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■■ 
 
 
 The Relation of Hans Sachs 
 
 TO TH E 
 
 IDE C-A.3yCE I?.03Sr . 
 
 kS SHOWN IN AN EXAMINATION OF THE THIRTEEN SHROVETIDE PLAYS 
 
 DRAWN FROM THAT SOURCE. 
 
 A DISSKRTAXION 
 
 Submitted to the Philosophical Faoult7 of Johns Hopkins University 
 for the Degree of Doctor of Philosophy, 
 
 BY 
 
 Archibald MacMechan, Ph.D., 
 
 Munro Professor of English Language and Literature, Dafhousie University, 
 
 Halifax, Canada. 
 
 HALIFAX: 
 Nova Scotia Printing Company. 
 1889. 
 
 MarfVtUUh 
 Archibald 
 
~?- 
 
 M2. 
 
TO 
 
 DR. HENRY WOOD. 
 
 k /^/53V 
 
INTRODUCTION. 
 
 § 1. Classiflcation as to Source. — Accordinfj to the General 
 Index to Sachs' Works, preserved in the Town Archives of 
 Zwickau, he wrote ei«?hty-five Shrovetide Plays. These have 
 been edited for the first time, in a complete and separate form by 
 Edmund Goetze : SihnmtHrhe Fastiuichtspiele von Hans Hacks. 
 Neudvucke deuUcher Litteraiuriverh' dcs XVI. wtid XVII. 
 Jahrhunderts, Halle, 1880-1887, vols. 26/27, 31/82, 39/40, 
 42/43, 51/52, 00/61, 63/64. Of these eighty-five plays, four 
 have been lost, viz., No.s. 29, 33, 48, 55 ; the remaining eighty -one 
 may be classed in relat'on to their sources, as follows : 
 
 I. Those with ascertained sources. 
 
 II. Those in which the material has been otherwise 
 
 handled by Sachs. 
 
 III. Those for which no .sources, mediate or immediate 
 
 have been found. 
 
 ^ '2. Contents of each Division. — Under I. are comprehended, 
 Nos. J 6, 22, 23, 24, 26, 27, 31, 41, 42, 43, 44, 45, 46, 49, 50, 51, 
 63, 56, 58, 61, 62, 64, 71, 72, 73, 74, 77, 81, 83, 84, 85. 
 
 Under II.— Nos. 13, 14, 18, 19, 20, 25, 28, 30, 32, 35, 36, 37, 
 38, 39, 52, 54, 59, 60, 65, 66, 67, 68, 69, 70, 75, 76, 79, 80, 82. 
 
 Under III— Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 15, 17, 21, 
 40, 63, 78. 
 
 § 3. Furtlier Classification of Section I. — The plays in the first 
 division may be still further classified, according to the sources 
 from which they are drawn. In the following table and 
 throughout the Dissertation the Shrovetide Plays will be cited 
 by the numbers assigned to them, Neiidr. 2iSj-n , v, vi, vii, viii. 
 
6 
 
 (a.) Decamoron : 
 
 IX. 3 ^ j(. 
 
 VTII. 10 oq 
 
 rx. f) :.■.■;;::::.::::: 2n 
 
 X. 2 917 
 
 j^V^-^^ ■■■.■.■.•;;.■.::::::::; 41 
 
 "V^ 42 
 
 VO. (J AO 
 
 VJT. 5 4? 
 
 VII.4 ::;::::: 11 
 
 I. 6 „ 
 
 IX. 5 ..;;;.;;;■■ 62 
 
 IX. 4 uf 
 
 IX. 1 :;;;;:;::::;;::;: 'l 
 
 (b.) Pauli : Sdiimpf imd Ernst : 
 
 Anecdote 408 22 
 
 •^ 24 
 
 l'^4 50 
 
 ()4 
 
 41 83 
 
 r^'.y) Eulen.spieg-el : 
 
 Historie 7i^ ki 
 
 i^ 58 
 
 30 70 
 
 6(S .[....[..[.[ 77 
 
 (d.) Gesta Romanorum : 
 
 No. 129 Qi 
 
 .^; 5« 
 
 --" 61 
 
 (e. j Plutarcli's Lives : 
 
 Alexander 14 4^ 
 
 Solon ... ^ ' tj^ 
 
 73 
 
 (f.) Steinhowel's Aesop': 
 
 P'^31-83() .4 
 
 41-5''^ : 85 
 
 1 See Pauli, Schimpf u, Ernst, No. 646. 
 
 " See Pauli, No. 650. 
 
 8 Ed. Keller. Litterar. Verein in Stutt. vol. 51. 
 
§ 4. Plan of I)lHs«rtation.— Tlie plan at first ornltractMl sectiona 
 
 1. and II.; l»ut it soon became evident that the limits of nn 
 
 ordinary dissertation precluded such discussion, and it was 
 
 theiet'ort! necessary to ouiit all hut the Boecaccian plays, viz., 
 
 (I. (f,) the first thirteen. It is my intention to Iny each of these 
 
 plays in turn side l»y side with its source, and point out the 
 
 atn-eenients, diver^'encies and omissions, hoth in fact and 
 
 expression. The more important verhal corres])()ndences will be 
 
 arranged in parallel columns. Previous handlinrrs of the same 
 
 material will be considered, as forming an inttn-mediate step 
 
 between the Decameron and Sachs: and attention will be called 
 
 to any particular, however small, which may tend to elucidate 
 
 Sachs' dramatur<?ical methods. By so doinj.r, it is hoped to throw 
 
 light up(m the workings of the typical (lerman mind of the 
 
 Sixteenth Century and off'"r a small contriVaition to the history 
 
 of CJerman dramaturgy. The text and notes of Uoetze's edition 
 
 referred to (§ 1) have formed the basis for my woi-k, and in 
 
 treating the plays I shall adhere to the chronological ari-angement 
 
 which he has followed. The plays are taken up in t!ie order 
 
 indicated in § 3 (a), and reference is always made by the 
 
 numbers of that table. In general, the source is mentioned fir.st 
 
 and the date : then follows a synopsis of the source, an epitome 
 
 of the plot for the purposes of comparison, and the additions and 
 
 omissions with the probable reasons for such changes. The plan 
 
 varies with each play. When a special point has been fully dealt 
 
 with in an earlier play, it receives leHS notice in the later dramas. 
 
 The writer hopes thereby to avoid monotony, to secure proper 
 
 emphasis and to present the entire series somewhat as an 
 
 artistic whole. 
 
 I. 
 
 §6. Correction of Goetze No. JG. Der Schivnnfjer pmver : 
 
 Dated Nov. 25th, 1544. Goetze, by some oversight, omits to 
 state its source. He merely mentions the reprint by Keller, 
 9, 23-24 (B'M. Lit. Verein) and the Schwank on the same 
 subject Keller 5, 120-128. But in a note to the latter Keller 
 refers to the following passage in von der Hagen's Gi'mmmhihen- 
 teuern ii. Einl. x. : " Hans Sachs hat diesen St. of als Schwank 
 and 15U c^l^ Fastnachtspid r/lUcklich mid treu nach Boccaccio 
 hearbeiteit." The source is also stated in the note as Dec. ix. 3. 
 
Tndoed, it would seom from liis I'oforpnco to the ji1m)V»» passupr' 
 in lii.s notes to No. SO, vol. (I.S <)4 X., »ih if he thou^dit Dee. ix. .3 
 was tli«^ source of No. SO, whereas it is only remotely coinieet(!«l 
 with it. The Sehwank is untlated, hut from what is know!i of 
 Saehs' usual practice, it may be safely concliKled that the 
 Sehwank was wi-itten tii'st. In it thrtn; wa^s play a [»ractieal 
 joke upon their stingy companion. It cannot be .said to have 
 inHuenced the iilav to anv noticeable extent. 
 
 § «. SyiiopsiM of Dec. IX. 3. — The story of the xuniA.Shi n/iio. 
 p. oo-l-*, is brit'Hy thi.s. C'alandrin is left a legacy of a hundred 
 pounds, and resohes to buy lain! with it: his friends Burt'elmacho 
 and Bruno try to induce him to s(|uander ])art of his legacy on 
 them, but he is too stin^'^y to spend a farthin(,r With the 
 assistance of Nello, they persuade him that he is ill, and take 
 him home. The maid takes his " harm " to a [)hysiciai', who is 
 instructed by Bruno what to .say. 'i'he latter comes, feels 
 Calandrin's pulse, and tells him tiiat he is in a family way, at 
 which he nukes a i^i'eat outcry and blames his wife for his 
 misfortune. Simon savs that he can cui'e him, but it will l)e 
 costly ; the victim nfives the conspirators five j)oiuids and the 
 tloctor prescribes a little spiced wine: by di'inkinj^' this for 
 three days Jalandrin is cured. Meanwhile the rot^'ues have had 
 a treat witi his money. 
 
 § 7. Similar ideas found elsewliere. — The same idea is 
 contained in Nicklas v. Wyle, p. IS, 1. 17 ft". Bihl. Lift. Ver, 
 vol. 57, which reads " GornKciiis nni MuHiiixl nunnt >^ic/i, sdbH 
 scliirawjir sin luid forclit laiiy zyt (lh> f/ehurf vmh (his sin 
 hiisfniwi'cmis mdlK aiif J/i.m t/rlri/ft) iras. And in Gcstunmfah. 
 2. xxiv. die moidc imagines himself in the same condition for a 
 similar veason. There is no necessity for .supposing that either 
 of these influenced Sachs. 
 
 § 8. Synopsis of No. 1«. — The introduction to the ]>lay I'ecalls 
 the old pattern Fastnachtspiel : for the first ])easant wishes his 
 audience a good evening and tells his purpose in coming. This 
 
 ' Decameron von Heiiirioh Steinliowel, vol. 51 of Biblothek des Litt. Ver. in 
 Stufigart. Saclis undoubtedly drew on this text. His relationship to tlie 
 Ge'nian Decameron is not affected by the question wlicther or not Steinhowel 
 was the author of it. Dr. H. Wunderlicii's dissertation, Stoinhowel und das 
 Dekameron, reached me after my work was complete. 
 
 
X 
 
 9 
 
 JH eviilciitly a siirvival of th<> aiinounconieiit of the (lialojjiic by 
 the herald. The two, who vveie exj)OC'te(l, join tiie tiist actor ; 
 thtir joint |mr[)ose in to unite their icsourecs for a merry 
 ► jhrovetitle. IJrhan su^'^ests that they should ui'^^e Kai'<;as, who 
 has falliMi heir t<; some money, to join thrni. Kai'i^^as enters 
 1. 42; thry make their pi'ojiosal knt»wn to him; hf refuses 
 8urlily and exit. The three luiteh a ])lan to cheat him, which is 
 to be put into execution next moinine-. Immeiliately u|)(»n this 
 (without any interval elapsing'), Kai'<j,as a<^'ain ajipears, and eacli 
 in turn tells him h.ow ill he looks, till he is himself persuaded 
 that he can hardly stand. Urban f'oes for the doctor, who jx<'ts 
 his instructions oft' the .sta^^t^ ; the doctor [)ronounces Kar<,ras to 
 be with chiM.and prescribes for him. H*^ ])ays the fee williuffly, 
 and the |)hysician hajids the montiy over to Mei'ten, to l)e 
 expended in a feast. The ])atient is cured by a "chiirf," and on 
 his recovery effusively thanks his nei^dd)ours and the clever 
 iloctor. Simon, the physician, speaks the e])ilo^m(> and enforces 
 the three morals ; be generous, be jtrudent, choose the middle way. 
 
 § 9. Correspondences. — The main inci«lents of the ori^nnal 
 story are faithfully preserved. The stintjy man has inhei'ited 
 money, refuses to be free with it, is deluded into bt'lieving 
 himself with child, is cured by a drink, and pays for his cure. 
 Only the names of the characters are (ierman in.stead of It dian. 
 The more impoicant verbal corresj)ondences are thefolkn\ '.wg : — 
 
 Stfinhw. p. t)5^y, I. 4- 
 wie siclistu mich also an. 
 
 No. tH. I. lis-/!: 
 Dank dir ; (Jott gel) dir ein gut jar I 
 Ey, wiu sieh.stii niieli also an ? 
 p. 55S, I. (>. I. I'iO. 
 
 du pist nicht der den ich gester saclie. O dii bist nicht der gesti'ig man. 
 p. ,;.7.7, /. 10, IS. I- iss. 
 
 Nello saget niir — — traun ia du Du sichst sani seyatu halber todt. 
 magst gai' wol was haben, dann du 
 diinckcst mich halber tod sein, 
 
 p. 555, L 16. I. 1^5-1. 
 
 Nello saget mir iozund wie ich aller ITrban hat mir anch erst erzelt 
 in nieinem anplicke verkert were. Wie icli mich hab so gar enstellt. 
 
 Nun ist mir je so gar nicht whe. 
 p. 555, I. 23. I- I4t^- 
 
 Was krankheit ist dich so gachling Was kranelieit hat dioh angestossen 
 angestossen das du also vngestalt bist. So gehling ': 
 
 /. 144- 
 Du bist entstellet vberal. 
 
10 
 
 iM' 
 
 § 10. structure of No. 16 in Detail.— Althon^u it is not so 
 indicated in the text, this play divides itself into three scenes : 
 I, the plot (11. I -111), II., the deception (11. 112-264), III., the 
 -iure (11. 2(j4-end). The last two are to a large extent made 
 ready to his hand, but the first is of Sach.s' own construction. 
 It is necessary to furnisli a motive for the piece. How does 
 Sachs accomplish this ' He works from the hint Sreinhw. p. 
 554,1. 82, " (l()rh so v'rmunen nye waren nock in d<irznprin<ien 
 nwchten das er in nur ein candel ■weins do von bezalf kef, Hich 
 des von im Iddgfen," and from it forms tiie openinf? scene down 
 to 1. 90. The three peasants ai-e not introduced all at once : that 
 would be too clumsy, but the device of a previous appoint- 
 ment is used, to olwiate any sui^.h difficulty. The olyect of the 
 peasants in meetintr is to unite their funds for carnival week. 
 Karfjas has a lefracy, and to help tht.m would be a neighl)Ourly 
 thing to do. This ol)ject would be much more intelligible 
 to a Gei-man audience than the motive of the Italian story, 
 which is to persuade a rich fool to spend his money in junketing 
 instead of undertaking: larofe contracts which he cannot fulfil. 
 Nothing is said of Kargas' desire to purchase lands ; it would be 
 aside from the story. F rom Merten's speech, I. 20, we are led to 
 expect the niggartl's refusal, which is prompt and unmistakable. 
 When he goes out, they plot their revenge, which is one man's 
 plan, as in Bt^ccaccio, and is merely to make him believe that he 
 is ill. In Sachs, as in the Decameron, it is the ])hys'iCian who 
 reveals the desj^erate nature of his malady. It is to be noted 
 that Sachs makes one ".areless l)lunder. Hans says, 1. 93 : 
 
 " Icli rieth das wir Drey alle sander 
 Monjeji frit kemeii," 
 
 while in the very next speech Urban says, 1. IIH : 
 
 "Schaw ! dort geht gleicl. der Kai-gas r.-.uaz." 
 
 This is unusual, and arose probably from a recollection of 
 Sfeiidiw. p. 554, I. 87 : " vnd den ncchsfen iacf durnach warten 
 dxis Cahindrin, &c." 
 
 § 11. Omission of the Obscene. — From this on, the situations 
 are more like tho.se of the novel. Sachs, however, makes one 
 important and characteristic omission. Calandrin says, Stcinhw. 
 p. 556, I. 15 : ■' Aive mir Tessa davza. prln</est da mirli, du hasf 
 
11 
 
 
 i : 
 
 ^ 
 
 mw* das c/ethon vnd hast allwi'f/en oheii ligcn wollev." Tessa is 
 not introduced into the play at all, V)ut 1. 199 Kargas says : 
 " An drill ist 'liar schuldiy inein Weib," and, withoviu further 
 defining his woe, goes on to speak of other matters. The 
 obscene remark is repeated with variations, l:<t('ivh'W. p. 566, 11. 30 
 and 88, and this is the point of the Italian nuvel. But in Sachs' 
 l>hiy it IS the ridiculous situation of a pei-fectly sound man 
 brought to believe that he is ill, a German Malade Imafji/naire. 
 
 ^ 12. Kargas' Mental Pn,c'es8e». — The mental ]n()cesses by 
 which Kargas deceives himself in thinking himself ill and then 
 restored to health, are very skilfully depicted and show Sachs to 
 great advantage over his original. Only those points will be 
 noticed in wdiich he differs from Boccaccio. Urban pretends 
 1. 121-2, to notice a change in colour, an alarming symptom. 
 Kargas takes this up, " Bin irh so hleich .? &c" Urban again 
 refers to his coloui- 1. TicS : " Dn hist sehr Wissel farb vvd gelb." 
 Above 1. 125 Kai-gas has already fancied himself unwell : now 
 left to himself, his suspicions are arousad, 1. 129; "Was 
 kranckheit ■tiuisz ich inich basoiyen .'" Next Merten greets him, 
 and is startled into exclaiming, 1. 181 : " Kargas sag ! iras 
 felt dir hie f Still the dupe's good sense struggles against the 
 illusion, for he says, 1. 187 : " Nan ist mir ye so gar riicht a-he," 
 (§ 9). V/hereupon Merten retorts capitally, 1. 188 ff. : 
 
 " Mein Kargas, <lu mich recht verstht ! 
 Deiii Wlietag ist so gross da innen, 
 Das (111 sein setbs niclit tluist entpfinneii." 
 
 Hans now enter:^ and remarks his changed colour and peaked 
 look, and when he goes to help him, notices the very unpleasant 
 symptom of a bad breath, 1. 150. Kargas then feels very ill, 
 1. 152, stage-direction: "Kargas grcifft an die Brust" and 
 complains, 1. 152 If. He cannot stand, so +hey seat him in a 
 chair, h 157: he describes his symptoms 11. 1()8, 164, 167, and 
 laments the lost blessings of health 11. 170, 248. Simon the 
 physician comes, and Kargas' first speech, 11. 176-184, shows that 
 the illusion has become complete. Simon does not tell him at 
 once what his malady is, but leads up to it, 11. 189-191. Kargas' 
 comic lamentation follows, upon hi.s embarrassing condition. 
 The last })art, touching the practical difficulties, 1. 207 ff'., is all 
 
12 
 
 Sachs' own, as well as the speecli 11. 239-245. The counter- 
 scene to this, his recovery, 1. 2(55 to the epilogue 1. 298, is all 
 expanded from the sentence ; Sfcinlnu. p. 557: 1. 25-p. 558, 1. 1. 
 The physician's speech alone is pven in the source. In a word, 
 Sachs has made the freest use of the Boccaccian idea changing 
 the whole complexion of it, and adaptinfj^ it in no unskilful way 
 to the re(|uirements of his own nature and his audience. 
 
 I 18. Comparison of Nos. 16 and 80. — The principal additions 
 need no further explicit references. It i-emains only to compare 
 this play with a later one of similar contents, viz., No. 80, De7' 
 schivanger pavr mit dent fuel. This is in no sense of the word 
 a development from No. 10, and is not derived from the 
 Decameron. It is the dramatization of another tale, probably 
 the source of the 24th poem, vol. 11. v. d. Hat^en's Gesaymntah. 
 On comparison, the sinj^le case of borrowinjif was found to l)e in 
 the peasant's comic lamentation. This is in accordance with 
 Sachs' usual practice, viz., to transfer lines which pleased him 
 from the earlier to the later work. The following correspond 
 exactly : 
 
 No. 16, 1. 208 No. 80, 1. 254 
 
 205 258 
 
 211 257 
 
 199 260 
 
 200 262 
 
 219-221 2(13-265 
 
 The point in No. 80 is also a man's imagininej himself to be 
 pregnant. But the joke is on the Jew (juack who diagnoses 
 from the mare's " harm " instead of the man's. The play is 
 more broadly humorous than No. 16, and much better constructed. 
 It is remarkable for the Juggling trick, 1. 233 .stage-direction ; 
 the porti'ayal of the petulant sick man, 1. 22 \\.. and for tlie 
 closing line, ''Bit s((m])f sfin :-ipHewfpn Havfi >SVr/i.s, ' which 
 would go to show that Sachs acted in his OAvn plays ; rf. Hans 
 Sachs Werke, ed Arnold. Deiit. Naf. Lit., vol. ?il, ix. 
 
 § 14. Signiflcanoe of No. 16 in Sachs' Development.— If Goetze's 
 
 chronology is correct.^ this play marks a turning-point in Sachs' 
 career. Taken in the series, it is the first wKich attempts to 
 
 1 Cf. Scherer, Geschichte der Deutschen Literatur. 3te Aufll. Berlin, 1885, 
 p. 749. 
 
13 
 
 represent a story with any degree of coinijlieation in the plot, 
 and with decided action and reaction of character iii)on cluiracter. 
 Those which went Itefore are mere dialof(iies of carnival 
 mummers differing chietiy from those of Keller's great collection 
 in the avoidance of tiie ohscene, in better literary workmanship, 
 and in their moral purpose. But No. l() fixes the date of a new 
 period in Sachs' development. From this time the progress 
 towards a concentrated, one-act farce, is steady and unmistakable. 
 Especially after the building of tlie Spielhaus in 1550, this 
 development was very rapid, till the result was a short play with 
 a strictly limited luimber of actors, whicli {)resented a closer 
 resemblance to the modern French vaudeville than to any other 
 species of composition for the stage. T am not aware that 
 attention has been specially called to this precedence of Germany 
 over England and the rest of Europe in the evolution of the drama. 
 In the four years following the erection of the theatre by the 
 Mastersingers, Sachs produced 41 or nearly half the total number 
 of Shrovetide Plays. Many of tliem have an alisolute literary 
 value. They are written for a stage, the reference to the parlor 
 audience is dropped, and the prologue and epilogue are in most 
 cases omitted. Some show an advance towards the coin^die 
 larmoyante,notivei\h\y No. 43, § Gl. The wonder is that when 
 Sachs came so near to the threshold of the Shakespearian drama, 
 he did not take the single further necessary step. 
 
 § 15. Mise-en-scene of No. 16. — The stage -directions of No. 16 
 claim our attention. There is seen in them an attempt to produce 
 a life-like impression. Kargas suits the action to tlie word 
 1. 152; he complains of pains in the chest; stage-direction: 
 " Karcjas ijrelff't an <lie Brufif, (fe." When he feels too vveak to 
 stand, 1. 157 : " Sie furcn vnd setzen jn auff ein Scssd vicder." 
 Just before, 1. 150, " H((i)k nimhf jn, <IV.," on his complaining of 
 faintness. This is evidently meant tv) give occasion for stage 
 '' business." The " harinylas " is introduced for realistic etfect, 
 1. 185 : " Der Artzf hc-^cliawe.t den Prunnen, &c." In other ways 
 he acts as a physician should ; !. 1JS9. " Ber Artzt befireifft den 
 Fidsn, (t'c." cf. 1. 273. To express his grief Kargas is made to 
 use a characteristic gesture, 1. 196: "Der Kranek siMecJd min 
 Hend oh dem Kopff' zasam, (tr." Scene III., 1. 265, begins with 
 
hi 
 
 14 
 
 a comic entrance " Der Kravck(/pht ein an eim Stecken. Merfen 
 der hrinfif jm dm Traiirk." The cure takes place before the 
 eyes oi' the audience, 1. 2(59 : " Der Knnirk trinrld, d-c," 1. 281, 
 "Der Kraaeh sfeht cuf, brut dem urtzt die hand, &c." cf. 1. 293, 
 sta^'e-direction. These hist two denote his effusi\'e joy. 
 
 § 10. Asides in No. 16. — Thei"e are two passages which would 
 seem to l)e asides. Wliile there is no notice of Urban having left 
 the stage, Kargas, 1. 129 : " K((r(/<(f< <jeht, redt mit jm Selbs" : 
 
 " Was kranckheit musz ich mich l)esorgen ?" 
 
 He evidently moves apart, but s])eaks so as to be heard. Also 
 the physician's speech, 1. 249-264, is spoken in the presence of 
 the victim, is not intended for his ears, and is preceded 1. 246, 
 by the physician's moving to one side. 
 
 II. 
 
 § 17. Source of No. 23 — No. 23: '•Nicola drr juiu/ hiaf- 
 mon, dated Oct. lOth, 1<S50. (Joetze gives the .source Netul, 
 31/82, xi. : " Den Stof hut dem Dlchter der acJden tagreifse in 
 Boccace io.s Decameron. " 
 
 § 18. Contents of Dee. Till. 10 — The contents of Dec. VIII. 
 10 are briefly as follows. A young merchant in Palermo falls 
 into the toils of a courtesan named Sophia, wlio passes herself otf 
 as a h^ly of (juality. She entra])s him into lending her a large 
 sum of money, and then cuts all connection with liim. He feigns 
 to go on a journey, and comes back Avith worthless bales and 
 oil-jars tilled with watei- ; on the strength of these he gets his 
 money back from Sophia, and then leaves her. 
 
