IN THE 
 
 SIXTEENTH AND SEVENTEENTH CENTURIES: 
 
 AN ACCOUNT 
 
 OF 
 
 ENGLISH ACTORS IN GERMANY 
 
 AND THE NETHERLANDS 
 
 AND OF THE 
 
 PLAYS PERFORMED BY THEM DURING THE SAME PERIOD. 
 
 BY 
 
 ALBERT COHN. 
 
 WITH TWO PLATES OF FACSIMILES. 
 
 LONDON: 
 
 ASllER & Co. 13, BEDFORD STREET, COVENT GARDEN, 
 
 AND AT BERLIN: 20, UNTER DEN LINDEN. 
 1865. 
 
s 
 
PREFACE. 
 
 If the wishes expressed by numerous competent judges may be regarded as a 
 sufficient criterion for the utility of an undertaking, I am justified in hoping that 
 the essay now presented to the reader will not altogether fail of its proposed 
 object. For some time past, indeed, whoever has had occasion to speak of the 
 so-called English Comedians and their relation to the old German and English 
 stages, has always complained of the want of a documentary history relating to them. 
 In the year 1849, having been fortunate enough to make the personal acquain- 
 tance of Ludwig Tieck, I obtained from him so much interesting information re- 
 garding the ^^earance of English Actors m Gennany^asjto cause the liveliest 
 desire to follow ^up~The""traces of "those strolling players. The remarks by which 
 Tieck in his 'Old German Theatre' first directed attention to this subject in the 
 year 1817, are calculated to stimulate the student to further investigations in the 
 same field rather than to satisfy him ; and in the historians of literature who have 
 succeeded Tieck, I have only met with contradictory views, based more on 
 conjecture than on research. One fact alone seemed to be fully evident: that 
 the whole subject of the actors, their origin, their objects, and also the pieces 
 which they performed, was veiled in obscurity. It was the custom to speak of 
 them as of a myth, in the consideration of which we were to base all information 
 regarding them on legendary rather than on historical ground. Nor indeed was 
 there any firm footing to be obtained in the materials which had become known 
 up to that time. Since then, I endeavoured to throw some light upon the question 
 in a few scattered articles, which at distant intervals appeared in the Athenaeum. 
 These were followed up by valuable contributions from other quarters; but quite 
 recently only a few happy discoveries have put me in possession of materials which 
 several of my literary friends considered as calculated to give a certain degree of 
 
 r 
 
II PREFACE. 
 
 completeness to the results of previous researches. In saying this, however, I 
 must not be understood as intending to state that I believe the subject to be 
 exhausted in the present essay. So far from entertaining such an opinion, I on 
 the contrary am well aware that in many parts of my attempt the matter offered 
 is incomplete, and that I can lay claim to nothing more than having made my 
 contribution's to a structure, the superstructure upon which, I hope, will be con- 
 tinued by abler hands than mine. Nor should I have ventured to publish matter 
 thus casually collected, had I not entertained the conviction, that any essay how- 
 ever imperfect, if throwing any light upon a question connected with Shakespeare, 
 cannot be altogether useless. I had also originally intended to avail myself of an 
 external incident as a motive for the publication of the present pages, and to found 
 on it a claim to the reader's indulgence, as I had hoped to publish it as a con- 
 tribution to the Shakespeare Tercentenary Festival; but circumstances over which 
 I had no control deprived me of this advantage. The work was nearly through 
 the press, when its further progress had to be interrupted for more than six 
 months. 
 
 Four out of the six old German Plays, the first four pieces of the present 
 work which constitute its most important part, were to have been published more 
 than twenty years ago by the Shakespeare Society in London, as may be gathered 
 from the list of their intended publications; the Society however was dissolved 
 without having carried its intention into effect. To these four pieces two others are 
 added which possess no less interest for the present purpose. In all the six 
 pieces, here presented to the reader in the original language with an English trans- 
 lation annexed, the old printed editions or manuscripts have been faithfully ad- 
 hered to. In the second piece alone, 'The Beautiful Phaenicia' by Jacob Ayrer, 
 I have confined myself to extracts, because the whole piece, which is extremely 
 long, contains a great deal of matter entirely foreign to the object of the present essay. 
 For the translation of these pieces I am indebted to friends, who kindly granted me 
 their valuable assistance and to whom it is a special pleasure for me to express 
 here publicly my sincerest thanks. The 'Beautiful Sidea' and the 'Phaenicia' have 
 been translated by Professor Thomas Solly. Any one who has made the attempt 
 to give a nearly literal translation in another language of the concise and pithy 
 style of the German poets of the sixteenth century, preserving moreover the 
 metre of the original, will be able to appreciate the difficulties of his task, and 
 will agree with myself in admiring the skill of the translator. It would have been 
 an easier problem for him to give the verses a somewhat more poetical colouring 
 than the originals themselves can boast of having. Our object, however, was not 
 
PREFACE. Ill 
 
 to offer any improvement on the original, but a faithful reflex of it, both as regards 
 matter and form. The translation of the four succeeding pieces will be found not 
 to be less meritorious. 'Julius and Hyppolita', as also 'Hamlet' have been trans- 
 lated by Miss Georgina Archer; 'Titus Andronicus' by Mr. Moritz Lippner; and 
 'Romeo and Juliet' by Mr. Lothar Bucher. 
 
