Albin Putzker GERMAN CLASSICS HALM'S GRISELDIS BUCHHE1M Bonbon HENRY FROWDE Oxford University Press Warehouse Amen Corner, E.C. 2Ww 2)otR MACMILLAN & CO., 66 FIFTH AVENUE GERMAN CLASSICS WITH ENGLISH NOTES, ETC. C. A. BUCHHEIM, Phil. Doc, F.C.P. Professor of the German Language and Literature in King's College \ London Sometime Examiner to the University of London, etc. VOLUME XI HALM'S GRISELDIS AT THE CLARENDON PRESS 1894 Ojforfc PRINTED AT THE CLARENDON PRESS BY HORACE HART, PRINTER TO THE UNIVERSITY fiT <7 < 7 PT^438 HI PREFACE The merits of Halm's Griseldis, as a Dramatic Poem, have been so fully, and it is hoped conclusively, shown in the Critical Analysis that only a few words remain to be said on the raison d'etre of the present edition for educa- tional purposes, and on the way in which I have carried it out. About the first point there can hardly be any doubt. The play furnishes highly interesting and attractive reading, such as may be safely placed in the hands of the young ; moreover the language is admirably fitted to serve as a medium of instruction. It is pure, elegant, and melodious, and it is just this kind of language which indelibly engraves itself on the memory of the student. It is an error to assume that commonplace readings on everyday subjects are pre-eminently adapted to impart a knowledge of foreign languages. Readings which are not in themselves very attractive, both as regards style and contents, are not calculated to excite any interest in, or fondness for, the language to be learned, and thus they fail to fulfil the primary condition for the acquisition of a foreign tongue. The impressions of the mind and the imagination are the best helps for memory, and readings 5K72i> vi PREFACE, which do not afford pleasant reminiscences at a subsequent period will never fulfil their object. A general interest for a foreign language should therefore be aroused at an early stage, and when this has been done the readings may vary in accordance with the particular requirements of the student. Another very common error is to suppose that the books, specially written for the young of one country, are also suitable as mediums of instruction for the young of other countries. By far the greater number of them, in Germany at least, are written either in an insipid or hard and stilted style ; which is owing to the fact that the authors of the so-called Jugendschriften are not, as a rule, eminent writers, and those who are generally fail to hit upon the right tone for the young. These facts will explain the reason why so extremely few books written by professional Jugendschriftsteller have achieved a permanent success in countries outside Germany. Guided by the above considerations, I determined to prepare an edition of Halm's Griseldis for English readers, more especially after the suitability of the drama for a Text-book in classes had been practically and successfully tried by myself and a number of my colleagues. The play rivetted the attention of the readers from the very beginning, and the interest in it never flagged for a moment. Indeed it was generally admitted that more impressive reading could hardly be found. The play has also successfully stood the test as a Text-book for exam- ination purposes. At the time when special Text-books were recommended in modern languages by the University of London, Halm's Griseldis was selected, at my sug- gestion, with most gratifying results. The example was PREFACE. vii followed, I believe, by some other examining bodies, and the choice met with general approval. There is another advantage connected with the study of Halm's drama. It affords an excellent preparation for the reading of modern, more especially of lyrical German poetry, which greatly differs in point of diction and con- ception from the poetry of Goethe and Schiller ; and it is perhaps a failure to understand the poetry of recent times, which has led even some eminent critics to the erroneous assumption that German classical literature ceased with the Goethean era. Bearing in mind this circumstance, I have limited my annotations chiefly to the translation of unusual expressions and poetical figures of speech. In thus deviating from the mode I adopted in editing the other volumes in the present series, I have simply followed the sound maxim that every book should be annotated in strict accordance with its form and subject-matter. Some works require elucidations and explanations for nearly every line, whilst others offer no difficulty whatever except in point of language. This is the case with the present drama ; for although there is not a single obscure or involved passage in it, there occur a number of expressions and phrases which require a special rendering, and these have been, as I said above, fully supplied. The matter of the play itself certainly requires no running commentary. The subject has been so freely treated by the poet and the incidents of the old tradition have been so completely altered, that he may be said to have engrafted a new legend upon an old one. He did still more. For the sole purpose of investing the play with an element of picturesqueness, the author has used imaginary personages and localities, and alluded to Vlll PREFACE. fictitious events; to explain which would have been the height of absurdity. Equally inappropriate would it have been to overload the poetical Text with long grammatical notes and philological remarks. The Notes to the present volume have therefore chiefly been drawn up with a view to enable the reader to peruse the dramatic poem with ease and speed. Besides the textual explanation of the drama, the literary element had to be considered, if the reader was to derive the full intellectual enjoyment the perusal of the play is capable of affording. In the first instance it seemed to me desirable to furnish a critical Biographical Sketch of the Author ; since even single productions are better understood when the whole literary activity of a writer is known, not to speak of the interest which attaches to the life and works of a distinguished poet 1 . In order to enable the reader to see the full bearing of the present drama, it was, moreover, necessary to place before him the traditional version of the Griselda Legend, and to give at the same time a general sketch of its various literary treatments. This I have done in the section headed The Griselda Story. In the account of the Legend, I have combined the versions of Boccaccio, and Petrarca, but only in such a manner as seemed to me requisite for the present purpose, which was, to show clearly the 1 For Halm's Biography I have found Wurzbach's * Biogra- phisches Lexikon des osterr. Kaiserstaates,' and Prof. Schonbach's excellent biographical and critical sketch of the poet in the ' Allgem. Deutsche Biographie ' especially useful. I have also derived great ad- vantage from the thoughtful ' Biographical Notice/ or £loge, read about six months after Halm's death by the eminent classical scholar Prof. Dr. Joh. Vahlen, before the Academy of Sciences at Vienna, in his capacity of Secretary to the Philosophisch-historische Classe. PREFACE. IX difference between the accepted tradition and the way in which it was treated by Halm. In this part I have also pointed out those passages of the drama which have special reference to the Legend. The contrast between the manner in which the latter was treated by other writers, in prose and verse, and the way in which it was worked out by Halm will become still more obvious in the part headed The Literary Treatment. Finally, I have prefixed a Critical Lntroduction including, besides an Analysis of the Tendency of the Drama and an estimate from an aesthetic point of view, an account of the background of the play, and of the Dramatis Personae ; which section is followed by some remarks on the Locality and Duration of the Action and on the Language and the Metre. I have also described its success in Germany as a Stage-Play, and as a Dramatic Poem in its foreign forms. It is hoped therefore that Halm's drama, in its present form, will not only be welcome in the school-room, but also to the German-reading public in general on both sides of the Atlantic. In this case I shall consider the great amount of labour and research I have bestowed on the edition of this drama amply rewarded. C. A. BUCHHEIM. King's College, London, May, 1894. CONTENTS Introduction:— PAGE Friedrich Halm : A Biographical Sketch . xiii The Story of Griseldis:— I. The Legend . . . . . . xxvi II. The Literary Treatment . . . xxix Critical Analysis :— I. The Tendency of the Drama and The Dramatis Persons . . xxxviii II. The Locality and Duration of the Action li III. The Language and the Metre . Hi IV. As a Stage Play, etc Hi Text and Arguments i Notes . .131 FRIEDRICH HALM A BIOGRAPHICAL SKETCH 1 . Elegius Freiherr von Munch- Bellinghausen, known in German literature under the name of Friedrich Halm, was born on April 2, 1806, at Cracow, where his father, a native of Vienna, filled at the time the post of Councillor of Appeals. He was sent at a very early age to the charmingly situated Benediktinerstift or Gymnasium of Melk (or \ Molk ') in Lower Austria, where he soon attracted the attention of Prof. M. L. Enk von der Burg, who, being himself a highly gifted writer and an acute critic, exercised later a decided influence on the poet. Halm, for so we shall continue to call him, must have been a very precocious boy, for he had finished his Gymnasialstudien at Melk at the age of thirteen. He proceeded at once to the University of Vienna where he attended the ' Course of Philosophy/ extending at that time over a space of three years and resembling somewhat the upper classes of a German Gymnasium. Subsequently he entered the Faculty of Jurisprudence, and having finished his legal studies at the age of twenty, he obtained an official appointment— at first an unsalaried one — and married. In 1840 he was promoted to the post of Regierungsrat for Lower Austria, and five years later he obtained the more congenial post of Custos or ' Keeper of printed books ' at the Imperial 1 Friedrich Halm's Werke. Zwolf Bande (including the Nach lass, edited by F. Pachler and E. Kuh). Wien. Verlag von Carl Gerold's Sohn. XIV FRIEDRICH HALM. Court Library with the title and rank of a Wirklicher Hofrat. When the Imperial Academy of Sciences was founded at Vienna, in 1847, he was elected one of its first members. In 1861, Halm was admitted, together with the poets Grillparzer and Anastasius Griin (Count Auersperg), as life-member of the Herrenhaus, founded in that year ; taking his seat on the left. Five years later he was created Wirk- licher Geheimrat, with which the title of ' Excellency' is connected, and in 1867 the posts of Prdfect or ' Principal Librarian' and of General- Intendant of the two Court Theatres, were allotted to him. He discharged his duties at all times most conscientiously and successfully ; but as he led a quiet and reserved life he was sometimes accused of aristocratic or bureaucratic pride. Great distinctions were showered upon him from courts and learned societies, and he lived in undisturbed enjoyment of them until the year 1 87 1, when he peaceably passed away on May 22, at Hiittel- dorf near Vienna. Friedrich Halm was, as will be seen from the above brief sketch, one of those fortunate men who have, properly speaking, no biography. The current of his life flowed evenly and smoothly, and he had not to struggle with those great or petty cares of life which so often consume the energies of gifted men. Well could he exclaim in one of his poems — Gnddig war mir der Himmel, Hdufte anfs Haupt mir Reicke, kostliche Gaben 1 . Halm had sufficient means of existence, and these were, in time, increased by his official emoluments. His leisure he applied to literary studies and writing ; but being adverse to publicity, he refrained from issuing the result of his labours in periodicals, and even when he appeared at last before the 1 Wcrke, i. 242. A BIOGRAPHICAL SKETCH. XV public with a great work, he did so under the disguise of a pseudonym. On Dec. 30, 1855, a new drama was performed at the Ho/theater of Vienna, written by an unknown author. The title of the play was Griseldis, and the author called himself Friedrich Halm. A few of the initiated probably knew who the writer was, but to the generality of the Viennese public it was a secret. The success of the drama was almost un- precedented, and it soon became known that the fortunate author was a descendant of the aristocratic family Von Munch- Bellinghausen and an employe in the state-service. People continued to speak, however, of Friedrich Halm as the author of the play, and it was by this name that he became subsequently known in the literary annals of Germany. Whilst, however, the author of Griseldis became at one stroke a celebrated man and a favourite of the public in general, he was considered by the Austrian aristocracy as a degenerate member of their society, and by his bureaucratic colleagues as an . employe' forgetful of all official decorum ; which sentiments found expression in the following words of a distinguished Austrian statesman : — * Wie kann ein so feiner Kopf, aus so guter Familie, auf die Idee kommen, ein Theaterstiick zu schreiben f Solche Beamte konnen wir nicht brauchen 1 . About a year after the first performance of Griseldis — a full critical analysis will be found further on — Halm's second drama, Her Adepts was put upon the stage. It dramatizes the old truism that wealth in itself is not 1 The above remark may serve as a confirmation of the words which Schiller puts in the mouth of Max with reference to the Austrian courtiers' estimate of Wallenstein's genius : — Ja, so sind sie ! Schreckt sie a lies gleich, was eine Tiefe hat ; 1st ihnen nirgends wohl, als wo's recht Jlach ist. Die Piccolomini, Act i. Scene 4. XVI FRIEDRICH HALM. beneficial, unless it be judiciously and usefully employed. The Alchymist Werner Holm had succeeded in producing gold, but neither he nor his fellow- creatures derived any benefit from it, and he ends tragically. The play, which contains some very fine and thoughtful passages, was on the whole favourably received, but it somewhat lacks con- nected dramatic movement, and it suffered, as is so often the case with the second works of authors, from ungracious comparison with the first highly successful production. Nevertheless Der Adept continued to be performed on the stage for a number of years. For the next six years Halm came forward almost annually with a new dramatic production. In 1837 his one-act play Camoens was performed, like nearly all his dramas, at the Hofburgtheater of Vienna and favourably received. This dramatische Elegte, as the author first called the ' Dramatic Poem,' is an inspired apotheosis of the Portuguese ' Prince of Poets,' who died in misery. With his tragedy Imelda Lamberiazzi (1838), the subject of which is akin to Shake- speare's Romeo and Juliet^ Halm entered the path of the historical drama, in which he was to excel later on. That play, the first act of which in particular is a masterpiece of dramatic ' exposition,' was followed by another historical tragedy, written in trochees, and entitled Ein mildes Urteilj with the scene laid at the Court of King Edmund Ironside in 1015. The tragic end of the repentant heroine is very affecting, but the action, as a whole, is not quite satis- factorily worked out, probably owing to the fact that in composing this piece the author was, as in several others, too much under the influence of the Spanish drama. This was the result of his renewed intercourse with his old pre- ceptor Enk von der Burg 1 . It was to the latter that he 1 Mich. Leop. Enk von der Burg (b. 1788 ; d. 1843) was a scholar of great critical acumen and an enthusiastic admirer of the Spanish drama, as is shown by his Studien fiber Lope de Vega Carpio (Wien, Carl Gerold's Sohn, 1839). A BIOGRAPHICAL SKETCH. XV11 dedicated the German adaptation of Lope de Vega's Vi llano en su rincon, under the title of K'dnig und Bauer, in grateful acknowledgement of his having been the first to reveal to him the treasures of the Spanish drama. This charming dramatic idyll, first performed in March 1841, was highly and deservedly praised by the critics, but was nevertheless unable to retain a permanent hold on the stage. In 'that year Halm began the free adaptation of another play of Lope de Vega's ; namely of his tragedy, Vida e muerte de rey Bamba, under the title of K'dnig Wamba \ A year after the performance of King and Peasant, the poet produced another drama, which, like his Griseldis, excited great and general enthusiasm. It was the play Der So/in der Wildnis, which dramatizes in an idyllic fashion the victory of civilization, as represented by a loving woman, over unsophisticated barbarism. The piece soon made the round of the German stage, and of all the dramas of Halm it is the one which was most translated into foreign languages. Sober aesthetic criticism, chiefly coming from the north of Germany, acutely analyzed the piece, declaring it to be a ' dramatic allegory ' rather than a drama. This and other subtle criticisms could, however, not argue away the effect which the Son of the Wilderness produced on the stage, and still continues to produce, whenever there is a suitable actress for the youthful part of the heroine, Parthenia, and a good actor for that of the primitive hero, Ingomar 2 . The 1 Of the above play the. first act and the greater part of the second only were published in the first instance. The latter was not com- pleted till 1869. See Werke, x. 263-94. 2 If the Son of the Wilderness has not met in its foreign garbs with the same success as in the original language, this must be attributed to the fact that one of the greatest charms of Halm's dramatic productions lies in their beautiful diction, and in the elegance and rhythm of his verse. The consequence is that, how- ever satisfactory the translations may be in themselves, they hardly reproduce the brilliancy of the German original. This was probably b XV111 FRIEDRICH HALM. language throughout is highly poetical and melodious, and the lyrical poem beginning with the stanza — Mein Herz> ich will dich fragen. Was ist die Liebe, sag"* ? — 1 Zwei Seelen und ein Gedanke, Zwei Herzen and ein Schlag? has almost become a Volkslied^. Two years after the first performance of Der Sohn der WildniS) the author's historical tragedy of Sampiero was represented at the Hofburgtheater. This drama, which is taken from Corsican history in the year 1562, greatly differs from his preceding ones both as regards form and contents, for it is written in prose and has a political tendency. It is, moreover, free from all sentimental ingredients and is an eloquent plea for national liberty. The critics con- sequently praised it highly, but somehow it failed to secure the full approval of the public. The same fate befell the author's dramatic poem, Eine Kbnigin, which was performed in March 1847, under the title of Maria de Molina ; although the character of the Spanish queen is depicted with great dramatic energy, and her self-sacrificing resignation appeals to our pity and sympathy. The next play, Verbot und Befehl, has an Italian back-ground and its action is laid at Venice. It is an amusing Intriguenstiick, executed according to the best Spanish models, and the interest is heightened by a number of political allusions which again show that the author was a lover of freedom. Unfortunately the play was first performed on March 29, 1848, about a fortnight after the spirited rising of the Viennese students against the despotic government then paramount in Austria. Had also the reason why the play, which was performed a few years ago in London under the title of Ingomar, did not make a deep impres- sion on the public. 1 The last two lines form a popular quotation in German. Cp. my Deutsche Lyrik (Golden Treasury Series), p. 272. A BIOGRAPHICAL SKETCH, XIX the play been performed at the beginning of March, when the excitement in consequence of the revolution at Paris had already spread, but had not yet assumed a tangible shape, the political allusions would probably have been greeted with enthusiasm by the Viennese public which is very quick of perception. After March 13 on the other hand those allusions were, so to say, out of date. The time for action had arrived, and people did not care about mere allusions to civic and political freedom. Moreover, the bearing of the plot was somewhat obscured by its foreign colouring. The stormy year of 1848, and the gloomy time of reaction that followed, were not propitious for any branch of literature, least of all perhaps for the drama, and Halm's muse was, silent for some years. It was not until 1854 that he came forward with another play. This was the famous tragedy Der Fechter von Ravenna, which outshone in popularity even his Griseldis and Der So/in der Wildnis. The first performance took place at the Hofourgtkeater— either by design or by a strange coincidence— on Oct. 18, the anniver- sary of the Volkerschlacht bei Leipzig. A more significant date could not have been chosen, since the Gladiator of Ravenna is a dramatic appeal to the German people to free itself from the shackles of the foreign political influence then prevailing in Germany, aud to become united and inde- pendent. A strong yearning had been aroused among the Germans since 1848 for the assertion of their nationality, and that yearning was nowhere more strongly pronounced than among the Germans of Austria. The poet's appeal therefore fell on favourable ground. He invented an episode with a slight historical basis in the wars between the Romans and the Germans during the first century of the Christian era. Thusnelda, the wife of the Cheruscan prince Hermann, or Arminius as he was called by the Romans, who had defeated them in the Teutoburg Forest (a. d. 9), was taken prisoner by Germanicus and sent to b2 XX FRIEDR7CH HALM. Rome. Shortly after her arrival there, she gave birth to a son, whom the Romans called Thumelicus. Nothing further is known of the subsequent fate of mother and son, but the poet placed their sojourn at Rome under Caligula (a. D. 37-41), and Thumelicus is represented as having been trained as a gladiator at Ravenna. His mother meets with him at the moment when he has been selected to fight in the circus with other gladiators, but — as a degradation of Germany — in German accoutrements and with German weapons. Thusnelda herself was at the same time to repre- sent Germania in order to complete Caligula's triumph. In vain she endeavours to dissuade her son from disgracing his country, to instil into him a hatred of Rome, and to inspire him with the lofty ambition of freeing Germany from the Roman yoke. When she finds that he is incapable of understanding her lofty patriotic sentiments, she stabs him in his sleep with his father's sword, at the very hour when both of them are to appear in the arena. Asked by Caligula why she committed the fearful deed she replies that she could not brook the idea of seeing Germany dis- graced ' in two poor prisoners — a woman and a gladiator,' and she adds in a spirit of ancient heroism — Ich sollte, meintest du, Germania spielen, Und meines Sohnes Ende jammernd schauen ; Ich aber, ob mit Schaudem auch und Grauen, Ich spielte nicht, ich war Germania! Thusnelda then utters a spirited prophetic vision of the destruction of the Roman sway and of the future greatness of Germany, in which the remarkable words occur — Germanischem Geiste unterthan, Seh' ich die Erde, den Ocean, and finally she plunges into her own heart the sword with which she had stabbed her son. We believe we are right in asserting that since the first A BIOGRAPHICAL SKETCH. XXI performance of Schiller's Wilhelm Tell no play has been received with the same genuine enthusiasm on the German stage as the Gladiator of Ravenna ; partly on account of its powerful dramatic effect, and partly in consequence of its appealing, like Schiller's immortal drama, to the political instinct of the Germans. The language is throughout most melodious and dignified, often pathetic. The characters are admirably drawn, more especially those of Thusnelda and Caligula. The progress of the action is graduated and natural ; there is no scene, no speech, and hardly a line superfluous in the whole drama. Even those critics who cavilled at the poet's Griseldis and Sohn der Wildnis could not withhold their tribute of admiration from the Fechter von Ravenna. The play was at once translated into several foreign languages, and thus increased the poet's fame both at home and abroad \ Two years after the production of the Gladiator of Ravenna, Halm issued the classical drama Iphigenie in Delphi, basing it on the sketch which Goethe, who intended to dramatize the same subject under the title of Iphigenie von Delphi, communicated in his Italienische Reise, under date of Bologna, Oct. 19, 1786 2 . The character of Electra is most powerfully drawn in Halm's drama, and the language throughout is dignified, highly poetical, and fully adapted to the various situations ; but the piece^ first performed in 1 There is a vexatious incident connected with the authorship of the Fechter vo7i Ravenna, which caused at the time a great com- motion in the literary world in and out of Germany. At first the play was performed anonymously, and a Bavarian schoolmaster, named Bacherl, claimed the authorship. A fierce literary con- troversy ensued which formed almost the only bitter incident in the poet's life. A full discussion of the subject would be out of place in this volume, but it may be briefly stated that all unprejudiced critics readily acknowledged that the drama in question, as it lies before us, is entirely the work of Friedrich Halm. 2 Cp. my edition of Goethe's Iphigenie auf Tanris (C. P. S.), p. xix. XX11 FRIEDRICH HALM. Oct. 1856, does not appeal as a whole to human sympathies, as is the case with Goethe's unsurpassed drama Ifihigenie auf Tauris. The * dramatic poem ' Wildfeuer, performed at the Hoftheater of Schwerin in 1863, dramatizes a curious psychological problem and contains many poetical beauties. Halm's next drama was the tragedy Begum Somru, per- formed at Berlin in 1863 and at Vienna in 1867. The piece, the action of which is placed in India, dramatizes an incident in the life of the celebrated princess of Sardhana Begam ShamrU) first married to the German adventurer Walter Reinhard 1 , and after his death to the French soldier of fortune, Levassoult, who is said to have been assassinated at the Begum's instigation from a motive of personal revenge. Halm's tragedy is in the main based on a French story which he found in the Revue des Deux Mondes, and in which the adventurous and miserable Frenchman is replaced by the Englishman Dyce 2 . Halm altered the details of the historical anecdote considerably, and represents Warren Hastings, who plays a prominent part in the drama, as a noble and humane character. In spite of his great dramatic skill, however, he was unable to weld the tragic details of the romantic occurrence into an effective stage- play. The subject was too strange to himself and too foreign to the public. Besides several dramatic fragments, Halm also wrote two Festsfiiele. The one, entitled Vor hundert Jahren, is an apotheosis of Schiller. It was performed at several Hof- theaters on Nov. 9 and 10, 1859, in honour of the centenary 1 Reinhard first enlisted in the French force, assuming the name of Sommer, which his comrades changed — on account of his gloomy complexion — into Sombre, corrupted by the Indians into Samrri, or Shamrii. Cp. Beale's Oriental Biographical Dictionary. 