 ?j 19. Sequence of Incident in No. 23. — Tlie play begins with 
 a solikxjuy by Nicola on his foi-tunate trading in Palermo and his 
 success with a noble lady. He has just sold liis wares, and is 
 going to see hei\ His old friend Channiano warns him affiiinst 
 hei'in vain. Both go off. Sophia then comes on with her maid, 
 and disj)lays her real character. She says of her lovers, 11. 65 ff. : 
 
 " Ks ist inir ciner wic der ander, 
 Icli lial) keiii lieh jr allesander, 
 Demi ao weit jeder gelt ausz geit. " 
 
15 
 
 t 
 
 I 
 
 The niai*] goes out to make some purchases; Nicola enters 
 and finds Sophia sad ; her Vu-oilier is lield a captive at Messana, 
 and must 'le ransomed. He lends her half the sum required. 
 In the next scene he is turned from lier door l)y the servant. 
 Tlien the old friend advises him to fill his hales Avith straw and 
 his 6?I-iais with water, and enter them in the custom-house. A 
 short scene is then given to S()])hia. in which she shows how 
 liard and calculating she is, and exit. Nicoln makes a short 
 speech hoj)ing for tlie success of his plan, and Sophia antl her 
 maid re-appear ; the latter has discoveied Nicola's supposed 
 we;dth and informed her mistress. Nicola enters, they become 
 friends again, and the scene ends with an invitation to sup. An 
 interval elapses between this and the next scene. Enter the 
 maid, then Nicola, who sends her in haste for her misti'ess ; he 
 te'ls the latter the pirates have taken his wares on the high seas, 
 and he must have money to redeem them ; she gives liim the 
 money and takes his written acknowledgment for the amount. 
 In the next scene Nicola has left the city, and Sophia discovers 
 that she has been tricked. The good old friend speaks the 
 epilogue, and warns against false love and false w(mien. 
 
 8 20. Further Agroeinent in Detail. — Besides adhering to the 
 main outlines of the novel, Sachs' plays shows correspondences 
 with the Decameron in such details as the pi-oper names and the 
 story about Sophia's brotlier ; in both it is her l)i-otlier who is a 
 prisoner at Messana, his ransom is set at 1,0(K) gulden, and she 
 has only one-half that aujount, 11. 95-103. She has the same 
 excuse for not paying him, namely, that he went away too 
 hastily, 11. 248-245. 
 
 §21. Analysis of Introduction. — In turning any t:ile into a 
 drama, many of the events in the narrative must be ]-elated l)y 
 the actors; everything cannot be represented on the stage, and 
 yet every situation nmst be accounted for. ]n accordance with 
 this, Nicola's opening speech, 11. 1-20, is a condensation of the 
 larger part of the novel ; he is introduced just at the end of his 
 stay in Palermo, when the main action begins. The warning of 
 the old friend follows naturally. This is not found in Boccacci.). 
 Nor is the following scene between Sophia and her maid, which 
 
II 
 
 16 
 
 is introduced for the purpose of showing Sopliia in lier true 
 coloui'H, in her character of a mercenary coiu'tesan. This is a 
 standiii<( device with Sachs. Where Boccaccio says that a 
 charactei" is fooHsh, or false, or licentious, Sachs ro})resents it as 
 actiiiff and speaking' foolishly, or falsely, or licentiously. Usually 
 he makes the character betray itself uncon.sciously, as when 
 Sophia says, I ()5 f. : 
 
 " Es est mil- eiiier wie der aiider, 
 loh hill) koin lieb jr allersander. " 
 
 Another device, which he uses in coniuKm with other 
 dramatists, is to let tnie character outline another by expressing 
 an opinion on it. Nicola is represented as a weak uxurious fool, 
 and the maid speaks of him, 1. 121 : " JJcr jatu/en ehifeltigen 
 gaach," 1. 184, "dcrjainj hq)," cf. 1. 141. 
 
 § 22. Additions to No. 23. — Again, in the way of amplifica- 
 tion, Sachs has constructed a whole additional scene from a slight 
 hint in Boccaccio. This is also a standing device with him, 
 (§ § 10, 8<S). Boccaccio, says Sfeiiihw. p. 548, 1. 7, " vnd do sy 
 Ntv/i ((/.so hefrogeii fand l<iiH/e zeit mit tceiiien vnd kUufen ire 
 tcuje vertrieb." Sachs, 11. 884-874, has worked on this hint in 
 tliis way. The maid enters and tells how her mi.stress has lent 
 Nicola the monc^y, and fears for her that some time she will 
 " meet a goat instead of a sheep," and he punished for her 
 knavery. Then, " Sophi(i kumht (felqfen." What shall she do? 
 the young villian has fled, the bales and jars at the custom-liouse 
 are fraudulent: she is ahiKj.st out of her senses. The maid tries 
 to console her by saying that perhaps he will return. " Sophia 
 redt weinemli." No ? she has been at the inn, and he has left, 
 never to retui-n. The maid cui'ses him coarsely, and wonders 
 who would have expected that from him. " Sophia spricht 
 weinendf ;" she has lost at one stroke what had cost her so much 
 pains. The maid tries to comfort her by reminding her how she 
 had deceived him, and Sophia rages in billijigsgate : " Sophia 
 spricht zornig." 1. 885 ft. she says : 
 
 " Ich gel) dir schier ein guts ins goschen, 
 Du vnflat, wolst erst spotten mein, 
 tJeh baldt in die kuchen hinein ." 
 
 
 ii 
 
17 
 
 § 28. Omission of Obscenity. — Quito as impoitant us Saclis' 
 additions are his oinissions. A lar^e })art of +he Italian novel is 
 devoted to a (^floating >lescription of the seductive arts by which 
 Sophia entraps Nicola, such as theii* l)ein£( l)athed and V>e(kled 
 toirether. This is left out entirely hv Sachs, hoth because it 
 forms no part of the main acticni, hut only p)epares for it, and 
 because lie has an innate repugnance to inrlccency. Moreover, 
 liis a^'owed purpose was to i-eform tht; licentious })lay of the 
 time. He is consistent with himself in this )'espect thi'ou^djout 
 all these plays. This has been noticed already, (§ 11.) At 
 thv same time sufficient hints are ^iven of w'hat has gone 
 before to leave no doubt as to the situation. It was Sophia's 
 plan by the magnificent dis}»lay (Strinhw, p. 5'J4, 1. 24 fi'.) 
 referred to, to make Nicola think she was a lady of rank. Sachs 
 hints at chis, 1. 7 fi". : 
 
 " Eiii Edle Frawen, schon vik! zait, 
 Die mioli guiitz lioldtseliger art 
 Lie!) hat vud pflegt freundlicher weyss 
 Mit gesohenck, kostlich tranck vnd spayss. " 
 
 And again where Sophia directs her maid, 1. 51, to buy 
 
 — " Vorheii vnd Ksch 
 
 Vfigel vnd ander gut genescli 
 Vnd rioht vns zu ein kostlich mal." 
 
 And again, when Cliangiano warns him, Nicola retorts, 1. 'V2 ff, : 
 
 " O, ich gil) Jr ni,:htH, sic giht niir, 
 Hie liat niir diesen ring gesehenoket, 
 Diss ketlein mif an hals geliencket ; 
 loh hab sie aucii wollen 1)egal)en, 
 Hat nie nichts xon niir wiJUen haben," 
 
 It is only necessary to glance at Keller's collection to see 
 how ui-gently a reform was needed in the Shrovetide play. 
 
 § 24. Contrasts in No. 2y. — Sachs also evinces a strong desire 
 for contrasted and parallel scenes, which is essentially dramatic. 
 First Nicola is deceived and then Sophia : each is in turn dupe 
 and knave. The stage-directions show^ similarity of situation, 
 1. cS5 : " Sophid i^etzf sirh irawruj iiido' ; Xicola kumht vnd 
 f^priekt:' Then 1. 278: " >S'/V^ (the maid) laulf't, er sefzf sick 
 tr<(wri(/. Die Sophia kwitihi, &c." As an instance of desire to 
 
1« 
 
 hein^htoii otibct, the scene l)etween S()])hia and lier maid 
 (11. \U:\ 2:iN) is hrou^dit in. It has no place in Boccaccio. In 
 this scene S()])liia shows herself sconifnl towards her absent lover 
 and inti-i^^uin^' a^^jainst him : her sei'vant is more compassionate 
 on account of his ^ifts to her, 1. I!)!). So{)hia shows her desi<rnin^' 
 character so plainly that she excites no sympathy when she is in 
 turn deceived. The same tendency may be noticed in No. 87. 
 Dcr fii/ii'f'udi SchiUer rtiit dem Teufdhanven, 11. 70-105, where 
 the parson is unnecessarily severe upon the beggar student, and 
 is afterwai"<ls humiliated and tricked hy him. 
 
 § 26. Mise-en-scene of No. 23. — The stage-directions do not 
 reipiire particular notice in this play : the most important have 
 already been given. They refer entirely to the expression of 
 emotion in the speaker: " Sop/i'xi Hctzt ftich travjri;/ nidcr," 1. 85; 
 when Nicola is refused admittance : " Er kratzt sick ini hopff, (jchf 
 ah," 1. 141 ; in his des[)air, " Nleoln schlccht sein haiidf zain,c^c." 
 1. 155: when Sophia has made up her mind to cheat him further, 
 " 8oph la viabfeeht jkiv^ih-." 1. 23f): and the maid rmis ()ff(l. 277,) 
 •' kU' lanff " to show her haste to obey Nicola's orders. 
 
 § 26. Aside in No. 23. — There is one speech also like an 
 aside, viz., 11. 208-9, where Sophia has invited Nicola to sup. 
 Even if the two preceding lines refer to the supper, the last 
 two are clearly not meant for her ear : 
 
 " Kanst du den achalck iioch so wol treiben 
 Ich wil dir ein boasen reiben. " 
 
 Sophia may have left the stage: cf. § 10. 
 
 § 27. General ('riticisni of No. 23. — What seems to have 
 influenced Sachs in the selection of this })lot are the shifting 
 changes in the relations of the pers(mages to one another, Nicola 
 first rejecting Changiano's advice, then seeking it in his misfor- 
 tune, Sophia tirst cheating her lover out of his money, and being 
 in turn cheated by him ; each in a state of alternate exaltation 
 and depressi(m. There is not much attempt at character-drawing, 
 for, as Lessing points out, this is not necessary in the comedy, 
 where the situation is everything. Changiano is the typical 
 wise friend (cf. Nos. 5, 14, 81) who does not become annoyed 
 
 
an 
 
 19 
 
 because the youn<j;st<>i' will not follow liis advice, l>ut holds 
 hinis«Ot' in rcailincss to liclj) him in liis extremity. Nicola is the 
 foolish lover. 1. Ho If. Sachs shows this in the maid's speech, 
 
 I. 202 f. : 
 
 " wio selinlic'li vnd kleiii er sauli, 
 
 Wuiin ii^h jin sagt, jr wert nicht da." 
 
 He is thoroughly contemptible in })oth Sachs and Boccaccio. 
 The character most elaborated is timt of Sophia. She is the 
 typical harlot, p'eedy, hypocritical, coar.se. One lovei' is as ^ood 
 as another, if he only has the money, 1. (55 : she will not only 
 pluck her pit^eon, 1. S but cut his win<(s. Aftei" boastinjyr liow 
 she has pillatj^ed him, 1. 194, she finds out that he has wares at 
 the custom-house : then she embraces him, 1. 240, and greets him 
 f(mdly. She is keen enough to ^et (l.CJ27)a " schiildf ftricjfici n " 
 for the money she ^ives him, thou^'h he had none from her, 
 1. 130. Her coarseness asserts itself in hei" final outbreak upon 
 her maid, 1. 3(55 f. Sachs also prepares here, as elsewhere (§ 10) 
 for what is to come. Nicola is warned in vain. When lie tells 
 Sophia of his ^oods in the " zollh<ni.s" he refers to othei- w^ares 
 on their way to him, (1. 257) so 1. 282 comes in naturally. His 
 fiction is better calculated to deceive than hers, on account of 
 this preparation. Again, in the final scene, (1. 884 W.) the maid 
 has premonitions of what may happen, and expresses them 
 before hei' mistr(!ss appears upon the stage. 
 
 § 28. Correspondences. — In this play there is very little dia- 
 logue transferred from the source. The sense is taken, i-ather 
 than the actual words. 
 
 Stf.inhoii-d, p. 5.17, I. 4. No. 23, I. 95 f. 
 
 Ich hah in diser stuiide von Mis.sina Ich hab erst diesen brieff empfangen, 
 
 von meinem priulcr brieffe geiial)t, der Mein lieber Bruder ligt gefangen 
 
 mir zewissen tlmt niich pitgepoiit vnd Zu Missana biss in den todt. 
 
 Bchafft das ich ini sohicke solt ich Wenn ich nit tausendt guhlen rot 
 
 verkanffen vnd verseczen alles das ich Im Schick zu liisen in acht tagen. 
 
 habc, inerliall)e acht tagen taussent So wirt man jm den Kopif abschlagen. 
 ducatenn anders or sterben niiisz vnd 
 im sein haid)t abge.slagen werd. 
 
 Steinhw, p. 5.37. L !■'!. No. 2n, I. 101 f. 
 
 Aber in solchor kurczer zeit nit Nun kan ich in so kurtzen dingen 
 
 miiglich ist die zu ha})en noch ein zu So vielgeltesgar nitauff bringen, 
 pringen. 
 
20 
 
 st.hihw, p. r.'tU I .?4f. 
 
 (ler kaufiiiaiiscliacz der icli wivrtet die 
 iut iiiit' von (It'll coi'salt! gi'iioiiHMi woi'dni 
 vud die wider ze liahen triit iiiieh an 
 zubezalen v iind die wider zeliJHeii taUMeiit 
 giildin in goldu. 
 
 Sfeiiihw, p. 541, I. 27. 
 danndiefiiiifliiuidert guldiii di<Mrniir 
 galiet ioh auf diesellien -tuiidf gen 
 Napeltt Hcliieket leinwat zekauHen. 
 
 No. S.1, I. SSI Jf. 
 O schiJnH Lieh, ch Hindt iKise iiiehr 
 FIcr von dfn Meurnuil)orn gekuniineii, 
 I>ie lia))eu all nieiu waiir genuninien 
 \'nd ieli hoI nie von diescn Inison 
 NN'ol vnib taiiHeiidt gold giilden loHen. 
 
 Xo. mS, I. '.'Ulf. 
 W'iinn die fiintl'lmndert giilden gahr 
 Hall ieli genehieket vnil) Leinwadt. 
 
 iir. 
 
 § 29. Source of No. 2(5. — Xo. -Jl). D'>c zurn jmiyrr mit 
 *Sc/i(ny/(>, (lak'd Nov. 2!>, 1H5(). (iot't/c j^'ives the source in his 
 notes Ncadr. 42/4li xxi. : " fni/c ir/i </h'lc/i /licr noch zwei 
 Qiu'lten bei, die Ich ernt n<i('ltfrti<iH('/i t/f'jiui(h'ii. Dicjcriii/e zara 
 Mi. FantiKichtsipielc ro^i Jo.srf ti ml Mrlis.so isf dn.s DcraiiKWon 
 9, 9." But he nowhere mentions tlie source of tlie intei'niezzo 
 11. I2:i-180 and 11. l})5-24(). [ sliull first consider the source of 
 this intermezzo. 
 
 § 30. Source of the Intermezzo. — \^)n der Ha^cn in Dentsehe 
 Gedlchfr ilcf^ Miff('ltilfers: Berlin. hSOiS; SidoDion and Morolf; 
 Eiid XV. .says: " Behuoi nter f<i ikI ddiici/rn zirri <iiif d'n'>ie Fahel 
 ivahrsrlieialic/t (inch mu-h di-r Ih'niscin'ii Uchersetzniin gciiaii 
 filch hezlchende LuMfspiclc ilcs I[<iiik S<ic/i.s," and ,^ives a brief 
 analysis of this Slu'ovetide play and " das Jtidiflirnt S<(!(nn<>nlf^," 
 written Marcli (Jth. of the same yeai', M'^EO. No. 2(1 is also 
 printed, Keller -(}oetze 14, p. 124 11! The foot-note is as follows: 
 " Da.s sfurlc heru/irt sick zunt f licit in if dcru Hait^ Folz ziufcs- 
 nchriehenoi in dcD f((sf luicjiispirh'ii ditsdciii /'> Jahr/ni ndcnf, 
 .V. ,5';!^ ein .'<pil n n htiiiij Saloinoii lOidMarkoIfo," This I 
 consider misleading, for two reasons : fir.st, hecause a detailed 
 examination t)f the twi) plays shows only such af;;reement as 
 would result from the use of the same .source ; and secondly 
 l)ecause no n-ention is made of the play from which wdiole lines 
 are taken bodily into No. 2(5, namely dan Jiiditium Sidomonls 
 referred to above; cf. No. 26, 11. 203-214, and Keller, vol. H, 
 p. 12(), 1. 80 — p. 127, 1. 15, Avhere the speeches have been 
 transferred word for word from the earlier play to the later. 
 
 ^^Essmmmmmmj 
 
21 
 
 For similar pmctieo, cf. § i:i ; cf. also No. 20 11., 217-222, and 
 Keller (5, p. 127. 11. l()-22 : also No. 2(1 11. 22.V227, and ?7;. p. 
 
 127, 1. 31 p. 12K i. 4. The iinint'diato source of Jtidlfivm 
 
 SaloiHoi) i.^inUHt have lieen either the Latin ori^nnal or one of the 
 ])rose translations mentioned hy v. <1. Haj,'en l)t>ut. (Jedichte, xiv. 
 note 17, and the same author's Ndvrciihurh, Halle, IMII, p. 503. 
 None of these translations have been accessible, hut a com pari.scm 
 between No. 2() and the Navvcnhoch shows the following' 
 correspondence.s. This ynvrcvhiich is a mordernization of the 
 chapbooks referred to above : in re^nird to its exactness, v. d. 
 Hajren says, p. 513: '' Dorh isf das crstr and H(ni/)f (it'spvirh 
 v^flrlif.s (ivch hicr inii iiicisfcit duvrh Ziisiifze vvd AiinhtssiiufffV 
 nhurichf fast vnvpviivdcrf (/fhru'lin)." Cf. Kemble, Solomon 
 and Saturnus, London, 1H4S, p. 134. the Latin version. It is 
 from this first dialogue that almost all the speeches are taken. 
 Besides Solomon's .^renealofcy and Marcolf's burh^sipK; on it. 
 which follows the Latin closely, other passages agree, viz. : 
 
 .Vo. 2<>, I. 126 ff. 
 Sag vor, von welohein gschleoht (l\i 
 
 bist, 
 Ala denn wil ich dir auch bekennen, 
 Mich sanibt ineinem gesohleeht hei- 
 nennen. 
 
 ih. I. 157 f. 
 Gott hat mir geben solch VVeyszheyt 
 Fiir all anft" ei'<lt zu inehier zeyt. 
 
 ih. I 219. 
 
 Narrivhnrh, )>. '^W. 
 .Sage una zuvnr das ( Je.schleolit deiner 
 Vater vnd Vorfahrcnden, so wil ich dir 
 auoh sagen von unsern ( leHohleohten. 
 
 U>. p. 2-21. 
 Cott hat nieinem Munde Weisheit 
 gegeben dasz keiner mir gleich ist in 
 alien Laudern auf Erden. 
 
 ih. p. 2,54. 
 Denn ein jeder wird geboren von den 
 
 Bist nit auch von einer P'rawen geborn ? Frawen. 
 
 ih. p. 254, hoffom. 
 aie regieret das Hans und ist sorgfal- 
 
 ih. I. 22s. 
 Vnd thut init fleisz jr Hausz erhalteu 
 
 ih. I. 224. f. 
 Ein Fraw die ist ein trost der alten 
 Vnd dbi- jungen ein siissigkeyt. 
 
 ih. I. 22(> f. 
 Wer ohn Frawen Icbt diese zeyt 
 Der ist auff Erdt lebendig todt. 
 
 ib. I. 229. 
 Oder du must an ein Bauin hencken. 
 
 tig iini ihren Mann und um ihr Haus 
 
 gesinde. 
 
 ih. p. 255, top. 
 
 eine Siissigkeit der jungen, ein trost 
 der alten. 
 
 ih. p. 254. 
 
 Furwahr, der ist wohl todt der Welt, 
 der ist gesondert von den Franen. 
 
 ih. p. 
 Da ward Konig Salomon beschamet 
 und liesz ihn fahen und hiesz ihn henken 
 an einen Baum. 
 
•>•> 
 
 There in a corrcHpoiwli'iit'c in the j^'t'iiralo^'it's, Imt in the 
 N((rrmhurh, Solomon's uiiccsti'v is take fi f'r<»iii Mutt. I., I H!, 
 while Siiclis ski|)S from tin- |)iiti'iiii"<'hs to Sohmioii's immrdiiitf 
 jiikI famous forefathers, ami so pointless it-petition is avoided. 
 
 ^ 81. SjiiopNis of Moiiri'P. — The maiti plot is tak«'n from the 
 novel, as stated aliove. The storv in luief is this : two men 
 from different cities meet at an inn, and h'arn eaeh oth«a*'s 
 liist(ti'v ; .losei)h is "roirif to Solomon t<t find out how to cure' his 
 wifes shrewishness, and Melisso to tin<l out how to win love. 
 The kin^' tells .h)seph curtly: "(io to the (ioosebi'ld^e " and 
 Melisso " fjKve I" The\" return and find a m:tn liejitirii; a nude on 
 the (Jooselirid^nv .Joseph sees the a|tplication, invites his frien<l 
 home to his house, and tames the shrew hefore tlu' company. 
 
 ^ 32. CurrospondenopN with St( i huwol. — ^ With Sachs, tluMuain 
 
 incidents are retained — the ei-rand of the two to Solomon, the 
 
 curt answers, and the moi'al of wifelv suhiection. The corres- 
 
 pondences in dialo<;ue are tlu; followiuif: 
 
 Stfiii/ar, p. ,57.'/, /. ;>';. Xn. C'fl, I. 74 /■ 
 
 ictli bin iun^ viul loich gilt diis nuin Dii hist docli ju eiii junger Man, 
 
 luiss ill wolUihon inesseii vnnd triiiokt!ii. (Jesimilt von Ley!) vnd reycli ahn gut. 
 inein purger czeei-en, 
 
 ii>. 1. 77 jr. 
 
 Wiewol ich grosse reichtunih lial) : 
 (icsiindtlicit, Hi'liiiu viul ander gab, 
 Hill fridtHiini, t'iiige/ogon \iid stil, 
 ih. r,SO, I. 1. ih. l. Sn ff. 
 
 Null nyiiiet niicli frcnid lu-i alU'iii .Ifdmli niein nieniandt achten wil, 
 deni da/, icli ill fieiiiitscliaft tu das icli Dcrlieli vnd freimdtschafft /u mir sucht 
 nyeinaiid tiiick' di« iiiir wol w'ille iiocli Oder /ii iiiir hot soiii zufliaht. 
 niioh iiiit troueii iiieyne, Des hdi icIi glcioli alliie auf Erdt 
 
 V'eriiast, vnachtsam vnd vnwerdt, 
 Man lest inich gelin gleiuh wie ich geh. 
 .Meinst iiit-iit, das dii inir heiniliuh weh, 
 Das sicli jodcrniaii vor mir soheuoht, 
 Mein lieb, freiuulschafft vnd gselsohatft 
 
 Houcht, 
 Muss eiiisaiii bleiben frii vnd spadt ? 
 Stfivhv', p. 580, I. 10. ih. I. 191 f. 
 
 dem Salomon keyii ander antwurt So geh du bin auff die (ienszbrucken, 
 gab, dann gee an die ganss bnigen, Da lehr die kunst in alien stucken. 
 
 ih. p. 5m), I. 7. ih. I. *49. 
 
 dem Salomon kurcz antwurt vnnd Fach an, \nd hab am ersten lieb ! 
 sprach. Hab lieb das geaprochen zehand 
 Melisso von im geweisst ward. 
 
I «:. 
 
 ■.I. 
 I tli(> 
 
 licr's 
 »' Ills 
 love, 
 and 
 (• on 
 I'icrid 
 
 2a 
 
 In tlirsf only tin* lust, iiciiiiips, is ('(luul in ('n»'r;^'y to tin* 
 ori'diwil, Imt tlu'V luiv«' licrn put in to show tin* horrowlnL' : in 
 11. (SO !l the anipliticntioii is a natural one alon;; tht; lines of tin; 
 original. 
 
 ^ !{:t. MaclisM'liaii^'os in Material. In tins play Sachs hiiH 
 made su('('|)ini( <'han;^'('s; he hasc<Hnl»in«'d two pints in rui unskil- 
 ful way : Mciissoand .losi-ph arc not stran^^'crs, Imt n»*i^dil>oi"s of 
 the same town ; jieeoi'dln^dy the necessity ol' a scene t(» explain 
 their nieetiui; is ohviatecj. The incident <m theiJoosebridm' takes 
 place olf the sta^e. .losej)h I'eturns and i'ej)oits on what lu> saw 
 there. Melisso also i-eturns and is Further instructed l>y 
 Solomon. TIk! final scene, where; Jo.se|)irs wife is l»rou;^hjt to 
 reason, is not even hintcul at. Thus it will l»e seen that 
 there is a strivini^ to concentrate the action arourid the two 
 sayings of Solomon ; that is the cause of tlu^ journey, that is 
 what the two men came for: tlie incident of the man iieatin^ 
 the nuile iilusti-ates one of them, and the rest of the j)lay is 
 taken up with the explanation of both. It would Ik; meanini^de.ss 
 to have those wise saws spoken without furthei- ex|)!anation, 
 and no one could so fitly ex])lain them as their authoi*. The 
 Marcoif episode is not inti'oiluced at random. F'l'om all th(^ masH 
 of the chap-l»o()k stoiy Sachs has selected only a small paj't, 
 omitted what was coarse, ami joined it so closely with the rest 
 ot* the ])lay, that the line can iiaivlly he perceived. Mareolf 
 is the I'epresentative scoffer at wonum, and his conunents on 
 them hem- on .Joseph's infelicity. Hei-e a<^ain Sachs {)repares us 
 for what is to come by r(!presentin»( Solomon in his court with 
 Ids fool counterpart. The introduction of Joseph and Melisso, 
 with their (piestions, and without any foi'eplay, W(mld have 
 been too crude. Sachs evidently felt this: cf. for similar 
 tendency No. 51, 11. 52-<S(), where the lan<llord and his wif(^ come 
 on and lament the hard times before the blind men appear. 
 Both play and novel end rather tamely : Melisso and Jo.seph 
 com[)are the advict; which they have received, and Jo.seph 
 furnishes the epilo^j^ue. It has the usual didactic purpose, 
 s(miewhat relieved hy the rou^h jokes on " crtzney" 1. 394, and 
 " Spited" 1. 8!)S ; Sfelnhic, p. 582, 1. 14 : " Also daft vnrichtig 
 we'd) hekeret vnd der innge eddnuin lieh (jelmht ward." 
 