 Documents scattered far and wide, which had hitherto lain hidden in public 
 libraries, state archives, and similar depositories, were necessary for the intro- 
 ductory and historical part of the work. For their kind and ready aid in enabling 
 me to procure such materials I have sincerely to thank several personal friends as 
 well as other gentlemen whose personal acquaintance I have not had the advantage 
 to enjoy. My especial obligations are due to Mr. Friedrich Culemann of Hanover, 
 Mr. Moritz Fiirstenau of Dresden, Professor Hoffmann von Fallersleben of Corvey, 
 Baron Wendelin von Maltzahn. of Berlin, Mr. Ernst Pasque of Darmstadt, Mr. 
 W. B. Rye of the British Museum, Mr. C. W. Sack of Brunswick, Dr. A. Tobias 
 of Zittau, and Dr. Ferdinand Wolf of the Imperial Library of Vienna. 
 
 Berlin, October 1864. 
 
CONTENTS. 
 
 i 
 
 PART I: HISTORICAL ACCOUNT. 
 
 CHAPTER I. 
 
 Early connection of Theatrical Productions in Germany and England. German travellers in London 
 and their relation to the Theatres. English Actors go to Germany and other Foreign Countries. 
 The places visited by them i. 
 
 CHAPTER II. 
 
 English Actors at the Court of Duke Henry Julius of Brunswick. The Plays composed under their 
 influence by the Duke. English Actors at the Court of Landgrave Maurice of Hesse. Other places 
 visited by them towards the end of the Sixteenth Century xxxvi. 
 
 CHAPTER HI. 
 
 Jacob Ayrer and the Plays composed by him under the influence of English Actors Ixi. 
 
 CHAPTER IV. 
 
 An account of the English Comedians in Germany and the Netherlands in the Seventeenth Century . . Ixxv. 
 
 CHAPTER V. 
 
 The Plays acted by the English Comedians civ. 
 
 PART II: TEXTS. 
 
 Comedy of the Beautiful Sidea, by Jacob Ayrer of Nuremberg (about 1595), the only drama extant which 
 
 points to the plot of Shakespeare's Tempest 1. 
 
 [See also Part I, p. Ixviii]. 
 Comedy of the Beautiful Phaenicia, by Jacob Ayrer of Nuremberg (about 1595), containing the plot of 
 
 Shakespeare's Much ado about Nothing 77. 
 
 [See also Part I, p. Ixxi]. 
 Tragedy of Julius and Hyppolita, acted in Germany about the year 1600 by English Players, containing 
 
 part of the plot of Shakespeare's Two Gentlemen of Verona 113. 
 
 [See also Part I, p. cxi]. 
 Tragedy of Titus Andronicus, acted in Germany about the year 1600 by English Players, supposed to be 
 
 an imitation of the old Titus Andronicus 156. 
 
 [See also Part I, p. cxii]. 
 
 f'ragedy of Fratricide punished, or Prince Hamlet of Denmark, acted in Germany about the year 1603 by 
 English Players 237. 
 
 [See also Part I, p. cxx]. 
 
 Tragedy of Romeo and Juliet, acted in Germany in (and perhaps before) the year 1629 by English Players. 305. 
 
 [See also Part I, p. cxxiii]. 
 
PART I: 
 
 HISTORICAL ACCOUNT. 
 
SHAKESPEARE IN GERMANY 
 
 IN THE SIXTEENTH AND SEVENTEENTH CENTURIES. 
 
 CHAPTER I. 
 
 >o completely has Shakespeare become for us the representative, the Alpha and Omega, 
 of the modern drama, that we are accustomed to regard the works of all ages in this de- 
 pa^bment of literature, mainly with reference to him alone. We are ready to resuscitate 
 the dead, and to refine the coarse, wherever we succeed in discovering a trace of him, be 
 it only a mere breath of his genius, and we go back centuries before his times in our 
 researches after the earliest monuments of the culture which produced him as its most 
 glorious fruit. It appears to us therefore, a circumstance of peculiar significance, that our 
 attention is directed towards him at the very threshold of modern European Literature, at 
 the first step which we take in the history of the modern drama. The Plays, which 
 the learned nun Hrotsvita composed in the tenth century in the nunnery of Gandersheim, 
 in the Hartz mountains, those firstlings of German dramatic art, which on their first ap- 
 pearance in print in the year 150 1 1 were hailed by the learned of that day as the work 
 of a tenth muse, a Christian Sappho, 2 although written in Latin, contain among numerous 
 traces of their genuine Germanic Saxon origin, many passages which remind one strongly 
 of Shakespeare. Perhaps it was this circumstance which suggested to Laurence Humphrey 
 ,the unhappy idea of metamorphosing the Saxon nun into Hilda Heresvida, a British poetess 
 of the seventh century. 3 Neither in the dramatic productions of the immediately succeeding 
 
 ' Hrosvite illustris virginis et monialis germane gente saxonica orte (opera) nuper a Conrado Celte inventa. 
 Norimbergae, anno Christi, quingentesimo primo super millesimum (1501). fol. With woodcuts. The contemporary 
 Manuscript from which this edition has been printed is in the Royal Library at Munich. -- Another edition is 
 by H. L. Schurtzfleisch, 4to, Wittenberg 1717 (1707 in tit.), a third by J. Bendixen, 12mo, Liibeck 1858, and 
 a fourth by K. A. Barack, 8vo, Niirnberg 1858. A French translation (with the Latin text opposite) is by Ch. 
 Magnin: Theatre de Hrotsvitha. 8vo. Paris 1845. A German one by J. Bendixen, see below. 
 
 * Bilibald Pirkheimer amongst others. See J. Bendixen, Das dlteste Drama'in DeutscMand, oder die Comoe- 
 dieri der Nonne Hrotsvitha von Gandersheim, ubersetzt und erlautert. 2 Parts. 8vo. Altona 1850-53. Part i, p. 3. 
 