2 The story occurs in vol. xii. pp. 713-49 of the above-mentioned Review (1845), under the title of La Begom Sombre. Souvenirs dun Voyageur dans VInde. Cp. also F. Pachler's Preface to Halm's drama in vol. x. of his Werke. A BIOGRAPHICAL SKETCH, xxiii of the poet's birth. Special stress is laid in this com- memorative play on the fact that Schiller was above all a national poet who strove for the unity of Germany. This sentiment, which was fully shared by the author of the Fechter von Ravenna, found an eloquent expression in the concluding lines of the Festsfiiel addressed to the German people : — Er war ein Deutscher und zu Deutschlands Ehre Wie Er, gebrauche jeder seine Kraft ; Und da Gemeinsinn nur das Grosse schafft, So wirkt in Eintracht stets zu Deutschlands Ehre. The second Festsfiiel, bearing the title of Ein Abend zu Titchfield, was written by Halm in commemoration of the tercentenary of Shakespeare's birth, and performed with great success on April 23, 1864, at the Hofburgtheater. Scenes from his principal plays, with suitable quotations from the text, are represented by tableaux, and the dramatic homage concludes with the exclamation of Queen Elizabeth in which the bystanders join — Heil, Shakespeare, Heil, denn ewig ivirst du lebent Friedrich Halm also wrote a number of shorter poems which fill three volumes. The language in all of them is highly polished and melodious. Philosophical reflections prevail, however, in most of them, so that the lyrical poems are less successful than the epigrammatic and didactic ones. His epic and narrative poems, which contain a number of dramatic episodes, also possess considerable merit ; but Halm was not only a master of verse, he also excelled as a prose writer. His stories, which form two volumes of the Nachlass, are all written in a vigorous and graphic style, yet the dramatist is visible in all of them. Halm's strength as an author lies in the department of xxiv FRIEDRICH HALM. the drama. All his pieces are constructed in strict accor- dance with the canons of dramatic composition. The ' expo- sition ' in them is always admirable, and the action proceeds steadily and straightforwardly until the denotement is reached. It has been remarked, half in censure, that his dramas contain no episodes ; but in compensation for this defect, if it be one, all his plays boast of a compact unity, of a harmony, both of action and style, which greatly heightens the dramatic effect. Another charge brought forward by fastidious critics against Halm's dramas is, that he generally brings, to the neglect of the other dramatis personae, two principal characters into prominence — who form at the same time striking contrasts— as if they had been intended for the histrionic display of two great actors only ; such as Griseldis and Percival ; Parthenia and Ingomar in the Son of the Wilderness, and Thusnelda and Thumelicus in the Gladiator of Ravenna. According to my opinion, he had recourse to this expedient in order to bring out forcibly and emphatically the ' problems ' he had in view in his dramas ; for it has been rightly remarked that in his plays his object was more i to solve problems ' than to portray characters, and for this purpose two principal characters were generally sufficient. In adopting this dramatic method, Halm merely followed the example of the Spanish playwrights, to whom ' the plot is the paramount consideration V The charge that Halm's plays are frequently ' melo- dramatic ' is also groundless. He simply understood the art of producing great dramatic effect by thrilling situations and impressive language ; and just as he was eminent as a ' dramatic constructor ' so he also excelled in point of style. All his dramas are written throughout in most poetical and melodious, frequently even mellifluous language. 1 Cp. on this subject Mr. Norman Maccoll's thoughtful essay on the Spanish drama, prefixed to his volume of Select Plays of Calderon (Macraillan). A BIOGRAPHICAL SKETCH. XXV Nevertheless he is never carried away by the mere sound of his speech ; for though his verse may be said to be music without notes, it never contains ' more sound than sense/ There is a clear and distinct meaning in all he says ; there are in his speeches no redundancies, no paddings, no sen- tentious stop-gaps, and no waste words, although he occa- sionally uses flowery and rhetorical language. The dialogue, as well as the action, flows on harmoniously, and every word is to the point. There was only one thing which Halm required in order to rank as ebenbiirtig with the greatest dramatists of the world. He was cramped, so to speak, for breathing-space. Brought up amidst the despotic and bureaucratic surroundings of the Austria of those days, the wings of his genius were clipped from the very beginning. He was unable to let his muse have free scope, so he took refuge among the mystic regions of Spanish poetry. It was said that he had a special predilec- tion for exotic, more especially southern themes ; but this was hardly so much the result of his innate disposition as of external circumstances. He had, in fact, no choice. He could not give free vent to his genius if he did not wish to expose himself to the rigours of a despotic rule at home, or to the sad fate of an exile abroad. Not everybody has a vocation for martyrdom. Numerous passages in his works show that he longed for a united Germany and was a lover of freedom ; and these sentiments form the most verdant leaves in his laurel- wreath. His is also the merit of having conferred, like his distinguished countryman Franz Grill- parzer, great credit upon his native country from which the Germans outside Austria were quite unaccustomed to receive any dramatic works of sterling value. Both dramatists, though handicapped by political trammels, have gloriously developed their genius and produced plays which, in point of language and construction, may serve as models to their dramatic colleagues to this very day. THE STORY OF GRISELDIS I. The Legend. At the foot of a very high mountain in Piedmont there lived, a long time ago, a young marquis of Saluzzo, named Walter (Gualtieri), who, being unmarried, spent all his time in hunting and hawking. This state of things greatly dis- pleased his subjects, and they pressed him to marry, so that he might not die without an heir and they be left without a ruler (11. 272-74). To which the marquis replied that they were urging him to do what was adverse to his intentions ; considering how difficult it was for a person to find some one whose temper fully agreed with his, and how impossible it was to fathom a woman's mind. Nevertheless he promised to choose a wife on the understanding that whomsoever he might choose they would respect her as their sovereign ; which they promised to do. Now there lived not far from the palace of the marquis a poor man, one Giannucole, who had an only daughter called Griseldis. She was exceedingly beautiful in appear- ance, and in beauty of mind and character she was unsur- passed. Her demeanour pleased Walter extremely, for she was very obedient to her parents and very pious (11. 298-303, 339, 351, 370). He resolved therefore not to marry any one else but her, and informed his subjects of his decision. On an appointed day he rode with all his friends and vassals to the village where Griseldis lived with her father, taking with him rich and costly robes, a ring, and a coronet. Arrived at THE LEGEND, XXVll the cottage of Giannucole,'he told him that he had come to espouse his daughter. Then he asked Griseldis whether she would be his wife, and whether she would always submit to his will and show no resistance to any thing he might decide upon concerning her; and she replied, Yes! (11. 404-11). Upon which he took her outside the cottage in her humble garments, and, showing her to the people assembled there, exclaimed — * Here is my wife, your mistress ! ' (11. 414-16). She was then clothed in splendid robes and the marquis wedded her. Griseldis was very obedient to her husband and most complaisant in every respect, so that he thought himself the happiest man in the world ; and to her subjects she was so gracious and condescending that they all honoured and cherished and loved her as they did their own lives (11. 1592-97). Before the lapse of a year Griseldis gave birth to a daughter of which her husband was very proud ; but after some time he conceived a new fancy, and that was to test his wife's patience by a long trial and the severest suffer- ings. He therefore told her that his nobles were very much displeased with her mean birth, and that they murmured at the descent of his daughter from so humble a mother (11. 903-7). Griseldis declared thereupon that she would patiently submit to anything her husband might ordain. At night time the marquis sent to her a confidential servant who, imploring her not to lay to his charge what he was obliged to do, told her that he had been commanded by her husband to take away her child ; but he left it doubtful what was to be done with the infant (11. 931, 980-84). Griseldis gave up the child without a murmur, only imploring the messenger not to expose it to wild beasts and birds of prey. The messenger took the child, according to his instructions, to the marquis' sister at Bologna. After some time Griseldis gave birth to a boy, and the marquis then told her that his subjects were discontented that a grandchild of Giannucole should one day be their ruler. XXVlll THE STORY OF GRISELDIS. So he deprived her of her second child as he had done of the first. Twelve years or more elapsed, and the marquis then resolved to subject Griseldis to a new trial. He pretended to have received a Papal dispensation to put her away and to marry another woman, and announced to her in the presence of the lords of his court that he was fully conscious of the true love Griseldis bore him, but that the people had forced him to take another wife who was of equal birth with himself, so that his lands might be ruled over after his death by a rightful heir. She must therefore return to her old home, taking away with her the dowry she had brought to him (11. 1 25 8- 1 305). Griseldis answered that she had always been conscious that her servile condition did in no . way accord with her husband's high rank and descent. She owned herself indebted to him for the great honour and happiness he had hitherto bestowed upon her, which she knew she did not deserve. She had only considered it as a favour lent to her, and as he was now pleased to demand it back, she would willingly restore it. She would now return to her paternal home where she had spent her childhood, and there she would die. ' Behold this ring,' she added, 'with which you espoused me, I deliver it to you. You bid me take back the dowry which I brought you ; there will be no need for a teller to count it, much less for a sumpter-horse to carry it. Destitute I left my father's house, and destitute I will re- turn to it' (11. 1305-49). Walter was moved to tears, still he restrained himself and showed her no compassion, but let her depart from the castle — weeping, bare-footed, and bare- headed, amidst the tears and lamentations of the crowd, who sorrowed for the loss of so generous and loveable a sovereign (11. 1 350-1401). Arrived at her home, Griseldis, who was affectionately received by her father, told him not to grieve at her misfortune, for it could only have happened by God's ordinance (11. 1180-88). Her father, who had never been pleased with the marriage and always feared that the marquis would put his daughter away one day, had carefully pre- THE LITERARY TREATMENT, XXIX served her humble garments. She now put them on once more and calmly resumed her household work. In the meantime the marquis had caused his two children, who had been carefully brought up at Bologna, to be brought to his castle, and he gave it out that the young lady was his betrothed. He then sent for Griseldis, asking her to attend at the marriage feast and to make for it all the necessary arrangements, since she knew his household better than any other woman in the castle. Griseldis readily consented and helped to prepare the wedding. She even heartily welcomed the young bride whom she greatly admired. S What thinkest thou, Griselda, of my new bride ? ' asked the marquis, and she replied that the young girl was exceedingly beautiful, and that she wished and hoped that he would lead a happy life with her ; ' but/ she added, * do not inflict upon her the same tortures you inflicted upon another ; for she, is both younger and more delicately brought up.' This speech touched the marquis so deeply that he would not carry the trial any further, but disclosed to Griseldis that she was still his wife, and that his pretended bride and her brother were their own children, whom she supposed to have been killed at his command. He finally assured Griseldis that she would now reap the fruit of her long patience. From this time forward Griseldis and Walter continued to live happily together, whilst Giannucole was well provided for. II. The Literary Treatment. The story of Griseldis has, ever since it became known, exercised a great fascination on the minds of people in general, and on that of the novelist, the dramatist, and the poet in particular. The exact time and locality of its origin is not known, nor has it been possible to trace any authentic historical basis of it, although the scene of the event is almost invariably placed at the Italian town of Saluzzo 3 and XXX THE STORY OF GRISELDIS. some writers assert that the heroine lived at the beginning of the eleventh century. This much is certain ; the Volks- sage was current in Italy in the fourteenth century. The poet, Francesco Petrarca, says in a letter which he wrote June 4, 1373, to Giovanni Boccaccio, respecting the story of Griseldis, that many years ago he used to hear it related with pleasure (tnihi semper ante multos annos audita fila- tuisset), and that, prompted by the version given of it by the latter in his Decamerone, he had re-written it in Latin, that it might also be understood by those unacquainted with the Italian vernacular. Petrarca was in fact so delighted with the story that he actually learned it by heart, in order to be able to relate it to his friends. Boccaccio's version of the Griselda story forms the last tale of his Decamerone, and Petrarca's account, which is throughout a dramatic one, is an amplified adaptation of it \ and bears the superscription : ' De Obedientia ac Fide uxoria Mythologia.' It was this adaptation which, in the first instance, procured for the legend of Griseldis its world- wide popularity; and Petrarca was fully justified in his determination to retell it in a language which was far more generally understood in the countries outside Italy than his native tongue 2 . The very name of Griseldis, which is the more popular form, occurs for the first time in Petrarca's version. The latter account has also the merit of having inspired Chaucer to the composition of his Clerkes Tale, and to the great English poet is due the credit of having been the first to consider the Griselda story worthy of a poetical treatment, and of having immortalized his heroine's 1 Historiam tuam meis verbis explicui, says Petrarca in the letter proper, which is introductory to his version of Boccaccio's story. 2 Dr. M. Landau mentions in his valuable work, Die Quellen des Decamerone (pp. 156-60) some legends containing the germ of the Griselda story, prior to the versions of Boccaccio and Petrarca, and he finds some traces of it in an Indian tale, related by Miss Maive Stokes in her Indian Fairy Tales (p. 252). THE LITERARY TREATMENT. xxxi name in a poem which is considered one of the most pathetic of his Canterbury Tales 1 . On the other hand, the merit of having first made the story of Griseldis popular in Germany, and indirectly in several other countries, belongs to the well-known writer Heinrich Steinhowel, who issued in 1 471 a translation of Petrarca's version. This translation became in Germany a current Volksbuch, and remained so down to the first half of the seventeenth century. Even after that time it formed the basis of all the Volksbilcher treating of the same subject, and of many accounts current to this very day. In France it was also Petrarca's version of the legend that first became popular through the medium of several translations- One of these was rendered into English in 1607 2 . Several other versions of the legend were then issued in this country, and the story, based either on Petrarca's or Boccaccio's account, spread later, with occasional variations, all over Europe, either in prose or verse narrative 2 , or in dramatic form. 1 The assumption of Chaucer scholars that he wrote his Clerkes Tale in 1373, may be taken as an indirect proof that Petrarca had written his celebrated letter in the same year and not in 1374, which date occurs in two MS. copies of it. Signore F. Fracassetti, the translator of the poet's correspondence, also adheres to the earlier date (Lettere Senili di F. Petrarca, ii. 564, &c). With regard to the difficult question of the way in which Chaucer came by Petrarca's version of the Griselda story which he followed so closely, I threw out a suggestion in The Athenceum of April 28, 1894 to the effect that he received it in 1373, directly or indirectly, from Boccaccio when both were at Florence ; Chaucer in the capacity of diplomatist and Boccaccio in that of * Dantean Professor.' This theory has since met with the approval of several Chaucer scholars, but it may be difficult for many to dissociate themselves from the long entertained opinion that Chaucer obtained the Latin version from Petrarca him- self. Cp. Prof. Skeat's learned Introduction to vol. i. of Chaucer's Complete Works (p. xxi), publ. at the Clarendon Press, and Prof. Hales' interesting remarks on this subject, and on the Griselda story in general, in his Folia Litter aria (pp. 89-94). 2 A prior account of the Griselda story, published in the sixteenth XXXll THE STORY OF GRISELDIS. The Griselda story seems to have been first dramatized in France, under the title of Le mystere de Griseldis, &c. This play, dating from 1395, was published in the sixteenth century, but otherwise the subject appears to have been neglected in that country for a considerable time. It was not before the last century that it was again treated either as a comedy, tragedy, or tragicomedy, or as the libretto of operas 1 . In Germany it was twice dramatized during the first half of the sixteenth century; about 1528 anonymously, and in 1 546 by the famous Meistersinger Hans Sachs. The former play closely follows Steinhowel's translation of Petrarca's account, and the latter, in general, Boccaccio's version, but partly also that of Petrarca. The play of Hans Sachs, entitled Die geduldig und gehorsam Markgrefin Griselda, in five acts, and numbering upwards of 800 lines, contains some redeeming touches of nature in working out the plot, which are not to be found in the original sources. After appending some moral precepts, the poet-shoemaker con- cludes with the pious wish — Dass also zwischen man und weib, fried, lieb und treue aitfer- Bis an das end, das wiinscht Hans Sachs. \%vachs Two more plays are recorded from Germany on the subject of Griseldis. One, written in 1582, is described as a Comedia, Gestellet durch M. Georgium Mauricium, and contains some passages of varying length, taken from the two earlier century, seems to have been lost. A chapbook entitled The History of Patient Grissel, was published in 16 19, and reprinted in 1885 with an Introduction by Mr. H. B. Wheatley. An English ballad on the subject of Griseldis, dating from the sixteenth century and written by Thomas Deloney, is still extant. It is superscribed, Of Patient Grissel and a Noble Marqess, and has been reprinted in various versions in the author's Garland of Goodwill and elsewhere. 1 MM. Silvestre and Morand wrote in 1891 a mystere or miracle play in French, which was set to music and performed at Paris in the same year. The incidents of the legend were considerably altered by the authors, and some romantic elements introduced to suit the French taste. THE LITERARY TREATMENT. XXX111 German plays, with some original additions 1 . The other play, published in 1590, bore on the title-page the words, Sehr Lustig und Lieblich. Verf asset durch Georgium Pondo Islehiensem. Since then no original play seems to have been composed in Germany on the fate of the patient heroine till 1835, in which year Halm's drama was performed. In this country the name of Griseldis must have been rather popular, from the end of the fourteenth century onward, as that of a model of patience and constancy. The Benedictine monk, John Lydgate, assigns her an honourable place in his poem, The Temple of Glass, among the circle of ' cele- brated lovers,' and Shakespeare makes Petrucio say of Katharina, in his Taming of the Shrew (Act ii. sc. 1) : — For patience she will prove a second GrisseL Towards the end of the sixteenth century the subject of Griseldis was converted into a drama of considerable merit. This is the Pleasant Comedie of Patient Grissill, by the celebrated playwrights, Thomas Dekker, Henry Chettle, and William Haughton, which is assumed to have been performed in the year 1600, and was published in 1603 2 . This remarkable play, which combines humour and pathos, follows the old tradition in its main features, but delineates the characters of the Marquis and Griseldis rather in the spirit of Boccaccio than in that of Petrarca and Chaucer. Those gifted playwrights knew, however, very well that the 1 A Latin translation of the above play, made by the son of the author in Academiae Altorfianae usum, was published in 162 1. Dramatic representations of the story of Griseldis also took place in educational institutions of other countries. The opening of the Grammar School at Hitchin in 1538, seems to have been inaugurated by a ' comoedia de patientia Griseldis.' 2 The above play was reprinted from the original ■ Blackletter Edition' for the Shakespeare Society in 1841, with an Introduction and Notes by J. Payne Collier. It has been shown that this play figured in the Repertoire of the English actors who gave perform- ances in Germany in the sixteenth and seventeenth centuries. C XXXIV THE STORY OF GRISELDIS. story of Griseldis in itself does not possess sufficient dramatic elements for an attractive play in five acts, and probably wishing, besides, to modify the painful character of the traditional incidents, judiciously interwove, in true Shake- spearean fashion, an amusing collateral plot, the principal figure of which, the Welsh widow Gwenthyan, now married to the Welsh knight, Sir Owen ap Meredith, forms a striking contrast to Patient GrisseL The next play in chronological order, on the Griselda story, came from Spain. It is by Lope de Vega, and was published at Madrid in 1615, under the title of El exemplo de las casadas y prueba de lapaicencia (The model for married women and trial of patience). The great Spanish drama- tist only adopted the substance of the legend in its general outlines ; for, altering both the traditional names and the locality, he skilfully introduced some new features, in order to show plausible reason for the cruel tests imposed upon the heroine ; which humane trait is wanting in nearly all the preceding productions based on the legend. Strange to say, the dramatization of the legend of Griseldis took place latest in the land of its birth. The first Italian play founded on it was published in 1620. It bears the title of Griselda, tragicommedia morale di Paolo Mazzi. Ten years later, Ascanio Massimo of Saluzzo converted it into a play under the title of Griselda, tragicommedia pastroco- mica tricumena, &c. A tragedy on the same subject, entitled La Griselda di Saluzzo, was written by Carlo Maggi in 1700, and a year after, the prolific playwright and distinguished literary historian, Apostolo Zeno, converted it into a melo- drama, which was several times set to music, and enjoyed great popularity in its day. Zeno's play which, like that of Mazzi and others, follows in most particulars the accepted tradition, deviates in some details, and was adapted, or rather adopted by Goldoni in his comedy La Griselda (1795) written in verse. In 1 79 1, an opera in three acts, entitled Griselidis, by THE LITERARY TREATMENT. XXXV De Desforges, was performed at Paris ; and five years later, the distinguished Italian composer, Ferdinando Paer, set to music an Italian libretto in two acts, called Griselda. This opera, the absurd text of which adheres in its general out- lines to the legend, was very popular for some years in most European countries, but in Germany it soon disappeared from the stage 1 . In the year 1869 an original drama in verse by Signor D'Agnillo d'Agnone was performed at Florence, but does not seem to have produced any deep impression. There remains to be recorded one more play on the subject of Griseldis which, as a dramatic poem, is, in many respects, superior to those hitherto mentioned. It is the tragedy Griselda by Mr. (now Sir) Edwin Arnold, pub- lished in 1855. The author, whilst mainly following, like his predecessors, the accepted tradition, deviates from it in some details. He represents Griseldis as having given birth to twins, a boy and a girl ; thus adopting an incident also occurring in the old English Ballad, and in the play of Dekker, Chettle, and Haughton, but the cruel process is brought only once before our eyes. We see how the girl is taken from the mother, and we only hear the husband's inhuman command regarding the boy. In this way the painfulness of the action is greatly diminished. The poet also introduces another feature which, in my opinion, forms the most exquisite trait in the drama. He makes the marquis' sister send a troubadour to him, who sings a warning song against love, ending with the lines Better not to love and rue it Than to ever love. Through the same troubadour the marquis' sister sends him a missive in which she apprizes him that ' his village spousal 1 A Klavierauszug, with the text in Italian and German, was published at Bonn and Paris early in the present centnry. C 2 XXXVI THE STORY OF GRISELDIS. is Italy's gossip/ and that ' he must bravely and boldly try his jewel ; if not, its lustre must be still suspect % (p. 75). Thus spurned, the marquis is induced to test Griselda's love and patience. By this mitigating circumstance the unheard of harshness and foolish caprice are considerably modified. The character of Griseldis is very consistently drawn. She is, above all, the tenderly loving wife, but — in a true feudal spirit — she does not for a moment forget the great gulf which separates her from her noble husband. This sentiment, which gives the clue to her character, is emphatically expressed in the words I am not come Of blood enough to mate him for his throne ', With hot mad words , and wrestle down his will I In this light the chroniclers of the tradition mostly regarded the character of Griseldis. She felt that she was, so to say, the property of her husband and had no will of her own ; at the same time she retained her immutable affection for him, and she was possessed of an intense love for her children ; which latter feeling is pathetically expressed in the above drama, in her leave-taking from her infant daughter (pp. 99, 100), and again in the last touching scene of the drama when she is restored to her children once more l . The above general sketch will show that the Griselda story was treated in prose and verse for upwards of five hundred years, much in the same light in which it was delivered to 1 I have dwelt somewhat more fully on Sir Edwin Arnold's drama, which, I understand, was written by the poet just after having finished his University career, because it seems to me one of the most successful of those dramatic productions on the Griselda story which follow the old tradition, and because, in spite of the