24 
 
 § 34. Analysis of the Motive. — Saclis develops his introducnon 
 from the slight hint Sfeinhiv, p. 579, 1. 31 : " vie er zu Salomon 
 ritt von im rat zevimen nfiinsivcihi^ halheii das die vnrichtifjeM 
 vnd (7a« wiAerwiirthfeKf we'd) wilr <dler K'elf die er wed,er diirch 
 hete liehe mind fre/mulschaffe in keyven werj von irer wider- 
 wiirthjh'if hrim/en n'X'h zieheii nviehf." Joseph is made to 
 enter talking to himself and bemoaning his unfortunate lot; 
 Melioso enters and speaks to him, hut he hardly hears him. 
 Melisso says, 1. 14 : " Blsf i/lcich entsefzet, blelch vnd, gelh." and 
 the si,ag(!-d inaction is : " JoscpJi ivrndf filch rvd sprirhf." This 
 "business" shows that before he had been looking in the 
 opposite direction, and ha<l not noticed the entrance of his 
 interlocutor. Then follow hi-i complaints al)out his wife, 11. 20-65, 
 when Melisso in turn tells of his unhappy condition. This 
 is a favorite theme with Sachs : and he handles it here with 
 much deftness. I'he passage is a good description of the lien- 
 pecked imsband's woes. Melisso and Joseph are not made 
 to enter at the same time: 1. U)4 Joseph goes off, and 1. 240 
 Melisso entei's. The interval has been taken up bj^ Solomcm 
 praising women in the traditional style and Marcolf capping him 
 with dispraise. This dialogue is pi-incipally in single lines. 
 These changes are sufficient to show that Sachs is no w^ooden 
 taker-over of plots, liut that he picks and chooses and adapts his 
 material to his stage, and is guided by the principles of stao-e- 
 effect. The stage-directions are of no importance in this play, 
 except the one noted above, 1. 15, which shows the pre-occupiod 
 state of the speaker. 
 
 IV. 
 
 § 35. Synopsis of Source Dec. X. 2,— No. 27, " Dcr <d)f im 
 wild pad, dated Dec. 17, 1550. (ia^tze gives the .source, Nend, 
 39/40 X. : " £'.s' id das J Sfiid- dcr zdudeu T<((/reise in dem 
 Decaraeron des Borcacclo." The plot is bi-ic^fly as follows: 
 Chino of Tacco, wdio had been driven out of Sienna for his 
 misdemeanors, ado])ts the life of a robber. The rich abbot of 
 Klingen has a disease of the stomach, and goes to the Siennese 
 springs to be cured. Chino hears of this, an<l takes his measures 
 accordingly. He sends a civil-spoken servant to stop the abbot 
 
and invite him to the castle. While they are parleying?, Chino's 
 men surrouiKl the prelate and his train, and cai-ry them off 
 prisoners. All are treated well exce])t the abbot, who is put in 
 a dnngeon. Chino visits him disguised, finds out the object of 
 his journey, and undertakes to cure him by means of ])oor and 
 scanty fare. When the abbot is sufficiently reduced in flesh, Chino 
 makes a feast for him and restores all that he had taken from 
 him. He then tells his fitovy, makes him his friend, and, as a 
 result of the abbot's intercessiim with the Pope, is restored to his 
 possessi< »ns. 
 
 ^ 36. Synopsis of No. 27. — Saclis uses only part of this 
 material, viz., the capture, cure and setting at liberty of the 
 abbot. The poet is not interested in Chino's previous history or 
 in the restitution made to him, but simply in the Rol)in Hood 
 character of one adventure in his career. The play opens with 
 a conversation between the knight, who is not named, and his 
 two retainers, Schrannnfritz and Wursthans, which exposes the 
 poverty of the castle. The knight informs them of the abbot's 
 approach and gives orders ^or his capture. The abV)ot arrives, 
 1. 88, with his servant in fancied security. Tlie knight steps 
 out and demands his safe-conduct, finds out his name, errand 
 and illness, and then tells h-m that he must accompany him to 
 his water-cui-e. The scene changes to the castle apparently; 
 th3 s(iuire enters and gives Wursthans directions how the abbot 
 is to be fed. The fare is the same as that mentioned in the 
 source, except that the bread is salted and water is given instead 
 of wine. The baron then goes up into the turret to watch the 
 road for other prey. HeiuuZ, the abbot's servant, next makes 
 a short speech (11. 181-102) describing the hard treatment he 
 and his master undergo in the castle. The two retainers enter 
 upon his exit, discussing their hard lot ; they cease on the 
 entrance of their master, who sends them off to waylay a 
 merchant : they go off resolving to keep the booty to themselves. 
 A vscenc ensued between the baron and the abbot's servant, 
 which tells us what pa.sses in the dungeon. Heintz is sent to 
 fetch his master ; before he can do .so, the two troopers return 
 from their quest empty-handed. The abbot comes on, cured ; 
 his property is restored to him ; he swears a solenm oath not to 
 
'iii; 
 
 11 
 
 :t !i! 
 
 III; 
 
 26 
 
 take revenue, and orders his servant to make his carriaf^e ready. 
 The retainers remain on the scene to comment on the abbot's 
 trencher-play, their master sends them ott' to attend the abl)ot, 
 and tlieri speaks a short comic epilofjne. 
 
 § 37. Relation of No. 27 to the Master-Song. — In T537, Sachs 
 had iiseil the same matei-ial as a master-sonf:^, with the same 
 title ; Arnold 2, p. Gl ; (}(edeke I, 101. The play comes nruch 
 closer to the original in most details, except in the situati(m 
 11. 103 -1 03. Here, as in the master-song, the " edelmon " makes 
 the demand in per.scm, instead of sending his men. The closest 
 textnal resemblance is : 
 
 Xo. (12, 1. 107. 
 " Wan ich l)iu cin ''weiuhte Person. 
 
 M(istcr-sf)hi;. L /!>. 
 " Er sprach Ins wilthul ; her, icli l)in 
 Ein geiytliolit! per.son." 
 
 This excu.se or retort is not in the Lecamenm, but is borrowed 
 with the situation from the master song. 
 
 ^ 38. OmiNsions and Changes. — It will be observe<l that the 
 oriirinal does not abouinl in incidents out of which a farce could 
 be constructed. The plight of the abbot is ludicrous enough, 
 but it is not sufficient in itself to make a whole play. Therefore 
 Sachs sketches, from the few hints in Boccaccio, a picture of 
 life at a robV)er baron's castle, such as existed in his own day. 
 As stated before (^ 3(5) no reference is made to the knight's 
 deprivation of his possessicms and the restitution of them 
 through the pleadings of tlie friendly abbot. This, Sachs 
 perceived, added nothing to the etlecti veness of the situation. 
 His baron has held his castle all his life. Other changes in the 
 material adapted are slight. Instead of the baron's sending a 
 troope)' to waylay the a))lK)t, he comes to surprise Ir'm in person, 
 and makes his eiupiiries on the ro.ad instead of in the castle. 
 The "edelmon's" train is reduced to two men and the .bbot's 
 to one, for the sake of simi)licity. The first scene in the 
 dungeon, Slein/ttr, p. 592, 1. 7-15, is niiide part of the scene (m 
 the road, p. 5!)2 : tlie second visit, 11. 10-30, is also ommitted. 
 The robbei- does not mlopt a disguise as in Boccaccio. 
 
 § 39. Additious to Original Material.— The additions are 
 numertms and important, and illustrate Sachs' method of 
 rounding out a play and making the })arts aonsistent with one 
 
 4 
 
 :i 
 
27 
 
 another. He lias so little space at his disposal within the 
 narrow limits of the Fastnaehtspitl, that he loses no time in 
 introducing the motif of the play. The knight's first speech 
 shows that supplies have run very low, 11. 2, 47 ; matters are in a 
 desperate pass, or they would not think of seizing the person of 
 a chui-ch dignitary, who is a " Gef iirster Abt," 1. ll.'l. The 
 cii'cumstance of the rohher making his unwilling guest swear an 
 " Vrphed," 1. 8{)(), shows liis anxiety to avoid any unpleasant 
 conse(juences of his ])i'ank. This pact is not in the original. 
 The first three speeches are addition pure and simple. The 
 sayings of Schrannnfritz deal with the hardships of their life, 
 those of Hanswurst emphasize its recklessness. This is a 
 development of the hint (§ 22) Stciiifnr. , p. 501, 1. 17 : " ircr in 
 <ler (fci/oit najf vn'l <(b fjif'n;/ oder r(\>/t (l''ii <'v Jierddhcf." The 
 orighial //?(>/(/" of revenge for wrongs is omitted, as there is no 
 mention of wrongs in the play, and the sufficitntly ir.telligihle 
 one of poverty is substituted. That this seizure of the abbot is 
 no isolated act of violence is indicated by Sachs making the 
 robber chief ascend the tower to watch the I'oad, 1. 17H; again, 
 the troopers are sent off to catch a stray merchant, 11. 223-285, 
 and return unsuccessful, 11. 2X6-288. Indeed, this relati{m of 
 the baron to his men forms, in this play, an a[)pr()ach to an 
 underplot. In his second speech, 1. 8(), the nolileman tells his 
 men of the abbot's approach, and asks if he would not be " ein 
 (J lifer feister Rciijci' " for them. Wursthans rejoices at the 
 prospect, but Schrammfritz asks if his information is certain. 
 The knight assures them that he is correct, and tells them to 
 take everything necessary for such a capture: "^4/.s' sirivk, 
 Bretiimv viul Da inucii stock" Wursthans replies exultingly 
 that all is in readiness. Schrammfritz says that two are 
 coming, and an ambush is laid, 1. 80 ft". All this is Sachs' way 
 of ex])anding dramatically the statement in Steinhiiwel, p. 5f)l, 
 1. 24: " Chi no ro}i Tocco Zf"iri,^'sni hurt iric (lev reich ahtc k'ime, 
 der bald seine iicrze. ni ikI Ji'icz (jciclit." 
 
 § 40. Analysis of the "Motivieruiij?." — Sachs is not working 
 carelessly. The abliot nmst travel as becomes a great dignitary. 
 Wursthans says, 1. 08 f . : 
 
 " Ich wil mit nieinei' Biiclisen sehlagen 
 Den Munnich von seim Holwlwagen. " 
 
i 
 
 li 
 
 I 1 
 
 28 
 
 But Sachs' stage apparently did not admit a wagon ; so 
 when Schrannn fritz catclies sight of the abbot and his man tliey 
 have dismounted, 11. 75-7 7 : 
 
 " Secht, Herr, dort koinmen zwen z\i fusz ; 
 Vom Wtigii er ab sfun gstandeii imiss, 
 Dor Weg ist tietf, no ist er schwer. " 
 
 At line 89 they enter on foot. It is no unskillful device. 
 Again, to prepare us for the consideration which is shown for 
 the abbot, he is raised above the rank of the Italian prelate. 
 The l)aron forbids the use of violence in the capture, 1. 67 ; 
 " Weil er <iach einer inf vom AdeC The abliot says himself, 
 1.112: 
 
 " Mein Add kan ich audi liey briiigen, 
 Etlelinan .spridit, 
 Soseit jr dii (iefiirster Abt. " 
 
 A large part of the capture scene, 11. cS9-l()2, is an expansion 
 of Ste'mhiv, p. 592, 1. 11 : " Der ahte ah eyn tveifi man tkete 
 seinen kohen iibermut nyder leget viul n'o er hin ritte irti sagef 
 vnnd zeivissen fhet." As stated above (§ 3.S) the scene is changed 
 from the dungeon to the road, and the questions are taken partly 
 from the master-song. An anuising addition, which is all Sachs 
 own, and occurs only in the play, is Heintz, the Alibot's servant. 
 He enters with his master, discussing the dangers of the road. 
 Heintz asserts that they are perfectly safe, but that he would 
 fight if they wer» attacked. The a])bot retorts, 1. 94 ft! : 
 
 " I)u s:i;j;st vvol, Heintz, lueiii lidior Knodit, 
 l)u l)iHt eiii Kcditer hindenn Ofen, 
 Da die ^Vul•st vud diu Huriiig trofen, 
 Vnd bey der feisten Klostersuppen," 
 
 When lie test comes, lu' does not open Ids mouth, except 
 
 once, 1. 14() f. : 
 
 " I ast mir zu frideu mdnen Ilermi 
 Oder jr konit in .schwereii Ijiin." 
 
 Whereupon Wursthans cufts him into silence and makes one 
 of those plays on " Ban " and " Bolm " of which Sachs is so 
 fond. This character, Heintz, is used in Bote usee then as a link 
 between the invisible abl)ot and the audience; innnediately 
 after the baron's directions to Wursthans, 1. ]()8 ft'., he appears 
 
 i 
 
 I 
 
 ' ™ 
 
 « 
 
29 
 
 and contrasts with comic petulance his present state with his 
 cloister life : here it is like a " Hundshochzeit." " Ivi Jdoster 
 aher asz wit ivoi," 1. liSo. 
 
 S 41. further Analysis of No. 27. — The next scene, also, is 
 pure addition, and at tirst ^dance superfluous. It is in reality 
 necessary. From 1. 149 it ai)})ear3 that Wursthans took the 
 abl)ot's portmanteau. He says to Heintz: Gih Iter den Wcfschger, 
 er ist nit dew." And this is the cause of their half mutiny, as 
 shown in 1. 194 f. : 
 
 " Es hat una vnsei- Jmiokherr jetz, 
 Dess Abts wetschger audi zu jm gnoyimeii." 
 
 The robber had done this designedly, for at the end he 
 restores the abl»ot his property, cf. 1. 299 : 
 
 " Nemt wider liin ewru Wetschger ebfui." 
 
 Sachs follows the Decameron in making the restitution; 
 cf. Steinhw, p. 598, 11. \U 'M. This scene shows the troopers 
 discontented, ready to change lords for more money, yet obeying 
 the baron's orders without a word at the very moment they are 
 ready to rob him. This cii'cumstance helps out the conception 
 of life in the robber castle. There is not a Innt of it in the 
 Decameron. Dramatically it places some sort of interval 
 between the ablxit's capture and his cure. In the Decameron it 
 is a month, and the"ede!mon" says in Sachs, 1. 153: " Salt jr 
 eii\ Monaf hey viir hleihe,)." And at his release, 1. 2<S9 f. : 
 
 " Aeh, niein Herr Abt, Gott gsegn ewr (inail 
 Eiii Moiiat laiKj das gut wildbad !" 
 
 Towards the close the troopers revert to a tone of contentment 
 in their speeches, 11. 335-838. Immediately upon this follows 
 a Botenscene. The " edelmon " sees Heintz passing, calls him to 
 him, and bids him tell him how his master fares. The course of 
 treatment is described, 11. 252-2G5. The baron makes merry 
 over it, and repeats the word-play on " Ban," 1. 2()8 (§ 40). He 
 then orders Heintz to bring the abbot to hiui, 1, 275 : 
 
 " Das ich jin gesegne das Bad." 
 

 no 
 
 Heintz toadies to the roUber l)y saying tliat poetical justice 
 has overtaken the abbot because the hitter has iuiprisoned many 
 a monk : 
 
 " l)er (Ireynal fri'tinmer ist denn er. " 
 
 There is no hint of this in Steinhowel. There Chino himself 
 brings the abltot out of his prison. The circumstance of the 
 abbot's feeing the troopers is not in the source. It gives occasion 
 for a comic speech. When Schrammfritz gets his honorarium, 
 he says, 1. 'M I . inten<ling to be polite : 
 
 " Deo gratiay, inoiii Hcri', haht elic. 
 Wenn jr Molt, mogt jr badcn mehr. " 
 
 § 42. Cliarftoter-Drawinff. — The charactei's are well dift'ereu- 
 tlated. The " Edelnion " is a (Joi-man Robin Hood rai.sed in 
 rank, who can giv^e and tak«^ a rough joke eipially well. The 
 prehite is an inipei-ious lord abbot, fond of good living, with 
 plenty of spirit and good huinoui'. He sutlers no loss of dignitj'' 
 in his ridiculous captivity. Even his captor sa3^s, 1. 348 : 
 
 " Ei' iat eiu giitei' fnunincr Mann." 
 
 Heintz is the c)"inging servant, always careful to preserve a 
 whole skin and a full skin. I^]ven the tro )pers are distinct 
 types : Schrammfritz is evidently the older, ([uieter man ; he is 
 cauti(Mis, and dwells on the hardships which tliey encounter; ho 
 is more experienced, and catches sight of th(> abbot first ; he is 
 married and full of strange oaths, II. 811, 8:H. Wursthans, on 
 the other hand, is impetuous and ra.sh : it is a word and a blow 
 with him : he is the leader in the mutiny, und ready to knock 
 the abbot out of his wagon. It is he who carries out the 
 practical joke upon the captured priest, and he enters into it 
 with great gusto. It is he, not Schrannnfritz, Avho calls attention 
 to the abbot's voracity and enjoys the fun of the situation. 
 Schrammfritz nowhere gives evidence of high spirits. 
 
 § 43. Adaptation to tli« Stage. — The play was evidently 
 written for the theatre, and is one of the ver\- best in construction. 
 There is no prologue: it beiiins apparently with the purpose of 
 producing an illusiim. The close is comic, as in No. 72, I. 379 ff. 
 
 
 ■m 
 
31 
 
 Aft(^r speaking to his men, the knij]fht turns to the audience, 
 and says, 1. 845, that he will be happy to take any one of tlieni 
 who needs to be reduced into liis baths on the same terms. 
 Thei-e is no moral application. 
 
 V. 
 
 § 44. Souree of No. 41 Dec. VIII. 6. — No. 41. Dfr (f!^foIrv 
 pachev dated Dec. (>th, 1552. The source Avas discovered by Fritz 
 Neumann ; cf. Goetze, vol. C3/64, xiv. : " /?? der Zelfwrhrift fiir 
 Ver(jl(4r/HnHlf' Liff('r(ifiir()M('hi<'hte ( Bd. 1, He ft '2,) (wiM Fritz 
 Nfitwdini <li('n/'t'hsf(' Gcxclilckte desackten Tacjcs im Dcrrnneroiw 
 idfi QiK'llc fvr das ,^/ Fdstuachtspiel riaeh." In vol. 42/43, viii., 
 our editor mentions a mastersong dealing with the same 
 • subject. M. (}. !), Bl. 5 : Dresden Hs. M., 190 Bl. 89!). This has 
 not been available for comparison, and it may be stated once for 
 all that, as most of the mastersongs are still in manuscript, it is 
 only occasionally that I have been able to show theii- relaticms 
 to the plays. 
 
 § 45. Synopsis of Dec. VIII. «. — This forms the second of the 
 
 Oalandrin series (§ ())• Calandrin has a custom of going to his 
 
 farm ev-eiy year to slaughter and cure a swine. (Jnce when his 
 
 wife is sick, he makes the journey alone. Bruno and Butt'elmacho 
 
 plot, al<mg with the parson, to have their spoi't with him. 
 
 When Calandrin shows them the pork, Bruno advises him to 
 
 sell it, hav<j a jolliticati<m with the proceeds, and tell his wife 
 
 that it was stolen. He refuses, but invites them to supper with 
 
 a very bad m-ace. Thev decline. Afterwards, witli the parson's 
 
 help, they make him drunk at the tavern at their expense. He 
 
 leaves the house-door open when he goes home. Bruno and 
 
 Buffelmaclio convey the swine to the parsonage. On awaking 
 
 next day Calandrin discovers his loss. He tells the conspiratoi-s 
 
 of it ; they are slow to believe him, and make him swear to the 
 
 truth of it over and over again. At last they promise to help 
 
 him recover nis property by a ginger ordeal ; Bruno is given 
 
 forty shillings with which to puechase the pills and a certain 
 
 kind of wine. Calandrin invites all his suspected neighbors to 
 
 a feast. They assemble in a circle under the linden-tree, Bruno 
 
82 
 
 harangues them conceniinf,' the stolen \)i^, exphiins the nature 
 of tlie ordeal, and all a^^ree to take tiie pills. Of course 
 Calandrin gets the l)itter j)ill, and is forced to spit it out. 
 Bruno says that yiuuj betoken nothing, and gives him a second 
 dose, with the same result. Then it is plain, in spite of his 
 protests of innocence, that Calandrin has stolen his own pig. 
 The wags assert that Calandrin is only trying to conceal the 
 fact that he had given the porker to his mistress, and that he 
 had confessed as much in his cups. They threaten to tell his 
 wife all unless he gives them two fat capons. Calandrin agrees 
 to this, and the rogues go off with the fowls and the pork. 
 
 § 4«. Anulysis of No. 41. — The introduction to the play 
 consists of a dialogue between two neighbors, Knol and Drol, in 
 which tliey resolve to punish Dol's stinginess by .stealing his 
 pig. l)ol, the niggard, enters, 1. 08, and exposes his mean 
 disposition in a soliloquy, 11. 68-82. Drol then enters and 
 borrows a Hail and maul. Dol lends them grudgingly, but tlatly 
 refuses, for fear of his wife, to roast a couple of sausages for his 
 friends' entertainment, 11. 101-8. An interval of one night 
 elapses before the entrance of the two conspirators, tluring 
 which time the swine has been stolen. Knol relates how hy 
 carried out tlie trick. To them enter Dol in deep dejection at 
 his loss. They refuse to believe in the theft, insist that he is 
 hoaxing them, and that he has really given the swine to " Strigel 
 Christen," his mistress. The parson, who is supposed to be 
 acquainted with the Black Art, 1. 145, enters and promises to 
 discover the thief by these means. He fir.'^t demands his pay, 
 1. 175, and while Dol has mme oti' the stajje to fetch his hoarded 
 five l)atzen, the ])arson explains his device to Knol and Drol. 
 They dispose the [)ills so that the harmless ones shall fall to 
 their share, and the bitter one be left for their victim. Dol 
 comes back witii the money 1. 215, the prie.st mutters a burlesque 
 incantation in dog- Latin over tlie pills 11. 221-224, and each in 
 his turn takes his pill. Dol stands a self-confessed thief from 
 his inal)illtv to swallow the aloes, and is finally convinced of the 
 fact himself in spite of his common sense objections. He begs 
 them not to inform his wife of his exp<jsure, and implores the 
 parson's special interposition to bi-eak the news to her. The 
 
 I 
 
:i:i 
 
 jiarson argiu's in the epilo^aic that " such stiii^'y asses should be 
 shod ill just this way." 
 
 § 47. Voiiations from the Source. — The variati(tns (tl* tiie phiy 
 from the story are, in this instance, not so much to he j)!aced 
 under the rul)rics of addition, omission, <Sce., as under the; fjeneral 
 head of change. Sachs has considered his material as a whole : 
 he luis made it entirtdy his own, and then recast it in a new 
 shape. Tlie comi)lexi(>n is altered, and ])oints, otiier tliaii tliose 
 prominent in the novel, are eiuphasi/ed ; cf. Nos. 42, 02, &c. 
 The characters are made ( lerman jx-asants, tlie hur^hers' favourite 
 objects of satire. This is not always done, «'. (/., N(». 4(), where 
 the characters and story are both allowed to retain their 
 di.stinctively Italian colouring. As Neumann ])oints out (Zs. fur 
 Vei'ijleicli. Lit. Bd. 1. s. 102), the most im[)()rtant ciian^fes are tlie 
 different introiluction and the extended r61e played by the 
 parson. 
 
 ^ 48. Different Motif in Introduction. — As we have seen 
 before, Sachs' introductions are all his own. He invariably 
 makes great alterations there, (§§ 34, 3ft)- In. No- 41 the first 
 part has been entirely remodelled. T]\(i victim of the practical 
 joke in the Italian story, Calaiulrin, very ])ro})erly refu.ses to 
 expend, the money for the swine in a del)aucli ; but Dol has 
 accepted his neighbours' lujspitality, and now he is unwilling to 
 make any return; 11. 20-35. To deprive .such a man of his 
 porker seems merely poetic justice for his stinginess, 1. 30. This 
 motif commends itself more to the (Jrermanic mind : Calandrin 
 is iiierel}'^ a simpleton ; Dol is a fool and a niggard. It is 
 impossible not to sympathize with Calandrin ; he is hardly 
 treated. But we are prejudiced against Dol V)efore he appears 
 upon the stage, by the accounts which his neighbours give of his 
 meanness. He strengthens this prejudice himself by the 
 revelation of his character in the soliloquy 1. 03 ft'., in which he 
 refuses to a^iknowledge the obligation to hospitality under 
 which he lies, 1. 70. His conduct in the borrowing scene 1. cS3 tf. 
 is all of a piece with this ; therefore when he is robbed we feel 
 that he has only received his deserts, and when further he is 
 brought to believe himself the culprit, we only consider it a 
 good joke. 
 