 3 The unhappy conjecture of .Laurence Humphrey has been refuted by Martin Friedr. Seidel in his 
 Icones et elogia virorum aliquot praestantium etc. fol. 1670, and by other writers, but none of them has indicated 
 in which of Humphrey's works it has been put forward. See also Magnin, Theatre etc., p. xix. The following 
 
 A 
 
II 
 
 SHAKESPEARE IN GERMANY. 
 
 centuries does this spirit disappear entirely, for in the ecclesiastical plays which are also 
 composed in Latin, and which since the twelfth century rather follow French models, the 
 long dawdling formal course of the action is often interrupted by a trait of German feeling. 
 
 are some of the coincidences between Hrotsvita and Shakespeare: 
 
 HROTSVITA'S GALLICANUS, Sc. X. 
 Gall. Behold how, at our entrance in Rome all 
 the citizens come forth and, according to the custom, 
 present us with the signs of victory. 
 
 IBID. Sc. X. 
 
 Paul. ! No, , verily; to the true God alone we must 
 ascribe our victory. 
 
 SHAKESPEARE'S HENRY V, ACT V. 
 Chor. But now behold how London doth pour out 
 
 her citizens 
 
 The mayor and all his brethren in best sort, 
 Like to the senators of antique Rome 
 With the plebeians swarming at their heels, 
 Go forth and fetch their conquering Caesar in. 
 
 IBID. ACT IV, Sc. 7. 
 Hen. God thy arm was here 
 
 And not to us, but to thy arm alone 
 
 Ascribe we all 
 
 Gall. Let us then enter the church of the holy 
 apostles as becometh the humble confessors of the faith. 
 
 HROTSVITA'S DULCITIUS, Sc. XII. 
 Irene. I prefer giving up the body to all kinds of 
 outrages, to allowing my soul to be polluted by the 
 worship of idols. 
 
 A most striking resemblance is to be noticed between Hrotsvita's Callimachus and Shakespeare's Romeo 
 and Juliet, not only in parts of the dialogue but also with respect to characters and situations. Here are some 
 passages from the opening scenes of both plays: 
 
 SHAKESPEARE'S ROMEO AND JULIET, ACT I, Sc. 3. 
 
 Benv. ... So please you step aside. 
 I'll know his grievance, or be much denied. 
 . . . What sadness lengthens Romeo's hours? 
 
 Rom. Not having that, which having makes them 
 
 short. 
 
 Benv, In love? 
 Rom. Dost thou not laugh? 
 Benv, No coz, I rather weep 
 
 Do we all holy rites. 
 
 SHAKESPEARE'S MEASURE FOR MEASURE, ACT II, Sc. 4. 
 Isab. Sir believe this, I had rather give my body 
 than my soul. 
 
 HROTSVITA'S CALLIMACHUS, Sc. I AND II. 
 
 Call. I wish, my friends, to say a few words to you. 
 
 Friends. We are at your service as long as you 
 please. 
 
 Call. If you don't object, we would avoid the mul- 
 titude. [They step aside. 
 
 Friends. Reveal then, the cause of thy grievance. 
 
 Call. I love. 
 Friends. What? 
 
 Call. An object fair and graceful. 
 Friends. . . . But by your answer it does not ap- 
 pear what particular being it is you love. 
 Call. Well then, a woman! 
 
 Friends. The wife of prince Andronicus? 
 Call. Yes, herself. 
 
 Tell me in sadness, who she is you love? 
 
 Rom. In sadness cousin I do love a woman. 
 
 Benv. I aim'd so near. 
 
 Rom. And she is fair, I love. 
 
 she'll not be hit 
 
 With Cupid's arrow 
 
 ; .... in strong proof of chastity well arm'd. 
 
 Benv. Then she has sworn, that she will still live 
 
 chaste ? 
 
 Friends. . . . She has devoted herself entirely to 
 the service of the Lord, and she even refuses her bed to 
 her husband Andronicus. 
 
 The concluding scenes present almost the same picture in both plays: A sepulchral cavern, an open 
 woman's tomb, a young woman dead, a young lover dead at the foot of the coffin of his love. This tragic scene 
 
SHAKESPEARE IN GERMANY. Ill 
 
 We meet with the first attempt to develop a drama in the German language towards 
 the end of the thirteenth or beginning of the fourteenth century, in the 'War of Wartburg.' 1 
 But if we pass by this work as a failure, we must recognise the true commencement of 
 /the German Drama in the ecclesiastical plays composed in German, of the fourteenth and 
 fifteenth centuries. The employment of the vernacular tongue soon took this department 
 of literature out of the hands of the clergy, who were no longer the exclusive authors of 
 these plays, as is sufficiently evident from the satirical and humorous passages which we 
 meet with in them. The introduction of profane scenes, which were always comic, into 
 the tragedy of these pieces, which were properly speaking only intended for ecclesiastical 
 purposes, is their peculiar characteristic from the first, and forms the transition to the pro- 
 fane dramatic representations of the laity, and the Shrove-tide Plays which first appeared in 
 Nuremberg about the middle of the fifteenth century. 2 Their authors, Hans Rosenblut and 
 Hans Foltz, 3 are the earliest dramatic poets of Germany who appeared before the public 
 
 is witnessed in both pieces by two men, deeply afflicted, in Romeo and Juliet by the father and friar Laurence, in 
 ' Callimachus by the husband and Saint Joan the apostle. See Magnin, Theatre etc. p. xlvii, who remarks: "Ce sont 
 
 la, il faut 1'avouer, des coincidences de personnages et de situations incontestables, mais qui ne sont, apres tout, 
 
 peut-etre que secondaires et accidentelles. Ce qui merite d'etre vraiment et serieusement remarque, c'est le ton 
 ' de mysticite sophistique, qui donne aux plaintes amoureuses de Callimaque un air de si proche parente avec celles 
 
 de Romeo." See also Philar. Chasles, Hrosvitha, naissance du drame chretien au X me siecle, in his Etudes sur 
 
 les premiers temps du Christianisme. 8vo. Paris 1847. 
 