fine passages it contains, it appears to have been quite overlooked in the constant flow of new literature, so that its publication escaped even the industrious researches of German scholars. THE LITERARY TREATMENT XXXvii us by tradition. There are to be found in nearly all prose versions and poetical treatments the same inhuman trials, re- peated and protracted beyond all human endurance. It is chiefly this circumstance which makes the story at once appear utterly improbable. One cannot help agreeing with Petrarca's Veronese friend who (as the poet relates in the appendix to his Latin version), after a scholar from Padua had twice broken down weeping in the attempt to peruse the story, read it through unmoved ; because, as he asserted, it wore on the face of it the stamp of a pure fable. One poet alone had the felicitous idea of transferring the incredible legend into the higher realm of poetry ; thus making it true in the same way as the creations of other poets have become a reality — and that poet was Friedrich Halm / The Griseldis-literature is rather extensive, and to the late distinguished literary historian, Dr. Heinrich Kohler, belongs the merit of having been the first to furnish— in Ersch and Gruber's Encykloftadie — abundant materials, based upon original research, towards a complete bibliography. The next valuable contribution in the same field came from Dr. Friedrich von Westenholz, in the shape of a monograph entitled, Die Griseldis-Sage in der Literaturgeschichte (Heidelberg, Groos), which includes a sympathetic and intelligent criticism of the present drama. Both treatises have been of use to me, but I need hardly add that I have myself made original researches on the subject, the results of which have been embodied in the above sketch. CRITICAL ANALYSIS I. The Tendency of the Drama and the Dramatis persons. — Cil est vers amour trechiere Qui tiaime fors pour son valoir. — Roman de la Violette. Die Liebe ist der Liebe Preis. — Schiller. There are three essential points which a critic has to consider in judging a dramatic work. First, what did the author wish to represent ? Secondly, was the subject worthy of dramatic treatment ? And thirdly, has the dramatist succeeded in his task ? If we apply this method in our analysis of Halm's drama, we must, in the first instance, come to the conclusion that he did not intend to represent the traditional Grzseldis, with her passive, almost auto- matic obedience and submission ; nor did he wish to portray the traditional noble who, in a mere caprice, most cruelly tests his wife's devotion and constancy ; who leaves her for twelve years or more in the fearful belief that their children have actually been killed, and who finally degrades her into a serving woman at his pretended marriage with a second wife, in order to supply a melodramatic finale to a barbarous interlude which ushers in a sequel of domestic happiness, undisturbed by any twinge of remorse. The representation of such an improbable character and of such extravagant action was far from the poet's mind. THE TENDENCY OF THE DRAMA. XXXIX What Halm really wished to delineate was the character of a noble-minded and devoted woman, who submits with resignation to the severest trials, and who shrinks from no sacrifice for the welfare and safety of her husband, as long as she firmly believes that her affection and devotion are fully reciprocated. When she discovers her error she resolutely severs the bond of union, which she does not consider any longer hallowed by the ties of mutual affec- tion. This is the Griseldis of poetry ; Halm's Griseldis ! In the character which is contrasted with that of Griseldis, the poet wished to introduce to us a haughty, conceited noble, imbued with feelings of distrust for others, and of discontent with himself ; a man who adheres to a resolution once taken merely because it has been conceived. It is this tone of mind, not a mere ( new fancy,' as the Legend has it, that leads him, under the influence of apparently trivial circumstances, to a merciless treatment of his wife. The characterization of two such personages in mutual relation, and the final conflict between them, undoubtedly offers a most interesting psychological problem, and one quite worthy of dramatic treatment. It remains to be seen what measure of success the poet has attained. It is clear that the chief merit of the present drama rests on the delineation of the two principal characters ; but in order to bring them out forcibly, it was necessary to change the background of the plot, by transferring it from the common- place surroundings of the tradition into the higher sphere of poetry. This was done by removing both the scene and time of the action to a remote age and mythical scene full of picturesque accessories. In this way alone, it was possible to represent the characters in a true poetical light. Our high estimate of Griseldis is formed in the first place by Percival's allusion to her as a treues Weib ; it is in- creased by the fact that he had married her, though in the humblest walk of life, whilst he had disdained to wed a lady of royal blood, and she gains our full admiration when we xl CRITICAL ANALYSIS. hear Percival's description of her beauty, simplicity, piety, and obedience. At the close of the first act, which is unsurpassed as a dramatic 'exposition, 5 we cannot help feeling apprehension and fear for the heroine's fate. How will she bear the trials in store for her? In the second act Griselda's filial devotion, and her unbounded love for her husband, become at once apparent. At the same time a cloud of sadness settles upon the scene of action, which lingers over it to the end of the drama. Her father's irre- concilable anger inspires her with the misgiving that she might have erred in the excess of love for her husband, and she asks herself apprehensively — 1st immer denn vom Ubel Ubermass, Selbst in der Tugend, in der Liebe selbst? Percival's sudden return forms her only moment of happi- ness in the play. She is now subjected to the first crucial test, and she surmounts it heroically after a strenuous resistance, in the belief that her husband's life would be at stake if their child were not delivered up to the King. Moreover, her fears for its safety are quieted by Tristan's reassuring words — Sorgt nicht, der Kdnig ist gerecht und mild. Griselda's submission is here made very plausible, and her conduct is quite compatible with the dignity of human nature. She does not, like ' Patient Grissell,' whilst indulging in suppressed grief, assume an impassive face towards her husband, but she gives free vent to her sorrow, and Tristan's account of her disconsolate state at the loss of her child is a descriptive passage of the finest pathos l , 1 It is rather strange that Halm's description of Griselda's state of affliction (11. 1075-1102), has not inspired any artist to represent it pictorially, and it is still more surprising that no Italian painter of note should have produced any striking picture of the fate of Griseldis. There is a painting in the National Gallery, probably erroneously attributed to the celebrated painter, Bernardino di Betto, commonly THE TENDENCY OF THE DRAMA. xli In the scene in which Percival renounces his union with Griseldis, her character shines forth most brilliantly as a true heroine of endurance and resignation. She does not remonstrate, as she did at her first trial, and is quite ready to sacrifice her happiness for that of her husband. This scene, which reminds one somewhat of Mary StuarPs fare- well in Schiller's drama, is unquestionably the most touching in modern dramatic literature. Like that ill-starred Queen, she is ' wept for ' by her attendants, and well might she exclaim — Lebt alle wohl 7 Vom Schicksal fortgetrieben Ein Trost ist dennoch meinem Leid geblieben, Ich gehe weinend, dock ich geJC beweint. We now feel the warmest sympathy and deepest pity for the severely-tried sufferer, and thus the second condition of a tragical drama is fulfilled. In the fourth act, the sufferings of Griseldis reach their climax, and her lot is now comparable with that of Job, to whom she has often been likened \ Driven from her home, renounced by her husband, and deprived of her child, she is even repulsed by her father, who, with the obstinacy of old age, loads her with the oft-repeated reproaches of filial ingratitude. This treatment fills the bitter cup of the patient woman to the brim. It has been objected that the additional torture inflicted upon Griseldis was superfluously cruel ; but this censure, like nearly all others directed against this drama, is illfounded. If she had found solace in her father's love, her sufferings would not have been complete and she called Pinturicchio (b. 1454; d. 1513), which represents the incidents of the Griselda legend in three panels, but which is devoid of artistic merit. A picture representing the story of Griseldis was painted in 1829, on the curtain of the Theatre at Saluzzo, and rude paintings on the same subject are still to be seen on cottage-walls in Italy. 1 Words far bitterer than wormzvood, That would in Job or Grizel stir mood. Butler's Hudibras, Part I, Canto II. 11. 771-72. xlii CRITICAL ANALYSIS. would not have been among women the counterpart of that most patient of men. As it is, she is deprived of all outward comfort, and she only finds consolation in the consciousness of her innocence, in the conviction that all her actions sprang from pure motives. Griselda's subsequent meeting with Percival is most skil- fully and touchingly worked out. She, naturally, first believed that he had again returned to her in loving affection, and when she is undeceived on this point, and also in her assumption that he had at least come to comfort her, she nevertheless thinks only of his safety, and utters the prayer — so erleuchf mich dti, du Born der Gnade, Ich muss ihn retten, ■ hilf mir, Weltenherr ! And when he has safely fled, she exclaims with noble self- sacrifice — Erretf ihn, Herr, und mich nimm, mich zum Opferl The heroism of the meek and submissive woman is brought out effectively in the scene between her and Guinvere. First, she defies the imperious Queen with words which show that she still considers herself Percival's dutiful wife. Refusing to betray his shelter, she exclaims — Ich bin Griseldis, Percival s Gemahl ! The threat that her life will be taken, she meets with the resolute words — Hier ist es I Nimm es hin ! To the jeering of Oriane that Percival had ill-requited her devoted love, she generously retorts — messt nicht Liebe mit so engem Mass I Yet one more cruel trial is in store for her. Her father has been discovered, and Guinvere threatens that her silence will THE TENDENCY OF THE DRAMA. xliii cause his death. This menace is beyond human endurance, and with the exclamation of despair — So schutzt ihn ihr, ihr Engell Ich muss schweigenl the hard-tried woman breaks down in a swoon. Hitherto the character of Griseldis has been shown in the light of resignation and patient endurance, but in the last act we see the full nobility of her mind and the grandeur of her soul. When brought back to her palatial home, her first thought is to intercede with the King in favour of Percival in whose unselfish affection she still firmly believes ; but as soon as she is told that all the trials she had undergone were the consequence of a wager made by Percival, for the gratification of his pride, a powerful revulsion of feeling takes place. Her implicit belief in his pure and devoted love has been shaken, and when he asks her, after she has announced her resolution to leave him — Wer lost der Treue Schwur, die du verheissen? she justly answers — Du selbst ! Du hast der Liebe Band zerrissen ! She was ready to return love for love, but not love for vanity, and this is the application of the motto from Schiller, which the poet put at the head of this drama — Die Liebe ist der Liebe Preis. The delineation of Griseldis is a masterpiece of dramatic characterization, and the poet has succeeded in so modifying an essentially barbarous and unreasoning story, that he awakens for his heroine both our sympathy and admiration. Equally well sustained is the character of Percival. We see at once that his ideal of woman is a commonplace one. She should, above all, be homely and submissive to man's will. His haughty pride and discontent with himself, are consistent with this point of view. He is surfeited with xliv CRITICAL ANALYSIS. happiness, and longs for change, for action. The blessings he enjoys do not satisfy him, for, as he declares — Ein Weib, ein Kind fiillt diese Brust nicht aus. Moreover, he is possessed of a stern, taciturn, and somewhat gloomy disposition. He despises court-life, and if he is, nevertheless, led to divulge in the presence of the same court, the way in which he found and wooed his wife, this conduct as well as the insult he hurls at the Queen, must partly be attri- buted to the effect of the fiery wine of which he had partaken. His haughtiness, and above all his stubbornness, prevent him from offering a courteous apology to Guinvere, and rather than bow his knee to her, he is willing to accept the most unnatural of wagers. When Tristan, who plays throughout the part of Percival's good genius, admonishes him — geht in euch ; bleibt nicht bei enrem Sinn I he bluntly answers — Sankt David! Herr, bei meinem Sinne bleiben War immer meine Art 1 . Before proceeding, however, to the second cruel test, for the carrying out of which there was no necessity to forge a Papal dispensation, as the Legend makes him do — he soliloquizes upon his deeds. In a speech, the analogy to which need not be pointed out to English readers, he justifies his conduct with the sophistry of self-indulgence and self-delusion. It is true his heart is filled with a sad foreboding — which is only 1 Chaucer took the same view of the Marquis of Saluzzo. When the latter resolved to test Griseldis by the third trial— as related by the Legend — the poet remarks — — ther ben folk of swich condicion That, when they haue a certein purpos take, They can nat stint e of hir entencion, Bttt, ryght as they were bounden to a stake, They wol nat of that firste purpos slake. The Clerkes Tale (ed. Skeat, C. P. S.) 11. 701-705, THE TENDENCY OF THE DRAMA. xlv the premonitor of subsequent events— but he nevertheless adheres to his decision. Even the pathetic leave-taking of Griseldis, and the well-meant advice of his friends, and the remonstrances of his retainers, do not shake his resolution. He has only one moment of remorse when he confesses to himself — Ich had' gefrevelt an dem treu'sten Herzen, Ich had' geschwelgt in ihren Todesschmerzen ; Und jetzt, erkennend meine schwere Schuld, Jetzt mock? icKs gem von ihrem Haupte wenden, Was Wort und Pflicht mich zwingen zu vollenden. This compunction is a redeeming feature in Percival's other- wise unjustifiable conduct, and if he deceives himself as to his duty to fulfil his promise, this delusion is only in keeping with his obstinate character. Another delusion of Percival's is the assumption that he will be able to compensate Griseldis for her past sufferings by affording her a life of uninterrupted joy and happiness ; a misconception again based on his low estimate of human nature in general, and of Griselda's nobility of mind in particular. The gratification of his vanity was so paramount in Percival that even after he had witnessed the pang of Griseldis at the deception, he exultingly exclaimed on seeing Guinvere kneeling before her — Sie kniet! O, ruft es aus in alle Winde, Die Konigin kniet vor dem Kohlerkinde ! The discovery that the feeling of pride and self-indulgence was stronger in Percival than his devotion to her, alienated, as we said above, her heart from him for ever. She now sees that he has betrayed the trust of love, and this idea underlies the other motto, placed by the poet at the head of this drama — — Cil est vers a??iour trechiere. Qui riaime fors pour son valoir. i. e. he is a traitor to love, who only loves for his own advantage. xlvi CRITICAL ANALYSIS. The same sentiment is expressed by King Arthur in the last speech of the drama, when Percival wished to assert his right over Griseldis, and retain her — Du hast das Recht verwirkt, sie zu besitzen, Und ungehindert soil sie heimwarts ziekn. Wohl jeden Kampf bestehet LieV urn Liebe ; Dock dienen nicht soil sie dem rohen Triebe, Der ihr die Sohle auf den Scheitel setzt ! These lines contain the clue to the tendency of the drama, which is to show the unlimited extent of self-sacrificing love, of which Griseldis was the embodiment ; and also the ideal of female dignity, which rejects even the object of its affec- tion, when it has proved itself unworthy. Percival is punished for his wanton conduct ; for his unwarranted doubt and cruelty, in which he was actuated by mere haughtiness and vainglorious pride. He retires into cheerless solitude, and thus we see just retribution following closely the wrong committed. Some fastidious critics have found fault with the author for having substituted the famous knight of romance, Percival, or Parzifal of Wales, for the cruel and little-minded Marquis of Saluzzo, and for having represented him altogether in the light in which he appears in the drama ; but this censure is groundless. In the first place, having once transferred the time of the action to the Arthurian era, the poet required some celebrated and well-known figure for his purpose. Moreover, he was able to borrow most successfully some traits of the traditional hero — such as his bluntness and awkward demeanour, and his propensity to doubt — from his characterization in Wolfram von Eschenbach's great epic. Percival's traditional valour 1 was also a necessary adjunct for completing the figure of the dramatic hero. We consider therefore the introduction of the famous ' giant-killer ' — which was the distinctive characteristic of the Knights of the 1 Cp. Malory's Morte D' Arthur, ed. Sir Edward Strachey. Globe Edition, p. 47. THE TENDENCY OF THE DRAMA. xlvii Table Round — as the husband of Griseldis, a most felicitous idea. Next to the two principal personages of the drama, the character of Griselda's father, to whom the poet has perhaps purposely given the Saxon name of Cedric, stands forth in bold relief. He is a stern and sturdy man, who is not attracted or dazzled by aristocratic splendour. He was even displeased when ' the Knight stole his rose.' The fact that Griselda's father did not view her marriage with the noble marquis with favour also occurs in some versions of the Legend, but with Cedric the dissatisfaction was far more deeply rooted. He seems to have been a man of ' democratic disposition'— in the modern sense of the word— and as such he detested the ' great men of the world.' With bitter irony he reflects on the vast gulf between high and low — Der Graf von Wales' und ein Kohler I Herr Und Knechtt Und beide dock aus Einem Staub Genommen, Graf wie Kohler, beide Kinder Des Einen Gottes, der iftt Himmel lebt I His aversion to men of exalted rank is so great, that he cannot understand how a nobleman could be loved for his own sake, and he suspects that his daughter in marrying Percival, had been more actuated by pride and vanity than by genuine devotion. When the old man, whose blindness only renders his forlorn condition more painful, misinter- prets the Queen's command, that he and his daughter should be led away, he exclaims with pathetic wrath — wann wird Milde wohnen bei der Machi ! He even expects that he and his daughter are to suffer death, and he asks her — Griseldis, sprich ! 1st es der Weg zum Tode, Den du mich fiihrst ? and when his daughter addresses an ardent prayer to the King for grace and favour, he admonishes her with the words — xlviii CRITICAL ANALYSIS. Nein, bitte nichtl Sie horen nicht auf Bitten! We have seen that he had first repelled his child because he had misunderstood her motives in wedding Percival, and he would not even listen to her explanation ; but when he heard her reproach her husband in her just revolt for having wantonly exposed her to disgrace, and subjected her to pain, and when she implores the old man's forgiveness, his paternal heart is melted, and comforting her he says — Komm, armes Kind; ruti aus an diesem Herzen! He now recognizes the genuine goodness of her heart and the nobleness of her character, which acknowledgement is tersely expressed by him in the lines— Ko?nm, komm, lass diese hier errotend sagen ; Sie trug den Sc/imerz, Schmach hat sie nicht ertragen, which words contain the key-note to Griselda's conduct. Altogether the character of Cedric is drawn with great dramatic skill. It is complete in itself, and fits admirably into the framework of the drama 1 . The old man's occupation imprints the stamp of originality and romance upon his character. He is represented as a charcoal-burner, which trade is rather common on the Continent, but more especially in Germany. Living generally in solitude, the charcoal- burners often develop peculiar characteristics, and there is frequently something mysterious and uncanny about them, for which reason they not infrequently figure in German romance, and that of other countries. Most of the other personages who take an active part in the play, have been selected, like Percival, from the Arthurian cycle. He did so, as has been pointed out above, because it was evident to him that, in order to make the plot more 1 We may assume that the strict theatrical censor at Vienna must have been caught napping, when he let some of the sayings of Cedric pass, which may be considered as an additional proof that Halm was not the inveterate ' aristocrat ' some critics declared him to be. TIME AND PLACE OF THE ACTION. xlix plausible, it was necessary, not only to modify the Legend in its most cruel incidents, but also to alter the external con- ditions. It is true that the events represented in the play are far less violent than those of the traditional story ; still they would be looked upon as absolutely improbable even for the Middle Ages. The poet considered it therefore expedient to transfer the events to a much remoter time, when arbitrary proceedings on the part of kings and knights were nothing uncommon. For this reason he judiciously transferred the time of action to the Arthurian era with its fabulous Knights of the Round Table. With this back- ground, which lends itself far more effectively to a poetical treatment than the Court of the Marquis of Saluzzo in the fourteenth century, the events gained in picturesqueness and the legendary character of the plot at once became obvious. Having once altered the background of the Legend and considerably changed the colouring of the pictures, he was naturally obliged, if he wanted to be consistent, to put it at the same time in a new frame. This gave him free scope to introduce some traditional characters and to create new ones. To the former class belongs, besides Percival, above all King Artus, or Arthur. His character is drawn in conformity with his exalted station and largely as it has come down to us by tradition. He is represented in the light of true royal dignity. Calm and dispassionate, tolerant and in- dulgent until the end, when he has to protect long-suffering innocence. Then he shows the ruler and pronounces his authoritative command. His noble-mindedness and strong sense of justice thus come most favourably to light, and we see, in fact, that he is, to use an often-quoted phrase, The blameless King. The characterization of Guinvere l also coincides in general 1 The Queen's name occurs in various forms, as do the names of most of the other Dramatis Persona. I have adopted the above d 1 CRITICAL ANALYSIS. with the traditional notion of her. She is haughty, light- minded and frivolous, and much the same woman as the Guinevere of Tennyson's poems. The character of Lancelot vom See (* Launcelot de Lake,' 01 \ du Lac '), who is well known to modern readers through the late Poet Laureate's Idylls of the King, is on the whole sketched in accordance with tradition, more especially in the first part of the play ; but the revulsion of his feelings towards the end of the drama raises his character in our eyes. There is also some foundation for Launcelot's departure for France (11. 2028-54) ; with this difference, however, that in the Legend he is described as going to that country in consequence of his banishment from the Arthurian Court l , whilst in the play he is represented as doing so voluntarily, somewhat like Leicester in Schiller's Maria Stuart. Gawin, the Sir Gawaine of tradition, does not play a prominent part in the drama ; but the one assigned to Tristan the Wise, or Sir Tristram de Liones, is somewhat more important, and he justifies his surname by the wise counsels he gives to Percival. The names of the other characters have been mostly taken by the poet fiele-mele, from ancient or modern works of fiction, in doing which he was fully justified, since his object was not to dramatize a compact tradition. Thus he took the name of Kenneth of Scotland from Walter Scott's novel The Talisman, and that of the witty and satirical court-lady, Oriane, from the wife of the celebrated Knight Amadis. Of the minor characters of the play she is the most prominent and most successful. By her gibes and scoffings and her slanderous, but witty remarks, she infuses the element of humour into the drama which, whenever she appears, is enlivened by her presence. Her part affords, spelling with the approval of a well-known authority on the Arthurian Legend. 