 3 
 
34 
 
 ^ 49. Change for the Sake of Concentration. — Another chan^'e is 
 in tho device by wliich tlie abstrnetion of the pig is accoinplislied. 
 In tho s^ory, the jokers make Cahvii<lnii (h'unk, and as he does 
 not close the house-door, they are aole to make away with the 
 porker in the nif]fht. In the phiy, Sachs does not attempt to 
 represent the stealing: that is done behind the scenes. Drol 
 agrees to go and borrow something from Do!, 1. 42 f. This 
 enables Knol to carry oli' his booty. In the veiy next scene we 
 learn that the riisc, has lieen successful, 1. 110. 'Phis treatment 
 on the part of Sachs results in simplicity and C(mcentration. 
 Had he dime otherwise, wc; should probably hav'e been led aside 
 by a scene in the tavern which would not directly help on the 
 story. The succession of events here is nipid, without being in 
 the slightest waj' confused. 
 
 § 60. Inalysii of the Ordeal Scene. — Besides this substitution 
 is of a difierent7no/i/', there is another cause for the change in the 
 complexion of the play, — the greater prominence given to Dol's 
 fear <.)f his wife, and the expansion of the ordeal scene. Both 
 themes are favourite ones with Sachs. To understand this, we 
 must consider the character of the pai'son, Herr Hans. He is 
 spoken of, (11. 113-115) as the ccmfederate of Knol and Drol, 
 before he makes his a[)])earance. He is given Bruno's part. To 
 discover the thief, they have recourse to the Black Ai't. German 
 peasants could not think of such an ordeal : so the parson, as the 
 learned man, the scholar, plans and carries out the whole trick. 
 Dol expects, at first, that the parson can bring the lost property 
 back, 1. 152. The latter modestly disdains such power, but says 
 he is able to detect the thief, 1. 154 f. He then explains the 
 nature of the test, 1. IGO ft'., but recjuires a fee. Dol is gotten 
 rid of by the expedient of sending him olT for his money : he 
 has none by him. While his l)ack is turned the parson explains 
 the plot for the benefit of the clowns and the audience. 
 11. 190-212, Then a speech is thrown in, to make the transition 
 gradual; they hear Drol coming back before he actually 
 appears. The parson then speaks a comic incantation over 
 the "pilien" in dog-Latin, 1. 220 ff! Sachs seems fond of 
 this sort of burlesque. For a similar instance, cf. No. 74, 1. 379 ff'., 
 where the same mixture of Latin and German occurs. In No. 
 
35 
 
 34 tho incantation is n l)in-les(|uc, l»ut it is in (ij^rnian, 1. 217 ff. 
 TIhj parson iTcapitnlatcs the conditions Inicflv; the ordoal is 
 siii)iiIiii«Ml, only i'(»ni' characters take part instead oi' the 
 unlimited nundter in the Decameron. The manipnhition of the 
 pills occurs only once, instead of twice. Hut each of these 
 characters is ^ivon one or two spi-eches, and the sta^^' dii'ections 
 inform us that each actually eats his j)ill. Dol's tm-n comes 
 last ; and, as soon as he is discovered to he the thief, there is an 
 outburst of virtuous indi^niation on the pait of the real cul[>iits 
 for having heen wion^fully suspected. Diol threatens personal 
 violence, hut Knol proposes a crueller reveiifre, namely to tell 
 Dol's wife that he has given the pork to his mistress. The 
 following forty-five lines are lai-gely addition on the ])art of 
 Sachs; in the Decameron there is no outhui'st of fear 
 corres[)onding to Dol's speech, 1. 27H tt'., cf. Sh''nih)i\ p. 4!)4, 
 1. 27 f. Dol had already (1. 101 ft'.) given expi-ession to his fear 
 of his wife. This is brought out again in the scene in wdiich he 
 discovers that he has been robbed, I. 140 f. Then Dol is given 
 a second speech in the last scene, I. 30(5 ft'., in which he shows he 
 is afraid U) give away a single sausage because his wife has 
 wanted them, but gives his hoarded "gulden" instead. 
 These he had hidden away for feai* of his wife;, I. ISO. It is 
 such a notorious affaii" that the others speak of it, 1. 20(5. Jn the 
 Decameron, Calandrin is alk)wed to say little ; the most is said 
 by Bufl'elmacho, and part of his speech refers to another story, 
 (J)ec. Vlll. 3,) in which Calau'lrin is the hero. The ti'ial-scene of 
 the ginger is made prominent by the repetition, not as in 
 Sachs' drama, by giving a speech to each actor. The gain in 
 concentration and picturesque effect is noticeal)le in the case of 
 the Fastnachtspiel. 
 
 S 51. Mise-en-Scene of No. 41. — The staire-directions deal 
 principally with gestures, expression, &c. For instance, 1. 123, 
 ''Hernudi Dol kiiwht traivrig \' 1. 14(5, " Herman Dol lichf ncin 
 hendt (( u.f." &c. ; cf. 1. 278 stage-direction. When the man(Kuvre 
 with the })ills comes, the dirt^ctions are very explicit. Dol, to 
 slunv his eagerness, runs off', 1. 189; cf. 1. 215. The parson, the 
 originator of the trick, 1. 190, sets out the ginger ; thei'e is a 
 direction for the payment of the money, 1. 215 ; the parson 
 
!f 
 
 m 
 
 soloinrily takes his pliicc, 1. 220. When DoI'h tViVn coinoH. wo 
 have three H('))iinite actions; I. 251 : Hn'mnv dol (frt'iji't zitj' Sic, 
 I. 25*i : " tfo'iiKi II lh)l iriirjff dm jiit/Krr tin iiidiil h'ln riiml 
 iriiler, .sic/if sdirr," This evidently implies Facial contortions on 
 the part of the a(-Lor. Then, I. 255, "Hcrninn Dol sprifft (tls ansz," 
 &c. Th«' situation is lu'oadly Farcical. When the supposed thief is 
 di.s<'overed, Sachs niid\es one of the suspected, Drol, exjiress his 
 ano-ei' hv trvint; to ItetMii an afl'iav, I. 2UJi, "('nnfz Ihol (iir.ifft 
 i nt iv<'ln\' atid Knol has to si-parate them; I. 270, " Hcinfz 
 Knot fcrrt fiidfcr." Dol e.\i)resses his ea^'erness or f^^ar by 
 running on and ott' the stage ; oi<le II. l.Sf), 214, 317. 
 
 § 62. Representation of Rowildorment. — The C()rres[K*ndence8 
 are not close, nor do the characters call for much remark. As 
 we have seen in the iirst Calandrin play. No. !<!, (5 12) the 
 simpleton is at last hi'ought to lielieve in an ahsui'dity afi^ainst 
 his better ju<l<,nnent. These two Hues express the mental 
 struggle excel! Mitly, II. 2S3 f. : 
 
 " Hal) moin tag gHli)leii inaiicli(!rley, 
 Icli war al)r hoII) allmil daihuy." 
 
 Cf. No. K), I. 187. The nmt'i rieriiiKj is very good, with the 
 exception that the elaborate trick is ])roduced at too short 
 notice. The same fault might be t'oun<l with the Decameron. 
 
 VI. 
 
 I 53. Source of No. 42, in Dec. III. 8.- Ni>. 42. Der Faivr 
 run dem Fegfeiver ; dated Dec. 0th, 1552. (Joetze gives the 
 source, Neudr. ^2/48, Einl. vii. : " Der Bauer im Feffefeuer 
 stamnit dus dc.,i Derarneron den Boccaccio hei SteinhiJivel Bl. 
 121 "(III., S,) Bihl'ioihek den Stuif</arfer lAtteraT. Vereins 
 Band SI, Seite iilG'' The mastei-song mentioned in the same 
 connection, I have not been able to obtain. 
 
 ^ 64. Synopsis of I)ce. III. 8.— The contents of the tale are as 
 follows. A hypocrital abbot of Tuscany lays a plot to seduce 
 the pretty wife of Ferondo, a rich, stupid countryman. The 
 wife comes to the abbot for confession, and complains of her 
 husband's jealousy. The abbot says he can cure him by sending 
 
:i7 
 
 liiin to |)urf,'atory : lio must <H»' and Im' raised up nffn'm l)y the 
 abbot's praytTs. His rcwaivi is to l>f Iht Iovo. 'I'fio wit'o 
 a«^rt'«!s to his jwoposal, on condition that in»r luishand ht; disposed 
 of first. Kcrondo t'onios to the abbey, iscb'u^^fcd intoins('nsil)ilty 
 and buried in a vault. The al>l)<)t and a ti'usted monk tVom 
 Bologna take him out secretin and jMit him in the convent ))rison. 
 Next day the Jibbot be;;in^, tlie intrii'ui' with l^'ei'ondo's wife. 
 The Holot,niesi! monk ^oes to Ferondo's cell and makes him 
 believe that he is in pin"<^oitory. After ten months ln' is needed 
 to father the abbot's (;liild. \\v is a^^^ain <li"Ui;^ed and replaced 
 in the vault. At the morning' s(!rvice he wakes, and tlu; abbot, 
 by a pious fraud, makes it (Uit to be a miracle. 
 
 § 55. AnalysiN of No. 42. — This was Sachs' matei'ial, and, as 
 }ns treatment is s[)ecially characteristic, I sliall not ajM)lo^dze 
 for followin<^ it in ^rciater <h'tail. '^Phe introduction is more 
 than usually careful. The Abbot of Ck»rtal and Sii- Ulrich 
 the m(mk enter, discu-<sin<^ matrhnony. The loi-d abbot re;^rets 
 that he sluill have no heir, and the monk b)-in<'s him back to an 
 opinion more betittinji:^ a cU^ric ^ j relu!arsin<.j tlu^ pains and 
 penalties of we(hled life. ThereupiMi a peasant woman eiuers- 
 complaininrf of bei* husband's jealousy and abuse. The abl)()t 
 promisfvs to send him to pui'<^atory and tlien bi-ino- him to life 
 afifain. Then ihe monk and tlu^ abl)ot lay tlie trap for the 
 jealous liusband ; he comes, is t^iven a fjla.ss of dru^fijed wine, 
 and, while two jicfisants are settlin<^' their (hies with tlie a))bot, 
 falls down insensible. The [)easants lament over him and carry 
 him out. The abbot insti'ucts Ulrich to ^"o ]iy ni^ht, take the 
 peasant from his ^rave and so abuse him that he will tliink that 
 he is in pur<;atory. Then follows otu- of tliose amusinijf scenes 
 in which the victim, asj^ainst his better judgment and common 
 sense, is brouf]fht to believe in an absurdity (§ '")2) ; the peasant, 
 thinking that he is dead, ix.sks foolish (juestions, and is ridiculed 
 and beaten by the monk. He is then restored to lif(!, and 
 fricfhtens his neifjfhbors by Jn's resurrection, Init linally 
 explains everythinj:^ to their satisfaction. 
 
 § 66. Omissions. — It is at once evident that Sachs has not 
 made use of all his matei-ial. The mo.st imjiortant onii.ssion is 
 
38 
 
 ^li 
 
 the motif of the abbot's love for the peasant's wife. Instead of 
 iiist, ^reed prompts the action. Tlie kernel of the little comedy- 
 is the farcical situaticm of a living man believing that he is dead. 
 It was this centi'al sitviation which attracted Sachs, and he has 
 made it sufficiently comic. In another treatment of the same 
 material, in the mastersong, he has dwelt more upon the intrigue ; 
 see Gtetze, vol. 42/48, vii. But this is not intended for })ublic 
 representation, as a Fastnaclitspiel would be ; consecpently, the 
 long dialogue between the priest and the lady at confession is 
 curtailed, and all reference here and elsewhere to a possible 
 liaison is left out. Besides this, the scenes in the dungeon where 
 the abbot tells his dupe that he is to l)e released^^^, and those in 
 the church where the pn^tended miracle takes place, in a word, 
 all that is repulsive in the Italian story — the hypocrisy and 
 religious fraud, is set to one .side. The residue is a rollicking 
 practical joke which, so far from harming anyone, does a gi'cat 
 deal of good, l)y curing tlie peasant of his cruelty towai'ds his 
 wife. 
 
 § 57. Additions. — In this case, Sachs' additions are important. 
 Ot his own invention, are the two neighbours, Eberlein 
 Griiltzenbrey and Nickel liubendunst, who come to pay their 
 dues, 1. liSl, lament over the ])easaut's death, 1. 1()<S, and testify 
 to his restoration to life, 1. 8S!> fi". Tlie admirable short scene, 
 11. 153-1(15, where the stupid countryman brings the abl.tot a 
 basket of green beri'ies which he tliinks will ripen by and by, 
 is not found in the original. Nor is there any hint of the 
 introductory dial<)gue between the altbot and the monk, 11. 1-51. 
 All the additions in this, as in the other plays, tend towards the 
 rounding out of the drama, (§ 8H) towards makuig it complete 
 and consistent with itself. It would be a grave eri'or to suppose 
 that they are ever meaningless oi- inartistic. The introductory 
 conversation tui'ns on the unhappiness of man-ied life, and at 
 the end of it th(^ unfortunate wife a{)j)eai*s as an illusti'ation and 
 living connnentary ; see 11. 42-4(5. It is in keeping with his 
 position as " j,a^fiirster Abt," I. H, that the churchman desires an 
 heir, 1. 18 ff., and that the peasants are expected to pay their 
 
 (!) Referred to only l.y Ulrieh, 1. \U'l 
 
 X 
 
 f 
 ■k 
 
89 
 
 convent diiers, 1. 181 ff"., " Warumh hrinrjt jr nit e/wer giilt ?" 
 Tlie abbot's anger on this occasion because the money is not 
 forthcoming, is consistent with the avaricious character Sachs 
 assigns to him. He asks the peasant wife for pay, 1. 100 : " Mein 
 Fraiv, ivas ivird denn nein mein lakn." The introduction has 
 a natural connection witli what follows. The peasants are 
 evidently brought on to show what effect the husband's s\70on 
 pi'oduces upon the on-lookers ; Ulrich and the abbot would not 
 do, because they are in the secret, and would naturally express 
 neither astonishment nor grief. The peasants' remarks upon 
 their neighbour's death are ridiculous in the extreme ; after the 
 abbot has pronounced him dead, (^riJltzenbrey says, 1. 198 ff. : 
 
 " Bist (lu denn hin inn dieser nolit ? 
 Sey wir erst nechtn bey nandof gsessen 
 Vnd haben ein putter Milch gesaen 
 Wie baldt ists vmb eln Menscli geschelien." 
 
 The introduction of the peasants may also have been a device 
 to get the su})p()sed dead man carried off' the stage. The final 
 scene, 11. 889-440, is an expansion, in Sachs' usual manner, of the 
 statement, Sfeinhw, p. 224, 1. 22 ff. : 
 
 § 68. The Honk, the Ahbot and the Peasant.— Again, the 
 
 Bolognese monk, who, in the Decameron, is a mere tool, is given 
 a name and made a real character in Sachs. He makes his 
 first appearance in hot disputation with his abbot ; and, fearlessly, 
 in true monkish fashiim, opposes him where he is in the wrong. 
 It is with a trace of sarcastic humour that he almost refuses to 
 enter into the abbot's design, 1. 135 f. Then, 1. 234, he shows 
 his sense of fun, and in 1. 254 stage-direction, he terrifies the 
 peasant by roaring at him. Although, throughout this dungeon 
 scene, Sachs follows the Decameron closely, he adds many 
 touches of his own to the picture. The al)lK)t is represented as 
 a choleric, avaricious gentleman who is fond of his joke; he 
 refers to his family, 1. 14, and flies into a passion when the 
 peasants fail to bring their dues, 1. 181. There is an imperious 
 air about him. Thi-ougliout the play, Ulrich ad<lresses him as 
 " Gnediger Herr," 11. 5, 16, and I. 8, calls him " ein gef iii-ster Abt," 
 cf. II. 42, 119, 174. He regards the performance in the dungeon 
 as a good joke, 11. 240 243, cf. I. 133 f., an<l the fact that he goes 
 
I* 
 
 40 
 
 himself to the cell to see Ulrieli cany out the joke for tlie fun 
 of the thinnf, points intlie same direction. Tiiis trait is wanting 
 entirely' in the original : in it the abbot goes to the prison, Vmt 
 only to make his framl more complete ; Sachs makes his purpose 
 in going, to see that the joke he has planned be carried into 
 effect. The peasant is a great simpleton. Boccaccio merely 
 says so, but Sachs represents him, on his very first appearance, 
 as doing a stupid act, (§ 21) namely, making a present of 
 gi'een berries which will ripen if put in sti'aw. He cannot call 
 things by their pro])er names: for instance, he says " schlegel 
 birn " 1. 155, instead of " Reg(»l birn " 1. 15f), and persists in 
 calling the abbot "Hen- Dabt," 11. 153, 1()2, 17J), 373. This is 
 one of Shakespeare's methods of denoting stupidit}^ ; it is 
 sufficient to mention Dogberry and Bottom. 
 
 I 59. The Diiiig-eoii Scene. — The scene on whi"h Saclis has 
 spent his strength is the one in the dungeon belv't\ "^Irich and 
 the peasant, 11. 243-300. Sachs hns followed Boccaccio closely, 
 and in some instances inn)ro\'ed upon his dialogue. Such 
 im})rovement upon the source is more marked when the poet 
 deals with sources of a lower literary level, foj* instance, those 
 drawn from the chap-books. When the peasant is coming out 
 of his trance, 1. 247 : " Der jw/ivr ruiiiMerf sich, ftfeht <i.uf, vund 
 greijft vmh i^ick av die viev art vnd sjn'ichf." This is just what 
 a man would do in such a situation, and the " business," to use 
 the technical word, is put in by Saclis for comic effect. In 
 11. 251-3 he is again much more natural than Boccaccio ; tl^e 
 peasant wants to know how lie came in, and calls for his it'e. 
 The little circumstance of his not understanding the Lati''^ -• 1 
 Pior/nforliu)), 1. 259, is also Sachs' own, aiid humorous in eflec; • 
 
 " Aeh siig mirs Uimlsoli, ieli hit dich <lfiun ! 
 Ich kan warlit'li k(;iii Tiiiperdein." 
 
 These touches add decidedly to the comicality and naturalness 
 of the situation : cf. also 11. 300-12, 302, 327 -J), 334. 'J'he two 
 peasants, his neigh l)ours, are simply the stupid countrymen ; but 
 their stupidity is not their prime quality, as it is in the Inisband's 
 case. Their names ai-e ludicrous, Griilfzcnhre}/, &c., recalling 
 the Shakespearian custom, as in Oatcake, Ague-cheek, &c. 
 
41 
 
 § 60. The Mise-en-Scene — The stage-directions are important 
 in tliisplay. L. 52 : " Herr Ulrich schaudt nausz," &c.; between 
 this and 1. 59, lie has let the woman in : " Herr Ulrich hrinqet 
 die Pewriii." Tliis is plainly a little device to obviate the 
 awkwardness of having the woman come on without any 
 warning whatever. When Ulrich goes to fetch the wine, 1. 168 : 
 " Der Aht giht jm ein schlussel ;" 1. 173: "Herr Vlr'ich knmht, 
 hrinc/f daft glas mit tolm ;" 1. 179: " Der Fawr iriueld es ah 
 ausz,<fiht dem Aht das glas wider." Then, 1. 181, " Die zwen 
 Pawren kammen ;" the "tolm" takes effect 1. 189: " Heivlz 
 Buppel felt aiif der haneh nider ;" his friends try to lift him, 
 1. 191: " Helnfz Dilppel I'd he tit vnd fm fallen, sie, rulteln 
 i7i;" it is useless; 1. 192: "Der Aht sehaiit zn im" and 
 pronounces an unfavorable opinion, 1. 219, " Sie tragen den 
 todten (d)." All these show that the author had an audience 
 constantly in mind, and even if the play was never acted, or if 
 the actors did not carry out his directions, he knew, at least, !iow 
 a play should be acted. The actions indicated are what would 
 be naturally expected under the circumstances. The following- 
 passages, showing the lamb-like obedience of Diippel, are also 
 sufficiently comical :— 1. 270: "Der Miinrh niihht jn helm hid.sz, 
 ImcJd jn vber benck," and 1. 273 : " Der Pawr huckf sieh vhert 
 benck, der Miiiich haudf jn mit ruten." Wine and l)read are 
 brought on the stage 1. 313, and there is drinking 11. 332, 359 ; 
 all these manoeuvres are intended to produce an im|)ression of 
 reality. The action is lively 1. 404. Diippels neighbors tliij)k 
 they see a ghost : " Sie zinen fliehen. Heintz Diippd sehreidf." 
 
 VII. 
 
 ^61. Source of Xo. 43 — No. 43. Die listh/ Hvlerln, datoH 
 Dec. 17th, 1552. Neud. 42/43, p. viii, Gcetze gives the following 
 note upon the source: "Der Diehier hat (jam naeh Boeeaeeios 
 Decameron VII. 6, gearheitet." No other treatment of same 
 material by Sachs is known. The plot is as follows :— 
 
 § 62. Synopsis of Dec. VII. 6. — An unsatisticd wife takes a 
 gallant named Leonetta, and another called Lamj)recht forces 
 himself upon hei". Once, in hei" husband's absence, she sends for 
 
42 
 
 her favourite, and while they are together, Laniprecht comes and 
 demands admittance. Leonetta conceals himself wliile the 
 latest arrival is with the lady ; at this juncture, the husband 
 comes home, l^he problem is, how to get two men out of her 
 room without beincj discovered. She bethinks herself and tells 
 Lamp]"echt to draw his sword and go down stairs, vowing 
 vengeance, and not to speak to her husban<l. He does so, and 
 the husband coming up, finds his wife terribly frigiitened at the 
 door of her room. She tells him that Lamprecht L id pursued 
 some man into tiic house, and to prevent murder, she had 
 hindered the would-be murderer from entering the room where 
 his intended victim h.ad taken refuge. 1'he husband is gulled 
 by this tale, brings the young man out, ami treats him 
 courtecmsly. 
 
 i^ 63. Analysis of No. 43. — ^The })Iay begins with the day on 
 which the trick is played. The lady gives her maid orders to 
 bring the gallant. She is warned l)y the servant that she runs 
 a risk, and while admitting that she has had many narrow 
 escapes, still she feels that she has been equal to every emergency. 
 The maid goes on hei- errand, and, in one of those monologues 
 which Sachs inserts to denote the lapse of time, the faithless wife 
 reflects on her career. Leonetta, the lover, arrives ; they soon go 
 off* together to examine a shirt which she has made for him. The 
 lapse of time is represented by the maid's speech, which throws 
 further light upon the lady's amours. Leonetta and Lisabetha 
 have just come back, discussing the gift, Avhen the maid 
 interrupts them with the news of Lamprecht's arrival. The 
 lady tells ln'r faxoiu-ite to conceal himself, and goes out; the 
 gallant gives expression to his fear in a monologue and exit. 
 The lady re-ap])ears with the second lover, Lamprecht. Before 
 they have exchanged many words, the messenger maid 
 amiounces the unexpected arrival of the husl )and. The lady gives 
 Lamprecht substantially the same advice as in the Decamercm ; 
 he meets the master of the house on the stacfe, but does 
 not answer his ([iiestion. Laudolph,' the husband, interrogates 
 his wife ; she is too frightened to answer at first, but manages 
 at length to tell him the story of the adventure ; the young 
 man comes from his hiding, and this scene of amitv, which is 
 
43 
 
 hurried over in the Decameron, is dwelt on and much expanded 
 by Sachs. The close is characteristic ; the husband takes the 
 gallant off to look at his treasures, and the wife goes out to 
 oversee the evening meal. The maid " komhf vnd hesrideust," 
 winding up with forebodings that intrigue, like murder, must 
 out. 
 
 § 64, Omission of tlie Obscene. — The play has undergone far 
 greater changes than appear from the mere parallelism of plots. 
 The events are the same, but the complexion is totally ditlerent. 
 The most important omission is in the scenes between the lady 
 and the two lovers, 11. (50 -174. In Boccaccio all these interviews 
 take })lace in the kuly's bed-chamber, and Leonetta is, of course, 
 a concealed witness of the second one. There is no suggestion 
 of such a disgusting idea in Sachs. The wife is faithless, but 
 she gives no expression to sensual love in talking to Leonetta. 
 Sachs was acting with a purpose ; his plan is to show the guilt of 
 such a situation, as well as its danger. Any inference may be 
 drawn from the fact that the lady I'etires from the stage with 
 Le(metta, but that is not Sachs' fault. The (episode of the sldrt 
 is an invention of Sachs to avoid the; indeeencj' of his original ; 
 for a similar reason, Lam[)recht is not allowed any timt^ at all 
 with the lady in private. The maid inteiTupts them at the very 
 outseti. 
 