 The play of Gallicanus offers many points of contact with Titus Andronicus in the opening scenes. In 
 ' both plays the scene lies in Rome, we meet the same enemies of the commonwealth (the Scythians), the same acting 
 
 characters (a victorious captain and his Emperor), the same object of deliberation, the same intended relationship 
 
 between them, and the same frustration of this plan. See J. Bendixen, Das dlteste Drama etc. p. 23 and the 
 
 same work for other points of similarity. 
 
 1 See Wilh. Wackernagel, Geschichte der deutschen Litteratur. 8vo. Basel 1848. p. 305. It is much to 
 be regretted that this excellent work remains unfinished. Gottsched, in his introduction to Nothiger Vorrath 
 zur Geschichte der deutschen Schaubiihne. 2 vol. 8vo. Leipzig 1757-65 pretends having read in an old chronicle 
 which he cannot name however, that a play in the old Friesic dialect by Angilbert, a monk, has been represented 
 before Charlemagne. Gottsched's authority has never been discovered, and the assertion is doubtful. 
 
 2 E. A. Hagen, Geschichte des Theaters in Preufsen, 8vo. Konigsberg 1854, speaks of Shrove-tide plays, 
 given at the same period in Prussia. He also says that such plays were given in the open air and extempore. 
 I believe that the plays to which he alludes are no real Shrove-tide plays. A. Keller has given a collection 
 of all the (121) German Shrove-tide plays of the fifteenth century: Fastnachtspiele aus dem funfzehnten Jahrhundert, 
 gesammelt von A. Keller. 3 vol. 8vo. Stuttgart 1853. 
 
 3 The only play bearing Rosenblut's name, is Des Kilnig von Engellant Hochzeit (The nuptials of the 
 King of England). Keller No. 100. Eight heralds announce that the King of England will celebrate on the 8 th 
 of May the nuptials of his daughter with the Duke of Orleans. Each herald promises a precious present: Each 
 guest receives a florin for each mile that he has travelled; the winner in the tournament receives a horse, worth 
 52 marks of gold; the second prize is a necklace of Greek gold, the third a precious sword, the fourth a mira- 
 culous ring ; the most skilful and most decent dancing girl receives a garland of pearls ; a richly ornamented ass 
 is promised to the laziest amongst the guests. Finally a letter of the King is read, by which twelve citizens 
 are named to testify the truth of the promises. (See Karl Goedeke, Grundrifs zur Geschichte der deutschen Dich- 
 tung, 8vo, Hannover 1859, pag. 97.) Can this play be traced to an English source? 
 
 For Hans Folz see Keller, Vol. iii, and Goedeke, p. 99. , 
 
 A2 
 
IV SHAKESPEARE IN GERMANY. 
 
 as such, under their own names. The subjects which they treated are always of a hu- 
 morous and generally of a local character, taken fresh from actual life, and their own im- 
 mediate surroundings. This remarkably early transition to representations of an entirely 
 profane character, in which Germany was considerably more than half a century in ad- 
 vance of England, 1 had no influence on the further development of the drama. It is true, 
 the Shrove-tide Plays were raised from their earlier and cruder form by one highly gifted 
 genius, but they soon sank into eternal obscurity; and although their secular character 
 might have led us to conjecture that they would form one step in the process of develop- 
 ment to the true artistic drama, yet such a conjecture would not be justified by the fact. 
 This process was interrupted for centuries, and Germany did not arrive at the true Art- 
 Drama, till long after Western Europe. 
 
 The Shrove-tide Pieces were of a less public nature than the Passion-Plays ; for 
 while the latter were performed in the churches before the assembled people, or on public 
 squares and in the open streets, the former migrated from house to house among the pri- 
 vate citizens. This explains the immorality and want of taste pervading the humour of 
 these plays, which abound in coarseness and indecency; 2 for although this tendency to 
 licence met with a ready response in the popular tone of thought and feeling, publicity 
 would have confined it within narrower limits. From the private character of the Shrove- 
 tide Plays we may also deduce the extreme poverty of the theatrical apparatus employed 
 in their representation. In this respect there was a retrograde movement, for in the Passion- 
 Plays, which were often put upon the stage with great magnificence and very complicated 
 machinery, the merely theatrical part of the representation was a very important element 
 of the whole, while the dramatic life in the Shrove-tide Plays was almost confined to the 
 distribution of the dialogue among several persons, the monotony of which was only inter- 
 rupted by the above-mentioned jokes. Towards the close of the century, the revival of 
 classical antiquity exercised some influence, at least upon the form of the drama; the ho- 
 rizon of the invention displayed in it, however, still remained exceedingly circumscribed. 
 
 Hans Sachs (born 1494, died 1576) 3 was the first who -turned the studies of the 
 
 1 The earliest and at the same time the only English drama of the fifteenth century, founded neither on a 
 biblical narrative nor on the life of a saint, and the characters of which, instead of being allegorical, are taken 
 from a popular legend, is the lately discovered Play of the Sacrament, composed, as it appears, during the reign 
 of Edward iv. But though secular in form, it is thoroughly ecclesiastical in matter, its principal tendency being 
 to prove the doctrine of the real presence. See The Play of the Sacrament, a Middle-English Drama ed.from a 
 Manuscript in the Library of Trinity College, Dublin, by W(hitley) S(tokes). Published by the Philological Society. 
 8vo. 1862. See also J. P. Collier's History of the stage in his edition of Shakespeare, in 8 vols. 8vo. 1844. 
 Vol. i, p. xiv. 
 