1 Cp. Malory's Morte D'Artur, ed. Sir Edward Strachey. Globe Edition, pp. 467-69. THE LOCALITY AND DURATION OF THE ACTION \i indeed, the only bright relief to the otherwise gloomy back- ground of the Griselda poem. The allusions to various personages in the drama are also mostly fictitious and consequently require no comment ; except perhaps those to Morgane, the King's sister (11. yi~ 44 ; 151-55 ; 1228), who is known in tradition under the name of ' Morgan le Fay,' and of whom the chronicle relates ' that she was put to school in a nunnery, and there she learned so much that she was a great clerk of nigro- mancy V II. The Locality and Duration of the Action. The particular scene of action is defined in general out- lines only. It is placed in the traditional Arthurian locality, and the first act passes at Karduel, or Kerduel — which is the same as Caerleon— the ancient Welsh metropolis where King Arthur is said to have held his court. The second, third, and last acts take place at an imaginary seat of PercivaPs in Wales, to which the author gave the name of Pendennys (lit. 4 the city of the headland'). The events of the fourth act take place in a secluded part of Wales near the cottage of Griselda's father, who, being a charcoal-burner, naturally lived in a woody district. The duration of the action is skilfully distributed over the space of a few days. The events of the first act take place at night-time. On the next morning Percival and his two companions, Tristan and Gawin, are supposed to have started for Pendennys, where they arrive during the following night, when the events of the second act occur. We may assume that the events of the last three acts pass in rapid succession during the next day ; so that the duration of the action is altogether two nights and two days. The play, in consequence, has a unity and compactness rarely found 1 Ibid., p. 2;. d2 Hi CRITICAL ANALYSIS. in the modern drama, and it furnishes an effective dramatic picture by dint of poetical treatment alone, without the assistance of stage contrivances. III. The Language and the Metre. The elegance of Halm's diction, both in verse and prose, which we pointed out before, is universally acknowledged. In his Griseidis, in particular, he used language unsurpassed in melodiousness and verve. Written in Iambics of five feet, the verses flow most harmoniously, with hardly any dis- sonance, and Halm has thus shown practically — like some other poets — the capacity of the German language for melody. What we said above of his verses, in general, that they are, as it were, music without notes, may be especially applied to the present drama. It is true that the language is more frequently flowery than in his later works, but it fits the subject admirably, and at any rate the occasional ornate diction is far less disturbing in this dramatic poem than it would be in other productions. In fact, some critics who objected to the painful effect of the play, readily admitted that the charm of the language alone makes it tolerable. Here and there the blank verse is interspersed with rhyme, which greatly adds to the musical rhythm of the language. It admirably suits the lyrical element represented in the play, which, in point of style has served as a useful model to the younger generation of German lyrical poets. IV. As a Stage-Play. German dramatic literature was, in the thirties, in a state of stagnation, at least as far as the high-class drama was concerned. Two poets alone cultivated the classical ideal in the drama. These were Franz Grillparzer (b. 1791 ; d. 1872), who had made his brilliant de'but as a dramatist as far back as 181 7, with his fatalistic tragedy, Die Ahnfrau, and Friedrich Halm, who came before the public with his present AS A STAGE-PLAY. llll drama at the close of 1835. The success of the play at Vienna was most brilliant, and it may be v said to have taken the town by storm. Friedrich Halm had become at one stroke a celebrated writer, and the high estimate in which the drama continued to be held may be inferred from the circumstance that, in the year i860, a Griseldis-Medaille was struck in commemoration of the twenty-fifth anniversary of the first performance. Halm's play had a long run at Vienna where it continued to be performed until recently, whenever there was an actress quite suitable for the part of the heroine, who was not ashamed to appear in what is conventionally called a ' sentimental ' part. The greatest German actresses, in fact, vied with each other in playing the title ro/e. The popularity of Halm's drama soon extended to even the remotest places where German plays used to be acted. To cite one example only, which may at the same time serve as a criterion of the popular verdict on the play. Writing at the beginning of the forties from the Esthonian capital, Reval, Lady Eastlake (Miss Rigby) says 1 : ' The modest German company, most respectable in performance, gave us selections from Kotzebue, Iffland, &c, but a piece recently dramatized, called Griseldis, is more attractive than all and draws most surprising audiences.' After giving a risume of the play, the correspondent continues : \ This denouement is the theme of all conversation, and parties run high for and against its moral. Some little patient Grisel- dises of the Society, blame their prototype for not returning, and some selfish Percivals acquit her, and vice versa. I venture no opinion. Count M. wiped his eyes, and hoped they made it up behind the scenes 2 \ 1 Letters from the Shores of the Baltic, pp. 67-69. Murray's Edition. 2 It may be of some interest to the reader to learn that Sir Ralph Anstruther, one of the English translators of the present play, states in his Preface 'that his friend, Mr. Frankland Evelyn, has undertaken a continuation of the drama in which ultimate happiness is secured' liv CRITICAL ANALYSIS. If, however, the public was affected and delighted on seeing the play performed, and on reading it when it was published in 1837, the verdict of the professional critics was by no means unanimous in its favour. The members of the literary school called Das junge Deutschland, in particular, were most severe in their criticisms, because they considered the play as a Tendenz-Drama. ' The subject,' they averred, ' was quite out of date. A woman of the Griselda type is an anomaly for our times.' These champions of the so-called ' emancipation of woman,' utterly mistook the bearing of Halm's dramatic poem. They were of opinion that the author intended to sanction the unconditional submission of woman to man's tyrannical will ; whilst his object was, as has been shown above, to illustrate the readiness of self- sacrifice, of unselfish devotion, and to assert the divine right of free-will for woman. A number of German and foreign critics were of this opinion, and the controversy lasted for several years. Among the latter it was specially the eminent literary historian, Saint-Rene Taillandier, who broke a lance in defence of our poet in a critical review of his dramas. In speaking of the denouement of the play he says, ' Cette fin du drame qui appartient tout-a-fait a M. Halm, est une de ses meilleures inventions. La legende, on le sait, ne lui indiquait pas ce denouement ... II faut remercier M. Halm de la noble pensee qu'il a si bien portee sur la scene. Main- tenant la figure deGriseldis est complete ; la resignation ne s'abaisse plus jusqu'a l'abandon absolu du droit et de la volonte\ Le moyen age pouvait bien ne pas demander davantage a Griseldis ; aujourd'hui, grace a Dieu, son humilite' parait plus sublime, unie a une dignite si pure V The view here expressed by the learned French critic fully coincides with our own estimate of the drama and with that of all impartial judges. to all parties.' Whether this humane intention has been carried out, I am unable to say. 1 Revue des Deux Mondes, 1846. AS A STAGE- PLAY. lv The success of Halm's Griseldis was considerable even outside Germany, but more in the capacity of what is called by the Germans a Lesedrama. It was soon translated into nearly all European languages, but, as far as I know, never performed in a foreign garb. The English versions, which are the only ones, I believe, in verse, are the most commend- able. Unfortunately the translators aimed more, as they themselves declared, at literal faithfulness than at an elegant poetical version. The first English translation was issued in 1840 by Sir R. A. Anstruther ; the second, by ' Q. E. D *.,' was published four years later ; and the third, by W. M. Sieg, made its appearance in 1871. These versions have all been of use to me in my annotations 2 . 1 My efforts to discover the identity of the above translator have proved unavailing. Perhaps some of the learned readers of this volume will be able to supply the requisite information. 2 I hope to discuss the particular merits of the above translations in my projected monograph on German Books in English Versions. (Svifclbie ®tamatiid)c% (Bebifyt in Siittf Slftett son $riebttcf) £alm ^evfonen. Stoma, 5lttu$. jtennetty toon 93urg ju Jtarbuet. 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Unb tf)r, ^err Stiftan, 3f)r meint, id) fei ein 2Bei6erfned)t geuorben, 80 Der an ber 2Btege fl|t, unb ffliegen afcwefyrt, Unb fetnem «£inb ben $i(fefl)ering madjt? 6an!t £)ainb, £ert! 3d) tyaS' ein SBei'6 genommen, •iftid)t mid? ein £Beib! — Sriftan. 2Ba3 alfo fef)lt eud) mtr, £)a§ iljr bie (Stint' in ftaufe fatten legt, • $- D Unb eure SBrauen trie ©enritternjolfen 3ufammen$iet)t ? $ e r c i \> a L 2Bei£ ic^'S boc$ fetBer nidjt ! — 2Jftd) nnbert'g an, baf? id) gufrteben Bin; Die itnmer gtetd)e ©ujHgfett ber £age io ©rifelbt*. Wlafyt mid) nad) ©atte luftern; ntein ■ ©entut, 90 28ie nacfy ®ewfttjen ber fcerool)nte ©aumen, Segefjrt nad) €Hei^, bie (gtumtffyit aBjufc^utteln ! — Xxiftan. (£i, $erctoal, ityr roi^t nid)t, roag xi)x nmnfd)t ! $ e r c t & a L Sftag fein ; id) rounfd) 7 eg bod) ! — 3n unferm ffiateg ©ifct'g einen <$trom, tt>ir nennen t^tt ben $rent; 95 £od) im ©eftrg entfpringen feine ffluten, Unb raufd)en tx>eitf)in flimmemb burd) bag £anb. Sftun fe1)t, fo lang fein fd)dumenbeg ©ercdffer 6icfy nut^fam rcinbet burd) ber S^dfer Jtluft, Unb ixBer Sfelfen fturgt, burd) SBerge Brid)t, 100 Unb tofenb ruttelt an ber £Bud?t ber 5)dmme @o tang ifl'g flax wie ftufftger Jtrtyfiatf, 23ofl junger Jtraft unb ungefcrodmer 8tdr!e; ©oMorner trdgt eg ^)in, unb bie Sorefle @^>ielt tt>of)tgemut in feinem fallen ©runb- 105 £>od) tritt eg aug bent 3ftutterfd?of5 ber Serge 3ng ^aatgeftlb i)inaug, rco fd)ranfenlog <§ify feine Slut junt rceiten 2fteer fcerfcreitet, Qann fd)leid?t eg truB' unb trd'g' tet funtyfgen $$ittz $aum murmelnb J)in, Beugt fid) bent SBrucfenjod), no @el)ord)t bent Otuber, treiBt ber WlufyU Slab, Unb Stxbt' unb Unfe Ijaufl: in feinem al? $ e r c i & a I. SBenn nid)t fogleid), bod) flc^er &or bem Sftorgen ! OBeibe a&.) 3tt)cttcr Sluftrttt. Otaufdjettbe 2ttuftf im §intetgrunbe ; bann tritt Jtcmgin © i n e *> r a , som £an$e erfyi&t, auf; Lancelot begleitet fie. Seiben folgen in einiger (Sntfernung Driane, 2ftercia, ©atoiit unb anbere (Hitter unb ©amen j im §tntergrunbe $ e n n e t Ij unb $ II i n r. Lancelot. ©ine^ra, qudl mid) ttfatyfi — JDu mad)fi mid) tafen; ffiie ©onnenfacmb bie grime Slur $erfengt, 125 (Sntflammt bein 95(itf mit SOBatynftnn mein ®el)iw; Unb burr unb wdt fcertrocfnen bie ©ebcmfen. O tx>er ertruge beinen UnBeftanb? 5)ein £dd)eln liigt unb beine £l)rdnen ttugen; £>ein 3o*tt if* <§ulb, unb beine ©unji ifi <§a£i; 130 2Ber fajjt bid) je, wer tyat bid) je erfajH? 12 ®rtfelbi$. D nritfjtejt bu, mid?' einett t n. (so liefct i^r mkfy? 135 Wl e r c i a. $lcfy nein ! © a w i n. <&cibt tyx fetn tnilbteg 2Bort fur mid?? (&pxa&) niemalg benn in eureS 95ufen $iefen 1 @in flufred ©e^nen, eitt gefyetmer 3Bunfd)? SD^e r c i a. 5(c^ ja! © atxjin. SBotyfon, (0 Iei$t i$m ©ott unb tflang! ®:pted)t, 3ftercta, enttyutft tnir eure ©eele ! 140 Sftercta. $eiratctt mocfyt' i($; <§err ! © a w i n (Ijatttaut). S)u liefct <§immel! 28a0 bod} bie 2Jiatd?en offentyerjtg ftnb! i. 21ft. 2. Sluftritt. 13 © i n c * r a (bie tnbeg IjalMeife abet feijr eifrig nttt Lancelot gefprcdjen). 3tjr tdufc^t micfr nic^t ! SBo^l J)oIbe SBilber fufjrt 2)er flucfyt'ge $raum an unferm ©eift ttorufcer, Sod? -fie fcerrceljen mit bent Sftorgentyaud) ! 145 3m <§a$ ijl 2Ba^rljeit, in ber £ieBe nicr/t. Lancelot. J)u ttrirffi bag SBatyrtud? ufcer alleg Men, llnb nimmfi bem Bergen feinen SBlutenmai, SBenn fu^tXo^ bu ber SieBe Wlafyt fcerleugnefh ((5r fdljrt fort, leife mit ©in err a gu fyrecfyen, todljrenb Srau (£ 1 1 i n r unb M e n n e t fj in ben SSorbergrunb ber S3ur)ne treten. ) ©l It nor. sfticfyt l)offt, £err Bennett)! mid? gu f)intergel)en ! 150 ©efie^t, rcag fyrad)et t^t mit 8?au 2ftorganen 3m SenfierBogen, afcfeitS fcom ©ebrdnge? & t n n e t$, 3^, (SlUnor? ©II in or. 3a, U?r! rootft ityr e3 leugnen? fttnnetib. 3d), leugnen? 9ton! ©ercif, id? will nid?t leugnen ^ie fd?rcd£te mir fcon 3aufcerfunften ttor, 155 $on ©ternenlauf unb fcon $lanetenn;anbel, ©t^ mir ©ebulb unb iJ?r ber Saben rig. — 3d? rcoflt/ fie fdfj' auf einem it)rer ©terne. (SI I i n r. Ummtrbiger! Unb btefem Jtinbermdrd?en, 60 totyifd? ^lum^er £uge fotXt' id? glaufcen? 160 Stub roir nur erft babeim, foflt' ifyr'S entgelten! 14 ®tifelbi$. © a tx> i n. 28ag $a6t i$t, flennety? 6eib U)r unn>o$I? ©prec^t! 3f)r fdjfittelt eucfy, aid |4ttet i^r bag ffieBer* Jtennetf). 0ltd)t8! 9H$i$! (Sin n?emg Df)renfaufen, £err! ©inefcra ($u Sancelot). 9licr)t miter, Lancelot! $3 fcfytummert ©ift, 165 (£3 fcrutet Sob im £mtig curer $Borte! 3$ Witt nidjt Ijoren me^r! 3d) Bin ermubet, Unb fetyne mid), ;u rufy'n* Lancelot, ©efcieterin ! amen, fam£f6eruf)mte £err'n, ^eratt ! $eran ! %a$t biefe 0tafye$eit ling rcitrgen mit erfreulicfyem ©efyrdd)! 175 93or attem funbet mir, wet fcon end? fennt £>en Otitter bort, am ©cfyenftifd) ^ingelagert, $)en fonngefcrdunten, fc^warggelotften fitter? D r i a n e (feljr gelduftg). S^eint ityr ben 2Baflabmor, ber (einer £iefcften I. 21ft. %. Sluftritt. 15 93otfd)aften trug an (eine 9te6enfcutyter ? 180 £Bie, ober gar ben fcfylanfen lionet, Der feinen £en$ an ©tgne3 Winter fnityfte, Unb trnnfen ^julbtgt ifyrem iretfen Oieij? © i n e fc r a. 9tt$t bod?! D r i a n e. ©0 metnt i1)r rootyt ben @ttyeltidj, J)er ftefon 3a^)re um bte Sftilbreb freite, 185 93t3 fte im act/ten ben ffieftmorelanb natym; 9ln feiner @eite fl|t £err SoScelin, Unb rennet nacfy, we t>iele <£ufen £anbe3 ©ein 2Betf)tf)en bieSmat in ben £oen fte im £anb ben Sftiefentoter nennen. ®a»tn (jit © i n e » r a). Jtennt ijjr if)n nid)t, ben fam^fberufmtten 2ftann? 195 ©inefcra. ©ein 0lame nicfyt, fein 2lntli£ war mir fremb. D x i a n e. Unb n>ie avify, £errtn, fotXtet it)r e8 fennen? S)ret 3at)re fern bem £ofe feineS JtontgS, 16 ©rffelbt*. 3n bufterm SBalbeSbunfel leBt er ^m, em ronigttdjeS SBIut $u roajftig bunfte, 205 (£8 mit ber glut beg feinigen ju mif^en? D r i a n e, £>erfelfce, ganj berfelfce ^ercifcal! ® ine J?r a. Unb roeffen at, Srifiatt, bte SSortgen. $ e r c i & a L *8eim «§immet! 01ie butcfyftrdmte meine Jtef)te Wit ntilbtem geuer buft'ger girnetrein: $Jltin Qtntli^ gluljt, eg ftiegen meine $utfe, 215 Unb Iciest geftttgelt auf ben £ty£en f^ttseBt 3ftir {eglt^eg ©eljeimnig ntetner ©ecle. 2Ba3 aBer fofl id) tyiet im $ro§ ber ©djranjen, $)er fcornefym fid) in ^tunfgercdnbern Btdf)t, Um Qlnfe^n Bu^It unb fd)one Sffiotte bretyt! — 220 3cfy benf, trir Bremen auf! Xxiftan. (Si, $etctoal, Sftocl) fd)tt?arje3 2)unM BtiUet in ben $l)dletn, SRid^t t>or bem 3£ora,en burft' iljt §eimn>drt3 gie^n. ® tnefcra. <&ett $etctoal ! $ercifcal. 3Ber ruft? Stifian. (£0 ifl ©inefcta, £>ie Jtonigin. ©ie nrinft eu$; tretet nd^er! 225 ® t n e fe r a. £err $ercit>al! Sffiotft il)t unS nidjt Befennen, 2Ber eud), ben UnBe^roincjltcfyen, Be^rang? $ e t c i fc a L 2Ba3 tneint ityr, Jtonigin? c i8 ©tlfelbi*. © i n e & r a. 3$t fetb bermffl<? $ e r c i & a I. Ser fagt bag? © ine&ta. (Seib tyr'S nic$t ? $ e r c i & a I 3c*;! — Sflerbtngg! 3t)t meint, id? fcfyam' mid? bejfen? 9Ummerme^r ! 230 ©rifelbiS, mem ©emat)t, fpKt' id? tterteugnen? — cfein fd?onte3 £BeiB fa$ Je bie (£tbe ^rangen, Unb bod? iji ©c^dn^eit ityr geringfter 3ftei$; 2)enn fie iji ftomm, bemutig tote ein $eild?en, ©ebutbia, ttie ein Samm, fcott £ulb unb £teue, 235 (Sinfaitig, fd?lid?t, unb boc^ $ott ftaren ©eijIeS j 3d? fafe &iel Stauen, eine Beffre nic^t! — 2Ba3 liegt baran, ob fte tin Stfyhx jeugte, DB abtig SBlut in i^ren $lbetn rinnt? ©inefcta. (fyalMaut $u tfyrer Umgebung, tr>ie ate gimadjfi fclgenbe.) 3ft'S mogttc^! P r i a n e. Unertyott ! © a n? i n. ©in $6:(?terf inb ! — 240 © 11 i n 1, Wtxx fd?nrinben bie ©ebanfen! £Beld?er ©reuel! Hralten $lbel alfo )U entroeif)en? i. m. 3. STuftrttt. 19 © i n c J? r a. ^ett ©annn, ntfymt an $etctoal eiit 93eiftuel; 60 enbet 2Betfcer§afi! ©atnin, D $affe' id? erji, ©efteterin, Balb ftutb' ify IteBett lemen ; 245 S)od? bie (Srfa^timg ^anjert ntetnett @inn, Unb eine <§eirat ifl ein ernfteg £)tng. ? 9iid)t, fc^one 2ttetcta? Sftercta «d) ja! © a vo i n. 3^)r nc^met feinen fd)rcarjBetu£iten Jtofyter? 3ft e r c i a. Old) nein! $etci&al (gu Sriftan). SBag ^)aBen jene bort ©eljetmeg? 250 2Bag Id^etn fie? SBag ftuftern f?e gufammen ? ©attft ©airib! ©ilt bag ntir? Srtjtan. @i, qSerctsoal ! 3^r fennt ja SBetberart! <&at)t tyx fie me ©e^eim unb trt^tig leeren Sdtft fcettyanbeln? Soft fie getrd^ren! 2Bag i?erfd?(dgt eg eud)? 355 © i n e J) r a ($u t^rer UmgeBmtg)- % wftnfdjt eg? 2Bo^t, fo »id id) eg aerfudjen! — £etr $erci$ai, ermeffet unfre Jtrdnfuna,, c % 2o .- ©rtfelbi*. ©rifelbiS, biefca 2Jhtjlerlntb ber ffrauen, 9tid)t f)ter ttor unferm Qtngcftc^t $u fcfyauen ! ©arum fcerfagtet il)r \m& itym ^nfcltcf ? 260 $ e r c i & a t 9tt$t metn ©e^eif, i^r ©unf$ tytU fie gurucf ; @ie Hitt ba^etnt, unb ^utet tf)ren ^naBen. © inettta. D jarter 2ftutterfhm, ber if)rer $ugenb £>ie Ie|te ffiei^e ber $otfenbung gifct! $)od) treit nrir i^rc ©egenrcart fcermiffen, 265, al ! fPercit»at. grau Jtonigin, $)rei Sa^re ftnb'd, bafj nteine 2ftannen atfe SPttt SBitten sielfad) brdngenb mid) kfturmt, 3fttcfy {it t>ermd^Ien, bag nid)t tneinem ^tamme £)er 23dter (£t6' unb *gerrfd>aft ftd) entfrembe, 275 3d) afor f)atte ^ier am <§of beg Jtonigg 3n SBeifcer^er^en nwndjen SBltcf getf)an; 3d? \af) fte ti'tcfifd}, fatfd) unb tynterliftig, Unfiigfam Jeglid)em ©efcot, fcott £ro£ Unb (Sttelfeit, bod) o^ne Jtraft unb ©laufcen, 280 i. 81ft. 3. Sfofteitt. si SWtfjfcraucfyenb fred) beS Cannes 3ut>erftd)t Um ^ugelfofer £ujle ©dtttcumg; Unb fcine rcurbtg flnbenb metner SBaljl, $erlor icf) £te&' unb £ufi mid) $u fcermafyten, Unb nicfyt fcereu' id), bag e§ alfo n?ar. 285 (Sllinor (ju ben £amen fyalblcmt). ©ein SBuffelwamg ijt $art gen feme Cftebe ! D r i a n e. £>er libermutige! ©inefcra. <§r foH'9 entgelten! (Bu Lancelot, ber unmutig Jjerttorttttt.) Sfttcfyt setter, Lancelot! <§err fPerctoal, Sa^rt fort ! $ercifcaL 3d) tear an einem ©omnterafcenb 3n3 SBalbeSgrun jur 3agb J)inauSgejogen j 290 3n finfterm Unmut tyabernb nut mtr fefljfi, 5)ie buntyfe SBruft fcott wogenber ©ebanfen, ©djritt id) ba^)in, unb unBersad)t $om 5Iuge, $rdgt jogernb fcortrdrts mid) ber irre Sufi j £)od? eineS 9Bacr/e3 ftlBerl)etfe Slut, 295 5)ie iene SBalber trdnft, ^emmt meine ©djritte! 3d) Micf entyor, unb fel)e — Jtonigin! (Sin SJMbdjen fat) id), ufcerirbifd) fdjon, Unb i^rer ©cfyonfyeit bod? fo un6en;ufi t (£in 2)Mbd)en, Jtonigin ! bem auf ber ©time 300 ©efd^riefcen ftanb in gotbner ©ternenfd;rift, ©afj ©ott im £imme(, att er fie erfefyaffen, 3)Hfb ldd)ette, unb fyrad): £>u fciji fcoflfommen! 4a ©rife Ibid. $)ieg Wlfofym, jefet mem 2Beifc, &rau Jtonigm, erp^nen micfy ! $ti pan. 3$r benft and) gteid) bag @d)Iimmjle, $erctoal! $>a£i fte an fd)alen <$£a£en fid) fcergnugen ; 315 2Bag fummert'g cudj? $ e r c i a a L $efi iiBer SBeifcer^unam ! ® i n e & r a (gu ifjrer UmgeBmtg). 3d^)mt euren 2Bt£ unb Mnbigt eure SMenen, S)afJ Idnger nocf) bte t^ur^eil ung ergo|e ! — Sftun, ^perct^al, fa^rt fort ! $ e r c t J) a L 2Bag nwflt' M fagen? ®an# rec^t ! @te jianb am SBacfy, urn i^ren Sftacfen 320 i. 21ft. 3. Sluftrttt. 23 3n ^Beffenringen flofi bag bunfle <%aax, llnb eine SauBe fafj auf Uj)ren i & Hub aufrcdrtg $u ben afcenbroten 2Mfen (£r^efct fie flnnenb i^ren (SngelgWicf, Snbeg bie £i££en ftupemb ficfc Bercegen, 2Bie Otofenfcldtter in beg 2Binbeg *§aucfc. 350 D fie i fi fromm, burd)$ucft eg metne ©eele; ©ie a£er, ftttf Mreu^enb i^re ©tirne, ©$e6t bag Slntlifc, $ett fcom 3l6mbrot, SSon 9lnbad)tgglut umftrafjlt, itnb ^etl'ge ©efynfucfyt Umffort mit feucfytem 0leBeIbuft i^r 5Iuge ; 355 3(jr Xaubfytn ntmmt fte an bie fcotfe 93ruft, Unb ^)er$t unb brucft'g, unb fufit fein ©d)neegefteber, Hub lacfyelt, rcenn fein rofenroter ©d)naM 23erlangenb nad) ben frifcfyen £ty£en jndt. £Bie nmrbe fte'g erjt ^er$en, bacfyt' icfy mir, 360 SSMhr' eg iljr Jlinb, unb it)rer £iefce Srucfyt ! — Unb eine ©timtne fcfyoft aug ben ©efcufdjen, Unb rief : ©rifetbig, rief eg, f omm, ©rifelbig ! Unb fte, ber fernen ©timme $lang fcernetymenb, ©pringt rafd) empor, unb trocfnet faum bie Sitfte, 365 Unb Wtfcfdjnefl uBer ben fcetauten Sftafen fftiegt fte ba^in, bie $aube itfcer fyx, SBig in beg 2>icftc^tg £Rac^t ber Ie|te ©aum 5)eg flattemben ©etranbeg mir entfdjroett: ©e^orfam ifl fte and?, fagt 1 td) mir felfcer, 370 Unb mancfyerlei em>dgenb le^rt' id? l;eim. ©inesra. Setnj £immel ! 36r etj&$lt (0 wunberliefclicfy, ©0 warm unb lefcengtren, baf ftd) bent £orer 5)eg 2Borteg ©cfyatt fcerfityett $ttr ©eftatt. gurrca^r, id) fety' bag attertteBfte ^inb 375 Kin SBad^ ft|en unb ©eftcfyter fcfyneiben, i. 2ttt. 3. aiuftutt. 25 %xo% Jto^lenrup rec^t attige ©eftc^terj Sftic^t rcaf)r, <§ert $etcioal? Driane (^atBIaut gut Jto night), ©efcietetin ! 3cfy fcitt' eu$, fej)t, tx>ie fym bie Qlbem ftfwetfen, Unb ^utpurtote flammt auf feinen SBangen. 380 ©tnefcta (ju Drtanen). ®leicfy*riel, er tof?e fur fein SBufelwamg $ercii?al (git Srijlan)- O fount' id) fie mit einem 95litf fcetgiften! Sttit fcfyrcitft bie ©afle, mtcfy t>er^e^rt ber ©roll Stijian. £err ^erctoal, Bejnringt eucfy; lafit fie f$rod£en, Unb nei)mt nicfyt 0tat fcom ungeftumen SSIut. 385 ©inefcta. Stun, guter *Perctoat, lafit imS fcetnefjmen, 2Ba3 ferner ftd) £ega&, unb rote i^r enbli^ @u'r partes SHefccfyen fcrdutticfy l)eimgefuf)rt. $ e r c i fi a I (f&r ft$). 3cfy roatt' auf meine 3*tt, unb fte rcirb fommen! — Stan Jtintigin! 9W meine £etyen3(eute 390 SBefcfyieb id) tags barauf in meine S5urg; Unb t)ofy ju Oiofi, im feftlicfyen ©estrange, OUtt id? l)inaug, mit w{jenbem Ranter Unb £otnetfd?atf ben bunflen SOalb ju grufien, *6 OtifelbU. Die grune SBiege fcon ©rifelbenS $ei^ 395 23 or tf)rer «§utte f)ielten meine t Unb rcieber frug t^ fie: mUft bu, ©rifelbiS, 27Hr anget)6ren, beine ©Item laffen? Unb fie fyrad; : 3a ! — Darauf frug i§ fte roieber : 2Biflfi bu ntir treu, ge^orfam fetn, ©rifelbig, 410 %U betnem <§erm? unb fie fyrad) ttieber: 3a! — Da brutft' i^ einen Jtufi auf i^jre £ty£en, Die greifen ©Item fegneten fyx Jtinb, Unb t$, fie faffenb mit ben jiarfen Qlrmen, $rug fie $inau3, too meine SDfamnen ^arrten; 415 ©etyt eure <§errin, rief ify, meine SBraut ! Da fd)metterten bie Corner, Suftel fd)ofl Durd) aHe CRei^n ; ify after fujjrt' fie tyeim, 2Bo unfem SBunb be3 $riefier3 fcetma^lt ! — 420 © inefcr a. Sftetymt unfem ©lucfounfdfy, £err ! unb moge fiets ©leid) Sfteilem flammen eurer £tefte 93ranb. © 1 1 i n r, Darf man nicr/t fragen, guter $ercit>al, I. 21ft. 3. Sluftritt. 27 m* title (stfjeffel Mdfim tufy aU Sftitgift Die ^tebfie $ug,ekad)t? O r t a n e. @te 6rad)te md)tg, 425 %U nur ityr Iie6e^otXea <§er$ itjjm ju, £)otf? biefeS gan$ fcerfofijlt tton f)et#er @el)n(ucfyt! (£ II i n r, £err $ercfoal, barf man end) Slat ertetlen : @o Ia#t junt 9tngebenfen eurer 2BatyI (Sud? einett of?I, unb fe^rt i^r ^eint, 60 Bringt ber StfyUxin ®inettra3 ©riifje? 435 (fBtfl abgc^cn.) $e ret Sal (im ttctfen tebrudj ber 2But). 8$ ©tft unb £>oIc$ unb $ejt unb eflen 3lu8fafc 9113 beineS Stamens Jtlang! Srtjian. 3§r fetb t>on ©imten! Lancelot. 5)a3 forbert SBIut ! $ c r c t t> a L Unb SBIut foUft bu fcergie^en' (S3eibc jic^en.) 28 . OrifelbU. ® i n e & r a. SD^tr ffyrinbelt ! (@ie ftufct tfdj auf Driane; £riftan unb anberc fitter treten ^toifdjen $ercbal unb Sancetpt.) $ r i ft a n. $rennt fte! ® a rc>i n. «§alt ! bte Sffiaffen tx>eg ! $ e t c i & a L 3«tucf ! SSterter Sluftritt. £)ie SBcrtgen; ber ©enef^aU trttt auf, balb nadjfjer Jlpnta, ®eBt Otattm, i§r «§errn, unb £)altet grieben! 440 £)ic3 ift be3 Jlonigg £au§! 3utfi4 it;r £errn! $ercit»al (ber unterbeffen bic fitter, bte ifyn ^urucfgefyatten, aB^efd&uttelt). QBeg, alter 0larr, mit bcinem rcet^en ©tafce! Jtommt an, <§err Lancelot! Stbni% 9tttu8 (ber inbeg aufgetreten, $ercbal in ben 2lrm fattenb). .gait, fag 7 i$, £att ! — (£)te Sftuftf serftummt, bie ®ajh au3 bem £tntergrunbe ber SBft&tte treten erftaunt pprtoarte.) tf fcntg SIr.tu*. 2BaS tri'iBt i$r mir beg gefteS tyettem ■ ©dimmer, I. 21ft. 4. Sluftritt. 29 Unb u6ertdu6t Me Jtldnge bet SJiuftf 445 3D^it Jtam^fgefcfyrei unb roiiftem SBaffenldrm? ffiafl gat> eg, Lancelot? ©ptcdjt, $erctoat! *ffia3 war's? $ e r c i fc> a I. gragt jene bott, ©tnefcra fraget I ® inettta. 2Jtan <§etr unb Jtonig! greyer Uefcermut, 91i$t acfytenb biefcr Sftauetn ^etl'geS 3fted)t, 450 93erle£te mid), mid), beinc Jtonigin, Snmitten beiner SSurg. ,£5 nig QlrtuS. O r i a n e. ©enrifi, fo tarn eg, £err! Urn flucfyt'ge SSorte, Urn f)atmto3 tjeitem @^et§ in ©rimm entfcrennenb $raf $etci$a{ mit frefclem ffiort Me <§etrin, 455 Unb (0 entfyann fid) wad)fenb btefer €>tteit. £dnig Sftttf 3ft biefeg SBa^r^eit ? Olebet, $erctoal! $ e r c i & a I. gurwatyt, id) traf fie, «§err, mit rauljem SBort; £)od) aufgerei^t son «§otm, &on @pott gefkcfyelt, ffieil fie mein ffieib unt if)ren (stanb gefcfymdf^t, 460 2Bett meineg JtinbeS Gutter fte texfytynt, Unb jebe f)eil'ge Sftegung meiner SBrufl 3Ktt fc^alem 5Bt§ i?erad)tenb mir fcegeifert; 5)rum fyat ify'8, <§err, unb ttieber fo geftdnft, SBei meineg SSaterS SBart, i(^ t^dt' e3 rcieber! 465 30 © r i f e I b i $. Jtonig QlrtuS. J)u fjafi bie Oidume biefer SBurg enttx>ei^t ; 3n meinet <§au3ftau ^ajt bu mid) fcerlefct, £)en Jtonig, betnen <§etnt; ben ©lanj ber Jtrone £aft bu gettufct mit beineg 2ttunbe3 «§aucfy. $ e r c i & a L 6anft 5Dat)ib ! #err, wag fd?mdl)te fte mein £Bet6 ! 470 2Benn and? etn ^letfinb, bem 2Mb entfytoffen, 3ft fie bod? jud)tig, treu, ttotf garter £te6e, Qin jebem ed)ten <$d)mucf ber <5eele reiser, 3113 beffen fonft ein £BeiB fid) tinmen mag ; 9Hd?t (Sine fcon end), f)otf)geBorne Srauen, 475 QBdrt t^r and? nod) au$ eblerm £ol§ gefd)ni|t, Unb nod? mit Buntern £a££en uBetf?angen, #lifyt (Sine fdm' bem Jtof)lerfinbe gteid?, SBei meinem (Sib, nid)t (Sine, fag' i<$ end)! D r i a n e. $etrcegener! 3fjr fd)mdl)t bie Jtomgin! 480 $t i ft an ($u $etci»al). 3f?t l)duft bag fcofle Wla$ j f ommt jut SBeftnnung ! fPercii?aI (jur ^cnigin, bie mu^fam iftren 3ont »erBirgf). 3Bar jurnft bu, ^onigin? — 3d? gitt'rc nidjt 33ot ben ®efd?offen beine§ <£>etrfd?etBU(f 3 ! 3d? nid?t! Unb frei fcor aflen fag' id? bir: ©ing'£ nad) 33erbienft unb SRtfyt auf biefer (Stbe, 485 @o ware, bie bu fd?mdf?teft, Jtonigin, Unb bu, bu fnietej* fcor bem $ol)ietfinb! i. 21ft. 4. Stuftritt. 31 ©tnefcra ($u ^ontg 2lrtu$). llnb fold?e <8d)md^)ung neljmt i§r fcfyiretgenb fyn, llnb bteg fott id) ettragen? Jtonig Sit tug. ©djroetgt, ®tnet»ra ! «ftein Sffiort me^r, $erctoal! — 95ei metner Jfrone! 490 5luf Beiben ©etten rciegt bag Unrest gleid), llnb Beibe tyaBt tyx nicfytg eud^ $u fcergeBen; 9lur bag entwei^te Jtimigtum Ijeifcfyt (Summing, Unb bie t>erle§ten Ofecfyte biefer SSurg; llnb bafiir, $erctoal, ntuft bu ntir Bu^ett; 495 $)ocfc mtlb unb gndbig foil bein llrteil fein. 2Bit n?oHen gem sergeffen unb fcergeBen : 0lur nribettufe! — $ e r c i i? a L SBiberrufen! 0lein! 3^ nidjt! $onig Sir tug. SSet tnetnem (£ib, bu rcibettuffl! $ e r c i b a I. SBet tneinem (£ib, tf) J fturjt ber <§immel etn ! 500 ® inefcta (nadjbem fie eintge 9lugenblicfe ftnnenb »cr jtdj ^ingeblicft). 33ergonnet mir bag 2Bott, metn £err unb <£onig! — £)en Jtnoten lofe, trer \i)rt voixx fcetftfjlang! £err $erctoal, tyx fotlt nid)t ttibetrufen, llnb i^ nritt fnieen t>or bent «£ o^letfinb. $ e r c i i? a I. 2Bag fagt %? 32 ©rifelbU. Lancelot. Unertyort 8 1 1 in &t. ©ic rebet trre! 505 Jtontg. $rtu& ©inettra, treiBt tyx ©d?er$? © i n e & r a. £a£it mid) ttoflenben ! 3d) rntee, fitter, t>ot bem Jtol)terftnb, 5Benn it)r mir $ro£en gefct, baj? eure ^augfrau ®o tugenbretd) unb treu unb lietoofl i% Unb eu$ unb eurem SBo^l fo fe1)r ergefcen, 510 $>&& gutg'3 auf (Srben ttac^ SSerbienjt imb SRc^t, ©ie Jton'gtn roar' unb (SngtcmbS Jtrone truge ! — (grprofit i^r bteS, fo roitt id) i?or if)r Inien. $ e r c i b a I. 3fo woUtet — © i n e fe r a. 3a, id) rcifl! Jtonig *tfrtu8. ffiBte, $erctoal, ©oil jrceifetr)after Jtcmtyf ben ©trett entfd)eiben, 515 2)en tetd)t unb milt) ein ffiort bcr Sfteue loft? $erciSat (raffi). Unb noeld)e $rofcen, Jton'gin, forbert U)r? © i n e $ r a. 3uetft fcegefyr' ict/, bafj tf)r eurem 2Bet6e 5)en Jtnafien atoertangt, ben fie geBar, 3^n aug^uliefern eurem £e^en%rrn, 530 i. 21ft. 4. Sluftrttt. 33 £)er eure 3Ba$l unb it;re grucfyt fcenrorfen, Unb irenn iljr'S treigert ntit bem SBanne brot;t ! $ e r c i g a I. 6ie IteBt il)r Jtinb, unb UeBt'S mit ganjer ®eele, aJHdj aBer lieBt fte mefjr! — @ie giBt i^r Men, 6te giBt xi)t Jtinb fur mid)! Unb rciberrufen ? — 525 9htr tteiter, ^onigin! ® t n e b r a. Unb vueiter, «§err, IBege^r' id), ba$ fyx, euer SBciB fcerffofienb 3nt open <$aat ttor euern £et)engleuten, @ie i)ilflo3, arm unb nacft fcon l)innen fenbet, 2Bie il)r fte aufna^mt ^iljloS, arm unb nacft. 530 $Perci$al. Unb treiter, tonight! © i n e $ r a. ©rifelbia aBer, 2Bie ityr auc^ tief bie 6eele fyx fcerte^t, a t Unt> bann? ® i n e t> r a. ^ann Met ©inefcra fcor ©rifelben! — #&mn aBer nid)t, rcemt fie bie SeuerproBe 91icfyt $tteifetfo3 ate ed)te3 ®o!b Bewatytt, 540 £)ann fniee ^ercittat ju meinen S^en ! D 34 ® rife lb i 6. $ e r c i J? a I. a3 ©roll unb Swieh^ttf^t feinblid) un$ fcergdttt? 600 Sod) mit bent 2ftotgen eilt nad) $enbennfy§, SDaf Mb bieS ftnftte ©auMftriet ftcfy enbe; $H$ felber fu^rt bie 3agb in Jene Scaler: 3d? n?unfd?te fe^r, bafi id? &erfol)nt eucfy fdnbe; $Ba3 ©tolj fcerfctad?, foil nid)t bie £iefce Bitten ! 605 ©inettta (fyalMaut $u Driane). 