 § 65. Additions. — As usual, the first scene furnishes the 
 rnofif of the play, and is largely or altogether Sachs' own 
 invention. The only hint for 11. 1-60 is Sfflnhir, p. 436,1. 8: 
 " I II dcin (lie frawe iiarJi irem liehen Liencffo HrJi'tchef, (his er 
 keiiie." T\\c maid, as a character and not a shadow, is pure 
 addition : also her speeches, 11. S7-98 and 809-880. 1'here are 
 no hints for Lisa))etha's speeches 11. 41 (iO or 2f)5-80<S, or for the 
 s})eech of Leonetta, 11. 118 -]2<S, which is inserted to exhibit 
 his charactei- still fui'ther. These are the principal additions. 
 The phrasal modifications and improvements are too numerous 
 to l)e noticed here, but will be taken u[) when consideiing the 
 sej)arate characters. 
 
 § 66. Cliarncter-Drawing:, Ag-neta, Leonetta, Lanipreclit.— The 
 
 prime excellence of this ])lay con.sists in the i-emarkal)le way in 
 
44 
 
 M 
 
 wliieh the five characters are sketch<Ml und (litt'erentiatorl • the 
 tinii<l inaifl, the polti-ooii ^aUant, tlie riifflHif:,'^''alhiiit, the cunring 
 wife and the chivalrous husband. First the maid A<vneta ; the 
 souhi-ette seems to he the necessary adjmict of an intrigue as 
 Amia in No. 40, Ursula in No. 45, Huhhi in No. 84, and Metz in 
 No. 28. As the coniichmte, she remonstrates on tlie dann^er 
 wlieii ordered to fetcli th(> ijallant, and warns of the conse((uences. 
 tn 1. !);^ li". she f(?ars for hei'self, and lon^^s for the time wdien she 
 can leave. She is so frightened at lier niastei's a])proacli tliat 
 she can liardly stand, I. 15(). Tn a word, she is the trembling 
 agent of her mistress, on the side of right Itecause she ilreads 
 discovei-y. Leonetta is an arrant coward. All that is expi-essly 
 said of him is Sfci ii/in', p. 48(5, 1. 14: " Lfoticffo der fiein wlbes 
 nlc/il inittdcr ais die frtiiv bcsinyff," and ]>. 488,1. 3: ' Der 
 iimge der ppydcr r«'d n'ol vfrnomcti hrffr dlli't' crwltrockcn als 
 der in forvJdc vnd a ihjsI inis dariKich lirr fiirr ijiif</f.' In the 
 Decameron \w is not given anvthintj to sav. Here a<xain Sachs 
 represents wdiat tlie novel merely states ; ef. § 57. Leonetta's 
 first greeting is characteristic : Saclis here goes directly against 
 his source because it .suits his jmrpose. in Steinhiiwel, p. 436, 
 1. 4, we read : " Licricffo — J)rr sich n'd stin nicii I iesse frolich vnd 
 wel za viiUe paldc hi me" In Sachs he is anything but 
 "friiiich ;" his first greeting is cold, he says the very least lie 
 can to her. His "//»'///" contrasts sharply with Lisabetha's 
 " BLsff i}(ir zu fauxenhiud wllU-aud).'' Another would have 
 been glad to have the gay lady at his will, but instead of being 
 loverlike, )h; asks (pierulously wiiy she has sent for liim, and 
 r6min<ls her of tlieir last narrow escape, " Ihf ich hium. 
 entninu," &c. She tries to ]»ut some heart into him, but all his 
 rejoinder is, 1. 7{) f. : 
 
 " loh l>in niulit fruli-jh wonlen sidcr ; 
 So gai' tliett iiii<'!i dio foroht oiitsotztui." 
 
 in his long speech, 11. 118-12S, while the lady has gone oft' 
 for Lamprecht, he expresses his fe.ars for his own ])recious 
 carcass. He says, 1, 118: '' Jrtzt sfchf (tucli in (jetdhv mciv. 
 Leih" He fears, 1. 122, Lamprecht will find him and kill 'aim, 
 and \ows never to come back. And at the <lnii'nimrnt,\\hi}w he 
 has to represent himself as fleeing from Lam[)recht, lie does it 
 
45 
 
 iterl • the 
 i cunriiig 
 leta ; tlic 
 trigue as 
 
 I Metz in 
 i dang-er 
 '(juences. 
 vheu she 
 acJi that 
 einbling 
 3 dreads 
 ^pressly 
 )i f^dbes 
 ''•■ ■' Ikr 
 'ken ah 
 
 In tlie 
 
 II Sachs 
 )netta's 
 against 
 p. 486, 
 ch rnd 
 ig Imt 
 east he 
 hetha's 
 
 have 
 
 being 
 
 II, and 
 
 hi urti 
 
 all his 
 
 ne oft' 
 scions 
 main 
 nn)i, 
 I'n ho 
 oes it 
 
 aptly, in charactei-. In fact, he manages In's part of the 
 deception with considoralde adroitness and a certain voluble 
 grace. In strong contrast to Leonetta the ''jamjer vuinn," 
 11. 231, 27(S, is Lani})recht's " den (dtcnr 1. 91. He is the man of 
 the world, the man of expeiience. Leonetta says of him, 1. 1 19 f. : 
 
 " Der in iler Statt liat das geachrey, 
 VVie er Avr giii.ste IJiilcr sey." 
 
 The very fact of his forcing his way in, shows his strong 
 character. In his second speech, 1. 14(5 tt!, he is sufficiently 
 aggressive ; Leonetta had to l)e cheered up and coaxed. When 
 danger threatens at tlic husljantl's approach, he l>ristles all over, 
 1. 158 f. : 
 
 " Vnd wo er miuh wii<l greiflen an, 
 So wil idi jni seyn Manns genug." 
 
 Leonetta's first thought in a similar situation was foi- his 
 personal safety. The fury in which Lamprecht makes his exit 
 is not all assumed. It is in keeping that, in the wife's fiction, he 
 should have the character of the bold aggressor. They are all 
 afraid of him. Leonetta fears for his life, when he liears of his 
 approach. To Lisabetha he is " strenger Herr," 11. 129, 160 ; 
 and Landolph calls him " g'ichzorniy," 1. 267. This agrees with 
 Steinhbwel's idea of " vnrichtig," p. 435, 1. 30. 
 
 § 67. The Wife and the Husband. —Lisabetha is a cunning 
 animal, clear-headed and self-reliant. She laughs at her maid's 
 fears because she has always blinded her lord by her wiles so 
 far. And this jH-epares us to expect her success at the critical 
 moment. She says herself, 11. 27-29 : 
 
 " Was wer ich fiir ein Biileiiii, 
 VV'o ich nicht wei' liatiger siiin, 
 Midi sohicken kiindt in alle stiick !" 
 
 She does not deceive herself, however : on the maid's exit, she 
 reflects that the latter's words are true. It is high time for 
 her to stop, but fortune seems to favour her, and she resolves to 
 take one more chance. She says of herself, 1. 54 : "Ich hinje 
 ein venvegeri Weib." She is " verurgen "; with poor Leonetta, 
 she shows herself to be twice the man he is, and does her best 
 to keep his courage up. All this furnishes a motif for her 
 
46 
 
 brilliant ruse. We are led up to expect some triumph of her 
 readiness and courage. As we should expect from such a 
 woman, she is mistress of her feelings, showing herself ardent 
 with her favourite and cold with the man she <lislikes. The 
 catastrophe loses none of its strength in Sachs' hands. It would 
 seem a mistake, perha|)s, that the whole plan should he horn, as 
 it were, in an instant, and that she should express no fear or 
 hesitancy. Boccaccio does indeed make her give expression to 
 both ; but Sachs a.ssigns the irresolution to the maid, 1. 157 : 
 *' Iferr Gott wie nollen tvir than T' and the sense of danger to 
 Lamprecht, 1. 15(S f., (pioted above. While they have been 
 talking, she has been thinking (juickly. When her device has 
 partly succeeded and Lamprecht has escaped, she plays her part 
 admirably. Sachs keeps us in suspense hmger than Boccaccio. 
 He gives Lisabetha a whole speech, II. JSS-103, U) express her 
 agitation without so nnich as hinting at the -^ause. Boccaccio 
 puts it all together. To the Italian ver.sion Sachs' heroine adds 
 such corr(^)lH)rative details as an explanation how the street door 
 came to be opened, 11. lJJo-7, wliich the Italian baggage omitted, 
 and a pathetic description of the fugitive's condition, 1. 200. The 
 triumph of her hypoci-isy is when she ])retends not to know who 
 the young man is, and, when her husband recognizes in him the 
 son of an old friend, she says, 1. 2(S4 : " Villeicht hat d(f.fi meiu 
 Hertz f/eandt." This is really a fine piece of tragic irony. 
 When she is left alone, she breathes a sigh of relief, thanks her 
 stars that she has gotten out of it and that her favorite is now 
 her guest. She tlien goes to the kitchen to see aftei- supper. 
 Sachs emphasizes her daring and readiness of device, rather than 
 her lust. In strong contrast to his worthless wife is Landolph, 
 the husband. In Boccaccio he is simply the cuckold ; but from 
 the slight hint of nobleness in the Decameron, ^teinhw, p. 438, 
 
 I. 15, " doch hahe keine sorye mere, ich sol dich on schaden 
 heijm beleiten," Sachs constructs the whole character. We 
 know him before he appears on the stage, for Lisabetha says 
 
 II. 45-4cS : 
 
 •' Es wer wol zeit, dasz ich lis/, ab, 
 Weyl mil- das gliick ein Ehmann gab, 
 Von (leni ieli liab Ehr viul audi gut, 
 Der mir keins argen trawen thut. " 
 
47 
 
 He is not a jealous man, Imt stern enough. In warning her 
 of the risk she runs, Agneta says of her master, 1. 15 : " Er 
 isf gar ein ernstlichei' Mann." This character, even down to 
 the name, is all Sachs' own. Though, in the Decameron, there is 
 no hint of the husband's profession, Sachs has conceived him as 
 an old soldier, brave, stern, upright. In 11. 271-275, he tells 
 Leonetta that he was brother-in-arms to the hitter's father in 
 the Venetian wars. He is brave, for he is ready to encounter 
 the redoubtable Lamprecht himself for the sake of Leonetta. 
 The prompt way he espouses the cowardly Leonetta's quarrel 
 shows his sense of justice. This is shown in also his commen- 
 dation of his Mafe's conduct, 1. 218, and his natural expression of 
 regret that his house should be disgraced by a brawl, 1. 225, 
 
 68. Improvement in Tone. — Sachs raises the power of 
 the entire action, to borrow a term fi-om mathematics. 
 Landolph is represented by him as escorting the lover personally, 
 1. 2(5'?, and offering to defend him with hiss word, while in the 
 Decameron it is merely said that he gave him safe-conduct. 
 The speeches, 11. 271-280, 288-292, approach the pathetic. The 
 wronged and trusting husband is ready to defend the life of the 
 man who has dishonoured him, because his father and he were 
 comrades ; more than that, he commends him to his wife's 
 acquaintance. All the honour of this fine and well-worked out 
 conception belongs to Sachs, who here shows that he understood 
 the character of a high-minded gentleman. There is only the 
 slightest suggestion of this in Boccaccio. The peculiar 
 heightening of the action is noticeable in another respect. I'his is 
 not a vulgar amour of peasants, but all the actors in it are of good 
 rank. Landolph and Lamprecht are both set down as " Rittor " 
 in the dramatis personoi, and, in the teeth of the declaration 
 Steinh'w, p. 435, 1. 22, Leonetta is called the "Jung Edelmann " 
 in the same j)lace ; cf. also 1. 279. This play cannot be called a 
 farce. The theme is not treated in a vein of lightness ; the 
 seriousness of tone is the more marked when compared with the 
 merry note pervading No. 16 or No. 80. The vicious wife 
 triumphs, her ruse succeeds, but she is not applauded as in the 
 Italian tale. The impression left on the mind of the audience 
 
48 
 
 is that of the woman's utter uiiwoi-thiiioss standing,' out in sharp 
 contrast to her hushand's nobleness. This contrast is enforced 
 by the e})ilo<;fue with which tlie maid closes the phiy, and it is 
 not too nnich to say that No. 4Ji n^presents an unconscious 
 approach of ^^enius t<> the citi/en-coinedy, so-caUed, anticipating 
 Lessing by two centuries. 
 
 VIII. 
 
 ^ 69. Source of No. 45, Dec. VII. 5. — No. 45. Ih'i' (/rosz 
 Eyferfn', der sein Welb Beicid hiiref, <hited January 14. 15G8. 
 (}(ptze .says regarding- tlie .source, vol. 42/4li, xvii. : ''Auchdie 
 Fahel zti dem Fasinachtspiele vom stark J<Jifernih'/di(/fiti hat 
 //. Sachs dchb Decmneron entmmitnen ( VII. i). T The 
 Schwank and Spruchgedicht mentioned also in the .same place 
 have not been accessible. The story of the Decameron is as 
 follows : 
 
 § 70. Synopsis of Dec. VII. 5. — A rich merchant of Rymel 
 is in(n-dinately jealous of his pretty wife. She is so clo.sely 
 kept that she finds no method of revenging herself, till she 
 discovers that a chink in the wall opens into the room of a 
 young- man who lives next door. She comes to an understanding 
 with him. When Christmas comes, she wishes to go to church 
 to confess and receive the .sacrament. She has a conversation 
 on the subject with her husband, and arouses his suspicions by 
 teasini^ him. Her husband goes to the chapel before her, and 
 disguises himself in a monk's frock. She penetrates the 
 disguise, and pretends to confess an adultery. She says a monk 
 lies with her everv night. Her husband refuses her absolution, 
 
 -I/O ' 
 
 and that night, on the pretext of a visit, he watches in armour 
 for his su[)p()sed dishonourer. The young man takes advantage of 
 this absence to visit the wife. In the morning the husband sends 
 a messenger as if from the confessor, to ask if the monk has been 
 with her. She replies, No. He is in great perplexity, and 
 repeats liis vigils many nights, to the satisfaction of the lovers. 
 At last her husband demands an explanation. She tells him 
 that she had seen through his disguise in the chapel ; that he 
 himself was the monk. He is cured of his jealousy, and guards 
 
 ^^i^aJnUt^tB^JSV. ! 
 
49 
 
 her less closely, thus eiifihlin^' her iu mvry on her intri^ruc with 
 ease hi id safety. 
 
 § 71. Aunlysls of No. 45.— The introduction to the play 
 consists in a dialo^fue hctween tlu; wife and her Ahi^^ail. 'i'he 
 wife complains of the unjust susj)ieions under which slie lies, 
 and tlie maid teni])ts her in vain to <five her hnsluuid cause for 
 jealousy, l»y taking' a lover. Then follows n soliiocjuy ])y the 
 husband, showing- how jealous he is ; after which, the wife enters 
 and tells him .she wi.shes to confess, and ^ets permission to do 
 so. Wlu^n she has retired, the jealous man declares his ])urpose 
 of di.srfuisin^niimscilf as a monk to hear her confession. A sliort 
 scene follows between tlu! wifc^ and her maid, who acts here as 
 well as I. 244 fl! as her embodied sus|)icions. By .some .soi-t of 
 clairvoyance, the wife ^messes lier husband's plan. The scene in 
 the confessional follows; much as in the I)ecamei-on. However, 
 the wife in Sachs fails to ^^ot absolution, a nnieh more natui'al 
 turn than in Boccaccio. An outl)urst of an^-er follows fi-om the 
 husband. In tlie next scene, when tlie maid and wife fire 
 con^ratiilating themselves on the success of their ruse, the 
 husband enters an<l dechires his intention of f^'oiu^' on a visit. 
 A pretty touch of Sachs' own is 1. 187 tt! : 
 
 " Die Flaw .spiiclit 
 
 Wie ? wilt (111 lieitit iiiclit hinnen ligen ? 
 ISo werd icli zu totlt foitliten niir. 
 
 I)er Kyfrer spriciit, 
 
 ' Ey .so leg die Vrschel zu dir."" 
 
 Wiien he ^oes out, tlie maid and wife acfree to watch him 
 and find out what all tliis means. Tlie liusband returns in 
 armour, and in a soliloquy declares his intention of w.-itchin;;- for 
 the supposed adultei-er. The action is rapid here. The folloAving 
 scene discloses the fact that the wife and maid have discovered 
 his plan. They ^o off to bed. An interval of one night elapses, 
 and then the " Eyferer " appears and complains of the hardshij)s 
 he has gone through. The husband's messenger apjiears in tlie 
 next scene, and is told that the monk did not conu; that night. 
 The poor dupe of a husband gives way to his rage. The maid 
 4 
 
60 
 
 a^'jiiii toinpts the wife, luid is severely rebuked by hor. The 
 husli)in<l l»reaks in und insists on an oxj)hination. Sachs, 
 althou^^h ho condonses this part, is <|uite as ^ood as Boccaccio. 
 Th«5 wife first t'tsiirns i^Mioranee, then says [)erhai)s tlie confessor 
 has hhibhed, and then nnikiceives him ; t\n) phiy cl«)ses with tlie 
 Imshand's aj)()Io^y for his unjust suspicions. 
 
 ^ 72. ('Iiaiiifcs in No. 45. - -A^^ain Sachs has chanf^ed the 
 conijilexion of the j)iece, while retainin<i; almost every incident 
 of the original (§ ()4). There is only one important omission 
 besides the necessary condensation in the scene wiiere the wife 
 gets he)' husband's permission to attend church, tlie confessional 
 scene and the scene at the end in which she explains the double 
 meanin<jf of her confession. TJiis omission is the entire intrigue 
 with the young man next door; a similar omission occurs in 
 No. 42 (§ 5G). In the J)ecameron the trick is a means to an 
 end. Sachs has made it a thing complete in itself, and so 
 clianged the j'cjudsive story into an innocent ])ractical joke ; an 
 att'ectionat(! wife's cure for a jealous husband. Mai'garetha is 
 perfectly faithful throughout. 
 
 S 73. Additions. — The oidv additional material is reminis- 
 cent of this intrigue. Twice in the piay tbe maid tempts her 
 mistress. Fii-st, in the introduction, she urges her to revenge 
 herself, 11. 20 25, nnd points out the ways and means, 11. 80-33, 
 especially 1. 32 : " I)(t (jeld ein J/i)>;/[l ng eiii vnd avs ;" this is 
 the PiiilipjH) of the Decameron. He does not occur as a chaivacter 
 in the FastnachtKi)iel. 'J'he reference to Boccaccio is closer, 
 11. Sli-^l, but though the wife might seem to yield at first by 
 eiKjuiring almost wistfully, she am[)ly atones for it by the stern 
 rebuke, 11. 41-52, which she administcsrs. Again, 1. 27G K when 
 they are rid of the husband's presence, the maid urges her again, 
 and the chaste wife 'igain asserts herself. The idea is entirely 
 Sachs', and tnidently put in for a moral purpose. 
 
 I 74. Correspondences. — The tone throughout is refined, and 
 the interest centres in tlie character of Margaretha, who is 
 depicted as a faithful wife with plenty of spii-it, yet thoroughly 
 amiable withal. There is absolutely nothing in the stage 
 
61 
 
 directionH to cull for remark ; the vorhnl oorroHpon.lnnces are 
 given below : 
 
 Stfiiihiv. p. 4.10, I. 10. ^Vrt. 4,;, I. 74 f 
 
 fmwo was Hiind hast du J)cgaugon da/, Was sUnden hast, du jotzt'auir dir, 
 
 du dioh wilt noichton. Mnav.in .ri..: .1.1 .; 1 i •\^ xvn 
 
 ^ ■'"""• '-'»>'8''imgloiLlil)eicli(tuiwutaufl Morgen? 
 
 '''■ '■ ^^" Ok I. 7? iT 
 
 meitiHt du das ioli heilig noy danunl) Moinst dn.mh, .lasz ' ich im HauHZ stets 
 
 das du mioli voraport hetest- \AG\h 
 
 loll dorhallKii koiij Hilnde f rcih 
 
 Mit wort, wurk viid f,'odaiiek('M inein ? 
 
 »''• '• ^^' ih. I. SI f. 
 
 Doch in koin andur kirclion gingo dann Undi solt keim audiM-n hoid.ten gar 
 
 alleine in ire capellen vud ironi oapellan Denn vnsenn Cajjlan hindei in Al'ar. 
 pcichtot. 
 
 /'• 411, 1- to. ih. I. 121, 
 
 Vnd do pey wie sy cin pfatFe licb lictt. Ja, vnd hal. audi lid. oinon Pfairon. 
 
 ih. l. JO, i,^ , j„^ 
 
 vnd alle nacht mit if schlarten kcm. Ja, cr sohlofFt f.int all nadit l.uy mir. 
 
 ih. L 10. 
 leyt nidit eiier ee mann pey 1 ddi. 
 
 ih. I. n/,. 
 Ligt denn dein Mann nitselbst bey diri 
 
 fV;. l. IS. ii,_ /. /.-'iy; 
 
 Idi weisz nidit mit was kuuHt cr das Dassdb kann ich niclit sinnen ausz, 
 thut, Es ist koin turc so wol nitt verspert Kr kann auflsperren alle ( Jemaoh : 
 wenn er daikomet da/, cr die nit auf 
 thue. 
 
 IX. 
 
 § 75. Source of No. 46.— No. 4G. D<w Weih Im Bnuinen, 
 dated Jan. 5tli, 1553. Gretze says, vol. 42/43, xviii. : " l)((.s 46, 
 Fasfmwhfspiel h((f. SucJih vach dcm 4. Hliiche der VII. Taytrise 
 des Decameron ijedichfef." The inastersong on the same sul.ject 
 has not been accessible. The plot of Dec. \ll. 4, is the 
 following. 
 
 § 76. Synopsis of Dec. VII. 4 — A husband, Toffano by name, 
 is jealous of his pretty young wife, Oitta. She takes a lover, 
 and, by encouraging her husband's tendency to excess in drirdcing, 
 finds opportunity for carrying on the intrigue. The husband 
 becomes suspicious; one night he feigns drunkoiniess, and as 
 soon as his wife has left the house, he bolts the door. At 
 
1^' 
 
 m 
 
 wm^ 
 
 Wmt 
 
 HI' 
 
 52 
 
 midnight she returns ; he refuses to admit her ; she says, she 
 will drown herself to hide lier disgrace, and, by throwing a large 
 stone into the well, makes him believe that she really has done 
 so. He goes out to rescue her, ami she slips into the liouse, and 
 locks him out. She iunnediate'y raises an outcry, and feigns 
 that lie is drunk. This brings the neighbors out of their beds. 
 She so completely turns the tables upon him, that the neigidxuu's 
 take hei- part, and in spite of his remonstrances, a (piasi-legal 
 separation is effected on the spot. He obtains a reconciliation 
 with her afterwar<ls, through the offices of friends. 
 
 § 77. Analysis of No. 46. —The play proceeds as follows. 
 The first scene opens on tin; evening of the main incident, the 
 mutual bari-ing-out. SteHano, the husband, expresses his 
 suspicions of his wife's virtue, and resolves to feign drunkenness, 
 in order to detect her. Gitta enters, and is told that he intends 
 to visit his brother. Her speech upon his exit represents here, 
 as elscAvhere, the lapse of time, (§ ()'i). Tin; wife reveals her 
 character, and shows that her husband's suspicions are more 
 than justified. At the end of it, the husbniid returns, apparently 
 hopelessly druidc. She leads Iiim oft" t(^ bed, returns and fui'ther 
 reveals her charactci" in a monologue. On her exit, the husband 
 appears aurl bolts the dooiv Again the single speech represents 
 the lapse of time (§ ())i). The Avife comes and tries the door 
 first with her keys, and then, 1. 103, with her knife. She 
 knocks, 1. 105, an<l he re])lies in justifial)le anger, and a lively 
 dialogue follows, at the end of which, 1. KK), she pi'etends to 
 di-own herself. The ruse succeeds ; the husband runs out, and 
 the wife rushes in, and locks the door. The ensuing dialogue is 
 very bright, as showing the changes iu the man's emotions. 
 Fin.dly, her outcry brings her lu'other Anthoni upon the scene. 
 She accuses Steffano of drunkenness, and, though the luckless 
 husband gives the true state of the case, Anthoni does not 
 believe him. At last, he l)eats iiim for abusing his wife. 
 Steffano does not show fight, and Gitta goes off trium))haiitly, 
 under her brother's pi'ofection. The husband speaks the 
 epilogue, and the prospect of a lawsuit in t!ie morning makes 
 him resolve to try and conciliate her, because she always gets 
 the better of li".m. 
 
 :^ 
 
mmmm 
 
 f^nanni 
 
 58 
 
 § 78. Variations from tlie Deeameroii. — Tliere is no incident 
 omitted, though the intrigue with the young man is not made so 
 prominent in Sachs as in the Decameron. In regard to the 
 additions, it is needless to say, the introduction is of Sachs' own 
 invention ; cf. § (Jo. The man gives some of the facts of the 
 Boccaccian narrative in the form of a soliloquy. There is no 
 dialogue in tlie Decameron corresjxHiding to the one wliich 
 ensues in the Fa.stnachtspiel in which the husband goes out, 
 11. 25-30, for the purpose of getting drunk. In fact, the same 
 may he said of the whole play down to 1. 117. The situations 
 are supplied l)y Boccaccio, hut the dialogue is all hy Sachs. The 
 comic speeches, 11. 11«-18!), are not in the Decameron. The 
 honour of the fine passage, 11. 177-105, showing the alternations 
 of anxiety, compassion and wonder on the husband's part when he 
 thinks his wife is di'owned, belongs also to Sachs. The brother. 
 Anthoni, does not appear in the original. True to his custom, 
 Sachs represents the vague multitude hy a single character (§ 88); 
 Steffano's .speeches in the last scene are Sachs' (nvn, tor in the 
 Decameron he is not allowed to sav anythinjjf ; that is all done 
 by Gitta. The epilogue is also all by Sachs. 
 