 2 "The coarse rudeness of manners, displayed in these plays, is beyond all description, and it is im- 
 possible to give an idea of it." Goedeke, Grundrifs etc., p. 95. Foltz, who wrote many years later than Rosen- 
 blut, outdoes his predecessor in filthiness. 
 
 3 Hans Sachs himself has given a collective edition of his works in three folio volumes, and two other 
 volumes were added after his death. Vol. i, 1558 (and four later editions: 1560, 1570, 1589 and 1590), Vol. ii, 
 
SHAKESPEARE IN GERMANY. V 
 
 learned in the ancient drama to good account for the people's stage. This poet is of very 
 great value for the history of German Literature, as he enables us to comprehend the tone 
 and character of popular thought during his century to which moreover he gave expression 
 in a manner at once noble and energetic. The drama advanced with him with gigantic 
 strides, both as regards matter as well as form. It is true, he also treated sacred subjects, 
 and composed a great number of Shrove-tide Plays, but both these species of composition 
 had nothing in common with the productions of his predecessors beyond the name. Neither ' 
 did he confine himself to these alone. His great importance for the German Drama con- 
 
 / sists in his having emancipated its form from its previous coarseness, and its subject matter 
 from the narrow limits which had hitherto been imposed on it. The traditions of Antiquity 
 and of the Middle Ages, of his home and of foreign countries, Italian novels, History, sacred 
 and profane, the events of the time and place in which he lived, all these sources offered 
 him welcome materials in the choice of his matter. Only about a quarter of ah 1 his pieces 
 treat of sacred subjects, in any form whatever, and even in these there is no longer any 
 question of religious ideas and symbols, and ecclesiastical objects, but human conduct and 
 human relations are the centre on which all the action turns. Whoever compares some of 
 the best of his 208 dramas with those of his immediate predecessors and contemporaries, 
 must be astonished at the contrast which results in favour of the Nuremberg shoemaker. 
 This great revolution in the drama was effected partly through the lofty genius of the man 
 himself, but partly also through the new energy infused into the public and political life 
 of the nation by the Reformation, the cause of which was espoused by Hans Sachs with 
 the most zealous enthusiasm. Ecclesiastics as well as Laymen had now become citizens of 
 the State, who required f$r other excitements than any which could be afforded by the 
 sacred dramas devoted to the service of the church, or by the low indecencies of the 
 Shrove-tide Plays. Even at the very commencement, the indissoluble nature of the con- 
 nection of the stage with the life of the Nation became very evident. In Hans Sachs every- 
 
 ! thing is popular, and even in his treatment of foreign matter, we find the reflection of the 
 German mind. Never has there been another poet whose spirit was so completely iden- 
 tified with that of the people, as his. He does not tower indeed over the heads of all 
 times, like the great heroes in the field of intellect he only aims at being understood 
 and recognized in his own time; but it is just in his being a true reflection of his age, 
 that his importance for us consists. We become best acquainted with him in his Shrove- 
 tide Plays, and his humorous pieces generally. 1 Here he moves on popular ground, in 
 which alone the new tendencies could strike root. Where he makes an incursion upon the 
 field of Tragedy or the Antique, he very soon reaches the utmost limits of his powers. 
 
 1560 (and three later editions: 1560, 1570, 1590), Vol. iii, 1561 (and three later editions: 1577, 1588, 1589), 
 Vol. iv, 1578, Vol. v, 1579. All of them printed and published at Nuremberg. Another edition 5 vol. 4to. 
 Kempten 1612 et seq. The same edition with another title-page: 5 vol. 4to. Augsburg 1712. A chronological 
 list of the plays will be found in Karl Goedeke's Grundrifs, p. 345. 
 ' See Wilh. Wackernagel, Geschichte etc., p. 410. 
 
VI SHAKESPEARE IN GERMANY 
 
 In spite however of the important place which we must concede to Hans Sachs in 
 the process of the development of the German Drama, he accomplished but little for dra- 
 matic art. We seek in vain in his works for an action resting on internal harmony and 
 
 1 'consistency, for a drama constructed in conformity with the laws of human nature. 
 Stage-management moreover, and the whole of the technical side of the drama remained 
 
 i for him a perfectly unknown field. And if he distinguished between Tragedy and Comedy, 
 which had not been done before, and divided his pieces into acts and scenes, these inno- 
 vations M r ere of a merely external nature. A perfectly unmotived arrangement of the order 
 of the scenes, and an arbitrary division into Acts even up to the number of twelve, are 
 characteristics of him just as much as of his predecessors. 1 Neither did his immediate 
 successors accomplish anything more for the furtherance of dramatic art. Notwithstanding 
 the great fertility of his invention, he wanted the dramatic power to produce theatrical 
 effects. For this a more highly gifted genius was necessary; but none such appeared. Both 
 scholars and laymen expended their efforts on translations of antique dramas, for the most 
 part unsuccessful ones, by which nothing was gained; while on the other hand they entirely 
 lost the one popular element, the pure unsophisticated comedy, as practised by Hans Sachs. 
 The Shrove-tide Plays, which in their more refined form were by far the best thing that 
 dramatic literature had been able to shew up to that time, were obliged to yield more 
 and more, partly to those worthless translations from the Antique, and partly to other 
 subjects for the most part taken from the Bible. The latter found some standing ground 
 