3m ©taufce foil er fnien §u metnen gutfem ARGUMENT. ACT It The events of the second act pass at Pendennys, the residence of Percival. Griseldis anxiously awaits the arrival of the retainer Ronald, whom she had dispatched to her father, the blind charcoal-burner Cedric, with the prayer to return to her residence from which Percival had banished him in a moment of passionate anger. Ronald brings the message that her father stubbornly refuses to enter again Percival's castle, because Griseldis had suffered him to be expelled from it, and because she refrained from repairing to her mother when she was on her death-bed. Griseldis avers that she was powerless to protect her father against the wrath of Percival, and she was unable to receive her mother's blessing, because her duty as a wife kept her, at the time, at the sick-bed of her own husband. Being told that her father lovingly remembered her child, she hopes with Ronald that he may one day become reconciled to her (Scene i). Percival arrives with Tristan and Gawin, and is affectionately welcomed by Griseldis, who speaks with a mother's pride of their child. He bids her provide a meal for the two knights who had joined him in a sharp ride through the raging storm. Griseldis retires to carry out the order (Scene 2). Gawin and Tristan earnestly implore Percival not to expose his loving wife to the rude trial ; but he obstinately declines to give up the wager and directs them to bring the child, when it will have been given up by Griseldis, to a poor woman who had been his nurse and now lives near the castle (Scene 3). Griseldis returns and asking her husband for the reason of his gloomy mood, he tells her with affected reluctance that the King, wroth at his having wedded a wife of low station, has com- 38 ARGUMENT. manded their child to be given up to him, otherwise he will be outlawed. Gawin and Tristan had come to carry out the order. Griseldis is reluctant to believe in such a cruel behest and also that her husband would ever consent to comply with it, but the two knights confirm Percival's allegation. Griseldis refuses to give up her child, even when assured that no harm shall be done to it. When Percival tells her, however, that his own life would be in danger if the King's command were not fulfilled, she yields to inexorable necessity, allowing the child to be carried off by the two knights (Scene 4). Stoettet Sift- *8urg $enbenntyg* (to ifi 9la$t, cine Santfee erf)ettt fyartitf} ben Otannt ber 99itf)ne, bie ein getoot&tes, mit ^oljgetdfel nnb (Sdjnifctoerf t>er^tcrte^ ®e- tnadj ttotfbftt. 3nt Jpintergrnnbe ber £anfcteinaang ; ftnfs »mn 3n; fdjaner ein (Seitenfcfortdjen.) ©rfler Sluftrttt. ©rifetbis tritt cms bent (Sinaange linfg anf. ©rifetbiS. So mag er rcetlett? £)ammernb flitft bie 9lafyt, 3n graue ©c^Ieier Birgt ber Heicfje Sftonb 6ein fa^teS 9lntlifc; feud?te 0lcBeI fallen Un^eimlid) auf Sent Srent! — 2Bo mag er roetlen ? 610 2Bemt ttur fein llnfatf fyn jurucfe fylft! S)od) ftifle! £ord) ! (£8 raufefyet burcf) bie <§afle; ©ie $forte flint ! <£r ifi'S ! — CDie grojje $forte itn ^intergnmbe offnet ftdj ; Oionalt) tritt anf.) SBittfommen, Stonalb! @d?on lange tyarr' i$ bein! Otonalb. ©efcteterin ! 4o ® r i f e I M $. & gi£t etn fdjwereg ^Better biefe 9todjt; 615 60 ftnfter BatXt ficfy bag ®en>5lf gufatmnen, ©afi oft ben $fab tnein Wobeg Slug' Verier, Unb Sunlel^eit ben rafcfyen @d)ritt ntir Id^mte. @ rif elbi a, 99rtngjl bu mix SBotfdjaft? *§afl bu i^n gefety'n, 2)en fclinben ^Better, ben fcere^rten ©reiS? 620 Ol n a I b. 3d) fat) tyn, $errin, unfem feiner £ittte, #Bo au§ ber 93ufd?e grixnem SBldttermeer £>ie alte (£td)e ^rangenb fid) erfjeBt 3m SKocfe fjingetagert fanb id? ityn, Unb nefcen il;m ben Anafett, feinen Suiter. 625 ©rifetfciS. Unb fyrad)fi bu ii)n, unb tyat in £utb unb £iefce ©em griebengroort sjerwanbett feinen ©roll? 9* n a I b- ©etneterm, bu fennjl fyn felBer nwtyl, ©en leicfyt ©erei^ten, fdjroer 23erfot)nlid)en, $ttt ntitbem (Smft entpfmg er meinen ©ru#, 630 ©enn freunbltd) voax er imtner mir getrogen; ©od) ate i^ meine 33otfd)aft i$m nun fimbe, UBie beine £ty*>e nteiner fie Sertraut, ©a runjelt er bie Salten feiner (stirne 3um finftem 9fod)tgercolf er^urnt jufatnmen, 635 ©in inttreS £act)etn fdjtrefct um feme £ty£en; ©el), fyrad) er, fag' bent 2BeiBe $ercifcat3, SRie Betritt beg JtotjIerS Sufi bie <$d^etfe ii. «ft. i. Sluftritt. 41 S)er ©rafenfmrg, nnb nie mtyx woIBt bag Qafy QSon ^Penbenntyg fid) iiBer feinem £anpte, 640 2)en ©tolj fcerBannt' ang feineg Jtinbeg airmen, £)ag Jlmbegnnbanf: in bie ©rnfce fcengt ©rifelbig, ©0 war's benn id), fein Jtinb, bag ilm fcerfcannt' ? (£g war <§err $ercit>al, mein £err nnb feiner, Unb nid)t er felfcft; em fdjwarjer Qlugenfcfttf, 645 2)er fmcfyt'ge Unmut einer fmftern ©tunbe Sftif? jeneg rafcfye $Bort fcon feinen £ty£en* Otonatb. ©teg atteg fagt' id) i^nt ; er after, £errin, gfutyr jurnenb micfy mtt ranljen 2Borten an: 2Bag fte nid)t t^at, bag liefj fte bod) gefcfye^en; 650 23erftofien lonnte fie ben SSater fel)en, Unb fanb nnr Bremen, SBorte fanb fte nid)t ! © r i f"e 1 b i 8. D «§tmmel, fount' id) mef)r entgegen fe|en ©em Surnen *Percit>atg, alg flumme Sfyranen? ©rgeftnng nnr fann feinen ©rofl fcerfotmen ! ■ — 655 3d) liep, wag nid?t $u dnbern war, gefefye^en ! ©ott after, ©ott ^at meinen ©djmerj gefe^en. 9ft n a I b. ©0 fagt' id) i$m; bod) flnftrer nnr nnb bidder Untwolften Umnntgfatten feme ©tirn, 5)ann ^oft er an: 23iel wottt id) tf)r i?ergei^en ; 660 £>ocfy eing ijerjei^' icfy nit-, fie Itefj bie abutter, 2>ie fterftenb ftd) nad) i^rem Jlinbe fel)nte, 23ergefteng fid; nacfy i^rem Jtinbe feinen; 42 ® rife IMS. erf)efy(en ? 675 monalb. ©efcteterm, tno^t Beffer roar's, id) fd)nriege! (£3 if* ein partes £Bort, bag er gefprod)en, Unb tief fcerlefet eg bid?- OrtfelbtS. 23erfd)roeige nid)ts! 5R n a I b. Stotn benn, er fyrad) mtt grimmser^errten 3ugen, S)a3 $ntti£ ftamntenb ^eXX in 3orne3gtut, 680 8?lu<$, fyra$ er, glud) bent 6c^at(e fioljer Stamen, 5lud) leerem ©c^auge^rang' unb $run! ber <%v>fyitl @ie jlal)len tnir tnein Jtinb! Urn ®Ian$ unb ©dimmer, ii. Sift. i. Sluftrttt. 43 Um £)ienertrof? unb ®olbegl)errlid?feit 23erad)tet fte trie nieb're ^ler^utte, 685 23erfd)mctt;te fie ber Gutter te|ten ©rufji ! Unb alfo fyred)enb raft er ftd) entyor, (Srfafit beg JtnaBen 2frm, unb fort mid) nrinfenb, 3n3 2Balbe3bunfel tenft er feine @d)ritte. ©rifetbiS* 0lein, biefe @d)ulb liegt nid)t auf meiner (seele ! 690 9ttd)t $rad)t unb Shimmer, eitleS @d)auge£rdng 7 , 9ln tytxtitxd Banb SteBe metn ©efdu'cf. £>er £ieBe £ort in feiner SBruft tterfcfyloffen, Um biefe$ ecfytre ®olb, um bieS 3msel £)er £ieBe gaB i^> meine eilt fein ©eifl in biefer SBurg SBefannten Otaumen; eifrig frug er nad), 3£te ieneS ftd) BegaB, tr>ie biefe§ auSfcfylug ; 44 ® r t f e I b i 3. Unb ttte^t att eternal, fcaterlitf) fceforgt, ©ebacfyt' er beg geliefcten (SnMg. 710 ©rifetbig. SBic, t^at er bag ? 01 n a I b, ©enng, er t^at eg, $errin! £>rum tyofft bag Befte, ttemt nur erft fcerglimmenb 2)ie £eibenfcfyaft ber Ufcertegung mifyt, SBetm fri%er £age freunblicfyeg 93eburfnig, 5)eg tftnbeg 0ld^)e unb beg ®nfel8 ©rug, 715 3^)m nrieberMjrt ; vomn unermubet Sle^en Sftafilofen $lnbrangg fdjmeidjelnb tyn fcefturmt; &mi% er offnet end) bie 23aterarme, Ur£lo£lk1), ttie ber Selg, fcfyon lang erfdn'tttert, SSont Slutenbrang ber SBranbung untergrafcen, 720 SJtit (Sinem 2M Bejrcungen nieberftur^t ©trtfelbii Du ttdnfji mtt $au ber ort ! <&ab' Qanf bafur, unb J^ftege nun ber Oht^e! Ot n a I b* ©ott fd)u§' eud), <§errin ! 6d?Iummert fanft unb fufi ! 725 (®ef>t aB.) ©rifelbig (natf> einer $aufe ernflen 9la$itttnen$). Sie Gutter jkr£, unb fa§ if)r Jtinb ntd?t ntefjr! D 6eltge! rcenn bu fcon ^immelg^en <§emteberfd)aueft in bieg (£rbentl)al, SSergafcfi: bu mtr, ba$ nicfyt ber $od)ter <§anb J)eiti Qluge fd)tofj, bag ni^t in tfyren airmen 730 S)en lefcten Qltem betne SBrufi i?er^)aud)t? ii. Sift. i. Sluftrttt. 45 £)u $aft ja aud) an beg ©eliefcten <§anb £)ag STOuttcrlanb, bte ^eimatjTur fcerlajfen; £>ie tteue «§eimat §afl bu bir gegtunbet, Unb roarfl ein trembling in bem 23atetl)aug! 735 3a, bu ttetgafyl, ba£ ©atten^flicfyt unb £teBe Wify feme t)telt fcon beinem ©terBefcett, SBenn @e$nfud)tgfd)merj bein ©cfyeiben aud) soerBittert, Unb mid) beg Unbanfg beine Seele $iel) ! — D Bittrer SBomtcrf, fdjmerjftdjer 93etbacfyt ! 740 3ji burner bentt "&om flfiel Ufcetmafi, ©el6jt in ber Sugenb, in ber iitU fettR? Unb Itet)' icfy tyn ju fe^r? 8ur feineg £efceng, Sur feineg <§et£eng ungeteilte ®a6e Aamt minbteg id) itym fcteten, alg nttc^ felBjt, 745 SDteht <§erj, mein £e£en, unfcefcfytanft unb ganj? SBar'g nicfyt mein (Sib, tfjn ercig treu ju liefcen? 3jt mit'g nicfyt SPjtidjt, unb ift'g ntc^t tneine Sup, 3ft'g nic^t bag l)6d?jte ©litcf auf biefer <£rbe, ©elieBt ju Itefcen, liefcenb ju fcegtitcfen? 750 £) f)alte feji mein $er§ an beiner SieBe ! SBetr)a^r' ben tyeitetn 6inn, trag' unerfdjuttert £)en ®d)em beg Untecfytg unb beg 33aterg ©toll. VLvfo tuff' getroft nut einem Sropfen SBetmut gur beiner SieBe ungetriiBteg ©litcf! 755 (@ic tritt gebanfenttcft an bag genfier.) SfarflfofeS SDroifel ^uttt bie fetter ein, Unb glofct mid) an mit fcfyrcarjen gHnftewiffen ! 3d) voxii ju SBette! Renter $erci$al! ©ebenljt bu mein im golb'gen ^Prun! unb @d)immer £>er Jtoniggfcurg ? — @ett>i§, bu benfeji mein j 760 2)enn roie bein SBtlb fcot meiner 6eete fteljt, 46 ©rife IMS. 2ftu{3 freunbltd) aufy bag meine bid) umfc^rceBen! ®ut' 9}ac^t ! ®ut' 0lac^t, geliefrter $erctoat ! — 9htn fe$' id? nad) bem Jtinb, unb bamt $u 93ette. (@rtfelbi$ toenbet fid), um afc^UQeljen, unb J)at fdjott bie ^tuBett; tfyitre linfg »om 3ufd)auer etretdjt, ate $erct»al ntit ©ah? in unb £rtjlan burd) ben «&au£teing,ang, eintrttt.) 3tt>eiter Stuftritt. $erct»al, £nftan, @att>in, ©rtfelbis. $ e r c i & a I. ©rifetbiS! ©rife IbU (auf ifjn ljinjiur$enb). ^Percii?al ! — £>u Sift jurucf !— 765 3d) fe^ bid? roieber, tf)eurer ^erctoal ! $ e r c i & a I. @ei mir gegru^t, ©rifetbiS ! ©rifelbiS (in *Perct»af s taten). «§aB' i(^ bid) rcieber? SBarft fo lange fort! 5Drei Icmge Sage ! — *§aft nicfyt ttieitt gebad)t, ©en £>amen bort ^aft bu ben <§of gemad)t! — 770 9Hd)t? £aft bu'S nid?t Qttfym? 9hm barfft bu nimmer, S)u barff* mir nimmer fort ! — ®t, thf mid) bod; ! — 2Bie ©onnengtut bie £Bangen bir geMunt! D mir ifi tro^l, fo ttofjl an beiner SBruft ! — 2£ein $erci&al ! 2)tan £err! mein £ort! mein ©atte! — 775 $ e r c i & a I. ©rifelbig, jte$ bod) nur! — ii. 21ft. 2. Sfaffcitt. 47 ©rifetbig* Unb rcag bu tyier QSerfdumt? — ©en!', 9itt)eljtan, ber ^er^ge Sunge, ©ie gan^e <$aSe, fret ttont ©dngelBanb, 9tid)t einmal ftraucfyelnb lief ber JtnaBe ^tn ; £)er alte $ltfan rcetnte fafi fcor Steuben; 780 Unb benf nur, tneine $auBen rcurben flttgge; Qlud) traurtg rear id), red)t £um $ob BetriiBt, 9ttcr/t Bloj? roetl bu nur fet)Itejt; anb're ©inge 9lod) qudlten, frdnften mid)! — £>ocr) la$ nun fet)en, £)B bu ber Gutter unb beg Jtinb'g gebacr/t, 785 Unb rcag bu *§errlicr/eg ung tnitgeBrad)t $om geji beg Jtonigg? 0lid)t? £afi bu fcergeffen? 5)u fcr/limmeg 93dtercr/en ! — $Pt xt i & a t ®ie$ bod), ©rifelbig! Set) Bring' bir ©djxe ^eint ! — 0lemt' fte voittf ommen ! — ®ar rcacfre fitter, £afetrunbgenoffen, 790 Unb rcerte Sreunbe ftnb'g T — £drft bu, ©rifelbig? ©rifelbig (Befdjdmt unb errotenb). 3d) feu) nur xi)n f t>ergeBt mir, roerte <§erren! Srifian. 60 Bitten rctr! — 9lifyt unfer Jtommen fotf ©eg 2Bieberfel)eng Steuben eucr) serBittem, Unb eucr/ serfummew mnn 23ottgenu£. 795 $ e r c i $ a t (£i, Sriftan, lafit bie fct/onen 5Borte roeg . 3t)r feib roiflfommen, bafiir Burg' td) tufyl 9ttcr/t rcat;r, ©rifelbig? @£ricr/! 48 OrifelM*. ©rifelbig. ©ermfi, tyx «§etren! SBentt and) erft fpcit, id) nenn' eu$ ^)od) rcttffommen ! — ©efdttt eg end), fo fotgt mtr in bie £atfe. 800 $ e r c i i) a I. 0Hd)t boc^, tntr BleiBen ^ier! ©rtfelbig. Styr rcecft ben JtnaBen; aj? icfy e3 Bin, f)aBt, benf Mb, tyx gefc^cn ; 2Ba3 fagt i$t ju bem Jli^terf inbe ? ®puti)t\ ® a tx> t n. 9tie fyratf) etn reinrer <&inn au8 fd)onem 3ugen, Unb trenn and) J)auftg ©c^ein unb $lnfefjn tritgen 815 3^r 2fuge, trie ben ©d)a£ bie Blaue glamme, 93errat ber ©eele 2Bert ! Srifian. ffiie glaum ben $ftrft$, Umfd)attet ^otbe ©tf)itd)tern1)eit tf)r SBefen, Unb JtinbeSeinfalt Iad6t Don U)rer ©tirn. $ e x c i & a I. Shxtt fe$t, il)r £errn, bafi ic$ fein $ral)Ier Bin; 820 3ftein £BeiB ijl fd)on, unb ba$ ffe me|)r ate fd)on, £)a# id) nid)t unBebad)t bem ^am^»f mid) fletXtc, S)e3 fotft ij)r S^gen unb 93erf unber fein ! J)er ©ieg ifi mein, bie Jtcmigin tnuf fnien ! ® a tx> i it. ©rifelbte lieBt i1)r Jtinb; fie ttnrb'3 ttertreigern ! 825 $ e r c i t> a I (auffyringenb). 3f)r trdumt rco^l, <§err ! — 93ertreigem, mir fcertreigern ! <§aut mir ben $lrm $om £eiB, trenn id) nicfyt ftege. 3cfy trar'3 getr>i$, el)' id) mein 2Bort gegeBen, ©0 ganj genrifi, Bei meinem SSart, fo fld)er, 5113 tyatt' id) SSrief unb ©ieget in ber <§anb. 830 ©ie lief urn mid) ben SSater, trie bie Gutter, ©ie tyielt an mir in ifjrem tiefjien J&eib ; £)er ©ieg ijt mein; bie Jtonigin mufi fnien! E 50 ® r i f e I b i 3. % x i ft a n. Unb biefeg 2Bet6, Uvoafyxt in £eib unb 9loten, ©teg ftatfe, finbticfy treue Setfc, 835 3^)r roottt fte qudlen, foltetn Big $um $obe; Wlit einem ©old? beg £er$eng Siefen meffen, ©ag fdjldgt fur eucfy ; bag Qlua/ niit S^rdnen fuUen, ©ag £iefce ftra^lenb euer Qluge fucfyt? D ge^t in end); HeiBt nid)t Bet eutem itternad?t (So ftnfier broken foil, aid meine 3JHenen; Unb feufjen xvitt id), <$turm unb 2Binb $um £ro|. ©anj red)t, <§err ©annn, eoen fdtft mir'3 Bet ; 870 Qlm Suf? be^ @$Io$Btrg$ rcol)nt in niebrer $MU din armeg SBeifc, bag meine $lmme war; $&mn tyn ©rifelbiS gt6t, fcingt ifjr ben Jtnafan — ©od? jiill, fie fommt! Srijlan. 9lod) einmal, CPerct^al ! $ e r c i & a L ©enug ber SBorte! Sretet bort ^initoer, 875 Unb, ernfte 3fiid)ter, fd)auet meinen <$ieg. SSierter Stuftrttt. £)ie ©imgett; ©rifelbis txitt auf; eitiige fDtetter folgett i^r mit Gannett unb 33ed)ern. ©rtfetbiS. J)ie 2tfa%eit xft Beforgt, unb oalb fcereitet e 2 52 ©rife IMS. %dbt euct) inbeffen, inel geeljrte «§erren, 2ln einem 2Bed)er eblen OieBenfafteg ; 3d) trinf eud) ju, ttyut freunbtic^ mir 9Befcr)eib! 880 © a w i tu igafit ©an! ! 9luf euer SBo^lergeljen, Same ! X x i jt a tu $luf ftud)t'ge3 £eib unb bauewbeS (Snt^ucfen ! ©rifelbU ©erabe nod) entfamt if)r bem ©emitter, £)a8 Je|o furcfytfcar to§Md)t im ©efcirg, ©en 2Bieberi)aE mit ©onnerftimme trecft, 885 Unb SBItfe auf 93tt£ burd; afle Sftfte fenbet. © a nj t n. (gin (£nget n>ad)t, ber fie fcom £au£t end) fenbet. ©ttfefbU. 31)r feib $u gitttg, <§err ! (3Me Wiener IjaBen fid) entfernt ; ©rifelbis tritt gu $erciwa(, ber ft$, im £efynftul)t Jjmgetocrfen, triiben ©ebcmfen $u ufcettaffen fdjetnt.) SGSte, $erctoat ! 3fyr wottt nid)t trinfen ? 31jt i)erfd)mctf)t bie £a6ung, Sftacr; ber i$r erft gelec^gt ? — SCBag ^>6t tyx, <§err? 890 Srit&ftnn'ger (Srnfi umfd)leiert eure 3uge, 3n bixfiem ©tuten lobert euer 3SItcE ! 2Bo fcr)roanb bag £ad;etn T^itt, baS mid) Begru^te? 3^r feufjet? — $erctoat! i^r mad?t tnir Bange! 3£a3 $a*t t$r, <§err? — $ e r c i : fc a I. (Srmubung, rceiter nid)tg! 895 ii. 21ft. 4. Sfoftettt. 53 ©rifelbig. 9lein ! Sdufcfy' mid) nict/t ! — 9lie bujierer aU fyut' UmrcoB beg Unmutg ©fatten beine ©time. Sag $aji bu, $erci$al? £ag tnic^ eg wiffen! $ e r c i 9 a t. 9tan ! £eute nidjt ! 3^ fyar' eg Big jum 2ftorgen ! ©rifelbig. D fag' mir fyuti, vca$ icf) tyoren fotf! 900 £a# nid)t bie fdjroeigenb t)ingebe^nte Sflafyt 2ftic() truB unb Bang in fc^euer 5urd)t burd)tr>ad)en ! *P e r c i $ a I. £>u nritfjx eg, fo fcernimm ! £)er Jtimig jumt, 3)afi id) bent ©tamm ber tonigtid)en (£id?e din Oleiglein eingeim^ft fcom SeibenBaume, 905 2)afi nteiner Sftacfyt unb nteiner <§errfd)aft (£rBe (£m£orgegrunt aug einer St'tyVxin ©cfyofji. Unb bieg ijr fein ©eBot, bafj nrir $ur ©tunbe 3n feine <§dnbe liefern unfer Jtinb, Unb rcetg're id)'g, (0 brotyt er tnit bem 93amte. 910 © r i f e I b i g (nad) einer $aufe unbefangen l&djetnb). £)u fcr/erjejr, $ercifcal, bu rcitiji mid) tdufd)en! ©etr-ifi, bu necf ft mid) nur; bu fannfl nicfyt feft Unb unsertrenbet mir ing 2lntti£ fd)auen. SSerfudj' eg, oB bu'g fannfi! — £>u fliep mein 5luge, Unb beine £ty£e $u(ft! S)u Iddjelfi! ©el) ! 915 ©inn' anbre Stuxiw'd aug, mid) fd)recfft bu nid)t! $ e r c i fc a I. 5)u Bifi eg, bie fid) tdufctyt. 2ttein Sort ift Safytyit; (auf ©anun unb Sriftan jetgenb) 54 ©rtfetbU. Unb biefe ftnb beg JtonigS $Men3trdger Unb bte SBoflftrecfer feineg ^ac^tgefots. ©rifetbU 3$t alfo tootXt ntein Jtndfclein mtr entfu^ren? 920 (Si, gef)t, ttermummt end) erft, bafi man eud) furcate! Jtnedjt 0ht!pred?t Hirrt mtt Sttttm, vomit er nafjt, £>er ^Be^rwotf t)eult, ttenn er ttad) Jtinbem fyuret ! (Si, njerte £erm, tyr mufit nid)t JtoMb fyteteti 3n Otittertrad)t unb ®poren an ben ^erfen. 925 $ e r c i Jo a I. S)u gtaufcfi nid)t tnehtem £Bort unb fpieteft Idd)elnb (£in forgtog Jtinb tnit bent (£ntfe|lid)en ; 9lun benn, fyred)t t^)r, xi)x SBoten meine3 Jtonigg, Unb geBt mir 3eugenfd)aft £ r i ft a n, £err $erctoal <&$xifyt xvafyx. ©an? in, ®etx)ip ! tote er gefagt, fo ijVg ! 930 Sftacfy eurem Jtinbe ftnb ttir auSgefanbr. ©rifelbU & ift Mn @d^er} — ber Jtonig ttntt ntein Jtinb, SUiein fufieg Jttnb fcon meinent <§er§en rei£en? SBarunt? ffiofitr? SBie, fofl ber flna&e Wfjen, 5)ag Sftiebrigfett bag £o3 ber Gutter tear? 935 $ e r c t b a I. (Sr ift ber $onig, unb bte Wlafyt ift fein; 9Ud)t feinent $Men tap ftd) ttiberjlrefcen ; (£ntfd)lie$e bid), ben ^naBett tyinjugefcen. ii. 21ft. 4. Slufteitt. 55 ©rifelbig* ©u njcirft entfc^Ioffen, $erci$al, bu trotXteft — Dm fannft eg bettfert nur, ifyx f)in$ugeften ? 940 £>u mUft nid)t me^r bie |)eitern 3uge fd)auen, 3SotX Iad)etnben, i>ott forglofen *Bertraueng; SRic^t mel)r ber patten ©timme Jttang SKrnef)men, Die fd)meid)elnb bid): £ieF 93ctterd)en, Begrii^t ? 5)etn Jtinb nrittft bu fcerleugnen, $erci$al? — 945 ©ebettf beg $ageg, atg id) ttyn gefcar, $ftg bu fyn aufnai)tnfl: an bie ffiater&tuji, Unb riefft : ®in Jtnak ijt'8, eg iji ein Jtnafie ! ©ebenf beg frozen $aumelg beiner Suji; Urn i$n fcergafit bu mid); aug feinen Stiffen 950 (Strang bir em Sent fcon Sreube unb (£ntjuu fytft ben (Satfymor unb ben ©wen erfd)Iagen; 2Ber Jton'ge fd)Iug, fann if)ren 3^^ n ertragen. 01ein, *Perci£al, bu giBjl ben $nakn nid)t! 2ftit alien Djjfern, bie nur benf6ar ftnb, 33erfoJ)n' ben ^ijntg, votif)' tym SBIut unb £eBen; 965 5)ein Jtinb, bein einjig JTinb barfji bu nid)t ge6en. 56 ®rtfeIM«. $ e r c i i? a t 3c$ fag' bir, SBeiB, id? tnufi ! ©u ffc$jl fcergefceng ! 3cfy mu£ ben JtnaBen opfern, unb ify nrifl'S. ©rifelbig* (£r ifl mein Jtinb, tx>ie betn'g, id? tmtf'g Bewa^ren, ffienn bu eg geften wiflji (£g if* mein 95lut, 970 3d) trug'g in meinem 6d)o#, id) ^afc'g geBoren, 3d) ^aF eg aufgefdugt; mein 2lug' Betx>ac^te Sreit ftitfer 8uji fein fro^ttd?eg ©ebei^jen, Unb meine Sufttnft mfyt cmf feinem <$au$t ! ©arf frembe £aune mir mein Jtinb entreif^en, 975 Unb eg faraufcen treuer £iefce £ut? (fte Ijdtt ^Ic&Ud) inne, unb fpridjt bann in unruljiger §aft) ©er Jtonig ^jat fein Otecfyt anf meinen JtnaBen; 3^m ift er fremb; er gurnt, ba# er gefcoren, (£r tjafit ti)n n^o^l, unb wenn er ityn Beget;rt — ©agt an, i^r <§etm, wag trill er mit bent JtnaBen? — 980 2Bie, fdjwetgt i^r? ®£red?t ! ffiBaS witf er mit bent Jtinb? Sriflan. ©orgt nid)t! ©er Jtonig if* gerec^t unb milb. ©a win, (Stfutfen witb ft$, wag ber £err ge&ietet Ung warb fein 9tuftrag, nidjt fein SCBttXe funb. ©rifelbig (rafdj mit bent Slusbtucfe Ijodjjier Slngjt). 3^r ^interge^t mic^ nicfyt! %uf eurer ©time, 985 3n euren fd;euen SBlicfen jfafyt'i gefdjriefcen : (£r witt if)n tbUn ! — mtt er — 3a, er wW'g ! ©arum voottt i^r mein fttfieg Jlinb mir ne^men, ©ag Jtinb ber Gutter? — ®ty mein Qlugenlic^t! ii. 21ft. 4. Sluftritt 57 93erfucJ)t eg, Mut'ge 2ftorber, fomntt fyxan, 990 3ftet£t i^n em^or aug feinen fufen Sraumen, ®^ u)r nicfyt leMog mid) bcu)m geftrecft ! SSergiefjt fein SBlut, e$ J u)r nict)i ntein'g fcerftromt! SSerlaffneg $inb, bid) fct^irntt bein SSater nid)t, 3d) roitf e^, id), em SBeiB, bod) eine Gutter! 995 ® anun (in £riftan). Set) fagt' eg rooi)I, fie gifct ben Jtnafan nicfyr. $ e r c i tt a I. 3e£t ober nie! (ftd) $u ©ufetben toenbenb). 2Bof)Ian, eg fei, ©rifelbig ! 93etrcu)re benn bein «£inb ! £)od) fortan l)ute ie eine Jtrone; £)enn ^ofyen $reig tyaft bu bafiir gegefcen ! — £>ein Jtnafo foftet bid; beg $aterg Men! © r i f e I b i g (auffcfyreiettb). ©ein Men, $ercittal? SPercl&al. 2Bag gitterft bu? £>ir Meifct betn fitfieg Jtinb ! 2Benn 9td?t unb SSann 1005 2Mn <%au$t $erfet)mt, unb meine 2ftad)t jertrummert, 3Bemt gleid) bent fct>uen SOStlb ber ©rimm beg Jtonigg 3tfid) unermixbet buret) bie Scaler ty%t, SBenn mid) SSerrat ereilt, ©eroalt fce^inget, 2Benn mid) beg £enferg Sauft $um 95tutgerufie, 1010 Sunt $obe fd)leift ! — ©rifelbig, jage nid?t ! 58 ©rifelbU. £a£ Metcfyen unBegraften mem ©eftetn, Qtin teurer Stnabt foil gcrettet fein! ©rifelbiS (Miem 93amt fcerfattjt bu, unb beitt Men SBebro^t beg JtorngS Born? $ t x c i S) a L @o ift'g, ©rifetbtS! 1015 OrifelbiS (faft tontoa). (So ntmm ben JtnaBen ^in! $ e r c i £> a I. Da rciberfireBft 9ltd)t me|r; bu gt6(t bag Jtinb? ©rifelbU. 3d? mu£ ! ! ! — $ e r c t & a I £>er fann ni$t, £err im <§immet ! $ e r c i & a f ♦ ©rtfelbtg, J)er $u mir! 1020 (©rtfelbtg fer)rt urn, fiur^t $u $ercittatg gftfett nieber, unb Mtcft, inbent fte bie gemngenen §dnbe an feine ^nie brucft, ftmnm *u ifym entycr. SBafyrenb ©atoin in bag Sfc&engemadj tntt, fdf(t ber SBcrljang.) ARGUMENT. ACT III. The scene is again laid at Pendennys. Percival gives ex- pression to the conflicting thoughts of his mind respecting the new trial of Griseldis, but finally adheres to his resolution to subject her to it (Scene i). Gawin informs him that he has placed his boy into trustworthy hands, and Tristan re- ports that, overcome with grief at the sight of the prostrate condition of Griseldis, he was unable to communicate to her Percival's summons to appear before him, and therefore entrusted the message to her attendants. Again he urges Percival to conquer his pride, but the latter perseveres in his decision, and requesting the two knights to prepare Griseldis by gentle words for the new trial, he leaves (Scene 2). Griseldis appears and assures Gawin and Tristan that she bears resignedly her fate as a divine decree. She is then informed by Gawin of the King's command that Percival should sever his bond of union with her and be wedded to a lady of noble race. Tristan assures her that her husband submits to the cruel behest with a heavy heart, and Griseldis commends his loyal obedience. She is ready to give up a happiness which was too great for this world, and to return to her humble life. Gawin tells her that she is to leave Pendennys on that very day, and Tristan announces the arrival of her husband (Scene 3). Percival makes his appearance, accompanied by some of his most distinguished vassals, and informs the assembled knights that he has carried out the King's order to deliver up to him his child, and that he will now fulfil his further command, by putting 60 ARGUMENT, away Griseldis, in order to wed the King's sister Morgane. He then proceeds to announce to Griseldis her fate. The latter expresses her readiness to give up her happiness for his own welfare ; Percival is deeply affected by her firm and un- selfish love, but still adheres to his resolution. Griseldis leaves amidst expressions of sympathy, and Percival ac- knowledges that he has not acted well. His self-reproaches are interrupted by the sound of trumpets announcing the arrival of the Queen (Scene 4). Guinvere enters, ac- companied by Lancelot, Oriane and her suite, and announces that the King will soon make his appearance at Pendennys. She is informed that the woman she met on entering the castle, surrounded by a throng of people, was Griseldis, who had resignedly given up her child and now left the castle, as she believes, for ever. Percival implores the Queen to content herself with the two past trials, and Lancelot supports his prayer. She insists, however, upon Percival's submitting Griseldis to the final test, which is to consist in the proof that she is still attached to him in tender love — or else he should kneel before the Queen. Twitted by the latter and Oriane, Percival declares himself ready to carry the wager to the end (Scene 5). stitut mu 23urg $enbennty8. (Oteicr; auggefdjmMter @aat. 3m SSorbergrunbe ber 33u^ne cin auf einigen ©tufen etfjcbeuer enbig U6er$eugung $u ergreifen; 1030 2)emt glau&en lafit fid) atte§, aud} ber — Unfhm! 6s ©rife lb t$. 9lacfy $rofcen §(&' itf; micfy gefe^nt, gefeufgt 91ad) einer emjten $rufung beg ©efc^icf e^ ; Unb Befcte nun gurud: fcor ityrem 2tnfd)etn, $or if)rem ©cfyattentnlb ? — 1035 3d) #ruf metn ©d)tad)troJ3, e^ ic^ i|)m ttertraue, 3cfy £ruf' beg ©tfnlbeg SBudjt, ber tflinge £drtung, (£^ Braufenbmid) bag ©d}Iacfytgercuf)l umringt j Unb £tufte nic^t ntein £Bet6? ©oil mir ein <§imgefyinnft bte £uft fcerfummew, 1040 vginafyufc^au'n in ityrer ©eele ©runb, $Mn SBttb $u fef)n in fetnem flaren ©piegel, SEein S5tlb atfein, fein anbreg neBen i^m, Unb if)r ©emut fo gan$ mir unterrcorfen, ©afl eg metn *§aud) Bercegt, ntein 9BIM erfd)uttert 1045 SDafi eg ber Sftegung nteiner SBrauen $ittert, £)a£ eg in meinem 2Bitten fu^It unb leBr, S)a$ idj fein atteg Bin auf biefer <§rbe, ©ein <§err, fein Jtimig, fein ©efdn'cf, fein ©pit! — $)emt in ber £ieBe giBt'g nic&i Wla$ nod) ©ren^en, 1050 ^ein met)r unb roeniger; £ieB' ift unteilBar, Unb fifyt ein ©ran an intent $otfgettnd?t, (gin ©onnenftduBc^en, fo iffg £ieBe nic^t! Unb fott ic^ an bie WoQlifyMt mid) flammew, 28o SPrufung mir bie 3Bitfttd)feit Uvofyxt, 1055 Unb tt>o icfy fd)welgen fonnte in ©erctj^eit? ©oft mir genugen leere 3u£erftcl)t? guwa^r, eg ift ein Unbing, n?ag mid) quoit I in. 21ft. 2. Sluftrttt. 63 3tt>etter Sluftritt. $ercisal, ©atotn, fydter Xrtftan. $etct$ al (in rafter 33etoegung auf ©attnn §uf$reitenb). 9hm, ©anrin, fyred)t, wo liefjit il)r meinen JtnaBen? © a tx> i n. 3n treuer DB^ut, ebter $erctoal, 1060 0lur Bittergram ber fremben *Pflegertn, Die er i?erfcfymdi)enb abmtyxt nut ben <§dnben ; (£r tretnt unb broljt bent 23ater e3 ju flagen, 2)a|i man bem $Irm ber Gutter if)n entrifL Sp e t c i J? a I. 23erflagt er ntid) Bet ntir? 93ei nteinent (Sibe, 1065 (£r tf)ut fo unrest nicfyt, unb fontmt bte %tit, 2Bttf ify au% *Bu£e t^un! — £>ocf) fagt, <§err ®att>tn, SBerteft tyx meine S^annen nad) ber 23urg? © a n? i n. 9lafy aften 28tnben rcarb l)tnau§gefanbt, $lu3 aften $tydlem fironten fte fjerBeu 1070 $ e r c i & a I. £aBt £anf! .(Xrijian tritt auf.) 8ie^) ba, rcaS Brtngt u^r nng, <§err $rifian! afj ifjre Sty^en, uBerftromt £>on Sfjrdnen, 3n 98a$?$eit einen 2BermutBec&er tranfen. 3n i^rem ©cfyog lag eine Jtinberfla££er, 5)e3 Ahitbtf Sufi, nun ©tac^et if)rer Dual. 1090 @ie aBer fafi, ^ortvartd ben £eiB geBucft, S)ie <§dnbe fd)Iaff in if)retn ©tf;o# gefaltet, ©0 fag fte ba, unb ^cftet unfceraanbt £>en fiarren Slid auf t^reS JtinbeS 2Biege, Unb ie|t enttingt fid) fcfyneibenb, ^er^erreigenb, 1095 (Sin fcfyrcerer @euf$er ber gequdtten SBrufi, 23erbo££elt quint ber ^rdnen falj'ge ftlut; 3)ie Jtlajtyet brutft fie ^efttg an bie £i££en, Unb twebet^aflt $om <§immel unb ber (£rbe 6d)reit fie entyor : mein Jtinb, mein fufieg $inb! uoo Unb eine ©aite fprang in intern <§er$en, 9118 fte fo rief, benn IeNoS fan! fie i^in! $ c t c t & a £ ©emtg ! ©enug ! in. 21ft. 2. Sluftritt. 65 £rtflan. 3n iljrer Srauen 9trmen Sttyxt bdmmetnb Jtraft unb £efcen i^r jurucf; @ie ricfytet fid) entyor ; if)r 2luge fydngt 1105 2ln einent 23ilb ber fd^mer^enreicfyen abutter, Die gramttotf nieberfcfyaut auf ityren (soljn, Unb gttternb rcattft fte Ijin, unb fceugt bie Jtnie ; Die <§dnbe fromm auf if)rer Vdxuft gefaltet, Die %i$)pm Iram^f^aft an einanber ^utfenb, mo 9teigt fie i$r £au£t. Da retfit ber ffiBolfenfdjteier, Der btaufien bdmmernb lag auf 93erg unb #o^en, (£in ©tra^I ber (Sonne fufit fyx 9lngeftd?t, Unb in QBerfldrung leucfyten U)re 3ug?; — <$ie layette. D £err ! — Die3 £dd?etn fpracfy : 1115 Die ^nof^e ftel, Mb rcelft bie SStume nad?. OPetcittat Blicft fc^tvetgenb ttor jtd) fjin $ur (Erbe; Xriftan fdfjrt ita$ enter $aufe fort.) Dies faf) td), <§err, unb tetlenb ifyre Dual, $om 9lnMial? (£rfd)uttem $f)rdnen beinen feften @inn? Der 93ed)er tfl gefiiflt, fte muff xi)n leeren ; <£* ifl &efd?loffen, unb eg fei Mttfcafy ! 