 § 79. Unity, Sta^e-dircctions. — This ])lay is remarkable in 
 many ways. Not the least surpi'ising thing is the clo.se 
 adherence, perhaps unconscious, to the doctrines of the unities. 
 The time represented is at most three or four hours, and the 
 action does not halt for a moment. This is the shortest period 
 repi-esented in the Boccaccian plays. The place is tlie house and 
 space in front, and it would almost seem from the stage- 
 directions that there must hav(^ l)een a house i-epresented on the 
 stage, for it seems plain, 1. f)l If. and f)8, stage-direction, that both 
 husband and wife are seen by the audience when one is within 
 and the other without the house, "^riie greater luimber of the 
 stage-directions occur naturally in connection with the trick 
 which the wife plays, 1. 08: " Die fmw kiirii)>f, spcrrf tinder 
 fhiir III it den SchlusHcl n." It would seem that there were other 
 actions, see 1. 102 f., and 1. 105 : 1. 100, " ^leld(q)fft einnud oder 
 dreij." It would seem, also, from 1. HH, '■ Sic. vnrjf't den Stein 
 in Hranncn," and 1. 177, '^ Dcr n}t(nn sclnrf/f noh in hnnmen," 
 

 54 
 
 as if the well was represented on the stage, or at least, that 
 Sachs intended it to be so represented. 
 
 § 80. The Drunken Scene. — No. 46 also is one of the earliest 
 plays to introduce a dnniken man upon the stage ; 1. 51, 
 " Sfefavo (lorcMt her." He shows it in his gait and by the 
 passive way in which he allows his wife to lead him oft! 1. 61, 
 " Sie fiiii jn ah, (Cr." He shows his intoxication hy the 
 repetition of words and the fragmentary structure of his 
 sentences. The following is as go(jd an example as any, 1. 53 f., 
 
 " Vier nuisz, vicr inasz Reinfal truncken, 
 An Wendell, Wenileii heinilier liuncken." 
 
 Before he enters, his wife leads the audience to expect that 
 he is drunk ; 1. 49 f. she says : 
 
 " T)oit (lorckdl er glo.ioli eben her 
 Mich (lunckt zwar, er sey nicht vast ler. " 
 
 For similar instances of making an entrance gradual, cf. 11. 
 24, 91 ; for similar devices of preparation, § 00. The passage 
 11. 169-176 is plainly an aside (cf. § 26), for it is plain, from the 
 husband's next speech, that he has not heard her, while the 
 audience has. 
 
 § 81. General Crfticisni. — The play is not a broad farce, like 
 No. 16, nor a serious play, like No. 43, but a ])it of light comedy. 
 The interest is an intellectual one, partly ; for the wife, according 
 to Steftano's own confession, 1. 3i4, is the (]uick-wittcd (me, and 
 the ruse is decidedly clever. It is eftective, not only in the matter 
 of deceiving the husband, but in making the brother believe the 
 wife's tale, when the facts are all on the side of Steft*ano. Sachs 
 was also atcract«^d by the pictiu'e of domestic difficulties which 
 it affords, cf. § 34. Another feature is the contrasted scenes for 
 which Sachs has shown his fondness before, cf. No. 23. iiS 24, 27. 
 
 ^82. Character-drawinpr, GItta, St«ffano, Anthoni. — Oitta is 
 keen and unscrupulous, ready with excuses, and siiarp of tongue. 
 The lines 290 ff'., where she incites her brother to beat her 
 husband, are capital ; she tells Anthoni that her husband has 
 often despised him. But Steffano is the real protagonist of the 
 
65 
 
 piece. It is really wonderful how, within the small compass of 
 330 lines, he is represented first as a jealous husband laying a 
 plot, then feigning drunkenness, then exulting in the success of 
 his stratagem. Thereu{)on follows a burst of justifiable anger, 
 of irony, and a tirade of abusive language. As soon as his wife 
 seems to have drowned herself, a change comes. He feels pity 
 at once, which rapidly becomes anxiety and remorse. The 
 natural revulsion to relief and friendliness follows when he finds 
 that she is still alive, and like a sensible f(!llow, he asks to be let 
 back into bed. When she tries to impose on him further, he 
 fires up again, and, when he finds that the truth does not prevail, 
 and that he is not believed, he sulmiits to the bufietings of 
 Anth(mi like a slieep. For a similar depicting of changes in 
 feeling, ef. § 12. Finally, in the epilogue, he resolves to try and 
 get his wife back to cover his disgrace. Anthoni is the 
 swaggering big brother, l»ut his first remark is good, 1. 219 : 
 " Lefit euch zii rim) ! last die Lewi schlnfen." The correspondences 
 in dialogue are not close, and are therefore omitted. 
 
 X. 
 
 § 83. Source of No. 53. — No. 53. Der Ketzermeister mif den 
 vil kessel siippen, dated Octoljer 2, 1553. Goetze gives the 
 source in his introduction No. 51/52, viii. : " Dieseehste Geschichte 
 des ersten tnges in Johannes Boccaccios Decamerone (Keller 
 s. J^l f.) ist fiir das Fast nachf spiel ; Der Ketzermeister mit den 
 vielen Kesseln Snppe — die Qiielle f/eAcesen." The mastersong, 
 with the same contents, is to be found in Gcedeke I. IGO. It 
 may be noticed that Sachs casts his material into the form of a 
 schwank or mastersong before making it into a play, and in 
 several cases, noticeably in No. 84, he seems to have had the first 
 working over of the novel before his eyes, rather than the novel 
 itself. His lyrical period is as good as closed before his dramatic 
 period opens. 
 
 § 84. Synopsis of Dec. I. «. — We will ct)nsider first the 
 original novel. Tlie story runs as follows : — a simple rich 
 fellow in Florence i-emarkcd one day that he had such good 
 wine that God himself mi<rht like to drink it. These words 
 
56 
 
 were carried to the IiKjuisitor, who disciplined him for his 
 blasphemy, and, after threatening him with death, allowed him 
 to compromise the matter by giving a yellow banner to the order ; 
 he is made to pay handsomely besides ; and, on his release, is 
 re(iuired to attend mass at th.e convent chapel, every day, for a 
 specified time. On one occasion, he hears that men shall receive a 
 hundred-fold in heaven for all their ^rood deeds on earth. This 
 per[)le;res him, for the convent ^ives alms of soup daily to the poor, 
 and if the monks ai'e to receive a hundred bowls for one, they will 
 assuredly l)e drowned. He says this to the Tn(|uisitoi', to the 
 hitter's discomfiture, and is allowed to ^o free. In the master- 
 soni^, no division is made hctweeu tin; two parts. The only other 
 variations are those which necessarily arise from the more 
 compact form of the lyric. Tin; Nabal of the case is not allowed 
 to go free and then brought back. In this respect alone has the 
 mastersong influenced the Fastnachtspiel. 
 
 § 85. Condciisatiou for the Sake of Uuity« — It will be seen at 
 once that, if a }>lay is to l)*^ constructed from this material, it 
 must consist of dialogue rather than of action. The point lies 
 in a single repartee Avhich gains the victory for honest ignorance 
 over fraud. Action is excluded. Indeed, there is only one stage- 
 direction which is not colourless, vi;^., 1. 400 : " Der Inquislior 
 spricht zornig," The only omission is that noticed above, § 84. 
 At first glance tliis may seem slight and unimportant, but it is in 
 reality not so. The loosely-t(»]d story is divided into two parts. 
 Steinhw. p. 42, 1. 82 f.: p. 48, 1. 8. The witticism on which the 
 tale pivots is only an afte'-thought in the Decameron. This 
 circumstance may make the tale apjiear more natural, but a 
 drama re(|ui]-es unity, and Sachs has made the first careless 
 speech the cause of the final denofiment. 
 
 § 86. AnalysiB of Introanctioii. — As .stated above, Sachs' 
 tendency to amplify the given ])lot in a natural manner, is 
 shown here in a marked degree. Steinhw. ]x 42, 1. 8, " Snliche 
 red vnd wortj' i. e., that the wine would rejoice the heart of 
 God, " derii jxirfasistcr inunrh inquisitore zv f/ehiitr kamen." 
 From this hint, Sachs constructs his inti'oduction. The informer, 
 Hermann Pich, comes on, looking for his prey; he sees Simon the 
 
57 
 
 Host, and accosts him, 11. 1-14 : the fatal speech is made, 11. 20-24. 
 The subsequent scene between Pich and the Iiiqnisitor, 11. 45-145, 
 who are represented as spy and spy-master, is entirely supplied 
 from the statement in Steinhowel, (juoted above. Again, it is 
 necessary that there be some one to whom Simon can express 
 his terror, and so Nachl)ar Clas is created. He comes on 1. 117, 
 with Simon, just after the In(|uisitor has told the spy that he 
 will send his proctors to the host, 1. 1 18. In the short interval, 
 this threat has been carried into execution; Simon enters in 
 terror, 1. 117, exclaiming-, " /s'y, eij, eij, cij (teh, dch, rnd w,-h .'": Chis 
 enquires the cause of liis distress, and tries to con.sole lum. The 
 passage 11. 117-1 09 is entirely Sachs' own: the sliglitest possible 
 hint for the existence of such a friend is to be found Sfrivlnr. 
 p. 42, 1. 1 : " eines fiu/cfi ivlder cJlirhe seive (jesellen (fesprochev 
 hef, wie er als einen gufen weiit, (Cv." The ensuing scene 
 between Dr. Romanus, the Inquisitor, and the Custor,ll. l()r)-208, 
 is also made out of whole clotli. 'Y\\q Custor is not mentioned 
 in the original. 
 
 § 87. Correspondences. — In the scene between the IiKpiisitor 
 and Simon, 1. 209-227, the following correspondences occur : — 
 
 Steinhu; p. 43, I. 11 ff. No. 53, I. :?I7 f. 
 
 particularly 1. 15. — "so machest dii Vnd auch sant Johannes, der Tauffer ? 
 vns vnsern herren Kristum zu eineni Wilt aus in machen zwen WeinsautTer, 
 trincker, ala wer er Ciciglione oder Das sie von dcni Woyn warden wol 
 eiiers geleichen. Zwen tniiickcn boltz vnd .scin stiidtvol, 
 
 Wie (111 vnd deins geleichen hist? 
 
 lb. I. 21. ih. I. ass f. 
 
 Du hast das fewer vnd den tode als ein Darniit hast du verdient das fewer, 
 poser keczer verschult. Wie ein Ketzei- gar vngchewr. 
 
 Simon's speech, 11. 230-287, is an expansion op SfriiTfnr, 
 p. 42, 1. 12 f. : tvaz der f/ut man geredf Jni don inquisifore 
 saget vnd irn des sein vieiiui/ng zu versten g(d)r." The 
 interference of Clas at this juncture, 1. 288, an<l the hi<licrous 
 scene up to his expulsion, 1. 278, is pure invention on the part of 
 Sachs, and has no place in the source. Penance is laid on 
 Simon ; he must stay in the cloister, 1. 297, go to preaching, 
 1. 306, and repeat a part of what he hears to the Inquisitor 
 afterwards, 1. 307 f. Again, the scene with Clas, 11. 813-844. 
 
it.i 
 
 it 
 
 58 
 
 where he asks Siinori how he fares at the convent, and advises 
 him to purchase his pardon with money, is not in the original. 
 Indeed, tlie oidy dialogue wliich may l)e said to be made ready 
 to liis hand, besides the ])assafres collated above, is that contained 
 in the final scene, where the famous i-eply is made. The following 
 are the corresf)ondences which occur there : — 
 
 SfPiiifiir, p. 4.1, I. 9. Xo. r,,1, I. 361 /. 
 
 Der iniincli in ftaget ol) er des solbeii l)u Ketzer, hist zu Prcdig gwesseu ? 
 morgeii mess gehort liet; Was li.%st horn singen oder Lesen? 
 
 i''- I- IJ- ih. I. 366 f. 
 
 <>b ei- ill der epistel vnnd eiiangeli Wasjsz ? hast du eiu zweyffel drin? 
 
 der iiiesse ioht vernonimen het dar an Sag iier ! ich wil dich vnterrichten. 
 er czweyfelt. 
 
 '■''■ '• ^'h ih. I. S63 ff. 
 
 Es ist wol ware icli vernai.i etliclie Heyliger Vatter, an dem ort 
 
 wort, die mich vmb oUer vnd eiier Hab ich gehort ein echrocklich wort, 
 
 priider widen grosses leyte haben Das selb bekiinimert mir main sinn. 
 tragen machen. 
 
 «■/'• I- l^- 'h. I. 36S f. 
 
 Ich gelaiibe ot; alien czweyfel alles daa, Mein Herr ich zweiffel gar mit nichten. 
 das ich liab in fier messe gehort ban ; Fiir micli selb es gar nit blagt. 
 
 '■''• /• 16. ih. I. 370. 
 
 wie dem ? welche wort sein das, So sag iier ! was hat er gesagt ? 
 
 die dich vmb vnsern willen also betriibt 
 haben. 
 
 /. 378 ff. 
 Fiir mich kummert es mich nit sehr, 
 Sonder ich erschrick an dem endt 
 Fiir euch vnd ewer gantz Conuendt. 
 
 Der Incjuisitor spricht 
 
 W arumb fiir una ? das selbig sag ! 
 
 »^- l- JS- ih. I. 371 ff. 
 
 Ich vernam in dem heiligen eiiangeli Man hat predigt, was wir hie geben, 
 
 wort die also sprachen ; Jr wert fiir Das wirt vns dort in jenem Leben 
 
 einen den ir gebt liundert wider haben. Alles wol hnnderfeltig finden. 
 
 das ist ware du hast recht gehort vnd Das ist war, gwisz ohn vbcrwinden. 
 
 wol vernomen? Aber sage mir waz Dninib gieb auch viel ins Closter rein T 
 
 vrsach haben dich dise wort in solche So nembstus liundertfeltig ein, 
 
 gedencken geseozet. Was erschrickst denn ob dieser lehr ? 
 
5<) 
 
 I 
 
 Stt'inhir. p. 4J, I. 23. 
 byder ich hie mit euch gewonet hab ich 
 alle tage vor eiier porten des klosters 
 vil arines volkes fundenn haii Do pcy 
 alwcg ezwen odr drey grosse kessel mit 
 Buppen vnd priie, die man eiicli nyint 
 vnd duroh got den arinen geyt, 
 
 ib. I. S6 ff. 
 Siilt ir mm in gener welt alweg fur 
 einon kessel mit suppen lumdurt wider 
 habenn, Ir wert so vil priie vnd suppen 
 haben daz ir on zweifel dar inn 
 ertrincken miist. 
 
 ib. I. 37 ff. 
 czorniglich zu im sprach daz er an den 
 galgen ginge tliette was er wiilt niir 
 nicht mer zu im kerne. 
 
 No. r,fi, I. .IS:^ ff. 
 Da hab it-h gsehen alle tag 
 Das jr hicnausiz tragt ausz erb.irnien 
 Drey kessel mit suppen den ariiien. 
 
 ib. I. .?,S\S' ff. 
 Dafiir wirt euch in jener Wvh 
 Wol liiindert tiuipendt kes^cl vol, 
 Neun taiisendt vnd fiinfT hundert wol. 
 Wo Avolt jr mit den suppen alln hin ? 
 Jell fiircht WiirJich, jr werdt darinn 
 Si!ml)t ilcm gantzen Conuendt ertrinck' 
 
 en, 
 In der suppen zu grunde sineken, 
 
 ib. I. 40.5 ff. 
 Heb dieh fliix au.^z dem Closter nausz, 
 An galgen heim bin in dein Hausz ! 
 Kumb mir nit mehr fiir mein angsicht ! 
 
 § 88. Comparison of Boccaccio's and Saclis' Dialogue. — Before 
 discussing tlie relation of the various jjarts to one another, let us 
 consider the parallel ];assages cited above. It may be said in 
 genera], tliat Sachs rarely improves on the Boccaccian dialogue 
 where it is supplied ready-made, i. e., where the narration is 
 direct ; but in the indirect narration, he often excels liis original 
 in energy; for instance, 1. 363 is stronger than the mere 
 statement in prose. For a similar reason, I. 366 is superior to 
 the passage opposite ; a point-blank (piestion must be livelier 
 than saying that such a (piestion was asked. It will be noticed 
 how Sachs has transposed 11. 363-5, and repeated the idea of 
 1. 369, namely, that Simon is not anxious for himself, in order to 
 hei£rhten the interest and make the climax stronger. The 
 ascent to the application of the " hundred-fold " is more 
 gradually prepared. Simon has heard " chi whrocJdick wort" 
 1. 364, but is not troulded about liimself, 1. 369, and thus he tells 
 wluit he has heard, 11. 37 1 3. 1'he aj)plication of the text by the 
 Inquisitor to money paid to the convent intervenes, 1. 375, and, 
 on being again iiuestioned, Simon says he is afraid for the 
 convent. The retort follows, with several additions of Sachs' 
 Simon ijoes into statistics which are ti-uly alarming, 
 
 conv 
 own 
 
60 
 
 Is :1 
 
 ,1 
 
 I. 8tS7, and I. 389 t'.: carrying tlu; \iUni .still i'urthei-, he wonders 
 how the\' cfiii swiin in the tlowiiif; t'l-ocks in which tliey are 
 buried. The final citation, 1. 405 fK, sni-passeH the parallel 
 passage also, inasnuich as it is direct narration. 
 
 §80. Sachs' Aiiipllflcnt Ions. -It is not difficult to ju.stify the 
 introduction of the additional scenes. The anecdote nuist have 
 a IVaniework, .so each pai't of tlie orii^'inal tale is naturally 
 anijilihed and expanded. Simon's heretical speech nnist I'cach 
 the (uii's f)f the ]n(|uisitoi-, hy what inoi-e natural chaiuiel than 
 the s])y / In the hrst scene, thcrefoif, tin- speech is made to the 
 int'ormej- ; in the next, he lays his information hefore his 
 master, II. S8 05, and it is noticeable how he has exaggerated. 
 Simon had said, 11. 20-24: 
 
 " Vik! wenii jii trinckni solt iilleiii 
 (Jott villi iiiKjli .Idhannoi dor 'i'uiill'tir, 
 Welchcr gowest ist scin vorliuiffoi', 
 So \vey.</ icli yc, dcr Woyii wer gut 
 Villi wiirt orfrowoii jiii den iniilit." 
 
 Fich does not allow this to lose cinvthini'- in the tellinsr 
 
 II. 90-95: 
 
 " Sfigt, wic ein giiten W'eyii hot or, 
 Der wer so gut, vnd gleycli zu spot, 
 Wenii jii S.iiit .Toliaiis vnd solli (Jott 
 I)es selhen soltoii ein vicrtl triiicken, 
 iSie miisten vntor don 'I'iscli bincken 
 Vnd tnuickeii wurden wie die Scliweyn." 
 
 Sachs is true to life in making tliis trait of the talebearer 
 prominent. The hrst scene with Clas, 11. l]7-l(uS, shows the 
 effect of the Incpiisitor's niandate upon poor Simon ; Sachs 
 prefers this to a scene in which the proctor would speak to 
 Simon directly; the second, 11. 23<S 278, is an interlude and a 
 concession to a mirth-loving and Protestant audience ; the 
 Romish lion is l)earded in his den, 11. 2G2-4: 268 f.,and the puns, 
 1. 249 f., 1. 255 fi!, no doubt ])roduced roars of laughter (§ 40). The 
 third scene with Clas, 11. 318-844, is necessary to show that the 
 penance has been performed which was laid on, 11. 297-806. 
 This scene pre])ares us for what is to follow : II. 388-5 lead up 
 to the final .scene, where Simon recites what he has heard. We 
 had been prepared foi" the service, 11. 169, when the Cu.stor was 
 
m 
 
 61 
 
 given instructions to light the ta|)ers for tho service : see also 
 11. 206-8. Here, too, we have the basins of soup tneiitioned, 
 11. 17()-iH2. The Custor's re[)ly tends to amplify the matter; 
 at the same time both he and the Inquisitor exhibit their 
 hypocritical characters. This is done in the conventional way 
 by the villains boldly <leclaring that they are villains. The 
 seccmd scene with the Custor, 1. 1^45 (1., is introduced evidently to 
 carry on the story and call attention to the situation, viz., Simon 
 is being persecuted \)y the mordcs, and sees that he can buy 
 himself oti". The idea is Boccaccio's; indeed, he emphasizes the 
 greed of the IiKpiisitor, but the device is Sachs' own. 
 
 § 90. The Spy, Inquisitor, Simon, IVelglibour Clas. -^Thc 
 characters are stnmgly defined. Pich is the tyincal spy, a mean, 
 ungrateful wretch; he has drunk in Simon's tavern, 1. U. 
 accepts his wholo-souled invitation, 1. 2<S, and then vilifies him, 
 Sachs rein-esents him as fawning upon his master; see stage- 
 direction 1. 82. The Incjuisitor is the cruel, rapacious, hypoci-itical 
 villain, whose final discouifiture would be sure to draw applause 
 from Protestant NurenduTg audiences. He exhibits his character 
 in his first soliloquy, 1. 45 fi"., in whieii lie shows more greed than 
 cruelty; 11. 171-3 show his hypocrisy. His Inillying of Simon 
 and his threatenings, 1. 214 fi'., 11. :i()l 2, are sufliciently rough. 
 But there is not as much inysterions terror surrounding him as 
 we are accustomed to as.sociate with the name. In the victim 
 Simon, Sachs has improved considerably on the original. There 
 he is merely called "ein <dfer erher mtm — Mer rekhe cm fielte 
 dann an sinnen." Sfcivhw. p. 41, 1. 34. Sachs makes him 
 Simon Wirt, and such passages as 11. 11,17, 100 f. leave no d()ul)t 
 as to his vocation. In Boccaccio there is no hint of this, but it 
 is particularly ap])ropriate that the remark about the wine 
 should be put into the mouth of a publican, and, in representing 
 him as rich, Sachs is in strict accord with the traditional 
 opinion regarding inn-keepers in the Middle Ages. Simon is 
 very simnle, and he knows that he is a fool; 1. 155 : " M bin 
 clem Miinch gar zii einfdtlg." The remainder of this shows 
 his dependence on others, and emphasizes his iml)ecility. It 
 is this weakness which makes it possible for the Incjuisitor to 
 terrify liim into denying his friend, 11. 284-7. Neighbour Clas 
 
 I 
 I"" 
 
02 
 
 is much tlie clojiror-lieatlod of the two, and in contrnsi to Sinion, 
 who crin«ros, he ahuso.s the ln(|uisitor i-oundly to his face, 
 11. 2(5 .-27S. The (stron^r Protestant tone is to be noticed, 
 esi)eciaily in the epilo;?ue spoken by the hKiuisitor. The 
 complaint ai,minst the layman, 1. 417-25, is the one so often made 
 by the cler^'y of th(> time. 
 
 XI. 
 
 § 91. Discovery of Source of No. 62, Dec. IX. 5. — No. (32. In 
 
 the register " Der tvol, erzaiist alt pacler," dated Feb. 1st, 1554. 
 It ap])ears that the sji.ne material has been worked up by Sachs 
 into two mastcrsongs (MG. X. B. and XV. 22'-23'). These, how- 
 ever, not being accessible, I am obliged to give the statement on 
 the authority of Go^tze. As is well-known, the bulk of the master- 
 songs is still unedited. The variations of the play from the 
 original novel a'e triiling, and can readily be explained otherwise 
 than by assuming that they are due to the influence of the msister- 
 souirs. Neither (Jeetze nor Keller i>ive any hint of the source. It 
 is however, taken from Decameron IX. day, 5th novel, Stcinliw. 
 pp. 5()l-5()8. As I liave to establish this, I shall vary the usual 
 order by giving a synoj)sis of tlie Fastnachtsjiiel first. 
 
 § 92. Analf.sis of No. 62.— The course of events, scene V)y 
 scene, is as follows. Enter two peasants, Ulla Lapp and Eberlein 
 Dildapp, conversing. ])ildap]> is in love. In a drinking-bout, 
 the night before, at the inn-keejier's, he saw the lattei-'s wife 
 washing her feet. Her p(U"sonal charms, which are described in 
 detail, have so influenced him that he Inu'iis like a " tr'uss of 
 straw." He implores his friend Lap]), who is at the same time 
 her gossip, for his aid, which tie latter ])romises. Dildapp, left 
 alone, reflects that her love for him had l)egun long l)efore, and 
 recalls certain manifestations of it. As he leaves the stage, 
 Lap]) comes on witli Hildegart, the object of his passion ; Lapp 
 tells of his friend's love, but the hostess rejects his overtures 
 with scornful disgust. The go-between then changes his tone, 
 and the two ref-.olve to play Dildapp a trick, upon which 
 Hildegart goes home. Dildapp returns to hear the result of his 
 proposal : his friend informs him that the lady is violently in 
 
 
G3 
 
 lovo with him, iiiid rociuireH the honour of a Hercna<K'. Ho is v«!ry 
 willing' to ^'ratify her, and besides, promises generously to ^'ive 
 her whatever she (Uisires, " Viid Hnlt cs seiv (frci/ vrewzer 
 wert." As he leaves, La[)|) solilo(|uis('s on his t'ri((nd's ^^reat 
 stn()i(lity Accoi'din<( to Sachs' custom, this speech of the sin^de 
 actor represents the lapse of time, ^ 77 ; when the hostess 
 re-appears at the imd of it, a ni<^dit has passed, and Dihhipj) has 
 given his sei'enade. Hildegart ^dv(>s a w.vy humorous account 
 of the performance. Dildupp's !-(!tnrn interruj)ts the conversation, 
 and the hostess leaves. Dildapj) ^dves his versicju of tin; 
 serenade. He comj)laiMs of jiis ill success, and his friend 
 advi.ses the use of magic and enchantn)ents. They leave the 
 stage to prepare the charm, and FJildi'gart n^turns to tini.sh her 
 interview with gossip Laj)]). He enters, and tells her of 
 Dildapp's intention to use the charm upon her They plan to 
 bring I)il(la|)p's wife to the assignation at the critical moment, 
 andtluiu they can observe the sport from their coign of vantage, 
 In this speech occurs one of those subjective touches which show 
 Sachs, the conscious ai-tist. Wlien Lapj) has arranged the plot, 
 he says, II. 2G4 -0 : 
 
 " So wollen ioh vjid ewer iiiiin 
 Oben iuich durcli eiii locli zii ai-hcn 
 Wie (lis J'uatiuicht spil irirl iji-.'irlii'/iP.n." 
 