 1 Only in one of his numerous plays does he take a higher position, but here he is more imitator than 
 inventor, and his source is an English work. His Comedi von dem reichen sterbenden Menschen Hecastus genannt 
 1549, is undoubtedly an imitation of the English Morality of Every Man (first printed by Pynson before 1531 
 ' and twice by Skot before 1537. Reprinted in Hawkin's English Drama, i, p. 27). A reprint in L. Tieck's Deut- 
 sches Theater, 2 vol. 8vo. Berlin 1817, Vol. i. Tieck says pag. xiii: "Here Sachs is delightful in his innocence, 
 he probably follows his model step by step." This piece seems to be the first link between the English and the 
 German stage. The nearest source of Hans Sachs is perhaps a Latin version of Every Man. See E. A. Ha- 
 gen, p. 31, and Floegel, Geschichte der komischen Litteratur, Vol. iv, p. 199. The first Latin version is by Georg. 
 Macropedius, Coloniae 1539; reprinted ib. 1540, Tremon. 1549. Francofurti 1571, Argentorati 1586. A later ver- 
 sion, probably founded on Macropedius, is by Laurentius Rappolt, which was represented at Nuremberg 1550. 
 In 1556 a latin Hecastus was represented at Basle. A German version of Rappolt's play has been represented 
 at Nuremberg in 1549: Ein schon christlich Spiel, Hecastus genarit, Nurnberg, Job. Daubmann, 1552. -- Other 
 German versions are by Cyr. Spangenberg, 1564; Henr. Petr. Rebenstock, Hecastus, ein geistlich Spiel vom Ampt 
 vnd Beruf eines jeden Menschen. Franckf., N. Bassens, 1568; Job. Schreckenberger, Georg. Macropedii Hecastus 
 verteutscht. Strassburg, A. Bertram, 1589 ; M. Abr. Saurius, Comoedia germdnica Hecastos seu Homulus. Marpurgi 
 1591. The German Hecastus has been represented at Annaberg in 1569. Another play, called Homulus, is 
 derived from Every Man. This however seems to have come from the Low countries: Petrus Diesthemiius, Ho- 
 mulus comoedia inprimis lepida et pia, in rem christiani hominis adprime fatiens, Antverpiae quondam in publico 
 civitatum Brabanticarum conventu vulgariter acta palmamque adepta. Coloniae, ex off. Jasparis Gennepei, 1536; 
 ib. 1537; Antverp. 1538; ib. 1546. Translated into German by Jaspar von Gennep : Comedia Homuli gemehrt 
 vnd gebessert etc. Gotten, Jasp. v. Gennep, 1540, 4to; ib. 1548, 8vo; ib. 1554, 8vo; ib. 1592; Magdeburgk, J. 
 Franck, n. d.; Erfurt 1624. Another German version by Heinr. Wettengang, Homulus, in ietz neu ubliche teutsche 
 Reimarten iibersetzet. Bremen 1665; Nurnberg 1669. - The German version of Jaspar von Gennep has given 
 rise to a Dutch translation: Nimmeghen 1556; Amsterdam 1632, 1656, 1661, n. d., 1701. 
 
SHAKESPEARE IN GERMANY. VII 
 
 in the religious struggle which then agitated the nation, and as, with few exceptions, they 
 were intended to serve satirical and didactic but not dramatic objects, they entirely failed 
 of all theatrical effect. Such subjects as were offered by romance, tradition, and the history 
 of the country, subjects to which English writers had had recourse at a very early period, 
 remained almost entirely neglected. One of the results of this moralising tendency, which 
 from the intimate connection between church questions and politics, often encroached upon 
 the field of the latter, was soon to render the drama an affair of the state, or of the towns. 
 We constantly meet with the civil and municipal authorities as the patrons of the stage. 
 This perhaps may be the reason, that while dramatic art was at a far lower ebb in Ger- 
 many than in England, the former country possessed permanent theatres at a far earlier 
 period than the latter. 1 For the management of the stage and arrangements of the theatre 
 in Germany naturally corresponded to the very imperfect condition of its dramatic litera- 
 ture. At a time when England was already traversed in all directions by innumerable 
 troops of strolling players, and dramatic art had attained a high stage of development, 
 Germany could not yet boast of any actors by profession. Nuremberg and Augsburg al- 
 ready possessed their permanent theatres, consisting of a large broad stage with a deep 
 proscenium, surrounded by an unroofed amphitheatre intended for the spectators. In the 
 other cities, just as at the time of Rosenblut's, the representations took place in the houses 
 of the citizens, and in the inns and taverns, on a 'podium', or platform, constructed of 
 benches and casks. But here, just as in the above-mentioned theatres, the actors continued 
 to consist of honest citizens, and merry young fellows and scholars, who drawled out their 
 lesson in stiff traditional forms, without any other variation than the coarse humour of the 
 pieces, and far more for their own amusement than from any very earnest endeavour to 
 satisfy the public. In short the play was more for the sake of the actors than the spectators. 
 Hence arose the endeavour on the part of the authors to let as many persons as possible 
 appear upon the stage; and there were pieces indeed with as many as a hundred characters 
 who spoke, as well as a still larger number of mutes. 2 Occasionally indeed, for the grati- 
 
 1 The first German theatre was erected at Nuremberg in 1550, by the corporation of master-singers; 
 ' another followed soon at Augsburg. See Ed. Devrient, Geschichte der deutschen Schauspielkunst. 3 vol. 8vo. Leipzig 
 