3d? trifl, id) muff, fein Qlu&xieg liegt box mix. 1125 Sriftan. Jtein QfuSweg, $erctoal? ($;r liegt fo na^e; (Sin QSort genugt, ©rifelbenS £eib ju mtlbern; F 66 ©rifelbiS. Wlit einem 2Bort f$eutf?ft bu bie SSoIfen rceg, Die jiernloS ftnfter il)r ©entut umnacfyten! £i?f i$t bie Otatfel biefeg graufen ©piels, 1130 Den JtnaBen leg' in i^re SWutteratme — $ e r c i & a I. Unb nteine (£f)re, mein fcer^fdnbet 2Bort? 3! r i ft a n. Du magfl e3 lofen t>orr ber Jtonigin. $ e r c i so a t 2Bie, fofl ic^ fnieen? 3d) $u fyxin gufien? $3 fre^elte bein @totg, bein ©tolg mag fcujjen. 1135 $ e x c i & a t 3d), nimmerme1)r I 9lid?t urn beg SKettatta ©cfyd|e! 9ttc()t urn ein Men ! 9lid)t um ; <§immelreid? ! DeS 2BeiBe3 3$rane gleic^t bem $iegenfd)auer, Der nieberfytuf)t au8 ftucfytigem ©ewitff, (£r gtetyt fcorufcer, unb bie ©onne ffra^lt, 1140 Unb ftifd)er gtunen bie gettdnften gluten. ©ie fod er^rofcen, rcag bie £ief>e from; Dod) trenn fte fte^t am (Snbe i^rer SBa^n, SBernt bag ©ercolf an xi)x ttorfceige^ogen, Qann wbW id) if)r ber Sreube OtegenBogen 1145 3n taufenb garden funMnb itBerm <§au£t ; 9tur (Sine £8onne fofl xi)x £efcen fetn! 3cfy forbe fciel, unb ^art mogt ifjr mid) fd;elteit, 3d) after Bin ber Sftann aud) ju fcergelten! in. Sift. 2. Slufttitt. 67 © a tt i n. 5)ort ratten banner fcon ben SBergen nieber, 1150 llnb SCaffen Mifyn aug ber Scaler od) i^r inbeg mit tnilbem ffriebengrcort SBereitet mir ©rifelbeng n?eid)e 6eele 1155 5ut biefen neuen @d)meq: ttoflt il)r eg ttyun? ©an? in. ie Qlugfaat tragi &on unfern £efcengtagen, 6d)reifct biefen ®icg $u beinen 9Heberlagen. ©a win. 5)ort nafyt ©rtfelbtg; langfam burd) bie <%attm ©eleitet fie ber £>ienerinnen ©d)at, Zxiftan. D 9BUb beg Sammerg ! 2Bie bte fcotfe %e 1165 3ur @rbe §in neigt fie bag fd)tx>ere *§au£i. F 1 68 @ttfe(t>U. fritter Sluftrttt. 2)ie SBorigen; ©rifelbig, tton tfjren grauen begteitet ©rifelbU (jit ifyren grauen). £fte$mt meinen ftefren £)cmf fur eure £teBe! ©od) feiner <&filfe meljr fcebarf mein (sdfyritt 3d) Kit' eudj, laft mid? je|tj e3 ijt fcorufcer! (5Dic gvauen btangen ftcf) in ben §tntergvunb ber 23uf)ne $urucf, ©rifeibig txiti sot.) te $f)at rear fein; ber 2Bitte fam tton often. 1180 9Rid?t feine <§anb oeruf)rte meinen ©d?eitel; 3)er 2D?dd?tige, ber in bie £itfte t)aud)t, Unb kronen roirbeln f)in, nne geberflaumen, £)er feine SBrauen regt unb Oietd)e fturjen, III. 21ft. 3. Sluftritt. 69 2)er nmtft, unb 2Mten rcerben, Sterne ftrafylen, 1185 3)er nnnft, unb fte fcergel;n; (£r fcfylug mtcfy, (Sr; ©ott £rufte mir bte Stxaft be3 fhrfjen ^ergeng, Unb ftefy, e3 Brad) unb f^molg in S^ranen ^)in. £r iftan. 80 fromm, ergeBen tragt i^r euer £etb! ©rifelbiS. 3d) bemutSttofl unb fromm? $Bar id) nicfyt jlolj, 1190 Olec^t uBermutig flolj unb ttofl son £)unfel? 9kl)m id? benn nicfyt, aU xvtnn fte mir geBul)rte, Die £ieBe $erctoate unb feine £anb? $Qax id? nid)t ftoI§ fein (S()'gemat;t gu fyeifjen, Unb £ra1)It' td? ntcBt mit meinem I)olben dtinb? 1195 3d) aBer Bin in SRtebrigfeit geBoren ; Unb rceil id? nid)t erfannt bie £ulb beg <§immtU, Unb nai?m fur $ed)t, roaS milbe ©aBe rcar, £>rum macule mid) ber £err in meinem JtnaBen, Unb fd?ulblo8 Bu£t er fur ber Gutter ©dntlb. 1200 Xxiftan. £) xvatyt ben frommen (Sinn, ber eucfy ermutigt, Unb nwffnet eure @eele mit ©ebulb; Sftocfy ftnfirer tritt bag Scfyicffal end) entgegen, 91od? gro§re £tyfer l?eifd?t beg Jtonigg Wlafyt ©rifelbU. SRocfy grofjre D^fer? a£ $erctoal bag SBanb ber i ru SBegreift i§t'3, Stiffrm? <$ie ttetteibigt i$n. 1235 ©tifelbU. @o fe^t' benn tyeim in beiner SBalbet ©fatten, S)u Jtinb ber Qlrmut, Jtinb ber 2)ienf*Batfeit ! 3tt biefem <§au3 rcat nimmet beine ag Jtinb beg 2Balbeg, nieberm ©tamm entfytoffen, 2Benn aud) fcofl Otetgeg, tugenbreid) unb treu ! 3f)t voifyt, baf? fte ein ©d^nlein mir geboten, Unb gruftct eg aft (Srben nteiner SDfcadjt; £>o$ Qtvtug, unfer fomglid)er £err, 1270 SSetwetfenb meine 2M;l unb i^re 8?ud>te, ©ebot bag Jtinb in feine £anb ju liefern, in. 2lft. 4. Sfaffritt. 73 5)ag nicr)t bte 8Burb' unb <§errfd)aft meineg ©tammeS 9Som jioljen $lar auf @^erling@ Brut ttererfce; Unb treu fcottjog id), wag ber <§err Befall. 1275 (@rifelbi$ gucft fdjmer^lid) erfcfjiittert jufatntnen ; $evctual fdljrt nad) ciner $aufe fort:) 3d) gafi bag Jtinb beg Jtimigg SBoten $tn. S)od) rceiter nun geBot metn £err, ber Jtonig, £>a§ ic^ Sftorganen, feme ©djtrejier, freie, ©rifelben bort aug nteinem <§aug fcerfiojjienb, 3m offnen <§aal, box meinen eblen SRatattp, 1280 ffiie id) t»or t^nen fte jum ffieifce naf)m. Unb treu gef)orfam bent ©efcot beg Jtimtgg, SSerief id? end? gefammt in biefe £afle, $or eurem $lng,eftcr/t eg git fcotfjieljeiL (Sitter ber Oiitter $ercifc>alg, OBie r $ercifcat? Gtin Qittberer. ©u tyattefi, £err, £efcr,loffen ? — 1285 (Sin Sritter. ©rifelben, bein ©entail, trttXfl bit fcerftofiett? SP e t fst b a £ . 3l)r borten fcr/treigt ! 93ei nteinem 3^n, fcetjtummt ! SBerufen feib fyx, bag tfyr B^gtttg getjet; £)od) ntd)t gu rid)ten ufcer meine $j)at. ©efit benn unb f)6rt, bod? Bdnbtgt eure 3unge! 1290 ©rifetbig, tritt l;eran! ©rifetbig. SWein J)ot)er £err ! 74 ® r t f e lb t $. $erci$at 23erntmm ! ©elofet ftnb bie IfyetFgen SSanbe, J)ie fegnenb ung fceretni 30^it biefer (Stunbe 3ft unfer SBunb gerriffert unb geloft! — ©rtfetbtg, Ijorft bu mtdj? ittrifetbVd; 60 t^u' ic^, «§err! 1295 $ e r c t $ a L SHt ^ie^ft nod) ^eut' ^imnea, aug btefen Sftauenu $Bag metne ^teBe bir Befdjett an ©aBen, ©ewdnbem, <$tf)mud: unb anbrem 3iergerdt, £>ie Srauenreij ertyc^en, nicf)t fcerlettyen, Sct^t bu guriicf ; bemt eg geBeut ber Jtonig: 1300 J)afi bu mid) ljulflog, arm unb nacft tterlaffeft, ffiie ic^ bid) aufna^m l^ulftog, arm unb nacft • Unb fo fcor meineg .ftonigg 2Bitfentrdgem Unb ben $ottfrrecfern feineg 2ftad)tcjeBotg entlajT id> bid), 3ic$' #ni ©rifetbig. Sftein 1)of)er <§err! 1305 $ttg bu mid) J)eimgefu^rt aug niebrer kittle 3n beine fiolje SBurcj, mit Qtrmut 2ftacfyt, STOit #tul)m unb £ofceit Sttiebrigfeit fcermdljlenb, 2flit £ieBe reid) bag arme Jto^terfinb ©egafcenb; ate mein ©lucf fo rafd) entMu^te, 1310 5Bte ©lumen ftct) erfcr;lieflen ixBer 9lad)t; JD« fyrad) eg ttsamenb mir im ttefften $er$en : 9licr)t Idnger ate bie SSIume leBt bein (Bind, Unb nne'g entHufjte, tnelft eg uBer 9tad)t. Unb micr) ergeBenb in beg @d)icffate Sugmtg, 1315 in. 21ft. 4. Sluftritt. 75 9ttcf)t ote ©efcfyenf Berca^rt' i^ beine Sreue, %U Darle^'n nur, roemt and) t>ergittfl fcon £ieBe, £)od) leid)t ^uritcfgeforbert, trie tterlietjen. SBeit bu benn Je£t ben 3«^ u ^9^tag mir fitnbef*, 33M id) nid)t fduntig fettt* 91tmm benn juritef, 1320 2Ba3 id) Son beiner <§anb entyfangen, nimm juritcf 2)e3 2tbel3 pollen ©cBmucf, ben Along be3 9tamen3, 3£ad)t, 33otrang, <§errlid?feit unb alien ©dimmer, SKit bent bn fo fcerfd)rcenb'rifd) mid) BegaBt. 2)od) jogemb nur, unb mit ge^refitent <§er$en 1325 drftatt' id) btr bie Bejle, fofHic^e, SWe uBerBotne ©aBe beiner <§ulb, <§ier biefen 3fting, ber £ieBe $fanb unb 3ei<$ett, S)ie unS fcereint, ttereinenb un3 Befeligt ; (£r roar mein atfe§, nimm xi)\i fyn\ — Unb fo — 1330 @o get)' ic^ IjuIfifoS, arm unb nacft Son Ijtnnen, 2Bie bu mid) aufna^mji f)ulflo3, arm unb nacft. $ e r c i & a I. 2Ba3 bu mir $ugeBrad)t, bag magfi bu ne^nten, 9Hd)t meljr, nod) minber! ©rife Ibis. £err, bu roetjjit wofy fetBer, 2Bie bu mid) forttrugft auS bent 23aterJ)au3: 1335 (Sin fcfyled)te3 2BoflenfIeib unb eine ©d)ur$e %ab' id) btr jugeBtad)t. Sinn ©aumtter Branch's, S)ie farge <§aBe mir ^tntreg jit tragcn. SPe t c I p a t 60 nimm beat SBotfenfleib unb beine <®d)ur$e. 76 ©rifelbU. ©rifeibig. ag Ijoffenbe, ttertrauenbe ©emut, gur btefe ©uter taufdjt' id) fufjie Sreuben, Unb ber ©rinn'rung #kd)genuffe ein; 1345 3n ©incut nur H)t bu mem ©djulbner worben, Denti meine £iefce Bletbt bet btr $urucf, Unb trie bie »§anb bag 3Werfmal beineg Sftingeg, $0al)rt meine ©eele bein gelie6teg 95ilb, $ e r c i i) a t ©in fyi^er $feil ift jebeg if)rer SBorte, 1350 Unb itjre 93licfe ftnb tin fd)neibenb ©cfytnert ! — S^aty fort, ©ufeltig, beine 3*ft $ urn! ©iner Son $ercUalg bittern. 2ftir fyringt bag <$e?| i?or Unmut unb 95ebauern. ©in Qlnberer. D, ba$ ®el)orfam meine 3unge laljmt! ©rifelbig. ©in £Bort nur, <§err, fi^weW nocf) otlf meinen £i££en, 1355. 3)ann fc^reit' id), biefer SBurg ben Sftucfen fe^renb, Sent 2)?utterfd?o£i beg bunflen 2Balbeg ju. Set' voo% mein $erctoal ! £>ieg <§er$ Soft £ieBe £Birb nie fcergeffen, ttie bu eg Begffiifk ©ebenfen nrirb eg bein, rcenn mein ©ebdc^tnig 1360 «§inbdmmernb Iangfi merging in biefen SHdumen; in. Sift. 4. STufttttt. 77 £)enn baa ©etnefne gteicfyt bent bitrtett 93Iatt / £eicf)t rceggewe^t tm ©irfcel ber SWinuten. 2)u after lefce fro^e £age $in! fKti feincm fcoflften ©tratylengtanj umgetie 1365 $)er «§immel fegnenb beine $o$e ©tint ; ©anj u6erfd)utten fofl er bid) mit Sorfceem, llnb Jtrdnje, jat)tto3, l;duf er auf bein «§au£t. 3n eblen ©^rojfen grime btr bein ©tamm, llnb ein geltefctreS 3Beib mag micfy erfe^en j 1370 £), Idcfyeln \v\U id), Idcfyeln unter £fyrdnen, 2Bemt fie bicfy mef)r fcegliicft; benn metyr bid) IteBen J!ann feine, feme auf tent (srbenrunb. $ e r c i J) a 1 (milber, tmb ntufyfatn bie 9h"d)rung werBergenb). 3ie^ tytn, ©rtfelbiS, beine 3*it iji um ! OrtfelbiS. 3cfy ftrecf bie 2trme au3, bid} $u umfangen, 1375 ©ie Meifcen leer; mein 3(uge fucfyt nad) beinent, llnb bu tter&irgjl bein Qlntltfc nteinem Slid ! — 3a, bu $aft redjt; rco^u ben Summer metyren, llnb fieigem $ur ffiergroeiftung ftnflern ©ram? ffitt muffen fcfyeiben, fei'3 benn rafcfy get^an! 1380 8e6 J rcoljt, mein $ercit>al! — Wlit btefem SBort @e|' id? be3 £eiben3 SBe^er an bie Stypen, llnb leer' xi)n au3; benn biefeS Bitt're £Bort ©agt atfe3, $erctoat ! £)a3 SBorterfcud) £)e3 ©ramS J)at nur bieS (Sine 2Bort : £efc rcoljl! 1385 8e6 tnoljl, mein ^ercittal! $ ere it) a I. 3ie^ fyn, ©rtfelbiS! 78 Ortfelbi*. @ rifelbt^ (mit einem S3Iicf gegen ben §itmnei). ©et £err getnetet, unb bie Wtaofc Qtfyntyt (@ie toenbet fid) gegen ben £intergrnnb ; *Perct*>al, tief erfdjuttert, MrJjuflt fein Slntlifc, toaJ)renb bie Bremen ber ©rifelbig fid) toeinenb um i^re ©eMeterin brangen.) (Sine i)on © r i f e l b i 3 S r a u e n. SBerlafjt bu iml'? (£ine $tnbete. ©eftet'rin, gie^ji bu fort? (£ine 5)ri tie, D lafi ben ®aum mid) fuffen betne^ ^leibe^! ©tifelbU. £afit mic^ ; bie Qzit ift urn, unb id) muf etlen! — 1390 (£tner ijon $etcifcal3 bittern. ^eBt n;ot;t, ©rifelbig ! (Sin Qtnberet. ©ott geleite end) ! ©rifelbiS. £efct afle n;oI)l! SSom ©djicffat fortgetrieBen, (Sin $roji ift bemtod) meinent £eib gefcliefcen: 3d? gef)e weinenb, bod) id? get)' fcerceint ! (©rifetbis fd)rettet burd) bie Sftenge fjin, bie nad)brangenb fte in lauter 33etoegung geleitet. $erci»al Mtcft ifjr nad), bis fte bie £al(e tterlaffen, bann jiurjt er »cn ber (Sftrabe fjeraB, ergreift Xxu ft an fcei ber £anb, unb fitfjrt iljn rafd) etnige <&$xitte scrttarte.) *P e r c i Jo a J; £rijkn! 3d) voax $u t;art ! — SSeim ero'gen ©ott! 1395 $3 war nidjt wo^lget^an. in. Sift. 4. Sluftritt. 79 X r i ft a n* ©u folgteft Minb ©cm ©rang ber jtolgen SBtuji; nun ijt'8 gefcfyel)en. ©ie Styat war betn; ertrag' nun i^re 2M)en! *P e r c i & a I. 3d? rcar ju fytrt; mit £eib fcergalt icfy £iefce, Unb f^uf ben reinen (Sinflang ii)rer @eele 1400 3n rau^en 2Jftfjtaut urn! (Xrotrtyetenjbfc aufet ber 93uljne.) <§ord), ^ornerHang ; 2Ber grugt mtt Sreubenruf bag £au3 be3 Unveils ? ® a roi n (am Sender). @ef)t ! ©ienertrofi in nrimmelnbem ©ebrdnge (Srfuflt ben 95urg^of; eine Sfteiterfcfyar 3ie^t burd? bet fPforte bti^menbeS ©eroolfce — 1405 Unb <£ngtanb3 Sat&en ttetjen &or ityr Ijer ! — ©a fommt bie Jtonigm mit i^ren Srauen — 5lu$ Lancelot tft in bent 3«g $1 fcfyauen. *P c r c i p a L D, bag ©eroitterjhttm fte tyeimroartS truge, 2Bot)er fte fam ! Sriftan (ber efcenfalte ans ftenfter gctreten tji). ftuxvoafyx, bie Jtim'gin iji'3 ! 1410 <§err Lancelot ^e&t fie fcon i^rem Setter : 3luf fetnen 2lrm gefiu£t naS)t fie ber £afle, 9lu8 ber, getragen son beg SSotfeS @d)n?afl?, ©rifelbiS fcfyeibenb tf)r entgegen trttt. 8o @ r i f e I b i S. $ e t c i t> a I. ©rtfelbiS, fagt t^r? SHfifttu 3a, ©rifelbig! ©e$t, 1415 9Run bltcft fte auf, unb ftetyt bte Jtonigtn, Unb bunfle tUbtt tritt auf it;re SBangen ! — ©ie brucft fid) an bie SBanb unb beugt bte ^ntee — £>o$ 8rau ©htebra raufcfyet fiolj ttotubet, ftaum eineg SBIicfeg njittb'genb bein ®emafy[, 1420 Die je|t, bon neuem Qlnbrang fottgettffen, Bum Sljore tytn bte ntubett ©cfyritte lenft. ©an? in. <%txx $ertibal ! £ier f cmmt bie ^onigtn ! gunfiet Sluftritt. £te SBcrtgen; Jlcnigin ©tnettra, Begteitet son Lancelot, Driane aitb anbern bittern unb ©amen, tritt auf. $erci»at geljt ifjr mit Xriftan unb ©atoin begriifjenb entgegen. ©inebr a. Sffitr fttrdjten, bafi wix unnriflfomnme ®aftc ©teg «§au3 betreten, ebler fPerctbat; 1425 ©enn unentfdjieben in ben Suften fd)tt?ebt SRotf) unfer ©ttett } bod) tmr berfetyen un8, > 3§t rcetbet feI6|i int gcinb bag ©afitecfyt efyren, Unb gem ciu Dbbacty unferm <§au£t gercafyren, ©a unr beg Jtonigg Qlnfunft eud) betfunben; 1430 3n ©tafforbS SOGalb aufg 2Batbrcerf $og er aug, Unb Wlafy unb ^getberg' ben!t er tyter $u ftnben. in. 21ft. 5- Sfoftritt. 8i $ e r c i *) a E. S^tc^t fteubiger fott iljn bag eigne <£aug, $llg $enbennfyg in feincm i n* (£g ift fo, urie er fagt. 3d) fcmn'g fcetturgen, 1455 SBegreifen fann id)'g nid)h CP e r c i i? a L 3a, Jtonigin, ag Jttnb beg J^terg ufcer ung etf^t, £>er fte ung ^ingeftetlt jum S^ufterBilbe, Unb ii)rer £ugenb £rai)Ienb ftct) gerul)mt? 1475 in. 21ft. 5. Sluftritt. 83 Brcet «ftrdnje fct)mucfen *>rangenb eure ©ttrne, Unb fcor bent britten Befit xi)x fd?eu prucf? ©itgt, rcelct)er 2Batyn tyalt euren ©inn fcerBIenbet, S)afi t$t bem ftdjern ©teg ben Sftitcfen rcenbet? $ e r c t $ a I. SBte! £ub td) %er ^rdnen ntcfyt genug 1480 3luf meine ©eele, nic^t genug ber (&nal 2btf i^)r geroei^teg, ft'mbenlofeg <§au£t? (£8 fet genug! SSemetjmt tntt biirren ffiorten: Wlify rent, rcag td) Befc^Iofj, rcag i$ gettjan, Unb fcorrcdrtg ntdjt fd)rett' id) auf biefer 93al)n ! 1485 © t n e & r a, 9Bebungen roar eg, unb tfyr gingt eg etn : 3Bte it)r and} tief bte ©eele itjr fcerle^tet, ©rifetbig fottt' euc^ gleicfye £ulb fietraljren, 9ttd)t fyxtx £ieBe ©lut in <%a% tiahfym, Sftod? frotnmeg ©utben in (Srfiitterung y 1490 3a, warmer foflt' an eud) tm £eib fie tjangen, 5llg ba juerft ilj)r firdutlid) fie umfangen. £Bar'g ntc&t Bebungen? ©£red)t, iljr waret 3wgen, @£rad) icB nid?t fo? ©a nun. ©0 faradtft bu, Jtonigin! £) r t a n e. 5(ud) id) &nta$m'$; gennfij, eg rcar Bebungen. 1495 ©tnefcrcu Sir jttjetfeln nid)t, ©rifelbig' ftarfe ©eele 3m Unglucf felBft fierca^rt eud) gleid)e <§ulb; 3§r fe^tt ber 2Bitte nid)t, mtr nid?t ber ©laufce, 9hir em ©eringeg mangett: ber SBenxig- 3tyr fef^t, etn letter Jtantyf Bletfit $u Bejte^en; T500 84 ©rife lb U. Surrca1)r, id) $tmng' eucfy nicfyt, tyn einjugc^ett; S)od) rcemt eud) Oleue fajjt, unb irenn (Srfcarmen 3n eurer SBruft ben ©tolj ju Salle Mngt, ©equemt end) benn fur euren £ro| $u Mfien, ogen, roag Beroeifen, £err, S)ie $roBen, bie ©rifelbtg iiBerftanb? @te gaB ii)x Jtinb, rcetl man i^r'g fonft genommen, 1520 Unb alg fte fteg^og, nrid? fte ber ©ercalt; 5)ie tx>al)re $rofte, ben!' id?, mufi erji fommen. $erbunfeln nur !ann eg ©rifelbeng ffiBert, SBifl euren Sftut §ur Un^ett SJHtleib lawmen; & liegt §u na^, fur — 2lugflud;t eg $u netymen. 1525 in. Sift 5. Sluftritt. 85 $ e x c i & a I. 93erberHi$ 0lefc, bag id) mir fel6jt gefyonnen! 93otfenben tnufj i(^ nun, tx>eil itf) fcegonnem ©tnefcta. 2Bd^lt, $erctoal, imb lofet euer SBort! (£ntweber fniet Bejtegt ju nteinen Su^en, $&o nidjt, fo tretet &or ©rifelben J)in. 1530 $erfcannt unb ftuc^ttg fletyt urn if)ten @d)u£, Unb ttenn fie \i)n getrd^rt, tx>enn bie SSerpofne $ro£ Btetenb flnfier brotyenbet ©err alt, 3^r £au})t, i^r £eBen fur bag eure roagt: Qann feib i^r ©ieger, unb bie Jt6l)letmagb 1535 ©ieljt ©nglanbg $6nigin ju i^ren Satfien* Srtjlan. 9tan, ^olje Jtimigin, nic^t ftraffer fpannet, 91id)t Big jum $lu#erften beg SBogeng al! Lancelot ($u ©ine»ra). 93erldngre nidjt bie 5)auer if)reg £eibeg, 1545 ©inefcra! %a$ ©rifelbeng ($d)mer$ bid) rntyren. © i n e & r a. ©rifelbeng <£c^icffal liegt in feinen v§dnben; (£r fann'g $um Jtantyf, er fann'g jum Srieben rcenben! (£ntfcfyeibet, $erctoal! 86 ©rtfelbU. £) tiane. @e^otd)t bem £)rang beg reuigen ©emuteg ! 1550 jfrtiet nieber, Bittet aB, unb furc^tet nidjt, 23iefleid)t bie jarten ^niee nmnb ju btucfen; 2luf glaumen foflt i^r f nien, auf ©ibetbunen ! D, SBufie t^utt ifl leister, al$ i^r meint! 5(uc^ fd?eut ung S^gen tti^t! SBir ttotfen fdjroeigen, 1555 Jtaum ftujbtnb eg bem Beften greunb fcerttauen, 28te &or ©tnefcra ^erctoal gefniet $ e r c i & a 1 (Mtcft jhtfiet sot ft<$ Sin j nadj eimr $aufe). 3d) JjaB' geftettett an bem tteu'jfrn <§erjen, 3d) i)ab } gefc^tx>elgt in iljten $obegfd)merjen 5 ttnb je§t, etfennenb meine fdjroere @d)ulb, 1560 3e|t mod)!' id)'g gem fcon intern <§au))te rcenben, 2Bag £Bort unb $flid)t mid) ^nnngen ju ttoflenben ! — Sefct tji'S ju fyat — (Srfutfe fldj mein 2tfa£ ! 3d) Bin Beteit, §u neuem Jtantpf $u ge1)en, $0$ fjeute, {ejt gleid) unfl ic^ ifjn Beftel)en. 1565 © i n e & r a. 0o ge^t ttotan! Sir BleiBen nidjt gurucf. ©eleitet ung, i^r £etw; Balb fotf {£$ ^eigen, $Beg 6d)ale ftnfen fotl, unb rceffen jleigem (Sib mit Driane, $erci»al, Lancelot, ©atoin unb i^rem uBrigcn ©efclge.) $ r i ft a n. 3ie$t $in ! — Unfelige ! ©«8 $erijlc £og, £)ag £ieBe treffen mag, ijl bit gefatXen ! 157° 3Sergottert unb fcer^otjnt *>on (Sinet £i££e, SieMofet unb erbot^t Son (Stner £anb! ARGUMENT. ACT IV. The scene of the Fourth Act is laid in a wood, near the hut of the charcoal-burner Cedric. The latter, hearing from his boy-guide the fate of Griseldis, inveighs against the high- born and accuses his daughter of ingratitude. The boy informs him that a woman is coming through the wood. (Scene i.) Griseldis appears, and falling at her father's feet is reproached by him for her past conduct. She defends her actions and also the giving up of her child to the King. Cedric declines to listen to her pleadings, but consents to grant her shelter in his hut, and leaves with the boy. Griseldis utters a prayer and gives expression to her un- shaken confidence in Percival's love. (Scene 2.) Percival and Gawin arrive, and the former again expresses his regret at having agreed to the wager. Being told that Griseldis is near, he bids Gawin hide himself in a neighbouring bush. Griseldis is startled at Percival's sudden appearance and believes that he has returned to her as her loving husband ; but he informs her that the bond of union between them has been severed, and that he comes to her as a fugitive and an outlaw, being accused of high treason. She conjures him to conceal himself in a hidden cavern, and he hastily leaves. (Scene 3.) Guinvere appears, followed by Lancelot, Gawin, and her suite. She bids Gawin search the hut for the fugitive, and commands Griseldis to disclose to her Percival's hiding place. Griseldis resolutely declines to yield to threats, 88 THE ARGUMENT. even when Guinvere orders fetters to be brought, and commands her to say her last prayer. (Scene 4.) Gawin with his followers lead in blind Cedric, who had been discovered in the hut. Hearing from Griseldis that the old man is her father, the Queen threatens to take his life too, if she- does not reveal Percival's place of refuge. Griseldis implores for mercy and again offers her own life ; but when told that her silence will be her father's death, she faints. The Queen declares herself vanquished and orders Griseldis and her father to be carried to the castle of Pendennys. (Scene 5.) ZHettet 5Cft* ©eMrggrcalb. (3nt §tntergrnnbe an einem SBilbbadj, rings von ©ebufdjen nmgeben, eine JftiljIerijuttcO (Srfler Slufhrttt. 2)et alte ©ebrtc tritt auf, gefuljrt von einem Jtnaben. (£ e b r i c. 2$erna$tnjt bu redjt? Jtann id? bir glau6en, Jtnabe? 3^r Jtinb geltefert in be3 JtdnigS £anb? it n a fc e. ©o fagt' idj. Sebrtc. S^reg SBunbeS tyeiFge ©cfywure 1575 ©elfcfet burdj beS JtonigS 3Jtoc$tge6ot? JtnaBe. 3a, timber (£ebric, Ja! (£ e b r i c. Unb fie $erfio§en, 3m open ©aal, tm Qtngeftc^t ber Slitter? 9° ® x i f e I b i fc Sinaht. 2Bie id) bit [age, fo BegaB eg fid); Unb jebe £i}tye ringg fd^ma^t $etctoal 1580 Unb Jtimig 3lrtug. © e b r i c. 333orte! Seerer ©d)a;tt! $)er ©raf fcon $Meg ^rangenb J)ingefletft, 2ftit ftoljem <3d)eitel in bie £BoIfen reic^enb, Unb SBotte, ffiorte! 93ig beg gtuc^eg 2ltem 3u folder <§6f)e reid)t, tyat 6d)meid)elei 1585 3n 2Bof)lgetud) ben gtft'gen ^auc^ fcetrcanbett, Unb SBalfam aug 93ettmmfd)ungen geBraut ! — £)er ©raf fcon £Meg unb etn Jti^ter! <§err Unb Jtned)t! Unb Beibe bod) aug (Sinem te Qlrmen weinten, (e^nenb rief ber @ied)e 0la^> feinem milben 3lr$t, aug iebem Sftunbe 1595 (Stfdjott ©tifelseng $retg, unb 3engenfd)aft, 2Bie unfcetbtent fie £eib fur ©egen ernte ! (£ e b r i c* 333tr 3ftenfd)en rid)ten nad) bent leeren ©d)ein; £>od) ©otteg Qluge taucfyt in unfre ©eete! £>te «§anb mag milbe fein, unb ©aBen fyenben, 1600 £)en 9la&Un fletben, unb ben ©iecfyen £ftegen; Sod) rco ber Stofj im ^inbe^er^en nifiet, iv. 81ft. i. Sluftrttt 91 2Bo <§od)mut nefcen grommigfeit ftcfy fcrufiet, Da trifft ni$t untterbient bet SBIife beg £immelg, ^ n a B e. 2Bie! ©pricfyft bu gen beitt eigen ffleifcfy unb SBlut? 1605 6 e b r i c. 3tf? $au' bte £anb mtr afi, rcenn fie mi$ drgert, Unb ftro|t bag SBtut mir ftfjrceflenb in ben $utfen, Sltif id} bte 5lbern auf, bafi icfy genefe, D eg gifct ufcleg, ftfjroar jgegotjrneg SBlut ! ©enug! — £)u tnft ju Jung fur folcfye £)inge! 1610 Stomm, Jtnafce, !omm, bort ju ber alten (§id)e, Sum 9Roo0fi$ iett' mid^in! $ n a fc e, <§ier, Hinber 6ebric! £ier fl&', unb Ijatte 0iaft! (Sebric (auf bte SDlcc&arit nieberjtnfenb). O $Uti)t ber Sage ! 5luf(eufjenb ^tn!t btr mein ©ebdcfytnijj nafy ! <§ter fafi fte oft in aBenblicfyer oflt' id?'3, rcare fie geftorfcen; 3d? ftunbe einfam ba, bod) nic^t fcerlaffen, 1630 Qvoax xmgeliebt, bod) ntd?t fcom Jtinb fcerleugnet ; Unb trug' i$ jebeg 2ftuf)fal biefer @rbe 5(uf biefett ®d)ultern tyitt — ein3 trug' id) ntd)t ; £)a3 ©cfylimmfte, mir fcom eignert Jtinb gefommen, $)e3 UnbanfS Safi tsar' tnir f)tnwg genommen ! 1635 2Ber fommt ba ? £ord) ! JtnaBe. 3m £au6e raufd)t ber £Binb. (S e b r i c. 9lein ®d?ritte, ®d)ritte finb'S! ®ie fommen nd^er! @te fam' $ur ^dfen ®tunbe, Um' fie je£t! JtnaBe. 3tm @aum be8 Salbeg wanft ein 2Beifc $eratu 3tt>eiter Sluftritt. 5Die $cugen; ©rtfelbis erfdjetnt im ^intergrimbe ber 23itljne. (£ e b r i c, (Srfennft bu fte ? — @£rid), ^tnaBe, jogre nid?t ! 1640 Jtnafce. $ier ift fie, fyrtd) fte an ! iv. Sift. 2. Sluftritt. 93 (£ e b r i c. 28cr Btfl bu? Sftebe! © r ifelb i S ($u (£ebttc$ fffif ett jtnfenb). Detn $inb, meiti 23ater, bent fcerlaffneS $inb ! i S e b r i c. Wltin ^tnb? £a&' id) eta <£mb? u tnei^t ttcn feiner ©djulb, unb fcfyuttelft leidjt 28ie Otegentrityfen jeben SBornmrf afc ! 9hm benn, giB Otecfyenfdjaft Don beiner £iefce, 1670 SSon <§ulb unb $reue, bie bu mix Jjetmefett. 2Bag t^atft bu, fottdj, bu liefiefcotfeg Jttob, 9113 $erci$al aug feiner 23urg tnid) Bannte, 2£eii id) mit SBttten feinem ©ritnm getro|t, 5)er untterbient Unfdjulbtge 6ebrol)te; 1675 $5ag t^atefi bu fur beinen Hinben *Bater? ©rifelbig, 3d) weinte, <§err ! (£ e b r i c. ©inb betne $l)rdnen $erlen, £)a£ bu fie f)i%r anfdjldgft, ate bag 2Bort, £)ag frdftig freie 3Bort, tx>ie eg ber £od)ter, 5)er £augfrau gujie^t gegen ben ©entail, 1680 3Bie eg fyx giemt fur ben gefrdnften 23ater? ©rtfetbig. Safi nidjt bein $tnb bie 6d)ulb beg ©atten Bitten; dx voax ber <§err, get)ord?en meine $flid)t. (£ e b r i c. @e^)ord?en, ja!'S)odj fd?roeigen, fcfyweigen nid)t! £)u e^rtefi $erctoal nid)t ate ®ema$I, 1685 iv. Sift. 2. Sfaftritt. 95 $118 beinen <&mn, aU SSater beineg Jtinbeg; 2l6gotterei Ijafi bu ntit i$m getriefcen; *8on £id?tgetx>Mf, fcott ^tra^lenglanj umgeBen, 6al)jl: bu ben ©ter6lid)en, ben @oJ)n beg <&tauh&\ D ©tuntyfjinn, bet fid) felfcft junt ©darnel mad)t, 1690 £)a# 2ftad)t unb <§ol)eit ung ntit Sujjen treten; O ©cla^enbemut, bie xi)t eigen Sletfd) Unb 95Iut t>erleugnet j nimm ben £ol)n nun ^in! 5)u rcatfi nid)t fein ©entail, nut feine ©itne, Unb brunt fcerfliefi er bid) gleid) einer Sftagb. 1695 ©tiffin*. 3^)r (Sngel ©otteS, fe^t auf mid) ^ernieber, Unb fe^et, fetyt, tt>eld) Unrest ic^ erbulbe! #&ax'% nid?t genug, ntir jebeg ©lucf ju ne^nten, SBarum nod) glud)e auf mein fd)ulblo3 <§au£t? S e b r i c. £>u fragfi: 2Batum? <§or' an, ify ttifl bit' 8 fagen. 1700 £>tei £age lag mein 2Bei& unb beine Gutter, £)rei £age lag fie T^irr, unb fonnt' nicfyt fletkn, £>enn ©el)nfud)t nad) bent irielgelieBten Jtinb £ielt iljren ©eijt gefeffelt auf ber 3unge. 3f)r letter 51tem voax etn ©egengtmtnfd) ; 1705 £>od) bu famfi nicfyt ben ©egen bir $u Ijolen, \. £>a ^at ifm ©atan lauernb rceggeflotylen SSon i1)ter SMjtyen tobe3Bleid)em Sftanb, Unb Battle it)n §um 9Bli£ in feiner <§anb, Unb fcfyleubert' if)n jurutf auf beine ©eele, 1710 3113 Slud? beS UnbanfS, att beg Stores Slufy ©rifelbU. £>en erc'gen ©ott ruf i(^ ju meinem Bwgen, 96 ©rtfelbU. £)a£i (teller Unban! nte metn £er$ enttrei^t ; (£r roeif? eg, roag id) fitt, al§ mir bie Gutter 3m 6terBen lag, unb $ercit>al int @terBen, 1715 9llg tobegBang ber ®atU mtd) entBe^rte, ffiemt tobegBang bie Gutter nteirt Bege^rte. £>od) metn ©eluBbe war: 3f)m angef)oren; 3d) mu^t' erfuflen, ttag id) tf)m geloBt, 3d) muf?te meinem $inb ben 93ater retten, 1720 ty* burft' id) nid)t ang SBeft ber Gutter tretcn. (£ e b r t c, $)u fyrid$ tton meinem (Mel, beinem Jlinbe; 6ag' an, Bewa1)rteft bu'g, wle eine Sautter? 9Bie beine Gutter bid;? <§afl bu'g gelieBt? *©afl bu'S Befdn'rmt mit beinem SBtut unb Men? 1725 £)u l)aji bein jtinb fcerraten, fffit fcerfauft, 5)eg Jtonigg (Sdjergen ^aft bu'g auggeliefert ! — Sag £ier beg ffialbeg Idm^ft fur feine Sungen, (Srfi, town ber gucfyg bie £enne tyingettritrgt, Sragt er bie j!ud)tein fort! Su aBer, bu! — 1730 Sir ttatb fetn <§aar gefrummt, ntcfyt eine $atte Seg fcfyimmernben ©enmnbeg bir fcerbritcft, Su gaBji eg fdjmerjloS, gaBft eg lacfyelnb t)in ! — ©rifelbig. Sic £ieBe gaB eg, £ieBe gaB eg fyn. (£g gait beg ©atten, gait beg $aterg Men, 1735 2Bte fount' ic^ jogem, burft' id) rcifcerftreBen ? S e b r i c. ©emtg ! ©emtg beg leeren Jttangg ber Sorte ! Urn $erctoat unb feineg SRameng $runf aSetgajH bit Jtinbegpfltcfyt unb aJtotterlie&e, iv. 21ft. 2. Sluftrttt. 97 $erteugnetefl beg Hinben 23ater3 ©contact). 1740 ©ott after ift gerec^t ; ben bu fcergottert (§rrcar)l"t fetn 2Binf jur ©eifiet beiner ©djmlb, Unb roeifet betn ©efcr/tcf an ntein (Sr&armen, 2)en bu fcergeffen in be3 ©lucfe^ ©cr)o$. ©rifetbU. SKcin 23ater, tyore mid; ! Sebrtc. Set) wiU nicr)t ^oten! 1745 ^omm, Stnabt, fomm, geleit' mid) in bie £tttte, Unb bu, fcernimm bieS $Bort! 9ticr)t ©cf}u£ unb Dfibacr) 93erfagte je bent Stucr)tigen mein <§att3: $lucr) bir gercdr)r' id) it)n ! — Sort ift bie ©dntefle ; 2>te $r)itr ift offen, meine -^rme nid)t ! — 1750 3d) rcitf bid) fret fen, trdnfen, gaftlid) fcr)it|en; Sod) fotf bein 2lrm nicfyt meine ©d)ritte. fifteen, Sein SBticf nid;t met)r in meiner ©eete lefen. — Su fcift ntein ©aft, metn Jtinb fcift bu geroefen! ©rifetbig. SD^ein $ater, t)ore mid)! Gebric. 9tein, ify mil nidjt t)oren! — 1755 (£3 frtidjt bie $t)at, ntict/ fott !ein 2Bort Betcjoren ! (@r gefyt auf ben itnaben geftufct ab.) ©rifelbU. ©0 i)ort benn it)r mid), if)r, beg «§tmmel3 ffiolfen, Unb bu aflfd)auenb golbner ©tra^l bet ©onne, Su 2luge ©otteS, fiet) auf mict) t)erafc ! £u milbrer Q3ater, ber int £icr)te tt)ront, 1760 H 98 OrffeiM*. J)u fennft mein £erj, bu ptkfttft meine 6eele! S)u faf)fi ben @d)merj, ber meine SSrujt gerriffen, 911$ ncu) bem $obe id; bie Gutter rcufite, Unb fterfcenb i^n i?or meinen 5lugen faf, 9ttcr)t fimb'ger ©tolj ^at mein ©emut fcergiftet, 1765 9ltcfyt ©lan$ unb dimmer metnen 6inn fcerfetyrt; SBup' id? fur 6d)ulb, fo la$ fie, <§ err, mid? fennen, 2)enn, rcaS bie 2ftenfd)en mein 23erger)en nemten, 3ft £ieBe, £tefce, nimmerme^r ift'S @d)utb! (9la$ einer $aufe in rugger Saffung.) SSorufcer jog ber grufiling metner $age, 1770 Unb metneS ©lutfeS Retire (Sonne fan!; $)od? rcitt aud) nad)tenb ©unfel mid) umfangen, £>er ftiefce 6tern ift nid)t l^inaBgegangen ; Sie riffen <§anb au3 «§cmb, nid)t $er# fcom «§er$en. £)er $l)rdne, bie auf meiner 2Bange gluf)t, 1775 ©luf?n (Scfyweftem-in ber $erIen(Tut ber feinem $>ie ©eufjer biefer gramerfuflten SBruft SSegegnen feinen in ber £itfte Sfteer ! — Qluf! SBaffne bid) mit 2Jhtt, gefceugte <$eele! £ftid)t ftnfterm ©rame gtfi bid) trdumenb fn'n; 1780 ©u fcifl nid)t elenb, benn bu fcifi gelieBt ! 