 The hostess readily agrees to do her part, and exit. Angncs, 
 Dilchipp's wife, comes on, asking for hei' husband, and com])laining 
 to Lapp that .she cannot keej) the goodman in-doors at night. 
 All hisspart! time he is pi'actisingcni his iiddle. Lapp tells of her 
 Inisband's infidelity, and promises to give her an o[)portnnity to 
 satisfy he! self on the subject. She is fiercely eager to go, l>ut 
 Lapp induces lier to leave her knife at home. Then follows the 
 final scene. Hildegart appears disguised, so that Angncs may 
 not recognize hor. Dildaj)^^ touches her w ith the magic letter 
 by using the delicate stratagem of protending to catch a flea on 
 her neck. The charm seems to work, for the hostess runs after 
 him, and he tries to embrace her. Hei'c Sachs', as is his custom, 
 has modified considerably the original ])i(iUMiu'y of the situation 
 in Boccaccio. Angnes rushes in, Hildegart runs off, and leaves 
 Dildapj) to his rightful spouse, who beats him without mercy, 
 
64 
 
 till liiipp ri'sciiL's him from Imr clutclios, Tlu; huslnind Uo^h for 
 panloii, l)ut h!k! attacks liim afjaiii : La))]) a^jain interforos, and 
 slu' turns on liim ; t\uty indul^^o in mutual rcrriminations, till she 
 chases him otl* tlie staf^c. Dililapp sodts rctlt'cts on tho eriMlihility 
 of witchcraft ami the unfortunate interposition of his wife; he 
 resolves to try and conciliate his " <ilt svliiflinff ;/aur' when he 
 • •■oes home, that no worse misfortune overtake him. 
 
 ^ 0». 8yuopsii( of No. 62. -The plot of the novel is briefly 
 this: — A i^^'utleman's mistress is seen hy ('alandrin, a workman 
 in his house, when sIk^ comes down in her ni^^htdress to wash 
 her hands and face at the well. lie tells his fellow-workmen 
 that he has fallen in love with her. and they lay a ])lot with the 
 gentleman and his mistress to have their. sport with thesim})leton. 
 He fetches his guitar, and plays and sings for her ; he makes 
 her presents, for which the god)etween brings him sham rings. 
 As his flauK; promi.ses, but does not ])erforni, they use a charm 
 upon her, namely, a letter which Calandrin is to place upon her 
 skin. The fool's wife is infoi'mcil that he has an api)ointment 
 with a loose woman, and is bi-ought to the barn where the 
 nuH'ting takes j)lace. Calandrin uses the charm, and the woman 
 pretends love. His wife discovers him in a veiy compromising 
 situation : he is begging for a kiss as she enteivs. She vituperates 
 him and beats him, i)ut at length his friends pacify her, and the 
 fool goes home, cured of his foU . 
 
 ^ 1)4. Points of Rescmblauctt. — The points of resend>lance are 
 plain at once. The point of the novel and the [xMut of the 
 drama are the same : a wife arrives inop])ortunely on the scene 
 of her liusband's assignation. There is further agreement in the 
 following details : the fool sees the woman tir.st in disarray ; in the 
 novel she is ni her night-gown at the well ; in the Fastnachtspiel 
 she is washing her feet ; he serenades her (much emy)hasis is laid 
 on this by both authoi-s) ; he gives her presents ; the hoax is 
 planned beforehand ; \w is duped by a pretended friend , when 
 he fails at Hrst, ho uses .'i charm, made in the same way ; the 
 decoy feigns all the way througli ; his wife interrupts and beats 
 him, precisely at the same point, in each version. 
 
65 
 
 § 96. (!hanK0!4. — The main dittonMico is tliat iti tin- |>liiy, the 
 uatiu's, setting iitul colouring' had all hccii injiih' (iiM'inan. 
 Calanch'iii is Dilchipj), Nii-olosa thi' mistress Itccoincs llil»K'<;ai"t 
 the huwllord's witV, Mi)niia Tessa is Aii^nics. and the Wiuv jokei's 
 Phili|tj)(), Bruno, Nello and Ihitrehnacho are, t'oi- the sakt! of 
 unity, I'epresented hy Lap]) without any loss in interest or 
 dramatic eti'ect. The i)eeasion of the fool's l'allin<; in h»ve is a 
 drink in^-hout, all tlie eharactei's ai'e from the lower class ; in a 
 woi'd, these changes have Ween introduced with the intention of 
 making the Italian material comprehensihle to a (ierman 
 audience. This is in acconlaiice with Sachs' almost invariahle 
 practice. In suppoi't of the fore<^oin<^ statements re^oirdin^ the 
 a<a-eenient in fact, cf. 
 
 Sfeiithir. p. 5():i, 1. 1 1 IK 
 
 p. 502, 1. :u tr. 
 
 p. 504, I. 38 f. 
 
 p. 500, 1. 27, ) 
 p. 507,1. 21,3 
 p. 5(57, 1. 22. 
 
 Xo. ()2, 11. 1 f. 
 .. 1. 0. 
 H I. 120 f. 
 also I. I.'il f., 135 f. 
 
 No. 02, 1. 255 li". 
 
 1. 305, 
 stage-direction. 
 
 8 96. The Verbal Correspondences. — The main verbal corres- 
 pondences are the following: 
 
 Steiiihw. p. ,->aiJ, I. 14. ^''f^- ''■-' '• "^ f- 
 
 r.ruiio spracli pistu so hcherczc.Ht das dn Piatw so aiu in-hi-r-Jtr man 
 
 sy clarst aiifurtii mit eiueiii priej/leiii Viul darfst die wirtin ntermi. on 
 
 das ioh dir gehcii willc. Mit aim zettel, den ich dir f_ieb, 
 
 ib. I. 16. ib. I 238 ff. 
 
 So ge bin vnd pringe mir ein wenig neiier Darzw must aber pringen dw, 
 
 ungeporner karteu vnnd ein leheudige Das ioli die zauberey zv licbt, 
 
 fledennause vnnd drey kiirner weyiach Weirauch vnd ein geweiobt wachslicht 
 
 vnd ein geweielites becbt oder kerczen. Vnd ain lebende fledermaus. 
 
 Sttinhw, p. 5(JU, I. 10. 
 Donxmb deucht mieb-— sy daizept ingen 
 
 No. 62, I. S:iO jr. 
 ieb "tort/, Tuir niiiesen 
 
 fs Key ir Hebe oder leyde, ist es anders Sic angrewffen mit zaul)erey, 
 dein gefallen, vnsern wdlen ze then, Obn ir (flclch lieb oiwr laid sey. 
 
 8 96. Improvements iu No. 62 — There is very little additional 
 material of Sachs' own creation in the play. Most of the 
 
66 
 
 diaiogue is implied or expressed in the novel. His few ad<litions 
 are iinproveinents. At 1. 138 he makes Dildapp receive as love- 
 token " eiii, iUirzcf nestel." The humorous description of the 
 serenade, 1. J7()-205, is in Sachs' l)est manner, and is not found 
 in the soui'ce. The circumstance of the liostess when acting as 
 t'ne decoy, 1. 345, " JJlc wirfin kiirtipt verpanden, dV.," is a 
 necessary (me. In the nov(>l the chai'acters wen; of diiierent 
 ranks, l)ut hei'e tliev are nei(dil)ours, and the hostess does not 
 wish to be .^con^nized by An<^nes,. 1. 3o0. And Hnally the mutual, 
 recriminations (11. 308-4J()) in which La])]) and Angnes imlulge 
 are new, and add variety to the final scene. 
 
 ^97, Mise-eu-sceiie. — The .stao-e-directions are not s])ecially 
 noteworthy. Tliey refer to small details ; for instance, 1. 73, 
 when Dildap]) has left the stage, " Vila Lapp (jet ('in, iviiicld 
 die wlrti'n; die kampt." These show Sachs to l)e a careful 
 stage manager. Again, 1. 338 : " Awpies DUdeppin rerht fi))ger 
 auf," l)ecause she is taking an oath ; she says, 1. 338 : " Pey 
 giic/nvorem aid.'' The action is suited to the word. As the 
 catastroj)he a])])roaches, the action becomes livelier, 1. 305 : 
 " JJie wirtin laiift im iiach,' i(:c.: 1. 371: " Ebcrlein D'lUUipp 
 (pvuft narh ir," and then when the wife ap])ears, we have a 
 battle I'oyal, 1. 375: " Die Amjnes Dildeppin kumpi eitK/eloffen. 
 Die wirtin laiift ddt foil. Angnes rauft vnd schlef/t /vh 'Uian, 
 jagt 'in vnd), Vlhi Lapp kampt, reixt sie von in)." This was 
 evidently ])leasing to the groundling.s, so the mauo'uvre is 
 repeated, I. 3!>8 : " Vila Lajyp (jreivft sie an," tliat is Angnes, but 
 1.401 : "Aia/nes ziickt sick von im.'' He tells her too many 
 home truths, 1. 414 : " Awjnes schlecht auf in ;" 1. 417 : " Angnes 
 sckleekt den Lappan liinaiis. Eherlein Dildapp heht sei/n. Iient 
 aiif." It is possible Sachs meant this ])oetic Justice to fall on 
 him on account of his treachery to his friend. It is sutticiently 
 amusing. 
 
 § 98. General Criticism. — In general, it ixuiy be said that this 
 play is one of the best of these which were specially adapted to the 
 stage. It is without jirologue or ej)ilogue. The motif is given 
 in the very second s])eech l)y I)ilda])])'s avowal of love. The 
 play is strongly and carefully " inotiviert" throughout; nothing 
 
67 
 
 happens without adecjUHto preparation and warning. Tlie action 
 is rapid, and t!ie catastrophe well worked-up. The dialogue is 
 humorous in the extreme, and where it does not equal Boccaccio 
 in wit, it surpasses him in comic power. Sachs has added freely 
 in the dialogue ; he has assimilated his material and formed a new 
 concei)tion of it ; every additional detail tells ; there are no long 
 speeches in it, and not a word of nun-alizing. Of its kind it is a 
 finished piece of workmanship. 
 
 Xli. 
 
 ^ 99. Source of No. 81, Dee. IX. 4. — No. 81. Der verspilt 
 rewler, dated Nov. 1(), 1551). Ga,'tze states the source Neudr. 
 63/G4,xi. : "Hans ^V/t'^.s• hat hier wnd in. (/em. Scli a-nvke : Der kerr 
 mit dem verspilien kneeht (Bd. 9, ,S'. .f/Vy hi>^ ',7.1 Kdler) den er 
 wenvje Monuie vorlter, am 19 (nielif .J9) April, Ioo9, s('lmf,al8 
 Vorlajjc Boccaecios Decameron, 9, J,, (hei Sfeinlwivel Bl. 3^^ in 
 Keller ti Ausr/ahe, X So8) benvlzt." The mastersong referred to 
 was not accessible, hut a com])arison has been made between the 
 tale, the sell wank and the play. 
 
 ^ 100. Synopsis Deeame?-on IX. 4-. — Two men lived in the city 
 of Senis, both with the patronymic Cecco, erne called Angoliere 
 and the other Forteringo. They were unlike in some things, 
 but both alike were envious of their fathers. Angoliere could 
 not live with hi.s parent, and so resolved to join the train of the 
 legate at Ancona. Forteringo ottered his friend his services on 
 the journey for his m;iiiitenance. His otler was i-efused 
 because he was a noted gamester and drunkard, but on 
 swearing to reform, Angoliere at last relented. On their 
 journey to Bon Convent, Angoliere fell asleep at un inn after 
 dinner; Forteringo went to another tavern, got drunk and 
 gambled away everything, even his clothing. He then robbed 
 his master of all his money, and returned to the gaming-house 
 to redeem his fortune. When Angoliere i\v,okv and was about 
 to ride away without his servant Jie desii-ed to pay the landlord, 
 and then first discovered that he had been i-obl)ed. At this 
 juncture Forteringo returned, designing to steal his employer's 
 
r 
 
 68 
 
 clothes. Instead of being ashfinied of his conduct, he impudently 
 begged Angoliere to advance him enough money to redeem his 
 jerkin. A bystander then infoi-med Angoliere how Forteringo 
 liad acted ; the latter rode away, closely followed by his 
 fawning servant, who continually <lemanded the money and 
 ignortjd all reljufls. On catching sight of some peasants in the 
 fields, a trick suggested itself: he pretended to pursue Angoliere 
 as a thief, pi'oclaiming loudly tliat he had been robbed. The 
 peasants believed him, and, witli their aid, he stripped his 
 master naked, and rode ofi' with his horse. 
 
 § 101. Variatious lu the Scliwauk. — The Schwank, Keller 9, 
 pp. 470-478, otters the following variations from the above 
 account. The errand is not stated at length. Cecco, the 
 burgher's son, is going to his friend, the cardinal at Ancona. A 
 rake, unnamed, otters to serve as courier. He games and robs, 
 as stated above, but the informer is not mentioned, nor is the 
 point insisted upon, that the courier refuses to be driven aw.ay, 
 in quite the impudent fashion of the original. It might have 
 been explained in the former case as between equals ; but in the 
 Schwank, the rascal's inferior position is more sharply defined, 
 • and the plain narrative frame-work of the Schwank does not 
 leave much room for such altei'nations to and fro. The informer 
 is omitted for the good reason that the situation explains itself ; 
 the tell-tale is j^robably not necessary in the original ; cf. 
 Steinhw. p. 559, 1. 3(i. 
 
 ^ 102. Agreeuient in Fact. — The play preserves tlie main 
 incidents of the original stoiy faitlifully ; the servant presenting 
 himself, being accepted on liis promise of reformation, the double 
 rol)bei'y at the inn, and the turning of the tables upon the 
 unfortunate master by the interposi<-ion of the peasants. There 
 are no long scenes supj)lied, as in No. 53, § iS9, there being here 
 no necessity for them. The action is quite suflficient in itself ; 
 and where the play dififers from the tale, it agrees with the 
 Schwaid< in eveiy important detail. 
 
 § 103. Additions. — The additions are as follows : the long 
 solilfKiuy of Klas Schellentaus, 11. 19-78, giving a curiums account 
 of fifteen games at cards, and showing iiis character as an 
 
69 
 
 irreclaimable gambler and blackleg. The aeclaration, 1. 65 : 
 "Spil ist mein hiich^U' fveud aaf rrt," ])repares us for his 
 knavery at the inn. For similar reasons, the lan.llord is 
 introduced as complaining ol" the hard times, before the arrival 
 of tlie travellers. Sachs has done this elsewhere: cf. No. 51, 
 11. 65-8(5, particularly 1. 65 and No. «l, 1. 120. The peasants are 
 merely meutione.l in the source ; here they are given rhyming 
 names and have a short scene to themselves, 1. 305-820, to 
 prepare us for the entrance of Klas and Engelhart. The 
 moralizing epilogue spoken by the fleeced sijuire is Sachs' own, 
 as might be expected. The very lively dialogue. 1. 3:57 fF. has 
 no counterpart in the Schwank or in the Decameron, except the 
 hint, SU'inhw. p. 561, 1. 1 5 f. : " Dessrihen nrh'irhen avch A ngohere^ 
 sprachc; Abe s,-'lne worf vinh sunst vn<l nirhf vcrlwret wordenr 
 The tantalizing situation ol* an honest man in the position of a 
 knave, and unable U> right himself: the righteous anger of the 
 peasant, 11. 345-350, and the malicious joy of the successful 
 rogue, 1. 374, are well depicted and true to life. 
 
 ^ 104. Furtlier Chaiifres.— The minor improvements in the 
 dialogue and the turning of phrases are so numerous, that only 
 the most important can be notice.l. The Italian names are 
 made German. Angoliere is " Juncker Engelhart," Fortermgo 
 is "Klas Schellentaus " (l)euce-o'-l)iainonds), and the landlord is 
 <'Kuncz l\-agauff": cf. Hen. IV., I. 2.-"an<l spent with crying 
 brinq l>r." 'En'^u the p.^asants are made less abstractions by 
 havinP- comic names (Flegel and KegeU given to them. he 
 reason for the s., ire's journey is probably more intdhgible o a 
 Ger.uan audience, viz., going to fetch a rich bnde, 11. 3-7 than 
 that. ■ wishing to mend his fortunes as a courtier m a church 
 di<mit, -v's retinue. I)euce-o'-I)iamon<ls employs the weak 
 scamp', usual arguments in a very clever way, on his detection 
 attheinn.l. 272 ti: : 
 
 " Ach, liol)(3f junckher, \\\e miigt ir sein 
 So unpannherzig ? thuet euch erparmcn 
 
 Veber mich vcrspileten armen. " 
 
 This appeal for sympathy is made to the man he has robbed 
 of all his money, ami whom he had intended to rob ot his very 
 clothes. Another highly humorous passage is I. 284 tt. : 
 

 70 
 
 " Mein junckher, was timet ir mich schmehen ? 
 Wer ixt dm- sich <inr vie venjas ? 
 Lieber junckher, verzeicht mir das ? 
 Wen ich nier spil, so last uiioli fahen, 
 Vnd last pein lioden mich auf hahen ! 
 Int (las vichi dcwer (jnruj verHchivorn?" 
 
 It would be liard to lind six lines from any author equalling- 
 these in comic power. The expression of injured innocence, the 
 universal arirument of the second line, the appeal for pardon 
 upon such ((rounds, the dire penalty he proposes for the next 
 offence, and the climax of pathetic supplication are irresistibly 
 funny. 
 
 ^ 105. Afrroemeiit in Dialogue.—The correspondence in dia- 
 logue is as follows : 
 
 Stfinim'. p. 559, I. 9. ^o. 81, I. 102 ff. 
 
 Nun wolan seytmal <lu das llion wilt Wen dw mir den wolst dinen recht, 
 
 als du geschworn hast so pin ich wol Wolst spils vnd sawffens iniiessig gan, 
 
 zenuite daz du komest. So wolt ich dicli gleich nemen on. 
 
 The resemblance here is not close, but the sense is the same, 
 and Sachs is the more energetic of the two. 
 
 Sleinhw. p. 559, I. S/f. ^^o. SI, I. 256 ff. 
 
 Ach lieher peyt noch ein wenig ! Es Ja, junckcr, es felet nicht vil 
 komet iczund her dcr hat mein ioppcn Durch das spil stet all mein gewant 
 vmb funti' und dreissig schilling zu Vmb dreissig schilling mir zv pfant, 
 pfant die er mir gern vmb dreyssig Das mir doch wollen gebn die posen 
 wider geyt beczale v.ir in iczund 1 Vmb zwainczig schilling wider zlo3en» 
 
 Mein lieber junckher, die leycht mir. 
 Das ich mein gwant nit gar verlir, 
 
 ih. p. 560, I. S. Kdhr 9, p. 47:2, /. 14 J- 
 
 zu Fortaringo sprach er wer ein pube Du schalck, heb dich von mir an galgen 
 
 schalcke vnd loter, vnd schonet er Vnd lass die rabcn mit dir palgen 
 
 seines selbes nicht er machet in an ein 
 
 yalgen hencken. 
 
 ^ ° No. SI, I. 279 f. 
 
 Fetsch dich, ich mag nicht mit dir 
 
 palgen, 
 
 Dw prechst mich paid mit dir an galgen. 
 
 These last quotations illustrate Sachs' way of developing an 
 idea : the passage in the play is an improvement on that in the 
 Schwank, though the expression of anger in the former is quite 
 as natural as the disgust contained in the latter. Occasionally 
 
71 
 
 Sachs reverts to the ()rif«;iiiai, uiid i)asses over the Schwank ; 
 for instance, there is nt)thing ccrrespondinf,' to the following, in 
 the Schwank : 
 
 Steiiilur. ),. 501, I. g. JVo. 5/, I. SSI f. 
 
 Ich weyss nitt wio ioh niicli des enthalt Ich wais nit, wer da haltet mich 
 das ich dir nit den halse abe stiche. Uas ioh das nieser nicht stich in dich. 
 
 § 106. Stagre-settliigr.— The niise-on-sc^ne is iniportarit in 
 this play, illustrating as it does Sachs' method of converting a 
 stoiy into a play, § 8cS. The action, it nnist he confessed, 
 lags somewhat at hrst, hut this is more than compensated 
 afterwai'ds hy a rapid succession of lively scenes. Engelhart 
 enters, states the reason for his journey, and mentions that he 
 lacks a servant; exit. Then, 1. 1!), ''Kids Sc/idl('itf<ias uer 
 reu'ter yet eiii, tirgt itw.erjf'd vn<l hirfcn, i(:c." These emblems 
 of his profession may he a reminiscence of the morality or 
 miracle play, in which each character was represented by di-ess, 
 tot,', &c. After the long monologue, § 77, the squire enters and 
 engages him. In order to make tliis transaction life-like, Sachs 
 has the scpiire handsel his servant, 1. 105; '' vmh <iin Ion nach 
 geniainem prxuvch ;" 1. 1()(S : '' Jii url-hrr EiHjdharl (/cit im 
 gelt in die harit ;" 1. 113 : " Klos tSc/idleiichm-s gelobt an, nemht 
 das gelt.'' This inti'oduction of a well-known custom gives 
 naturalness and detiniteness to the scene. In the scene at the 
 inn, beginning 1. V.U, Schellentaus has been drinking on the sly, 
 so he enters wiping his mouth: " Klas Schdlentidis get ein 
 wise/it das maivl." When he has gambled away his dress, he 
 appears in his shirt, 1. 1(59 : " Kneclit l:^chelle]idaus kiinibt in 
 aim hernhd, kvaczt sick im J>'<>p,tf vnd ret mit im sdb ;" cf. 
 Keller, 9, p. 471, 1. 24. After robbing his master, which takes 
 place on the stage, he goes out again. Then enter the host, and 
 to him Engelhart, who has been asleep, 1. 145 f.; to indicate 
 what has transpired behind the .scenes, the squire comes- on in a 
 drowsy state, 1. 19f): " Per jatickher get liinein, dent sieh, reibt 
 die angen vnd sprieJd. Wie nutl hat mir der schlajf gethan." 
 He then sends the landlord <»ut to order Klas to saddle, 1. 204: 
 " Der ivirt get hinaus vnd schreidf. Klas! Klas: Klas! 1. 205. 
 Er get wider ein vnd spricht. " Ich hah lang gesrhriren Klas ! 
 Klas!" cf. also 1. 321: "Klas srhreit /dnden mwh." Sachs 
 
 ■1) 
 
 I 
 ■% 
 
 a, 
 
72 
 
 shows tliafc he knows wlieu the actor's voice is to he raised, cf. 
 No. <S4, 1. 102, starje-direction. The shoiitiii<,' is (biie into the 
 wings. Then comes the reckoninjL;, 1. 21 1 : " Der wirt KcJiant 
 an die (hifrl." When Eno-dhart hnds out tliat ho lias heen 
 robhed, lie liales the huidlord of/ to the Judge. Then Klas 
 enters " v'/*.s uuaiKif^, liotihf T liis master returns, and from his 
 servant's condition, 1. 250, and liis admission that he has heen 
 gaming, 1. 25(), he guesses wlio has rohhed him, 1. 207. From 
 1. 21)0 the action is very lively. Engelhart threatens to make a 
 "sword-sheath" of him, 1. 292, and 1. 298: " AV zndi das 
 schwerf, Dei' kiia-ht Icf/f wn/ hf'nf zani.'^ EngtOhart turns to 
 the ho.st, and tells him to k(>e]) the other horse in pawn, 1. 297, 
 and ])ays no further attention to Klas. L. 801 : " />/• jvvckher 
 yet ah, Dcr Kiicch.i irlhl .svVA an in. Ev sflist in ron hn ; 
 gent also mit ei navder aiis. Der ivift sclmni in ikic/i.'' This 
 fa wnintif behaviour was shown before: 1. 79: "Jnurkherr 
 Eiif/elhart kumpf. Klas ua iff f sick, thuet sein hncf <d>." Now 
 this drawing of the sword does not occur in tlu' source, but is 
 supplied by Sachs' love of contrasts (§ 24). When the tables 
 are turned, the servant girds on the very sword with which he 
 has been threatened, 1. 8(17: '• Kfa.^ HcJipllcuda irn zcuchf die 
 klaider an, <ju/rf das schnni rnih sic/i." There may he a 
 thought of the lordship conveyed in wearing it. Cf. No. 28, 
 1. 274,1 2cSl .stage-direction. When the peasants come on, " stent 
 vnd horcla'n;' 1. 305. Engelhart rushes on the stage, followed Viy 
 Klas: "Die sawn knAneii (/('loft'cn." There is a scuffle, 1. 823: 
 " Fricz Kegel felt den junvklierui an" and a second one 1. 858, 
 when they strip him: " Sie f(dlen i)i an vnd zihen in (d)." 
 Then follows Klas' investiture with his master's clothes, and the 
 philosophical epilogue. 
 