 1848. Vol. i, p. 114. England saw her first theatre (The Blackfriars) in London in 1576. "Until then the va- 
 rious companies of actors had been obliged to content themselves with churches, halls, with temporary erections 
 in the streets, or with inn-yards, in which they raised a stage, the spectators standing below, or occupying the 
 galleries that surrounded the open space." J. P. Collier's History of the English stage to the time of Shakespeare, 
 in his edition of Shakespeare's works, 8 vols. 8vo, Vol. i, p. xxxv. As early as 1398 France possessed 
 a playhouse, built by the 'freres de la passion' in the village of St. Maur-des-Fosses near Vincennes. The 
 same body errected the 'Theatre de la trinite' at Paris in 1442. In 1550 a second theatre, called 'Table de 
 , marbre,' was granted to the 'Confrerie de la Bazoche.' In Italy the ancient Amphitheatres were used as play- 
 houses; in 1264 the Passion-brothers del Gonf alone gave representations at the Coliseum. In the sixteenth century 
 the Italian princes had theatres in their palaces. In Spain the first theatres were built in 1574. Up to that time 
 the courts of private houses were used for representations. See Devrient, ibid. Vol. i, p. 114. 
 
 2 e. g. 105 persons in Jacob Rueffs Adam und Neva, 1550 158 in Valentin Boltz's Weltspiegel, 1550 
 162 in Joh. Rasser's Comoedie aus Evang. Matth. 21 und 22, 100 acting and 200 mute persons in Math. 
 Holzwart's Saul, 1571. See W. Wackernagel, Geschichte etc., p. 456. As late as 1591 a play with 106 persons 
 
VIII SHAKESPEARE IN GERMANY. 
 
 fication of the many, they again had recourse to the spectacle of the Middle Ages, to the 
 gay, noisy processions on foot and horseback, with devils and other monsters, who amused 
 the multitude sometimes with harmless, and sometimes with bitter jokes. 
 
 However small may have been the fruits which the efforts of centuries produced 
 for the drama, one trait is quite unmistakable in all its phases: namely, the zest and delight 
 with which the people took part in it, either as authors, actors, or spectators, and the 
 readiness with which the learned entered into the spirit of the people in their way of re- 
 garding the whole subject. But now even this last hold, the only one which could repay 
 us for ploughing up a field so unproductive for art, was to disappear. In this, as in other 
 kinds of poetry, the learned and the popular went side by side, but there was no field in 
 which the injury done by the encroachments of the learned was so great as in this. In 
 order to render the separation from the people complete, they wrote then* poetry in Latin, 
 the drama sank to a mere school exercise, and was used in the schools as a method to 
 facilitate the learning of the languages of Antiquity. Sometimes indeed the pupils performed 
 German pieces also, and occasionally Latin pieces were translated into German and played 
 in that form, but that was not sufficient to prevent the German drama from sinking into 
 obscurity and contempt. This abandonment of the field of real life which was the inevitable 
 consequence of the exclusion of the cooperation of the people, was rendered still more 
 complete by the composition and printing of dramas which were avowedly only intended 
 to be read. By thus neglecting the stage, which is the indispensable mediator between the 
 poet and the people, they really turned their back upon the latter, and condemned the 
 popular drama to a miserable state of existence. 1 
 
 The German Princes appear to have regarded the drama with no unfavorable eyes. 
 They frequently assisted with the loan of costumes, armour, and properties of all sorts, 
 and the scholars were often required to play their comedies at the courts. But a higher 
 taste for dramatic art than that which found its gratification in these unartistic productions, 
 is nowhere to be met with. People were satisfied with things as they were. Whilst music 
 excited a lively interest, and was encouraged at the Courts by the establishment of per- 
 manent bands, the drama, on the other -hand, was only admitted as an accessary, and rather 
 tolerated for the sake of the players, than required as a necessity in itself. Whilst in Eng- 
 land, France, and Italy, the patronage of Princes and persons of rank began at an early 
 period to educate professional players out of dilettanti, the practice of dramatic art in Ger- 
 many was left entirely in the hands of mechanics and school-boys, with whose crude per- 
 formances the courts rested contented. Only the court fools and merry andrews enjoyed 
 their protection, and these were sought for far and wide. 2 And yet we must allow that 
 
 by Andreas Hartmann, Vom Zuestande im Himmel vnnd in der Hellen was acted at Torgau before Christian i, 
 Elector of Saxony. See Mor. Furstenau, Zur Geschichte der Musik und des Theaters am Hofe zu Dresden. 8vo. 
 Dresden 1861, p. 60. 
 
 1 See Wilh. Wackernagel, Geschichte etc., p. 458463. 
 
 2 Floegel's Geschichte der Hofnarren. 'William der Geek von Burgundia.' See E. A. Hagen, Geschichte 
 etc., p. 7. 
 
SHAKESPEARE IN GERMANY. IX 
 
 as soon as improvements were once introduced they were gladly and warmly welcomed, 
 for we shall see that after the state of the German theatre had been reformed through 
 foreign influences, it received the most zealous support from the Princes. But the merit 
 of having endeavoured to ennoble the drama of their own accord, and without any im- 
 pulse from without, is one to which they have no claim. 
 
 Such was the state of the theatre in Germany at the commencement of the last 
 decennium of the sixteenth century. Then it was that unexpected aid arrived from a country 
 kindred alike to Germany by ties of blood and congeniality of spirit, from England, 
 where the educated classes were enjoying the almost over-ripe fruits of the dramatic muse. 
 A weak ray from the sunlight of the Shakespearian drama fell on Germany, and was suf- 
 ficient to bring new life and motion into the stagnating elements of the German stage. 
 