3m SBufen tief gefeffelt rut)' bein @d)meq, Unb vciU er fd)rceflenb feine SBanbe fyrengen, 3n Jtlagen fid) auf beine £i££en brdngen, @o ben!', bu fcift gelieBt unb bu barffl IteBen, 1785 Unb aufrcdrtS, aufrcdrtS rid)te beinen ©lid! (@ie ftnft erfdjcpft auf ben 2ftoogft&; nad) eincr $aufe erfdjeinen $ e t c t tt a I unb © a to i u im £tntergrunbe ber S3u^ne.) iv. 21ft. 3. Sluftritt. 99 fritter Sluftrttt. ©rifetbtg, $erci»al, © a tt> in. *Percis?al. D t>a$ rnetn Sort jit biefent $am£f micr; jrcingt ! Saf id) bem eigenfuc^t'gen ©rang ber (seele, 3n tf)rer £ieoe iiBermaj? jit fd)tx>elgen, 3^r ©IM geo^fert unb bag meinc mlt ! 1790 SaYS nict/t urn biefeS «§trngeftrinnji son (£^re, 3$ fagte : Stein, unb W ganj $itl Solgt un3 bie Jtonigin? ® a vo i n. 3n jenem £>icfid)t l^arrt fte unfreS SinfS, Unb bort im grunen fatten rutyt ©rifetbig! 1795 $ e r c i J? a I. @te ift'3! *§inroeg, fcerfcergt euc() bort im 93ufd)e; 3d) lof mein Sort, il)r foHt e§ mir fce^eugen. (©ah) in gefjt a&.) ©rife IbiS (in tiefen ©ebanfen, foridjt Ijalbtaut »or ft$ fun). 3ur Otofc fprad) ber Slitter, Sag welffl bu in SalbeSnac^t ? 3)u fotffi am <§ut mir ^rangen 3800 3n beiner *Pur£urtracr/t. 3d) ttrifl bir am «&erjen iprangen * Unb nid)t an beinem *§ut (@ie erBticft $ e r c i » a t unb fdljrt auf.) Oil), $ercit>al! $ e r c i *} a L 3d) tin e3.— glie^ft bu mi#? H a ioo ® t i f e I b i 8. ©rifelbig. SDh fctft eg ! 3a, bu fiift'g ! 5)u fte^efi lefcnb 1805 3n Hu^enb fetter 3Birfftd)feit fcor mir; jtetn Blether ©fatten ber (Srinnerung $aud)fi bu mtr auf aug tnmtem $raumgennn\ $>u fciji eg ttrirfltd), betne fii^e tout 93on SBorten, 9ltem fc^treflet betne 93rujt, 1810 £>ein $uge gtufyt, eg ftra^len betne 2$angen. SJKt biefen 5trmen barf id) bid) umfangen, Unb ntd)t in £uft ^errinnt bein teureg SBitb. $ e r c t b a I. ©rtfelbtg ! ©rifelbig. $ercifcal! D nun tfl atfeg, 3fi atteg nneber gut! <§inaftgefunfen 1815 3n ber 93ergeffenf)eit aufwattenb S^eer #iaufd;t att' mein £eib ba^in mit i^ren 2Bogen! 2ftetn tnft bu, metn! 3d) f\ii)V mein £er# eroarmen, Winn £err unb mein ©ematyl, in betnen airmen! $ e r c i & a I. £) rear' id) nod) bein <§err unb bein ©entail! 1820 ©rifelbig. Sag fagft bu? 3&k? — D 2Baf)nfmn meiner ©eele, 2)er £Btrfltd?Mt mit leerem £raum fcermengt! 93em>irrte ©inne, lernt §ured)t nvfy ftnben, Unb fcr/eibet, rcag geroefen, unb wag ift. $ercit>al (fur ft*). Sta$C btcfy, metn <§er$, unb tro|e ifjren ^rdnen! 1825 ©rifetbig. Winn i;otyer «§err! 3d) roeig, bu ^aft fcergefcen, iv. 21ft. 3. Sluftritt. joi Dafj Hinber Saumel tdufc^enb mid) etfagt; *ftun jic^t mein ©djtcffat liar $or tneiner ©eele, Unb voofy etfenn' id) beine Mbe, £err! Dm lamft ju meinem £roji micfy J)eimjufucfyen, 1830 s Uftt milbent 2Bort erfcarmenb fit ju trdufeln, Unb SBalfam in bie SOBunben meincr SSruji 0limm meinen 5)anf bafur! $ e r c i t> a I. £5r' mid?, ©rifelDig; (£r6armen nid?t fittyrt mid? ju bit tyeraug ; Der 3ftorgen ber Cmtgeltung ift entglommen, 1835 3d? teiP bag £og, bag itber bid? gefommen. Der Jtimig Hagt mid? £od?ttervateg an; 3d? bin fcerfcannt, fcerlufitg meincr £et?en; $erfolgt, ber 2ld?tung SSranbmal auf ber ©time, 3rr' id? umf?er, Die ®£dl)er auf ben Scrfen, 1840 Die Saujl im 0laden, bie mein <%aupt fcebrol?t. ©rifelbig. SSerBannt unb flud?tig, unb bein £au£t £ebrof?t! Qtin teureg £au£t ! O muff id? bag erleben ! Unb bu fcerroeilf* nod? ^ier, bu roagft $u $6gem, 2Bo eg bein Men, beine Sreityeit gilt? 1845 SKe$! gliel?! $ e r c i s? a t Umfonjl! Umftetft ftnb a«e $fabe, Da if! lein 2lugroeg, feine Sftettung me^r. ©rifelbig. D (0 erleud?t' mid? bu, bu SBorn ber ©nabe, 3d? mufj ifyn retten, f?tlf mir, SBeltentyerr ! io2 @rifetbi& $ e r c i & a L $>u ttiflfl: mid) retten, mid), ber beinen JtnaBen 1850 £>em Jtonig fjingaft, ber bid) rauf) fcerjliefi, $)er jeben @d)mu(f beg Meng bir entrig ? ©rifetbig. $Bar eg beitt 2Bifle benn, mem §erj ju Irdnfen? Unb if! e^ 3eit «& mein @efd)itf ju benfen, 28o beineg, $err, am Oianb beg $6grunbg fd)tre6t? 1855 ^omm, wenn auc^ $eere mir entgegen traten, 3$ muff bicfy retten, unb Bet ©ott, id) nrifl'g! $ e r c i & a I. £a# a6, lafi aB! 9lur mtt ^immterjie^t ©id) mein ©efdn'cf ! <£g gilt bein 23lut unb Men! ©rifelbig* D fyrad)jl: bu n>a$r; burft' id) bieg arme iiUn i860 gut beineg geBen, jlerBen fur bein £eit ! Berrtffen ift bag SBanb, bag ung fcerfnityfte, 5)od) biefeg «§erg if* bein! — 3Wd)t metyr an beinem 2(uf{aud^enb barf eg ru^n, nid)t me^r entjucft $ln beiner SBrujl fcwr 2Bcmne uBerfliegen ; 1865 0ttd)t feine $iefen metyr fcor bir erfcfyliefjen ; Sod) firemen, <§err, ja Bremen barfg fur bid)! $ e r c i & a 1. 8a§ ab ! Sflein S^itffal ruft, Eftfi micp etfutten ! 2Bie SBaffen gldn^t eg bort ttom SSufcfye ^)er. ©rifetbig (Ijafltg). ®te ftnb eg; fort! (Sntftiel) ! D JjaB' dtfiatmen 1870 2fttt meiner Sobegangji ! 93erBirg bicfy, fliel) ! iv. 21ft. 4. Sluftrttt. 103 S)u femtft im tief tterjlecften <&fyo$ beg 2BalbeS £)er £irtjle ©cfylunb, i?mt (£pl)eu itBerranft, S)en ®£iefyla£ meiner Jtinbljeit, mem ©e^eimnig, 9lux bem gelieBten ©atten anttertraut 1875 SSerBirg bi$, £err, in xi)xm gelfenriffen, SBemt ic^ nid)t fierBen foft ju betnen gotten ! Vlty, ^erctoat ! 3)ort ftji bu ficfyer ! Slie^ ! $ e r c i & a I (® r i f e I b i $ tyeftia, in feme Sttme preffenb). ©rifelbiS ! gngel I flftetterin ! ©rifetbU. Bitty ! glie§ ! ($ ere is at etft aB; ©rifetbis Biicft ifjm na$, bt^ er im SDicftdjt tterfdjnmnben ift, bann (inft fte auf bie Jfrtiee, bic £dnbe jldjenb gum £imme{ erfjoBen, unb fyridjt) : (£rrett ; ifyn, <§err, unb mid) nimm, mid) jum D^fer! 1880 SSterter Sluftrttt. ©ineura erfcfjeint im Jpintergrunbe bcr Sftfjne mit Driane, 2 an ce let, ©a win unb ©efolge; ©rifetbig fpringt auf. © i n e & r a. $ierljev nai)m er ben ffiea, ; fcerfolgt bie ©jmren ! £>urd)fya$t bie SBixfd^e ! ©treift ben 93acfy entlang ! <§err ©attain, forfeit in jener £utte flftaum ! 3t)r miijjt iljn finben! (Silt! (©ah) in mit 33etoaffneten aB.) ©inettra ($u ©rifetbig Bintretenb). £u aBer , fyrict) ! (Sr fam an bit ttoritBer ! ©tef)' un§ CRebe ! 1885 SBoljin entffol) er, rco fcerBarg er fid)? 104 ©rife IMS. ©rtfelbtS, 2Ben fttcfyft bit, tonight? ® i n e & r a. ©u taufcfyft mtcfy nicfyt SD^it fd)tid)ter (£tnfalt nac^gea^mtem ©c^etn ; £Bie bu mid) fennefl, fo aud) lenn' id) bid) : £>u ftfi ©ttfelbiS, $etcitfat3 ®ema$l! 1890 SBtr fud)en i$n, ben flucfytigen SSerrater, Du after funb* unS, rco er ftd) ttetfcarg. ©rifelbiS* 3dj, Jtonigin? © i n e & r a. (£r fam an bit i?oruBcr ; S)u notift, *rol)in er ffo$, ©rifelbiS. Uttb trenn ic^'S nmjjte 3d? Bin ©rifelbiS, CPerci^aX^ ©entail! 1895 © i n e & r a, 93erraterin, bu fcirgfi fein fd)ulbig £au£t; 3$ rceif eg, leugne nid)t, $ §a6'3 gefefjen. ©rifetbiS. ©ott fa§ eg aud), unb feine ^Bolfeit becfen 3)e3 gluc^tlingg ®pur ! 3§n f^irmen feine (Sngel, Unb Sftac^t umbunfelt feiner fteinbe ©lid. 19 00 © inettra. £)er Ufcermac^t nicfjt fciete Srofc, ©rifetbiS,! 33ermi£ bid; nicfyt mit Jtdnigen ju ringen ! <$iel) J)tn, rings auggefteUt ifi unfer 9le£; iv. 21ft. 4. Sfoftritt. 105 (Srrettung nicfyt nnrb ifyx bein 6d)n)eigen fcrtngen, Unb notify betn etgen <§au£t bem 23lutgefe§. 1905 £>enn ift er nicfyt in unfre <§anb gegefcen, 8$' bie mnutt ffie^t, ft gilt'd betn £e£en! ©rifetbig. £ier ijl eg; ntmnt eg §in! © i n e £> r a (ijalBlaut $u ityrer Umgebtmg)- Seim en? 'gen ©ott! 3ft bieg bag SBeiB, bag o$ne 2BiberftreBen, ©e^orcfyenb wie bie Sftagb bent SBinf beg £erm, 1910 3^r <§aug fcerlteg, ify Jttnb bafn'n gegefan? Lancelot, 23ergefceng ntii^ft bu bid) ! £af| ab, ©tnettra ! (Sin £etj Soft £iefce fennt nidjt £obegfurcfyt © i n e & r a, 3n biefem 2Bei6e lefct ein fut)ner ©etft; 2)ag Sraumgercefce meiner ^offnung reifjit. 191 5 (3uD rianen.) ©prtcfy bu $u ify ! 93erfucfy' fte $u erfd)iittern ! D r i a n e. ©rifelbtg, fyx' mid) an! £at $erctoat Sfticfyt in beg ^onigg <§anb bein Jltnb geliefert, £)icfy felBft, mtt eblerm ©tamut ftd) $u fcerfcinben, <§inaug geftogen tyulfloS, arm unb nacft: 1920 Unb xi$ er nicfyt £om ©tyfel beineg ©litcfeg, 3u bent er fd)nnnbelnb bid) im Slug er^oben, 3n \afym ©tur$ ^ermalmenb bid) ^inafc? tyat er nicfjt fo ? — ©rifetbig. dx tfyt fo, n?ie bu fagji! 106 ©rife lb t5. D r i a tt e. Um £ieBe magfl bu jebeS Dpfer Bringen, 1925 Urn SieBe felBfl be3 $obe3 ®rau3 Be^nmtgen; $>oc() rcar e3 £ieBe, wag bir $ercit>at 23mue3? 3n beine 3ftad?t ift er gegeBen, <£r na^m bir atfeS, nimmfl: bu nidjt fein £eBen? @r if el big. D me#t nid)t £ieBe mit fo engem 2ftag ! 1930 2Ba3 rcare £teBe bernt, rcenn fie nic^t gdBe Wltyx, att fie felBft em^fmg, rcemt fie nic^t trixge Sftetyr, aU fie aufertegt, ttenn fte nid)t ftitnbe ^in ftarfer Sel3 im Jtam^f emporter 2Binbe, 2Benn fie nicfyt treu unb fefl im Unglucf BlieBe, 1935 5)er <&0ffmmg letter SHefi; rca3 ware £ieBe? 3d) ffonb umftrafytt fcom ©djtmnter feiner (S^ren, Soil id) Bet 0lac^t if)m nun ben Oiucfen Mjren? Lancelot. D i^re ©eele gteid)t bent Blauen dimmer, Unb felig rcoljmen in bem ©tan^gercimmel, 1940 ©teid) lid)t umjToffiten (Sngeln, bte ©ebanfem ©inettra. SBringt Jtetten tyx, unb feffelt i^re <§dnbe! ©£rid? bein ©eBet, bein SeBen nafyt bem (£nbe. ©rifetbU- <§ier Bin i<$, SSater! 0limm bie3 arme £eBen, (£m£or $u bir tafj meine ©eete fd)rceBen, 1945 Surucf jum Duett, tton bem fie cmSgegangen, £a£i fte auS ©tauB unb 2£ober fid? ert)eBen, Unb rcenn aud) (£rbenmafet an fyx l)angen, iv. 21ft. 5. Sluftrttt. 107 3>u fannteft £err, ii)x UmumotttZ 6tre£en ; (Bin giit'ger $ater nnrft bit fte empfangen; 1950 3cfy liefcte iriet, unb sriel rcitjl bit Setgefcen. Lancelot. 93ergeben3 trill fie <§interltfi umgatnen, £)enn £iefje roacfyt, tl)r treueS «§erj ju tratnen. © i it e & ¥ a. 3n tf)ren 2Borten liegt ctn 3aufcetflang, £)er rit^renb treid) bie <8eele mtr burd^ittcrt. 1955 (BuDrianen.) ©r ftegt! 91ie rcetb' id) biefeS *§er$ trfdjfittettt. gunftcr Sluftritt. $)ie SSottgen; ©atoin fcmmt mit fcinen ©egteitern, tie (Sebtic mtt fid) fu^ren, aus ber §uttc. © a tx> i n. (Srrfutfet, Jtdnigin, rcatb bettt ©etyeifi. £)ie <§ittte bort cnt^tett nur biefen SBltnben, Unb fetfcft nun, «§erttn, tnagft bu \i)\x Befragen. ©rifelbiS. Wltin 93atet ! ^eil'get ©ott ! 2ftetn $ater ! i960 ©ine&ra. 3tyr 3Sater? — 9lp$ nid?t atteg ij* fcettoren! — (3u©rifetben.) 931icf ^)in, unb $5gre nid?t me^r ju gejW)en ! (Sr tctlt bein £o3 ! SBifljt bu itjn perBen fe$en ? ■io8 ©rife I bid. ©rifelbi$ (fnieenb). D Jtimigtn! fc^on' feittcr greifen £aare, ©iton' i^m ben fur^en Otefl ber fludjt'gen Sa^re, 1965 S3i$ ©otteS (Snget einji fein Slug' fcerityrt, Unb i§n empor gum ets'gen Stcfyte fafjrt. Lancelot. 0Ud)t langer quale fie! £ag a&, @inet>ra! © r t f e I b i 8 (in f ramtftyafter Slufregung), jp lag erftarmenb mtlbe ©nabe roalten! SBebro^e ntcfyt bieS matte, rcelfe £eBen! 1970 2JKcfy fuf)r' gum $obe, micfy! 3^)m fci fcergefien! ® tne fcr a. (B^rtd) unb er leBt ! SDetn ©djroeigen totet i^n I ©rife lb iS (nadj Ijeftigem innem Jtantyfe auffcfyreienb). (Bo fd?u§t il)n i^r, tf)r (Sngel ! 3$ mug fdjroeigen ! (ermdt)len ? 91 n a I b. timber, S^or! @eiter Sluftrttt. Lancelot unb ©ah) in treten auf, todfjtenb Oionatb unb bie £>iener ftdj nad} fur^ent 93ettt>ei(en im £intergnmbe ber 93itfjne atfmdljlid? entfernen. ©an; in, 33erlaffen roottt tfjr ung? SOBottt eud) ent^en £>er £ulb ber Jtonigin, bent «§of beg Stbni$ ? Lancelot. Wlix ift bag £er§ fcerroanbelt unb genxnbet, 2030 , v. aft 2. Slufteitt. 115 Unb id} erroad)e trie au8 rcuftem $taum. 3d) tyafce fciel erlefct in rcentg $agen! 5Die fteffeln, btc mid) ^ielten, ftnb $erfd)lagen; 3d) fu^r eg, ni$i ber grofite €Hei^ if* at imb Xrtftan $ e r c i t> a I. 60 ift beg £rugcg fiajl fcon mir genommen, 3)ag SSanb ^erriffen, bag tnetn <§er$ umftricft; £)er Sag ber ©ur)mmg ift fjeran gcfommen, 2060 $)er mit SSerfldrung bie 93etrdl)rte fd)mucft. O SBorte ftnb ju arm fur i^re Sugenb ! <§ier fc^tx>or J id) at) ben 8re$el meitter Sugettb, Unb unermefilid) trie ber fclaue *§immet ©oft meine Siefte fein! (Sin ©lanjgenrimmel, 2065 (£in 2fteer fcon Sufi fotX raufcfyenb fie umfliefien; 31)r 2lug' foil feine £l)rdnen imfyi fcergiejjien, $Ig urn bie Sftofe, bie ber ©turnt gefnicfh #&mn fie beg Seibeng tiefjien $fuf?l ermeffen 3n ^od^fier 2Bonne fofl fte eg ttergeffen ! 2070 Srtjtan. 2Bol)l eucfy, <§err $ercifcat, rcenn'g eud) gelingt : $Betm ^u^Iung fdcfyelnb mit ben fcunten ©djnringen $)er Slug ber Sage i^r ©enefung fcringt. 3)od? furc^t' id? fe^r, ju tief ftfct i^jre 2Bunbc, 9llg bafi ifyr <§er$ gan| narBenlog gefimbe. 2075 $ e r c i ij a I. £aj? auf ber £iefce 3au6ermad)t mid) fcauen, v. Sift. 3. Sluftritt. 117 %a$ ifjrem *§ergen forglo3 mid) fcertrcwen, 2)a3 unerfc^uttert an bem meutett Ijdngt. 53ef rott^Xt ber @d)mer j, bod; mdcfytig ^ertfcfyt bie Sreube. S&znn fie ityr Jtinb an ii)ren SSufen brucft, 2080 SBenn nteine ^Irme gtitfyenb fie umfangen, 3)ann fe^rt bie Otote ifyren Bleicr/en SSangen, S)ic 3h$e fe^rt in i^re SBrufi gutiitf. $Birb nid)t ijjr £o& *>mt atttn £ty£en flatten, 2Birb'g ntd)t tin £ieb be0 SftinftrelS »ieber$aflen, 2085 Unb tyefl ertonen Bis $ur fernflen 0ett? 3u meiner «§eit'gen tciff id? fte er^eBen, Unb fu^nenb ityrem 2)ienfi roei^' id& ntein £eBen; SBie raedjfelnb fid) beg SttonbeS £icr)t erneut, @oB etmg neue greube fie umweBeit; 2096 , Stiftan, unb fie witb fcergeBen! — £err ©annn, fprcc^t ! 2Bag fdumt bie Jtonigin? 8ie ga6 if)r SBort, rcann enblid) roirb fte'3 lofen ? © a win. 9t9$ grceifetnb fdmjjft in ber SSeflegten ©eele, 2Bie roedjfelnb oaf ber 2Bangen 93Ia§ unb 9ftot, 2095 SBefdjdmung mit ber $fU$t; Gntfdjlufi tnit ©djrcd^e, Unb feefranf gang t>om ©cfyrcanfen il)re3 ©eifleg, 0tingt fte nacfy ©tdrfe, flammert jldj loergnjeifelnb Sn eineS SBorteS ©tro^alm, bod; nut tiefer SSerfinfet fte im SBirBel ber ©ebanfen. 2100 $ e r c i 9 a I. ©ie gaB i^r 2Bort, unb rcetgert ftcp $u lofen? © a n? i n. 6ie voiU unb will bod) nicfyt. ©rifelbenS ©ieg £at il)r ©emitt fan Snnerften erfd)uttert, n8 ©rifelbU. 95efd)dmt erfennt fte ityren ganjcn SBett, Unb fdnfe getn fteinntlig il)r ju Sitgen. 2)od), n?a$ tal £er§ ij)t rat, rctfl fie ntc^t muffen, Unb mufj eS boc^. £)emt Jtcnig 2lrtu3 bringt Qtuf Wfttttg i^reg SGBorteg ; ©Mm ni$t, 35efe^Ie tonten etnjt au8 feinent 2Jhmb; llnb aU id) fie berliefji, fcfyien ifyr SBeftrefcen, <$idj tourbig in fyx ©djicffat $u ergeBen : itnb feljt nur, fetyt, ba lommen fte tyercm. $ e r c i & a £ ©U ift'3! — «§a6t meine Sftannen i^r fcerfammelt? ® a w i n. (£3 Ijl gefc^e^en. $ e r c t & a I. SDMnen Jmafcen, £rifian, 3f)r fcracfytet ii)n ^uriicf in btefe 3ftauern? Stiftan. 3n SftonalbS $rme §a&' id) tl)n gelegt. $ e r c i *> a I. s Jiun ift mir roofyt! 5tufatmct meine ©eele, $>ie Befte (stunbe meineS £ei6en3 fcfyldgt. SSierter Sluftrttt. Xn>ntyetenfto& auger ber 23u(jne. ^onig 2tvtu$ unb ©inettra im Bntglidjen (Sdjmucfe, Driane, fitter unb £)amen, $evcittat$ Sftannen in ttjrem ©efclge, txtkn im feierlidjen 3uge auf. t^onig $ 1 1 n 3. ®aftfreunblicfy, $erctoal, in Ujrem @$$$e (Smpfingen un8 bie 5Eauern $enbennty3; 2120 v. 2lft. 4. Sluftritt. 119 $)od) otyne 8titd:i)alt rcoflen rctr geftefyen, Sag feine (scfyrcette ung fcefd)reiten tteg, Sar tntnber Sunftf;, bic^ freunblicfy ^etm^ufucfyen, TO Beigulegen ben oerl)af?ten 6trett, £>er fetnbltd) *§of)eit unb SBerbtenfl entgvreit, 2125 3u f$u|en jiilXen Sert oor ^eroer $rufung, Unb £ieoe ttor bent Sfttprautf? i^rer 5ftacfyt! — 3)ocfy wir oerne^men trauernb, fd?on gefcradjt 6ei jebeg £)£fer, bag ber ir? 5)te @tunben eilen, £a£it ung ber i K ©inefcra, trenn ben ©djimmer imfrer Jtrone 2145 (£rniebrigung ung trufonb ^eut Beflecft, $Bir tttuffen fur fcerbient bieg %o% eracfyten, 91id?t, weil trtr betn 23ergel)en Je geteitt — SBetl nrir Betort eg nicfyt $u ^inbern batten! ($cnig 9lrtug unb ©inettra ftetgen £U bent Xfytcnjtfce tytnan. $ ere is at %kfy ftdj Winter bie {fteifyen feiner 33afaften jurucf.) Sunfter Sluftrttt. 5Die 25 or i gen; ©rtfetbt$ tritt im SScftenfteib unb @d)urge^ bie @$ritte (£ebric$ leitenb, auf. (S e b r i c. ®rifelbi§, fyricfy! Sfl eg ber ©eg ^um $obe, 2150 5)en bu mid? futyrf*? ^onig QtrtuS. S&ttt furc^tloS ndfyer, ©reiS; £>ein <§err unb Jtdnig fpric&t $u bit* — ©rtfeibiS! 9lid)t fiaune, ba# bie Wlauzxn biefer SBurg, $)er faum fcerftofien bu ben 3lMm Je^rtefl, @efd?tnMt $um Sefte fdn'mmernb bt$ umfangen ; 2155 2)er Seier beiner Otixcflunft gilt tyx $rangen, S)u after (ten' bid) beiner ffiiebetfe^r. ©rifetbiS. 2Ba8 fagt tyr, £err? 30 SBa^eit, wag i$t fftnbet? 3n tneiner 6eele jireitet Surest unb <§offen, Unb ttnrr untlreift mid) ber ©ebanfen Slug! — 2160 <§q ijt fcon ^Percit>aX ber 93ann genommen? £>er £ap getitgt, ber beiner SBrufi entglommen? — Unb mir, mir fagfl bu f ^rangen biefe Sdnbe? — v. 21ft. 5. Sluftrttt. 321 Jlonig Qlrtug. $ei (£ngtanbg Jtrone, 2Baf)rf)ett funb' id? btr. ©rifelbig. £)ag Sort beg griebeng tont fcon beinen £ty£en, 2165 S'lic^t Sornegbonnet, noc *? ^ er #tod?e @d?rei; £)ag tyolje grauenfcilb an beiner @ette, 9ttd?t grimme SSUge fcfyteubert me£)r i^r 93Iicf, Unb milbeg Herein praljlt aug ifyren 3ugen. D mnn eg SBa^r^ett ip, rcag bu mtr funbejl, 2170 60 ftef) mid) ftefjenb fjier ju betnen Sujjen, llnb meinen SSitten offne nttlb bein D$r ! 6 e b r i c. 9tetn, fcitte nidjt! alg ©efdjicf: fle^ id) ^u btr. £afi beiner ©nabe ^etfen 8rutylinggfd;immer 3m alten ©lanj urn feine ©time ^rafylen; 2180 3n feine £anb juritcf gift Wlafyt unb <§errfd?aft, 3n feine «§anb, nicfyt in bie meine, <§err! SBo^I hnn' ify meinen 2Bert, unb meine (stefte 2Bar nimmer in beg ©rafen potent <§aug. (£ e b r i c. Unb barum, £t)5rin, ftiefi er Ufy l)inaug ! 2185 Jtontg 3trtu8. ©rifelbig! ©em &erfd)nnegen nnr aug <&d)am, i%% ®rtfetbi3. ffiaS bir jum «§etle flcfy ent^utXen mu£L (£rfaf)re benn: bid) tdufcfyte leerer ©cfyein; 2Bir riffen nicr)t bein Jtinb au% beinen airmen, 0loc^ trennte unfer QBitXe eutert SSunb; 2190 0lte broken beinem ^erctoal ©efaljren; Du Befctejl 6cr)red:en, bie ntcr/t finb, nod) rcaren, £)u ^ittertefi fcor einem ©c^attenfcilb* ©rifelbiS. 2Ba3 fagt iljr? Seerer <8d)ein — unb ©djattentnlber ? 2Eein JtnaBe — $erctoat — nur leerer 6cr)ein? 2195 2Ba3 id) crlitt? — 3)er ®^mcrj, ben id; gendljret Wit meiner Sei&eSfraft, ber fie fcer^ret ! — Unb leerer ©djetn? — ©rtyetft mtr biefeS £)unM! 9hcr) £icr)t, nact) 2Sa1)rf)eit burftet rnetn ©emut ! (£ e b r i c. 2Bie, fyelt ung tdufcr)enb leerer ffla^n umfhricft? 2200 £) r i a n e. ©in SBort, ©rifetbig, loft bir biefeg 9ftdtfcl, Unb lixftet jeben ©cfcleier beinem 33lici 2Ba3 bu erlefit, rear nur ein gaftnad)t6fcr)er$, 3)en $erctoal, ber ©djalf, ntit bir getriefcen, ©in 90hnnmenfd?an$; ber 9lnlafj — eine S&ztk, 2205 2)er $rei3 — ber Sufifatf einer tonight, Unb beine ^rdnen gingen in ben Jtauf! (S3 gait ja nur, bid) rcurbig $u er^rofcen, 5)a£i er bag Jto1)lerfinb $u ftd) etfyoBen, Unb nid)t getritfct baa SSoflblut fetneS ©tammeS. 2210 (Sebric. $)armn! £>arum ! D freezer Ufcennut, v. 8lft. 5. Sluftrttt. 123 Der t&erjeti ^rtift in fyerfcer S^rdnenfhtt! ($etcbct( brdttgt jt$ cuts ber $ftenge fiercer, unb ftur^t ft$ gu ©tifelbens guffcn.) $ercit>al (ffo&enb). ©rifelbid, jurnft bu mir? ©ergifc, ©eliefcte ! £ofd)' son ber £afel ber dmnnerung ©a§ 2tngebentm beineg £eibeng tceg; 2215 £a# beinen SBUcf aSerfotynung niebetjiraljlett, Unb in ben $lfcgrunb nte erfcfyopfter £te&e 3Serfenfe bag ©ebdcfytnig meiner ort3ei ! ©efcorgen if! bein Jtinb, bein ^Bater fret, £>ein gan^eg ©lite! ift bir juruefgegeften ! 3Sergi6 aucfy bu! — Sfttcfyt langer benf beg ©pteteg, 2225 £>ag beinen SSert^ gepruft ! (£g ifl ttora&er; £aj? eg fcergeffen unb fcergefcen fein. ©rifelbig. ©in ©piet, unb id) ! — (©ie brucft einen SfagenMicf fceftig bte §anb auf3 §cr^ ; fdjldgt bann rafd) betbe §dnbe set bte Slugen, ffceljt etnige ©ecunben fdjtoeigenb, Ijatt) abget&enbet, bann fpridjtfte:) (S3 rcar tilt partes, tf)rdnenreid;eg ©piel! 124 ©rifelbi*. $ e r c i & a L £)u rceinft! D lafi fcerffegen biefe Socmen, 2230 6ie nwtften mid) urn meine SBa^l &et$d$nen, £Betl SBalbeSbunfel bid) gefcar, rceil bid?, £>er ©d^nfyett 95tlb, umftng ber Strmut 9ta|men: 2)a fletXte ic^ bent $runfe fielder Sftamen £>ein <§er$ entgegen, beincn reinen (Sinn! 2235 3d) fitf)rte bid) burd? fc^rcere £eiben f)ut; <£>u l)afi geftegt, geftegt in jeber $roBe, 33or bir im ©tauBe muj ©inet>ra fnien, Unb (Snglanb nriebettyattt Son betnent £ofce ! — SBiflji bit mir jitrnen urn fo §o$en SRutym? 2240 ® inefcra (bie tnbeg mit $onig Slrtitg »cm X^rcnft^ fyeraBgeftiegen). ©rifeibig, er fyricfyt voatyl 2Bir leugnen md)t, ©in QCnteil feiner ©cfyulb britcft meine @d)uttern; $8a3 er ttoflBrad)!, rcir ^aBen tg erfonnen, 2Bir f)afcen Steue, bu ben @teg geroonnen; Unb frei Mennen voir nad) unfernt 2Borte 2245 3m 9htgejtd)t Son (SnglanbS 0titterfct?aft, £>af| tfronertglanj fcor beinem 2Bert erWinbet, J>ajj, ging'3 auf (£rben nad) SSerbienft ttnb Sftecfyt, £>u ^dn'gin nmrfl, unb (SngtanbS Jtrone tritgeft; Unb ^ier }u beinen &uj5en fttte ic^ ^in ; 2250 23ergiB, xua$ freoler ©tolj an bir fcerfcrocfyen! *P e r c i & a I (in ftoljer greube). ©ie fniet! D ruft e§ auS in atfe 2Binbe, Die ^onigin fniet &or bent Jto^lerf inbe ! ©rifelbiS. D tonight! <&te$t auf! — (£r^ort mein 8M)en! v. 21ft. 5. Sfaftrttt. 125 3^r fotXt nicfyt fnieen fcor bent Jtofyferfinb! 2255 £)er @ieg ift mein, lafjt mid) ben $tetS t>erfc^md^en, £)en ^ittre $dufd?ung qualsotf mir fcerbient ! — 3t)r nteint ben £orfceer urn mein <&aupt $u fd^lingen, (£3 ift ein £)ornenfran$, ben id) erftritt; $)enn afle ^Cngfl beg SobeS, bie ify Hit, 2260 $Bar minber fyxb, aU voa& id) \t%t erleibe. S)er ©Iau6e ging mil mir im SBoflenHeibe, 5113 id? getdufd)t aug btefen fatten fd)ritt ; 9hm flo^) bie £dufd)img, bod) mein ©laufce mit. $ e r c i & a I. ffiie? «&at bein Slug 7 nicfyt einen Slid ber fctrie, 2265 2)ein 2ftunb fein £dd)eln metjr fur ^3ercit)at ? 3Ba3 ©tolj Serfcrad), bie £iefce nntb'S erjiatten; ©em ffiinbe f)in gib ufcertmtnbne ©orgen, S)a3 ©unfel fd)rcanb, nnb fetter ftra^It ber Stforgen. 2Benn id) ben £Bermut6ed)er bir gereid)t, 2270 0Zun mifcfy' [^ bir ben fufien %xaxd ber Sreube; (&in SBIutenfranj fotf bir bag £efcen fein; Die tief ge^etmfie Otegung beineS £erjen8 93erfel)r' idj bir in ftot)e 3Bir!lt(^!eit ; ©eltfl beiner Srdume SBunfd) nritt id) erfutfen, 2275 Unb faum ern;adj)t, bir jebeg ©etynen fiitfen, ©0, bafj SBeft| bir eing rcirb mit SSertangen; 28ie 2tfeere3flut urn biefeS (Silanb freifi, ©0 foil (£ntjucfen raufd)enb bid) umfangen, 93ergeffen foUft bu, n?a3 entbe^ren tyeifit. 2280 ©rifelbig (tangfemt, mit IjatBge&rodjener ©timme). $Ba3 bu &etfyrid)ji, fcermagft bu nicfyt gu gefcen! 9ttd)t greube me^r nritb biefen SBufen ^efon, 9lid)t Sonne me^r fcegeijlert meinen SBlicf! — 126 ©rife IMS. Stann 2#ad)t unb ®tcm§ bag arme £eBen f^nmcf en ? 9ltd)t ^o^eit, $rad?t, nur SieBe !ann ent^uden! — 2285 D $erci$al, bu f)aft tnein ©lucf fcerrcettet! (£tn ©^ieljeug rcar bir biefeg treue <§er$; $lm $faf)l ber ©d?mad? l)aft bu mid) angefettet, Unb £rei£gegefcen immer tteferm ©d)mer$ ! £)u-$agtefl: nicfyt, id) mod)te unterltegen; 2290 £)etn Surcfyten n?ar, fte fonnten bid? fcefiegen! — 93erge6' bir ©ott, fo ttie id) bir SergeBe! — S)u after, $ater, fyrid): bie fc^tuere 6d)ulb, £>er bu mid? jeiljft, ift fie nun aftgetragen? £Benn frefcelnb meiner £iefce U6ermafi 2295 3ur ©ottl)ett if)n er^ofyt, ben 6otyn beg ©taufceg, *§afc' tojj'fl nun aftgeBufit ntit metnen $l)rdnen, STOit ber getdufd)ten ©eele ttefftem td? btefer %m umfcfylingen, 2>arf id? nun ftnfen an bein 23atertyer$, 2300 33 on bem mid) Siefce rifi, ntd?t er ©eele 5)rang, nid?t fimbigeg *BetIangen? (£ e b r i c. Stpvxax, armeg Jtinb; ru^ aug an btefem <§erjen, $rinf ^§eilung aug bem reid?en 93orn ber £iefce, $)er unt>erfdlfd?t im 33aterBufen quitXt* 2305 ©rifetbig. £> fu^re mid? f?inaug in unfre SBdlber, 3n unfrer «§utte friebltd) fHCen 6d)ofi. &ajj an ben treuen SBufen ber 9ktur 55>ie0 tobegnmnbe £er$ mid? trdumenb legen, Unb in bem <&&}attm beg fcemoofien ©tammeS 2310 «§tnn?el!en fterfcenb fetneg 6d?ofjltngg Wlavh v. «fc 5. Sluftritt. 127 (S e b r i c. Jtontm, fomnt; laf? biefe fyter errittenb fagen: ®tc trug ben ©cfymerj, Sc^macfy tyat fie nie^t eriragen. $ e r c i b a I. 2Eit flarrt bag SBtut im £er$en, beine SBorte <£rfd)uttern mir ber ©eele tiefften ©runb; 2315 Docfy nimmer taufcfyt mid) beiner $ftienen (£rnfl; 2Bag i^ an bir fcerBracfy, tritXft bu t>ergclten, Wit finffrer Dro^ung ned:enb mtr fcerfcittern 2)en ftolgett ©tegegjuM biefer SBruft? ©rifelbia, tfyu' eg *nid?t ! £af? bid) fcerfolmen ! 2320 Sftur ftratylenber nrirb ©iegeggtanj bid) kronen, 2Benn «§utt> unb £ieBe beine Ota^e ift ©rtfelbtS. O $ercit>al, mein SBltcf fiifljt bid) mit £fjrdnen, Die £ty£e fcefct, bie bid) fcegrufjen fott; Dod; fyredjen tnu| id), benn eg mufi entfd)ieben, 2325 Jtlar mup eg fein j in Jtlar1)eit trofmt ber grieben ! Sftein <§er$ rcar bein, bu tyafi eg nie fcerftanben; <5g Brad) in betner <§anb ! — Du fonnteft fptelen 3ftit feiner reinen @lut, bu fonntefx ^ra^Ien $flit feiner $reue, feinem D^fermut ! — 2330 2>u tjaft mid) nie geliefct ! — Daf)in gefcfynmnben 3ft tneineg 8tfen8 ftdf) fceglucfter $&at)n, 3n drummer ift mein $arabieg gefunfen, Unb eine £Bujte ftarrt mid) freublog an! — 3d? fann nidjt mit bir get)en, <§anD in <§anb, 2335 #Benn <§er$ fcom £er$en nucfytern fid) gercanbt, 3d) fann'g nid)t, $erci$al! 68 fydngt mein Men, Die $ld)tung meiner fetbfi, mein le^teg ©trefcen 128 ©ttfelbtS. -Kit tnetner Srdume gottergleid)em SBilb, $ln beinem 93ilb! — D lafi tntd) e3 Beroatyren, 2340 2Bie'3 ^ett unb funfelnb tneine <8eele fuflt. $ e r c i & a L 2Ba3 ftnnfi bu, 2SeiB, unb rcaS trittjl bu fcoflBringen ? Otifelbii; 2Benn aud) in ©unfel^ett, tx>ar id) geBoren £)er ffiittfur ©jriel, ber £aune 93atf ju fein, 2fttt einem $Burf gerconnen unb fcerloren? — 2345 ®u $afi ntid) nte getteBt, unb ol)ne £ieBe. 2£ar id? je tmtrbig bein ©emal)t $u fettt, 2Benn id) e3 BlieBe ? $ercioat, bu tm|5t, 3d) ^aB' an bir, an bit a'flein gef)angen ! — 3um <&au& ber 9ttebrigfeit, bag mid? geBar, 2350 Stttyx' ify $urucf, in tnetner SBdlbcr ©fatten, Unb trie i1)r Sliiftem SBiegentieb tnir soar, (soft raufd)enb mid) U)r ©raBgefang Bejktten. $ e r c i & a L SBerlaffen wttXfl bu micfy, bu wiflfi mid? ffiefien? $Mn Btft bu, mein ! £8er barf bid) tnir entjtetyen ? 2355 3d? tyalte bid?, n:er barf bid) mir entreifien ? — 2Ber loft ber Sreue 6d)n>ur, bie bu ^er^eigen ? — © r i f e I b i 6 (tmt unf erbriicf ten Xfytdnen). ©u felBji ! £>u $aji ber £teBe 95anb getrtffen ! — 5Bir ntuffen fd)eiben! — $erci&al, rcir muffen ! — QSergonn' tnir, metnen JtnaBen gu Be^alten, 2360 23i3 meiner Sage farger Otefl ftd? fM&. $)enn rcotyt erfenn' id), meine &it ift urn, Unb rcie bie 6d?walBe fd?etbenb fubwdrtS §te$t, v. Sift. 5. Sfuftritt. 129 (Bo ^eimtt>drt3 fhreftt bte leftenStnitbe (seele! 2)ann magjt bo at3 93ermdd)tni8 il)n em^famjen; 2375 $)er OUtteretyre SSa^nen fu^r' il)n ^in; £Ba3 bu an mir fcerftrad)jl, erfktt' an \f)\x\ — S)u after fte$! in le£en§frifd;em $tan$en, (gin ^o£)er ©tarnm tton Slu^megglanj untftrafylt, llnb noiU mtt neuen SSanben bid) untfangen 23S0 S5eglu(fter £tefte ftegenbe ©ewalt — D lap bid) nidjt fcon fmfhrer 3P^a^t fteroegen, Qlnd) ityr ber $rufung ®d)lina,en ^ingulegen, ^inn nur urn £iefte cjiftt fid; £ie6e t)in! — (@ie geljt mil (Sebric langfam aft.) $ e r c i i? a I (mfl itjr in ben ©eg treten). ©rifetbiS, mid) fcerlaffen? Sftimmermeljr .! 23S5. 5)u barfft nidjt! 