 § 107. General Criticism. — Many otlier passages call for 
 comment, such as 11. 824-882, where Klas pays him back for the 
 abuse he has received before, 1. 874: "All de rncin jnvckherr, 
 ziirnt ir voch T (§§ 16, 2().) The foregoing discussion, however, 
 will go far to show that the farce is carefully and consistently 
 put together. The stage effect is excellent, the dialogue sparkling 
 at times, and the action bustling and varied. The moral is the 
 obvious one, 1, 894 : " Wan art die selten lest von art." 
 
73 
 
 ^ 108. The Roffue. - riierc is really only oiu' chiii'aotor 
 which may be said to be elaboi-ated He is svu'h an iini)U(lcnt 
 and thorouglily unscru|mlons scoundrel, so successful withal, 
 that he challenfjes our achniration. He appears first as the 
 confessed triekstei-, then the crin<;in<j a|.])Hcant for favour. He 
 makes a prondse, and breaks it at the tii-st o])])oi-tinnt.y ; he 
 robs his master, and on his detection ci-in^rcs i,-d fawns aj^niu), 
 and finally overwhelms us with his stupendous impudence, 
 which iiaally turns his defeat into victoi-y. Kngelhart is the 
 easy-^'oinfr, rich, younj? man ; the host and peasants are ty})es 
 of tlunr "^-esi^ecti've classes njerely : still there ai-e traces of 
 indivi.hiality ; cf. landlord's speech, 11. 301-4, and Flecrel's 
 outburst of stupid indignation, 11. 345-50. 
 
 xni. 
 
 § 109. Source of No. 84, Dec. IX. 1.— No. .S4. Fnnici^^ra 
 komzwayerpnelrr ah, dated Oct. MUi, 15()0. Vol. (>3/(i4, xiii. 
 Gretze says: ''Ah iichmnk hat rr ilni Sfof den er aus 
 Eoccaceios Drcamcron 9. A (Sh'inhuweU Ueher.^etznia/.l<:<'llrr, 
 8. 545) schopfte, schov a a, 1. Srptcmlm', 155S, hehavdAtr 
 
 S 110. Synoi)sis of Dec. IX. l.^The account in Steinhowel 
 is as follows : an honourable widow called Francisca, in the 
 town of Pistoia, was beset by the unwelcome attentions ot two 
 lovers, Rinuc/o and Alexander. A man of good fannly, but bad 
 character, called Stanadio, had died, an<l been buned ni a vault. 
 Francisca sends her man-servant first to Alexan. er, with the 
 message that, if he is to win her love, he must take Stanadio s 
 place Tn the grave at midnight, with the understanding that he 
 would be bnmght to ner house at the proper time. Rinuczo is 
 told that if he is to succeed in his wooing, he must fetdi his We 
 the dead body of Stanadi(. that night. Each is warned that^if he 
 fail in this test, he need not hope for any favour hence orth. 
 Th.v both readily promise to do what is recpnred ot them. 
 Aiexanrler goes fik to the vault, and, after much hesitation, 
 lays himself in the grave. At the proper time Rinuczo comes, 
 dmcs the supposed dead man out, with scant ceremony, and 
 
74 
 
 carrioH him off to iM-niK-iscn's iious.;. But the city wjitchmen, 
 who won; waitiTijr to catcli n criiuinal, see Kinuczo with liis 
 bunion, and <(iv.! chase. Uiuuczo throws Alexander down and 
 runs: Alexander als.j seeks safety in flight. The watchmen 
 cannot overtake tliem. Presently Rinuczo returns for the body, 
 and searches for it without success. The wi<low, who has been 
 watcldnir at hvr window, enjoys their discomfiture, and refuses 
 to have anything more to do with eitlier of them, because they 
 have not fulfilled her commands. 
 
 ^111. Chnnges in the Sclnvaiik. - IMie fir.st working-over of 
 the'material is the Schwank called - ill" j,i,<ii ei'har' wiffraw 
 FnmeiHca" which is printe.l in Bib. Litt. Ver. Sachs ed. Keller, 
 vol. (), pp. 424-42!). 11ie main outlines of the story are closely 
 followed, Imt the following ckanges are intro.hiced: the message 
 is divided into two. and is delivered by a waiting-maid instead 
 of a man-servant. Francisca sees the rout of the lovers from 
 her window in the moonshine, instead of by the help of the 
 watches lantern. There are minor changes which serve mainly 
 to emi)hasize the comic situations, e. (/., Alexander is thrown 
 down " like a meal-bag." 
 
 (^ 112. Analysis of No. 84 — From this source and from hints 
 in the Schwank, the play is ccmstructed, in the following 
 marnier. The old machinery of the herald is again set m 
 motion, in order to give the audience some idea of the precedhig 
 events : he hints at the upshot of the ])lay, and takes his leave. 
 Francisca is given the next speech, which still further defines 
 the situation. Her husband is dead, and she has two lovers, 
 but neither of them please her. During the night she has 
 thought of a plan which she now intends to put into operation. 
 Her maid, Hulda, enters with news of fresh advances on the 
 part of Alexander. Her mistress makes her go back innnediately 
 with the first message, as in the Schwank and the novel, naniely, 
 that he is to take Stanadio's place in the vault. The rest of the 
 "actus" is taken up with the interview between Hulda and 
 Alexander. ^Jlie latter gives the maid money for her welcome 
 news, and after her exit, expresses his joy in a short speech. 
 The second "actus" begins with the entrance of the widow; 
 
75 
 
 she expresses her ■mipatience to leani the result of the maid's 
 first errand. Hulda entei-s, assui-es her that all is well, and 
 is then ^nven her second niessaj^^e. tc llimu-/(». It is at this 
 point that the widow's stratap'n. first heconies plain to the 
 maid and the audience;. Then Uinnc/o ent.^rs, declarin^^ his love 
 in a soliloquy, just as Alexander had d<.ni' : Hulda comes and 
 gives him the messao-e. lie exi.resses his readiness to com]>ly 
 with the widow's demands, and reward^ the o<,-bet^veen. Both 
 go out. Francisca, who has hardly exj.ected success, now enters 
 discussing the matter with Huhla. The ^>vers, she says, are not 
 to lu; admitted, even if they erne. The plot is now complete, 
 and the train laid. The third "actus" opens with Alexanders 
 entrance'. His first speech shows fear, stvuoolmg with his 
 resolution to please his lady, and finally he hraces himself to the 
 (lisagi-eeable task. After his .le))arture. Hinuc/o comes, and 
 makes a speech of sinnlar import. ())i his exit, the two 
 watchmen appear : from their conversation we learn that they 
 have come to arrest a murderer, whose crime they discuss in 
 detail. Uinuc/o comes on, carryng Alexaiuler, and is mistaken 
 by the watchmen for the culprit T):-y then try to st.^j) hun, 
 but he throws Alexander down, and runs off, closely followed 
 by the ministers of justice. Ah>xander makes his escape, 
 unnoticed. Rhuic/.o returns for the body, having distanced his 
 pui>suers: on not finding it, he prudep.tly resolves to go home 
 and say nothing about the whole affair. Francisca and her 
 maid appear, and make merry over the discomfited w(>oers. 
 The play is closed by the herahl in a long epilogue, m which the 
 obvious morals are drawn.* 
 
 K 113. The Mise-eii-Sceue — This i^lay is remarkable for its 
 bei4<livided into three "actus." a.ul for its very effective 
 stage-setting. The action is most delicately shaded It would 
 seen, from this play, however, that Sachs stage ha< oi.e rather 
 serious limitation. Tt had n<.t the platform at the back ot the 
 stao-e which has such on important i>lace in the earliest English 
 
 *NoTE.-The verLal resemblance are not cU.se enough in this play to require 
 special reference. 
 
 ,M3r7Mell!s»> 
 Archibalfl 
 
 f 
 
7() 
 
 (Irjiina. Thu stnije of ilic S])i('llmiis iimst I'.ave Itneu on tlio Hut. 
 For iiltlioiif,'li liotli in Boc'ciiccio (uid m tlio S'^hwiiiik (Kcllt'i" J), 
 |). 427, I. 10,) Fi'nnciscM. oltsci-vcs the niovcnicnts oi' tlie I'ivals 
 and the wutcli from licr \vin(lo\v, there is noattctnjjt to re}))'esont 
 this in the |;lay. Francisoa and hei" nmid conu^ upon the sta^e 
 to talk tlie matter over. I'^x'en with this (h'aw-hack, the 
 7}ii»fi-e}i-^r(\u' is exceMent. Franeisca comes on in a costume, 
 l)ec()nn*n_<( hei* charactei', I. 2(1: " Fru iiclsni i/ic Jn ikj wit/rnw, 
 (jcf rill ill II i III sc/i ii'd rzcii rlii//Ui'iil, ((■(•." Sa(!hs makes tlie |»lay 
 iiatui'al hy tlie intro(hiction of sh"<iht I'ealistic cii-cumstances 
 with the manifest (h'si^n of juochicin^^ a, hfe-Iike alhision ; 
 1. 122: " A'r (/rif ir</lr /:ri>ii(i, hie nmid /icirf iui (In /unit r/ct 
 ahj' cf. 1. 2IS. The actoi's are to express emotion; 1. 12iS: 
 " Alrj'dtxici' iii'l frolic/i III) r I- 2!)() : "Riiiticzo dcr <ii\<Jpt 
 jihiifHii;/, kiiiiihf (inch I'crziKjI.' This shows wluit Ah'xan<h'r's 
 conchict had lieen. Indecision is shown hy Alexander, wlien he 
 has ahnost mack' u]) his mind to forego the adve-nture, I. 270 : 
 " Er h'i't fiic/i iriih'i' mil), il'v." Franci i testifies her imjiatienee 
 by the tone of lier voice ; 1. I()2 : " hir iiidld (fi't ah. Die fv<nv 
 achreit iiar/i." Sachs wisely represents thf taking of tlie dead 
 man from his grave as happening <»rt" the stage. His lack of 
 properties no douht precluded the introduction of such a scene. 
 The scene with the watch is felt to he very con)ic, so the 
 directions are })lain and full: 1. S2l : "Die zivcii irrchter 
 kurne}i mlt sch'iveliispieseii trad fitiistJicnii'vii, Ac." This differs 
 from the acco\nit in the Decameron, ]>. 5;")(), 1. : ' Ire spiesse 
 Iciiirzeii riul tar-'^c/ieu za den lienden iKinienJ and occurs fir.st 
 in the Schwank, cf, Keller J), p. 42f), 1. 2(1. Sachs is here 
 reproducing, ))rohahly, the ai-mament of the Nureml>erg city 
 watch. The l)ody is actually cari'ied on the scene : 1. 802 : 
 " Riniu-zo (Ire;/! doi dofen d((/ier, tl\'." I'he summons to stand 
 is disregarded ; 1. 367 : " Rinuczo ^virft den dot en von im vnd 
 jieiU'Jd, die wee/der Umfen im naeli. Kvaczhanf^ schreif." But 
 his command has as little effect upon the fugitive as his mate's; 
 1. 370 : " Sie werfen mit fmistliemem naeh ini lan,fen im nach 
 hinaus." These are supposed to have taken effect : cf. 1. 380 : 
 
 " Vnd mich hart gworfen in mein lent, Mit iren hemern ." 
 
 After they have nuide their exit. 1. 370 : " Alexander der dot 
 
77 
 
 ntd (tnf, (<•<:;" ut'tor his H])oec'li, 1. HTH : " Er lauft iv doien claid 
 ah;" cl Sft'hhir. i\ 5^0 11. liif.: " Rinuczo hhvhl irider vnd 
 aiwrhef den dofrii, dr.;" 1. 'M\ : h'r s,nrhf Inn rml her, &(\" 
 This thivct'ol.l iviH-tition of "dol" is Sm-lis jn-ivatc iii(lul<;('nce 
 ill ills own Imiiiour. 
 
 (s 114. Infliieme of tlif Schwank. - Gcrt/.c says, vol. ()3/()4, 
 xiii.'of thisplay :" Viclc Verse .slim men h he, den liehavdlungen 
 c/eiuiii uhere'ni." As in other iri.stancH's, noticeably in No. 26, 
 § :M), Sachs transfers connected |)assa|?es. with very few 
 variations, from the tirst handlinj,' to the second : cf. prolo<,nie to 
 No. 84, 11. 1-17, with Keller !), ).. 424, 1. 1 tl". This, as well as 
 the epilo^nie, was ])rol)ahly added after the eonii)letion of the 
 phiy. For, as stated above, § 112, Francisca's speech repeats 
 some of the information contained in the herald's speech, and 
 could serve, by itself, as a sullicient introduction to tlie play. 
 The epilo[,'ue, 11. 427 -4()S, is taken line by line from the Srhwavk 
 hese/ditsz^Ke\k^r 9, p. 428, with such necessary chan^'es as " Aus 
 difiem i^ehtvank \\\mU zwo ler " to " Aus det- romedi nembt zwo 
 ler." The herald is retained, as he is in the h:nglish drama, but 
 he is entirely distinct from the play, and no longer part and 
 parcel of it as in the pre-Sachsian Fa.stnachtspiel. 
 
 § 115. Changes and Improveiiionts. — The actual additions to 
 the material aUbrded by the Decameron are the prologue, 
 11. 1-25, and epilogue, 11. 427-468, and Francisca's first speech, 
 11. 2()-43. The two scenes between the maid, Hulda, and the 
 wooers II. 77-259, are constructed from the hint l^te'ndnr. p. 548, 
 1. 9 : " also der gate knechi zii in peyde.n ginge iglicher hesunder 
 der frawen me'mung ze wissen thet." In the Schwaid< there 
 were two distinct errands, but in the play they were still further 
 dirt'erentiated by the characters of the men to whom the maid 
 is sent and the nature of the message in each case. The 
 improvement is marked. There are no hints in Boccaccio for 
 the interspersed speeches of Francisca in the.se scenes. They 
 are of Sachs' own inventing. Pure addition, also, is the first 
 part of the conversation between the watchmen, 11. 321-361, 
 though the facts are contained Steinfm. p. 550. 11. 5-7. This 
 passage may also be considered as a developed hint. The scene 
 
78 
 
 bet\v(!en Fmiicisca and FhiMa, II. 400 42(1, has no parallol in thw 
 souivo ; it forms a very natural conclusion. 
 
 S lift. (Jenonil Komarks. - TIm! omi.s.sions arc slij:jht, and 
 belonr? properly undt-r tlu^ rubric of ^'cncral criticism Franci.scii, 
 in ^nvin.u' din-ctioiis to licr servant, omits tbe lonrj preamble 
 Hiclnhiv. J). 517, 11. 7 Ki. It is not lures.sary t. explain tlu^ 
 state of the case to her contidential maid; it is nuich more 
 natural that she sIkmiM dash in nwil'iax, 1. 51. In.stead of a 
 I()n<r cx!)lanation, Sachs invents an instance of the wooer's 
 persecuting^ attention, tidin«;-s of which are brou<,dit by the 
 maid, I. 4!). A,o-jiin, here, as is his usual cu.stom, Sachs carefully 
 avoids all «lubious allusions. In Hteinliir. ]». 547, 1. )^l, the 
 servant is to tell the lover: " rniid dlxo die (/(iiirzen nacht mil 
 ir (Ic'ni I'lrwlf /mhrn hxirhf." Alexsnider is made 1" say in the 
 play, when he i-etpiests an interview, 1. 50 : " Dorh <Ui^ \tlh tH iii 
 ziutcht vnd e.irii;" cf. I. 71. Throu<,diout Alexander's speech, 
 11. 78-00, his intentions arc made to apjjear strictly hoi\ourable ; 
 cf. 1. 204. Apjiarently Sachs thou^dit the casual li^dit of the 
 kintern not sutlicient for the scene, so in both the Schwank and 
 the play ho makes it moonlight; cf. Steiiilnv. p. 550, 1. 14 f. 
 No. 84, 1. 85:3. 
 
 8 117. The "Motlvienmgr."— The " motivierung" of the 
 play is delicately done throughout. Francisca's plan is no 
 sudden thought ; 1. :VS H". : 
 
 " DerluvU) liiih \di <lem nach getracht 
 Die nacht viid hab ain list ertlacht." 
 
 The op|:oi-tunity for cjirrying out her ])lan is given by 
 Alexander's- i-ecpiest for an interview. It makes the play much 
 more consistent with itself that everything should spring from 
 this first action of Alexander's. Francisca becomes assured that 
 the first pai't of her plan will be carried out l)efore she imparts 
 the second message to her servant. It is a realistic touch that 
 she liardly expects success, 1. loO f. : 
 
 " Was mil- fur ain selzani aiitwort 
 Mein maid wirt von dem jangling pringcn." 
 
7<> 
 
 Tilt' widow's |)l;'it) l»('t'nn»«'H cUiUT ojilv li\- (Icrrj'PcK, hikI SO tlie 
 int»»ro«Ms skilfully U{\\\ t\li*e. In spit*! of Muldii's assertion, 
 I 1'), mIh' <I(h»h not iuily \«ii(l»'*'r»tHii(l tlir sitinitioii ; she is 
 \nyHtitl«Ml HH vv«'H JIM \\\\\ i\\u\\i*ui'i*, rW I. !')(!. In I'lU't she (1o«?h 
 not \»nili'l'Hlnu<l Uov wwUvm (ill 1. '2'A>^, Tor just iM'I'oro slio nsks 
 If tlio l»»v«M's JUV (*> \»»' i»thnl!t«'(l to tlic liousc, I. 2:{7 : " Solt irhs 
 win hwk* in t^M Aff»M "f" Hful is toM that she must not. In the 
 intfei'Vl«'VVK, llu> lutuil lojunlH lu-r niistross' dirct'tions almost 
 woi'd i'oi' Wditl. ItuI \iHt»tv is y-ivcn 1>\' tlic (liH'crrncc iji tlio 
 H|HMM'hH* nf Hlu>U')^»> MU»I Al*"?^''*!!*!*'!-, tl". 1. MM, u licio Alc'xaudrr 
 
 miys: lief m-te HmVA J^Mhi^ff in (fif I'd zii (jrn ," and 
 
 I. 211 f, wlu'ii' Uinuo/o says: " V)\<l /ii<'s nic niirh doi dofcn 
 fni;/('ti An (/(di/cn, i<'h hunt irs nit irrsoifcn." Whon tlu- watch- 
 men are introduced, thi'.y arc made, very ])ro})e)'!y, to discuss the 
 crime of tiic man for whom tliey are lyini^ in wait. The 
 <letails, 11. 8;U *i4l, are all such as mi<^ht In; e\]'«>cted. Their 
 couNcrsation indicates the lapse of time (§ 77) wliih' they liave 
 been talkin^r Hinuc/o has Jiad time to hrin<4' ^1"' <h'a<l man 
 from the <^n-ave. Besides, it nuikes their interfcivnce less ahiupt ; 
 they are waiting' for a muiderer, and they mistake the lover for 
 the criminal carryinj.,^ off his spoil. 
 
 § 118. Cluirni'tor-dniwliife'. Fraiicisca, Alcxnndor, Kiiuic/o. — 
 
 Besides this consistent woiking-out of the ))lot, this l^'astnacht- 
 spiel displays Sachs' power of delineating charactei" ; in this 
 case, as we have ali<'ady seen in Ko. 43, § § (Jfi, ()7. he goes far 
 beyond the limits of his original. Because it suited his purpose 
 he has created Hulda, the typical servant, and Hirnschrot and 
 Kraczhans, the ty})ical watclimen. With the principal characters 
 it is different ; they are (h-awn more at full length. Francisca 
 is represented as young, beautiful and nuxh.'st, (piick of wit and 
 fond of a good jest. Her eager tlutterings of impatience and 
 curiosity,!. 120 tf., 1.250, l.f. are thoroughly lifelik«>and womanlike. 
 In tlie case of the two loveis, Sachs paints in outlines which had 
 been already sketched : for Boccaccio has ditl'erentiated them in 
 the novel. Alexander is given a long speech at the grave ; 
 SteinhuK p. 548, 1. 19 — p. 549, 1. 4. His thoughts when he is 
 actually in tlie grave are described, but he says nothing in his 
 own per.son. Rinuczo is said to have njuch the same feelings ; 
 
 m 
 
80 
 
 Steinhiu. p. 549, 1. 21, Imt he is only ^ivon a sliort speech, 
 il).. ]. 29-32. VVorkinn; back from these hints, Saclis ctmstnicts 
 the two soHlo((iii('s, 11. 7<S-J)0, 1()5--1(S4. In these Alexander 
 appears more ardent, san^niine and generous ; Rirniczo thinks of 
 himself fir.st, is moi-e Ldooniy ind much less confident of success. 
 In their speeches before the grave they ai-e still further 
 individualized. Alexander alternates between fear and love ; 
 once he almost resolves to give the whole thing up, liut stays 
 because he love.5 Franc'sca, 1. 2(S(). Rinuczo is much more 
 stoli<l, and argues himself into dohig what h(> finds disagreeable. 
 It is characteristic of the essentially GermaTi nature of Sachs 
 that he makes his ardent lover unsuspicious. The Italian lover 
 thinks of j)ossible treachery on the part of his mistress, or tliat 
 her friends may have a plot in hand to kill him. Sachs* 
 Alexander fears only tlie devil ; cf. l^ielnhw. p. 54S, 1. 22 ff. 
 Anothei- of those touches of self-consciousness noticed before, 
 § 92, occurs in this \)\'Ay. Sachs knows that the practical joke is 
 like a carnival trick, so Francisca is made to say, 1. 400 ; 
 " Huelda wie gfelt dir die fasnacht ?" 
 
 CONCLUSION. 
 
 § lie. Inferences from ths Foregoing Examination. — These 
 tiiirteen plays represent (mly a part of those examined ; 
 most of tliose with known sources have been compared 
 witii sucli originals as are accessible in this country. While 
 there is variety enough, we find a certain regularity of treatment 
 which would lead us to expect the same in other plays when 
 their soui'C's are discovered. Those which form the subject of 
 this dissertation illusti-ate Sachs' difiei-ent periods of de\ elopment. 
 No. 1() marks distinctly his change in manner from the old 
 Fastnachtspiel (§ 14). This is the first play with a degree of 
 complication in tiie plot. With No. 23, written in the year of 
 the buihling of the play-house, 1550, begins a series of plays 
 adapted for a stage, and not for an improvised ]K)Use-theatre. 
 From this time on we have broad comedy, as No. 41, or serious 
 comedy, as No. 43, but always with com[)licated plots. After 
 1546 Sachs never returns to the old dialogue form. The plays 
 
81 
 
 do not represent a steady progress, but a fluctuatinrr degree of 
 excellence, Tlirougliout we have found certain constant forces 
 and pervading tendencies. 
 
 I. His material has been made thoroughly his own. The plot 
 of the novel has been first assimilated and has then taken a new 
 shape. The fact that the same material is so often used for a 
 schwank or mastersong liefore being made into a Fastnachtspiel 
 proves this. He has made the freest use of his material. In 
 some instances he has a(ihered closely to his source ; again, he 
 adds and omits largely, cuts and concentrates, (jr rounds out and 
 expands his material. 
 
 II. The moral tendency is strong. This is seen most plainly 
 in the epilogues, but is found also in certain situations and 
 speeches, and in his (•v,;isistent omission of the obscene. 
 
 III. The tendencies of these thirteen plays are dramatic. 
 The plots selected are those with plenty of action; the 
 " motivierung " is careful ; often in his more serious plays, a 
 character is strongly sketched, and the directions to the actors 
 show him to be a practised stage-manager. The result is, for 
 the age, an unusual degree of excellence. 
 
 PWI 
 
IvlFK. 
 
 The writer was born June 2 1st, 1862, in Berlin, Province of 
 Ontario, Dominion of Canada, and received his preliminary 
 education at the Picton Public and High Schools, and later at 
 the Hamilton Collegiate Institute. In 1880 he matriculated at 
 the University of Toronto, where he was graduated in 1884, 
 with Honours in Modern Languages. For the next six months 
 he held the position of Second Assistant at the Brock ville High 
 School, and was then appointed Modern Language Master at the 
 Gait Collegiate Institute. In 1886 he resigned the latter .position 
 in order to attend the Johns Hopkins University, where for the 
 past three years he has pursued advanced cc irses in German, 
 English and Old Norse. In January, 1887, he received the 
 Scholarship in German, and, in the following June, was awarded 
 a Fellowship in the same department. He takes this oppor- 
 tunity of thanking Dr. Wood, Dr. Bright and Dr. Browne 
 for their help, counsel and encouragement throughout his 
 course; especially Dr. Wood, whose unvarying kindness has 
 laid him under the deepest obligations, and whose broad and 
 thorough scholarship has furnished him with a standard of 
 possible attainment. 
 
 t 
 
 I I 
 
 l.v 
 II 
 
 * In accordance with the university regulations. 
 
I 
 
 I i 
 
 
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