
xix
xcvii
xviii
xxii
xii
cxxi
ciii
xiii
XV
xxxiv
W odroff, Vincent, a shoemaker.
W olffenbiittel, English Comedians in.
______ Theatre at. .
xcix
xxxiii, xliii.lxxx viii
W olframb, Michael ..
'V omen, performing on the German stage ..
Wood, John, a player.
xxxix
xxxiv
ciii
lxxvii
lxxxviii W oodhew [Holzhew ], Behrendt, a player.
W orcestcr, Earl of, his players. xxx, xxxii
Worms, city of. .
Wurmser von Vendenbeym, Jacob.
Wutenau, Albrecht von.
Yonger, Mykell [Michael Junger?], a Minstrel.
York, Duke of. .
Zedler, his knowledge of Shakespeare.
Zeland .
Zittau, English Comedians in. .
__ a German version of the "Taming of
the Shrew" represented at.
Zorn von Bulach, Franz Ludwig.
Zurich, city of.
cxxx
xix
XV
xi
xix
cxxxvii
xxviii
c. ciii
cxxv
xii
ciii
---------
Berlin, printed by A. W. SCHADB, St&llschreiberstr. 4 7.
Pl.l.
/.

c i'" ,,, d a6 ,
_L rl 1 /"""'
({lmttt' ttdit mqtc/utrt, ord misctdt llti/P dukA/. L ' '
, --- 1
1
' ' I T
flYtf,r ltrttt' L Jrl/111 fit'ftr!..rlrrd , tflrdlttv itv t/Lmal
lllt'ltltlr!f rt//'dirlllttl" a11rl !Jt'tJr/. (!'Und, tlrJilt'
!Itt ?/-!/; r;/'. lkrcll 1!/(/li./