93leift ? , ©rtfetbtg! jtonig Qlrtug (iljn $nrucf toetfenb). £alt! Buri'icf, $err $erci$al ! Sortan xvitt ify fte f$u$en j ©u $aft baa IHec^t Qombft, fie gu Bejlfcen, llnb ungetjinbert fed fte "lpeimwcirtS jte^n. SBotyt jeben Aanfyf ftefte^et £ieft' urn £iefte; 2390 S)od) bienen nicfyt foil fte bent rct)en Sriefte, £)er Ujjr bte 6otyle auf ben ©cfyettel fe|t ! Debt <§au3 ift leer, bag ®lucf iff fortgegogen, SSerfunfen beineg ©tege^ ffreubenftogen ! £ftun rcot)ne einfant in ben oben fallen, 2395 Dtr felftft genug, unb III Mr fettfl jerfatten! (£)er $cmg entfernt ftd^ mtt feinem ©efolge uttb bm SBafaffett *Perct»al$, ber, fetn 5intltfc in feinen §anben uerfcergenb, afletn im $orbergrunb ber 33itf)ne gurucf fcleiftt.) K NOTES (grfter 2lft* Srfter Sluftritt. The stage direction. $rimfenbe, and further on primfcotfen, may- be rendered gorgeous. Xfyronftjs corresponds somewhat to the Engl. dais. The noun 33albad)in, used for Xljronfjtmmef, canopy, is derived from the It. ' baldachino,' which again is traced to the Middle Lat. i baldakinus.' 1. 4. The ^arfunfet, carbuncle, was in mediaeval folk-lore a stone of ' fiery-red ' brilliancy. 1. 9. Jtertt, lit. i kernel ' ; fig. dlitej most distinguished. 1. 21. 33efd)imngen, like bepgeln, denotes to give wings to; to hasten. 9Hmmermeljt is an emphatic form for nimmer, and may here be rendered, not for a single moment. 1. 23. £)e3 23ed)erS ©clbgrunb, the bottom of their golden cups. 1. 24. Xaumel, here revelry, 1. 28. The noun djtucfy, denoting a. floor covered with stones or gypsum, is derived from the technical Lat. expression l astricum ' or 'astracum,' i.e. a mosaic floor consisting of asterisks, or < little stars.' 1. 29. 9Jht bent, &c, i.e. with the proud ornament of a heron's crest, or stately aigrette. 1. 35. €>td) etiixig gefalleu laffen, to submit quietly to anythi?ig. K 3 132 GRISELDIS. [11. 36-82. For the etymology of the word %TO$ t simpleton, fool, see Goethe's Egmont (C. P. S.), p. 13, 1. 4, n. 1. 36. %xutf er, &c, would he wore a gown and tram. Note the force of bod) in exclamations expressing a wish. 1. 38. gretnb bem, lit. ' a stranger to the ' ; i. e. unconcealed about the. 1. 39. 3n bum^fem, &c, in gloomy silence broods. 1. 41. Render $uftettannt, surnamed, and um, on account of. 1. 43. €>ie tretoe, &c, J^ practises the black art. 1. 46. 2ftad)ti}efcot is a more emphatic expression than the simple ©ebot ; say behest, or mandate. 1. 47. Unfet (£rbtei(, our inheritance, i. e. allotted to us men alone. I.51. Un3 £um Sabfat, for our gratification. 1. 53. Slttbacfyttcj fromm, in devout piety. 1. 54. Unb legt, &c, aitd put a child in her arms. 1. 55. 2Ba3 b ruber tft, &c, whatever is beyond this, is superfluous. This line seems to be a paraphrase of Matt. iv. 37, which is rendered by Luther, Was daruber ist, das ist vom Uebel. 1. 57. Sftid) langtoeUt, wearies me. Cp. for bod), 1. 36, ;z. 1. 59. Otcmfd)enbeg ®etoufy(, buzzing throng. 1. 60. Render umtoeJ)en tuty, afc^ . . . float round you, ber 2Bo1)(; 3eritd)e £)uft, the fragrance of sweet odours. 1. 62. @onnt ifyr, &c, do you uncheered bask, &c. 1. 63. TOttac^ftrafyl, noonday sun, 1. 64, &c. 3u^ettbemn)3, &c, in my home at Pendennys, in my castle. 1. 68. 2BaS foft, &c. Supply tfjun in this clause. 1. 69. £>en Otucfen fri'tmmen, /# cringe. 1. 70. 3Bo corresponds here to bci, luafjrettb, &c, i. e. while. 1. 73. The Germ. toie, used as an exclamation, is generally rendered, what. Cp. the Fr. ( comment/ 1. 77. The noun (Stlatib, the cognate equivalent of the Engl. island, is used in German poetry only. 1. 80. 2Beiberfned)t, women's slave. 1. 82. 23en $tcfelf)ering ma$t, plays . . . the part of a Merry Andrew. The expression c pickle-herring/ which seems to have originated in the Netherlands, was formerly also employed in English, in the sense of jester, clown, &c. 11. 83-143J NOTES. ACT /, SC. 2. 133 1. 83. $em»af, being represented as a native of Wales, ap- propriately invokes St. David. 1. 85. 3n fvaufe gatten legt, rtfosw . . . into wririkled folds. 1. 87. 2)c$ denotes here indeed. 1. 90. Sftacfyt mid), &c, makes 7ne desirous of some bitterness. 1. 92. Oleq, here excitement. 1. 94. The pr. name Wales must be pronounced in this drama according to the rhythm of the lines in which it occurs. Here the Engl, pronunciation should be retained. 1. 95. The description of the river Trent is a poetical in- vention of the author for the purpose of working out Percival's simile. 1. 96. The pi. gotten, denotes waters. 1. 1 01. Unb icfenb, &c, roaringly shakes the massive dams. 1. 105. SBcfylgemut, here, gaily. 1. 106. 3ftuttetf&)c§, say native region. 1. 107. @aatgeftlb, lit. ' sown fields'; say plains. 1. 112. Unb Stttf unb Unfe, &c. say, and toads and frogs inhabit its muddy bed. — The Unfe (Lat. bombinator) is a species of frog. A somewhat similar idea to the one contained in the present poetical and fictitious description of the river Trent, has been expressed by F. L. Stolberg in his poem, Der Felsen- strom \ 1. 1 1 5. Urn trac}' tterfumvfenb, &c, i. e. to turn in sluggish indolence :the wheel-work of domestic life. Shelter Shtftritt. 1. 124. Sftafen, say furious. 1. 125. ar$Bevujjten, sooty. 1. 250. 2Ba$ fyafcen, &c, w/W ^? /^^j/ talk of there so secretly ? 1. 251. 2Ba£ is often used in German poetry in the sense of why. 1. 252. ®iit ba£ tnir? is this meant for me ? 1. 254. ©eljeim nnb, &c, treat empty trifles mysteriously and with importance. 1. 255. Semanb getoaljren (affen, to let anyone do as he likes. 2Ba3 tterfdjlagt, &c, what does it matter to you ? 1. 257. (smtteffet unf're Jttanfnna,, imagine our vexation. 1. 263, &c. Render D yxxiix, &c, oh tender mother's love, and £>te . . . SBcftenbnng,, the crowning fi?iish of perfection. 1. 268. %xau J?omgm, sovereign Lady. 1. 270. 2Ba3 fo((t id) andj, why should I ? 1. 272. The plural of 9Dtan in the sense of vassal is 3)? cum en. 1. 273. TOt 3Mtten, &c, importuned ?ne with urgent prayers. 1. 275. £)er 33atev, &a, /^ inheritance and lordship of my ancestors. 1. 277. (Sinen S3(tct tfnm, to cast a glance. 1. 282. Urn gugettofer, &c, to gratify their unbridled desires. 1. 284. Render the alliterative expression, £ieb' nub Shift, zVz- clination and desire. 1. 286. ©en feine Oiebe, compared with his speech. The abbrev. form gen for gegen is now used in Biblical and poetical language only. 1. 287. Cp. for entgetten, 1. 161, n. 1. 290. 3>n3 3Batbe3grim, into the green forest. 1. 291. 3n fmfterm, &c, in gloomy mood at variance with myself. 1. 292. Render here bwn:pf, heavy > and wcgenber, stormy. 1. 293. ttnb unfretoacfyt, &c, i. e. and unguided by his eyes his errant foot led him loitering on. 1. 298. Ubertrbifdj fcfyon, of heavenly beauty. 1. 300. 2)em cmf, &c, i. e. on whose brow was written in golden characters of starlight radiance, &c. 1. 305. @innenb, here musing. 1. 307. The word 9Mlet— say kiln — denoting ' a pile of wood H.212-383.] NOTES. ACT I, SC. 3. 137 from which coals are charred,' is said to be derived from a Slavonic expression. 1. 312. Render fdjfou, as an adverb qualifying grinfenb, and fjetitberfdjtelen, look askance. 1. 316. $eft iifeer, a plague upon women's tongues. 1. 318. $)a{$ langer, &c, i.e. so that they may enjoy the fun'still longer. 1. 321. 3n QBeftenringen, in wavy ringlets. 1. 323. Ohd)t fjeimtid), quite comfortably (or ' cozily '). I- 330- $ne3 Bet nttr felbev, lauded in my heart. 1. 334. SSetlieBt bcm . . . ;umitdd)e(tt, enamoured to smile at. 1- 336. «§aargeftecf)te, braiding of the hair. 1- 337' SMitf fte, &c, she puffed out her cheeks. 1. 342. 3$ hnft, &c, / £q^tf forsooth that you do not know her. — Note here the difference between the German and English idioms. 1. 343- Semper =att^ ber gernc r)er. 1. 344. The 93efperg{ccfe, vesper-bell, is rung in Roman Catholic countries, generally at six o'clock, for the purpose of inviting to prayer. 1. 347. %n ben, &c, i.e., to the clouds tinged by the evening red. — The word 5lbenbrot may in German also be used ad- jectively. 1. 352. 93efreu$enb iljte <£tinte, &c, making the sign of the cross- on her forehead, according to the custom of Roman Catholics. 1. 354. $ott SlnbadjtSgtut irmftvatyfr, radia?it with fervent de- votion. 1. 355. Utnffort mtt, &c, say veiled her moistening eyes. 1. 356. 31)r SauBdjen, &c, i.e. she presses it to her heart and caresses it, and kisses its snowy white feathers. 1. 361. Unb ujrer, &c, and her own offspring. 1. 363. Oltef t&, say the voice called. 1. 368. £)er le£te, &c, till even the border of her fluttering gar- ment, &c. 1. 372. $Bimber(ieMid), charmingly. 1* 373« ®*$ ftd?/ & c -> i- e. * that to the hearer every word takes shape.' 1. 383. 2JHr fdjttnttt, &c, my anger rises. 13# GRISELDTS. [11. 388-565. 1. 388. 93rdutli$ ^eimgefu^vt, led home as a bride. Cp. 1. 200, n. 1. 415. Cp. for 5ftattttett, 1. 372, n. 1. 416. The word 33rattt is used in German, as was originally the case with its literal English cognate, bride, in the sense of 1 a woman contracted to be married ; ' ' a woman betrothed.' In Fr. ' fiancee.' 1. 423. 3)atf matt, &c. In Engl, the affirmative will read better, viz. is it allowed; may one ask. 1. 427. 33evfof)lt, charred; burned to cinders. 1. 437. $ott @tnttett fettt, to be beside oneself. SSterter Sluftritt. 1. 444. 2Ba3 txiibt, &a, why do you mar our gay and bright festivities. . 454. 3tt ©tittvm etttDrettttettb, inflamed with rage. ,455. £raf . . . tnit fretttem 5Bort, hurled grievous insult at. , 463. $erad)tettb tttir feegeifevt, disparaged with contempt. 1. 469. Xritbett, here, to tarnish. , 470. See for frag, 1. 251, n. ,471. £)em 2Ba(b etttfyroffett, toz when you first wedded her. 545. ©rcutfe golterquat, fearful anguish. 558. 2)attttebev, &c, I severely wounded lay and near to death. 563. 3JKt ttom Sager=«ott ntetttem £ac$er. 565. Jtampf, here denotes contest. 11. 584-671.] NOTES. ACT IT y SC. I. 139 1. 584. ©tit, holds good. 1. 587. -JketS, here worth. 1. 588. @tral)Ienb ftd) Bettdl)re, may be brilliantly proved (in). 1. 590. 3J)re OJatfelttadjt, its mysterious obscurity. 1. 596. 5lttfbred)ett, here to depart; to set out. 1. 597. 9JHt bev ©ternc $rattg,en, i. e. when the stars will shine on the following evening. 1. 602. 2)ie3 ftnjhre, &c, say this grim deception. 3tt)eitct 21ft* (Srfier Sluftrftt. 1. 607. Samtnernb ftttfr, &a, the shades 0/ night are falling. 1. 609, &c. SBalfett utdjetmUd), &a, rise mysteriously from. 1. 611. 2Benn rntr, &c, I hope no mishap detains him. — The form jimicfe, instead of juvucf, is sometimes used in German poetry for metrical reasons. 1. 612. @3 raufdjet, there is a rustling sound. 1. 615. (Scf)ftete6 SBetter, heavy storm , or stormy weather. I. 617. 33tobe3 Sluge, say ^'w ^.r. 1. 622, &c. Render gtunem QMattetnteer, verdant sea of leaves, and prcmgettb (1. 623), gloriously. 1. 629. £>en leicfyt, &c, i. e. him who is easily provoked and with difficulty reconciled. 1. 635. 3 urn fmjtetn, &o, like dark clouds at night. 1. 639. £er ©rafenfotrg (lit. \ of the count's or earl's castle ') ; say of the lordly castle. 1. 641, &c. <£en refers to JloJjler (1. 638), and bag (1. 642), to Qawpt, i.e. which head was bowed down to the grave by his child's ingratitude. 1. 649. gutyt . . . mid) ntit . . . mi, flung at me. 1. 651, &c. Cp. 11. 550-57- 1. 659. Umtoolften, &c, angry frowns darkened his brow. 1. 666. £ag nid)t . . . fyin, did not . . . lie. 1. 668. gretnber Serge, to the care of strangers. 1. 670. £)ie3 SBatigen, &c, this agony and anxiety. 1. 671. $)er jftnbe$ttebe, &c, the ardent yearning of filial love. HO GRISELDIS. [11. 675-757. 1. 675. Cp. for \m$ gogerft bu, 1. 251, n. 1. 678. The present tense ttevte^t is here used for the future. I-679. SKit gtimmtterjevrten Biicjen, -ze///^ « grimly distorted face. 1. 680. Skumnenb J^ &c., flashing in gloomy anger. 1. 682. ©cfyaugepr&ng' tmb, &c, empty show of lordly pomp. 1. 684. Um 2)ienettvcj3, &a, for trains of menials and glittering gold. 1. 687. 6i$ empcvrajfett, /cm glutenbrattg, &c., by the breakers' dashing force. 1. 721. 2ftit (Stnem 3ftal, all at once; suddenly '. 1. 722. £rinfen, here to feed. 1. 725. (Bdjutmmew, (lit. ' to slumber ') is often used in poetry for to rest ; to sleep. 1. 727. D ©eltge, #A blessed spirit. 1. 731. ©en (e£ten, &a, breathed your last. 1- 733- ®0l 2J?utterlaub, &c, j^r native place, your rural home. The word 9Jhttter(anb is here used in order to express that Griseldis' mother left herself the place where her own mother had lived. 1. 736. ©attenpfUd^t, conjugal duty. 1. 738. (SeljttfudjfSfdjmeq, painful longing. 1. 741. 3ft immer, &c, i.e. is then evil to be found in every excess. U- 756, 757- Translate farfcfcfeS £)imfef, sombre gloom, and ntit fd)toar$ett gutfterniffen, with deep darkness. 11.772-843-] NOTES. ACT If, SC. 3. I41 Shelter Stuftrttt. 1. 772. The pron. mix is here again an ethical dative. 1. 781. 9fteine Xcmben, &c, my [little) doves are fledged. 1. 790. ^afettunbgencffen, knights of the Round Table. 1. 794, &c. 2)e6 3Btebetfef)en$ &reuben, i. e. the pleasure of seeing your husband again. @uern SSoflgenufj (1. 795), your full enjoy- ment. 1. 804. $)erBe Mo$, solid food. 1. 805. €>$arf barauf (oSteiten, to ride hard. 1. 806. 2il£ gait' e3, &c, as if it had been our intent. 1. 807. 3Wadj fort, hasten away. Cp. for the verb madden, Lessing's Minna von Barnhelm (C. P. S.), p. 20, I. 28, n. 1. 808. 2Ba3 nur, &c, whatever our house can offer, fritter Sluftritt. 1. 811. @djted)ten, here humble. 1. 812. (£g is here to be rendered, so. 1. 815. (Sdjein unb Slnfefyn, semblance and appearances. 1. 816. A blue flame appearing above ground is considered in folk-lore as an indication of some hidden treasure. 1. 818. Umfd)attet, here covers. 1. 819. iftinbegeinfalt, childlike simplicity. 1. 823. SBetfimber, here heralds. 1. 830. The phrase 93ttef unb @>ieget in ber §>anb fyafcen, corresponds to the English to have under hand and seal. 1. 835. 2)ieS jlarfe, &c, i. e. this brave wife of childlike fidelity. In some editions this line runs — 3)ie8 ftarfe, treue, finbttd) veine 5Bcib. 1. 836. 3f)t tooflt fie, &c. The pron. fte is here used in ac- cordance with the natural gender of the subject referred to. 1. 837. 9fteffen, here to probe. 1. 840. £) gefyt in eudj, oh, do reflect. Cp. on the phrase in fxd> gefyen, ' to commune with oneself/ Schiller's fungfrau von Orleans (C. P. S.), 1. 3130, n. 1. 841. $ei feinem (Sinne Metben, to adhere, or to hold to one's purpose. 1. 843. SSettjkeit, contest. J 42 GRISELDIS. [11. 844-924. 1. 844. SDfoine @c^nen fpannt r strains my nerves. 1. 853. ©etmuttiter @dmiet$, &a, i. e. a pain felt in a dream affords a gladsome awakening. 1. 855. The word 2etd)ttam was originally used for the body of a living human being. 1. 860. Saft mid) getoaljrett, let me have my will. 1. 869. 3um Xto$» ie Stdjenben, those who approach. 1. 1160, &c. 2)er %\x 33n$e, &c, i.e. who records the results of our earthly actions, will register this triumph of Percival's as his discomfiture. 2)vttter Sluftritt. 1. 1 171. Otnf, here order, and fcefd)ieben, summoned. 1. 1 181. 1. 1258. JfriegSgettoffe, war-companion. 1. 1 261. 3d) rief, &c. This proud saying seems a reminiscence of the often-quoted line — 2)er Jtonia, rief, imb atte, a((c famen. 1. 1274. SSererbeit, here to transcend. 1. 1278. The verb freien is here used in the sense of to wed. 1. 1287. SBerjtummt, not another word ! 1. 1293. £)ie fecuiettb, &c, which with a blessing united us. 1. 1298. Bterger&t is the same as 3kxat f fnery. 1. 1303. Cp. for 9M(en3trager, 1. 918, n. 1. 13 1 2. £)a fyvadj eg, a voice said. 1. 1 31 7. 2Bemt aucf), &a, i.e. which loan, though the interest for it was paid with love, could easily be claimed back, &c. 1. 1 3 19. SBetl bit, &c, now as you recall the payment of your loan. 14^ GRISELDIS. [11. 1323-1503. 1. 1323. SBcrrcmc}, lit. Superiority of rank,' 'precedence'; say rank. 1. 1327. Sflte uberBot'ne, never surpassed. 1. 1337. <&anmtm, beast of burden. Cp. on the word dj gefye, &c., / leave lamenting, but I leave lamented. 1. 1398. Sljre 2Bel)en, its pangs. 1. 1400, &c. ©djuf ... in tauten 2#ijHcwt um, transformed into a discordant sound. 1. 1405. JDtcfjnettbeS ©etoolbe, resounding arches. 1. 141 9. Okufdjet jiolj ttcritber, rushes proudly by her. gunfter Sluftritt. 1425. Supply as after we enter. 1427. SSetfe^en un3, expect. 1434. 3u feittem @$o§ within its precincts. - 1437. UttS umftutet, crowded around us. 1438. 93raufenbe$ ©emenge, roaring medley. 145 1. See for ©vafenburg, 1. 639, /z. 1. 1457. 5luf raufyer (irbettbafyt, on the rough path of life. 1 46 1. 9Kein frefcteS, &a, I have fulfilled my wanton promise. 1462. ^eitt fhtftre3,&a, /atonten, &c, I heard disconsolate laments. 1. 1596. 3eu$enfd)aft, attestations. 1. 1603. ^lekn ftd) . . . BriifUt, say lifts its head by the side (of). 1. 1605. Cp. for gen, 1. 286, n. . 1. 1606. Cp. Matt. v. 30. 1. 1607. Unb flroj$t, &c, and if my pulses are swelled with blood. 1. 1609. D e$ $\U f &c, oh, there is bad, vitiated (lit. i black- fermented ') blood. 1. 1 61 3. (ftaji fatten, to rest. 1. 1614. This line is somewhat freely rendered, * my halting memory follows thee with sighs.' 1. 161 5. 3n abenblidjev. ©tifte = in ber 9i&enbjiU(e. 1. 1619. 2Bie tyiefi e$ bed), how did it run ? 1. 1620. $am g,egangen, came along. I.1623. $utyurfd)ein, crimson hue. The word $nrpur is applied in German to a bright red colour, and should, as a rule, be rendered crimson. » 1. 1632, &c, Unb tvng/ idj . . . t)tn, and if I carried along. 1639. 2Banft . . . fjeran, comes tottering along. L 2 I4 8 GRISELDIS. [11. 1651-1754. Shelter 2(uftritt. 1. 165 1. ff(ovgett>eb(e), gauze tissue. 1. 1652. dure SButben, your grace. The pi. form SCurben was formerly used as a kind of title, like your honour ', your grace. 1. 1655. grur)tau, morning dew. 1. 1657. SSevjtojjen au$, &c, expelled from my home and divorced by my husband. 1. 1658. Utifrer Siefce gnt$t, the offspring of our love. 1. 1662. £)ocr/ ftebenfad), &a, but sevenfold hardened into firm steel. The number seven is here used in general, to express the degrees of hardness. The adj. fyrobe denotes ' hardness/ besides 1 brittleness.' 1. 1687. SMcjotterei tyajl bu, &a, you worshipped him as your idol. 1. 1688. Render Sicfycjetoolf luminous clouds ; and ^tra^Icrtglan^ halo. 1. 1692. irne, handmaid. 1. 1704. £ieft . . . cjefeffelt, detained . . .fettered. 1. 1705. ©ecjengtounfd), say fervent blessing. 1. 1709. SBaftett, lit. ' to form into a ball 5 ; here to mould. 1. 171 5. 3m (Stetfcen, d^/«£-. 1. 1 7 16, &c. Site tcbeSfccmcj, &c, w^/z in agony my husband needed me, whilst, &c. 1. 1726. The bitter reproach that Griseldis has ' betrayed and sold her child,' can only refer to the circumstance that she gave it up in order to save Percival's life. Cp. 11. 1014-17. 1. 1727. The noun ©emerge is now used in higher diction only, as an expression of contempt for subordinate executors of the law, such as constables, bailiffs, gendarmes, &c. Here it may be rendered, servitors. 1. 1 73 1. Semcmb lein £actt frumntett, not to hurt a hair of any- one's head. 1. 1735. ($$ $aft, was at stake. 1. 1742. SGBinf, lit. 'hint, 5 'sign,' here will. 1. 1743. 2£kifet . . . cut, assigns . . . to, i. e. God's will makes the fate of Griseldis depend upon the pity of him whom she had forgotten, &c. 1. 175 1. ©afttid) \tyufym, protect as a guest. 1. 1754. Wldxi MixiD, &a, i.e. she has ceased to be his child. 11. 1 758-1841.] NOTES. ACT TV, SC. 3. 149 1. 1758. Slftfdjcutenb, all-seeing. 1. 1760. Xtjronen, lit. ' to be enthroned,' here to dwell. 1. 1766. SBevfeljrt, led astray ; deluded. 1. 1772. £)em eigenfitd)tU3en,&c.. to the selfish longing of my soul. 1. 1790. Sftit, here too. 1. 1800, &c. £)u fettjt, &c, thou shalt shine upon my helmet in thy crimson garb. The stanza recited by Griseldis is, of course, a continuation of the one recited by Cedric. Cp. 11. 1620-23. 1. 1806. 3n blufyenb, &o, in living bright reality. 1. 1807, &c, Stan bleicfyev, &c, i.e. Percival does not rise as a pale shadow of remembrance from the motley crowd of dreams. 1. 1 81 3. $lifyt . . . $ervtnnr, does not melt away. 1. 1 81 6. 3n ber, &c, in the surging sea of oblivion. 1. 1823. £entt jurecfyt, &c, learn to judge aright. 1. 1827. £)afj blinber, &c, i.e. blind tumultuous feelings have deceptively taken hold of her. 1. 1 83 1. drbarmenb, mercifully ; compassionately. 1. 1835. 3ft eniglcmmen, has dawned. 1. 1836. 3d) teil', &c, i.e. he shared with Griseldis the fate of banishment. 1. 1838. Render here Sefyen (lit. 'fief ') lands, or possessio?is. 1. 1839. 2>er 5lcfytun$, &c, the b?-and of proscription marking my forehead. 1. 1 841. £)te Sfauft, &c, the hand on my neck. L3 I5C GRISELDIS. [11. 1848-1984. 1. 1848. SBotn for Clnefle, (here fountain), is now generally used in higher diction only. 1. 1849. SBeltetUjerr is the same as SBeltfyertfcfyer, ruler of the world. 1. 1859. The pleonastic expression 33lut nnb Seben is em- phatically used for life, which may here be preceded by the adj. very. 1. 1869. 2Bie SBaffen, &c, it seems that arms are gleaming in yonder bush. 1. 1872, &c. Render here @djcg, interior, and @d)lnnb, mouth. 1. 1876. 3n ifyren gelfenviffen, i.e. in the rocky clefts of the cavern. SBicrtcr Sluftritt. 1. 1882. ®treift . . . enticing, scour along. 1. 1888. @$li<$i, here candid. 1. 1900. Umbunfelt . . . 93ttcf, obscures the vision. 1. 1902. SBenmjj bti> ntd)t, do not presume. 1. 1905. Unb totify, &c, #/z^ dooms your own head to the scaffold (lit. l law of blood '). 1 . 1915. SA'cwmgetoebe, dreamlike fabric. 1. 1922. 3n bent, &a, to which he raised you in giddy haste. 1. 1930. SKefien, here to mete. 1. 1933, &c. Render anferlecjt, imposes, and ewpovter $Binbe, oj raging storms. 1. 1936. Olejt, here resource. 1. 1938. S3et Sfadjt, i.e. in the gloom of calamity. 1. 1940. Unb felicj tooijnen, &c, and blissfully dwell in radiant company. 1. 1 94 1. £icfyt nmjiof[hett, light encircled. 1. 1948. dvbenmafel, stains of the world. 1. 195 1. Cp. Luke vii. 47. 1. 1955. £>er rnfyrenb, &., i.e. which soft and touching trembles through her soul. giinfter Sluftritt. 1. 1969. D fo% &c, Oh, show compassionate and tender mercy. 1. 1984. Sfficfnten bei (ber), dwell with. 11. 1985-2061.] NOTES. ACT V, SC. 3. 151 Stittfter $l?t. (Srfter Sluftritt. 1. 1985. 3Me £anbe vufyren, fig. /# fo?#> oneself. 1. 1986. Cp. for the first term in $u£purtepjridj, 1. 1623, n. 1. 1998. Saffe, here ninny. 1. 2004. 3 urn grihten 2ftatenn>alb, into a verdant grove of May. 1. 2009. 2Baften is here poetically used for to move. 1. 2015. 9fe teas, &c., i.e. but what you can grasp with your hands. 1. 2016. ©eljalt, here substance. I.2019. £cjjfmmcj$gruneu, say verdant. The poetical expression fyojfnungSarfm, owes its origin to the fact that green is the emblem of hope. 1. 2024. The familiar phrase cms bev te £afel fcefd)id:en, to lay (or ' to prepare') the table. 3tt>etter 2lufttitt. 1. 2035. SBnnter, say sparkling. 1. 2039. (Snven (Sinn umbuftert, cast a gloom over your mind. 1. 2041. Smmedjin, here at any rate. 1. 2042, &c. Render prangen, are adorned, and griinen, in the next line, flourish. 1. 2044, &c. (SdjmMen jtdj, &c., are not so easily decked for feasts of joy. 1. 2046. *Mcfy tvei&t, &o, i. e. he is impelled to leave. 1. 2049. ©ernftet, here harnessed. 1. 2050. SDJeerfiut stands poetically for 3)Jeer. 1. 2056. 2lnd) einmal, &c, for once present themselves as guests. 1. 2057. £)nntlem ©uttenauge, dark and glowing eye. fritter Sluftritt. 1. 2059. Render umjlrtcft, encircled, or enchained. 1. 2060. ©uljmmcj, here expiation. 1. 2061 . %*t nut, &c, which will crown the tried one with glory. I $2 GRISELDIS. [IL 2063-2149. 1. 2063. The error (grettel) of Percival's youth consisted in his want of belief in true and unalterable attachment. 1. 2065. (Bin ©(ar^getotmmel, a galaxy of splendours. 1. 2066. £>oft raufcfycnb, &c, shall move and float round her. Ohufdjettb denotes lit. ' rustling ' ; ' roaring.' I. 2069. 3Bemt fie, i. e. after having fathomed the lowest depth of sorrow, she shall, &c. II. 2072-73. These lines express poetically the relief afforded by grief-healing time. 1. 2078. S)a3 unerfcfyiittett, &c, which unshaken clings to mine. 1. 2079. 2Buf)lt, here works, ox pierces. 1. 2081, &c. SBenn ttteitte, i. e. when he ardently clasps her in his arms, then will return the bloom, &c. 1. 2085. The Engl, word Mi7istrel is occasionally also used by German writers. 1. 2087. SKeiner ^eU'cjert, my patron saint. 1. 2089, &c. 38te ttecfyfelub, &c. ' As the changing moon renews its light, ever varying, so pleasures shall for ever surroud her.' 1. 2095. $>te tredjfelnb, &c, i. e. as the colours of red and white change on her cheeks. 1. 2097. Urtb feefranf, &c, and quite giddy (lit. ' sea-sick ') from the tossing of her thoughts. 1. 2098, &c, ,ft(ammert ftd), Sec, clings in her despair, to a slender word. It seems that the poet wishes to keep up the simile, representing the queen as being ' sea-sick ' by the wavering of her mind, and as grasping in her despair at a mere straw— at some paltry word. 1. 2103. 3fjt ©entut, &c, her inmost mind, 1. 2ic6, &c. Sift fte, i. e. she does not wish to be compelled to do, and still she must do it. Sterter Sluftrttt. 1. 2124. Cp. II. 601-57. 1. 2125. 3)et fetnblid), which has set at issue majesty and merit. 1. 2137. ©nhtertb, say verdant. 1. 2146. $rufeenb fjeut Beffecft, tarnishes with degradation to-day. 1. 2149. SSett tiuv betovt, (but) because we, infatuated, &c. 11. 2154-2225.] NOTES, ACT V, SC. 5. 353 gunftcr Sluftrttt. 1. 2154. £)er faunt, &c, i.e. upon which castle, being only just expelled from it, she had turned her back. 1. 2156. ©tit il)r $rangen, their decoration is meant for, &c. 1. 2160. 3Birr umfreift mid), whirls round me in confusion. 1. 2162. 2)er betner, &c, which was kindled in your heart, 1. 2163. Unb mit, &c, and in honour of me — of me — these walls are decorated, 1. 2167. 3)a3 Jjofje grauetunlb, the noble lady. 1. 2175. 2Ba3 bit, &c, whatever you may ask for. The use of the verb ftefyen with the accusative alone of the thing asked for, is now restricted to poetry. In prose it is invariably employed with the prep, um ; viz. urn toaS bu and) fldjen magjr. 1. 2186, &c. ©evn tterfcfytmegen, &c, i.e. the King would, from shame, fain pass over in silence, what must be disclosed to Griseldis for her welfare. 1. 2192. 2)u bebteft ©djtecfen, thou didst tremble before terrors. The verb Beben which requires in prose some preposition, such as fur, ttor, &c, may be used in poetry with the dative alone. 1. 2194, &c. The incoherency of these lines admirably char- acterizes the agitation of Griseldis. 1. 2197. 2)er fte tteqeljret, i.e. which grief consumed my bodily strength. 1. 2203, Saitnad)t$fd)erg, carnival's sport. Cp. on the etymology of gaftnad)t, Schiller's Wilhelm Tell (C. P. S.), 1. 411, n. 1. 2205. (Sin 3ftummenfd)an$, mummery. The word 2ftutmnenfd)an& denoted originally the cast at a certain game of hazzard, and then the game itself. Owing to the circumstance that the game in question was frequently played by masked persons, it assumed the meaning of ' Masquerade.' 1. 2207. ©tncjen in ben .ftauf, were thrown into the bargain. 1. 2208, &c. ($3 gait, &c, i. e. the only object of the trials of Griseldis was to prove that she was worthy of being raised by Percival to his rank. 1. 221 1. Pronounce $)arum ! 2)anrm! 1. 2216. $)etnen 93ltcf . . . ntebevjirafyten, beam fro7n your glance. 1. 2225. $krgtb and) bu, i. e. Griseldis should forgive him in the same way as her own happiness has been restored. 154 GRISELDIS. [11. 2229-2396. 1. 2229. Xljv&nenveid), tearful. 1. 2234, &c. £a jWlte id) bem . . . entgegen, then I pitted against the, &c. 1. 2247. (Mlittbet, here to be obscured; to pale (before). 1. 2248. Cp. 1. 485, n. 1. 2257. dudttoH mix tterbient, has won for me by suffering. 1. 2259. (Bin £)ornenfran$, a crown of thorns. 1. 2268. 2)em SKinbe f)in, &c, cast to the winds (i. e. forget) the troubles thou hast overcome. 1. 2276. Unb faum ertoadfyt, &c, i. e. he will satisfy every desire, barely aroused in the mind of Griseldis. 1. 2279. Otcmfcfyenb bid) itmfangen, move and float around thee. 1. 2282. 9Hdjt Sveube, &a, joy will no more fill this heart of mine. 1. 2286. $ertoettet (lit. 'lost by a wager ' ; or ' gambled away '), say, wantonly destroyed. 1. 2289. 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