 From the earliest times the English people were preeminent above all the other 
 
 nations of modern Europe for their peculiar aptitude for dramatic entertainments. The 
 
 beginnings of dramatic art in England were not earlier than those in Germany, 1 perhaps 
 
 not so early, but the religious plays even at a very early period are essentially distinguished 
 
 from those French pieces, which were also adopted as models in Germany, by their greater 
 
 1 J. P. Collier, History of English Dramatic Poetry, Vol. i, p. 1, says that no country in Europe, since 
 the revival of letters, has been able to produce any notice of theatrical performances of so early a date as Eng- 
 land, and in a note he adds that the plays of Hrotsvita have not been represented. This assertion, we believe, 
 is altogether erroneous. Hundreds of details in the plays of Hrotsvita themselves show that they must have 
 been written for representation. This does not exclude the fact that they were also intended for being read 
 by the Nuns of Gandersheim in place of Terence's tragedies. Magnin, Theatre de Hrosvitha, introd. p. vi says: 
 " En eifet nous savons a nen pas douter, que c'est dans une illustre abbaye saxonne que furent represented les 
 drames de Hrosvitha, probablement en presence de 1'eveque diocesan et de son clerge, devant plusieurs nobles 
 dames de la maison ducale de Saxe et de quelques hauts dignitaires de la cour imperiale etc." And Ph. Chasles, 
 Hrosvitha, p. 247: "Mil\e details confirment cette assertion de M. Magnin." See also J. Bendixen, Das dlteste 
 Drama etc., p. 13: "And is it then actually the case, that between the Luneburg Heath and the Teutoburg Forest 
 at the foot of the Brocken, while Wodan was following his wild chase on its summit, and Madam Holle haunted 
 every bush, that the hand of a timid nun of the White Christ was not only among the first to lay her offerings 
 on the altars of Thalia and Melpomene, but perhaps the very first to raise the curtain of their temple before the 
 astonished eyes of the German World?" Mr. Edelestand Du Meril, Origines latines du theatre moderne, 8vo. Paris 
 1849, p. 17 et seq. opposes Magnin's opinion, but the arguments which he brings forward for support of his 
 theory are far from being conclusive. "Le manuscrit, qui est contemporain . . . ne contient aucune instruction 
 scenique, les personnages sont mal designes, les actes et meme les scenes n'y sont point marques, et Ton y trouve 
 des indications antipathiques a la nature du drame. La scene reste souvent vide et le lieu ou elle se passe n'est 
 jamais indique; les personnages viennent se meler au dialogue sans preparation et se retirent sans raison." These 
 are strange objections indeed! If they prove anything they speak more for than against Mr. Magnin. Most of 
 the defects pointed out by Mr. Du Meril may be noticed even in English plays of the sixteenth century and we hope 
 that he will not deny their having been composed for representation! "II y a des changements de scene fre- 
 quents et de grand mouvements d'action qui demandent un temps considerable, et ne sont separes que par quel- 
 ques mots des autres scenes." All this might as well be said to prove that Shakespeare himself did not write 
 his plays for representation! "II eut fallu, dans le Gallicanus, qu'une armee defilat sur le theatre." Why? Did 
 not Shakespeare too introduce a handfull of soldiers as representatives of a whole army? "Le cadavre d'une 
 jeune femme n'y est sauve des derniers outrages que par une corruption prematuree." There is no necessity for 
 representing a premature corruption on the stage; it may be fairly left to the imagination of the spectators. 
 
 B 
 
X SHAKESPEARE IN GERMANY. 
 
 unity of action, and by their striving after a dramatically effective representation of cha- 
 racter, sometimes indeed rising to an individualisation of original figures, which lay far 
 beyond the horizon of the art of the Middle Ages, and occasionally reminds us of the 
 creations of Chaucer. 1 Here, as in Germany, notwithstanding the fact that the subjects were 
 biblical, the comic element asserted itself at a very early period, but did not become, as 
 sometimes in the latter country, the principal object of the whole piece. It was still further 
 developed in the Interludes, which offered an excellent opportunity for interrupting the 
 dull march of the Moralities by amusing Episodes, and it was in this way that the religious- 
 moral play was transformed into the profane drama. It is to this peculiar prominence of 
 ,the comic element in its national originality, that the early transplantation of English dra- 
 matic art to countries inhabited by kindred races is to be attributed. To the predecessors 
 of the merry clown, and afterwards to the latter himself, that symbol of merry old Eng- 
 land, are Germany and the Netherlands most probably indebted for their first acquaintance 
 with the English drama. 
 
 As early as the year 1417 we meet with English actors on the continent, and indeed 
 at Constance, where the English Bishops, who attended the great Council, had three plays 
 performed, namely, 'The Birth of the Saviour,' .'The Arrival of the Saints,' and 'The Mas- 
 sacre of the Innocents'. Rehearsals had taken place before the Magistrates several days 
 before the performance itself. 2 This remarkable incident in the history of the theatre ap- 
 pears to have stood in very intimate connection with the visit of the German Emperor, 
 Sigismund, to England in the year 1416, the object of which was intended to bring about 
 a peace between England and France. On this occasion Henry v and his guest Sigismund 
 were present at a play which had the fate of St. George of Cappadocia for its subject. 3 
 
 1 Professor A. Ebert in his excellent essay: Die Afysterien der Townley-Sammlung, in Jahrbuch fur Ro- 
 manische und Englische Litteratur, Vol. i, Nos. 1 and 2, 8vo. Berlin 1858 59, was the first to point out these 
 important advantages of the English Miracle-Plays. In the same essay he has refuted with great acumen and 
 unanswerable evidence the opinion entertained by the historians of English Literature, that the English Mysteries 
 were based on the French, and has proved, that their development was entirely spontaneous and national. Pro- 
 fessor Ebert cites traits of a genuine German spirit, which never could have had their origin in France. He 
 shews moreover with, great critical discernment the specifically English character of precisely those points of dif- 
 ference which raise the English Mysteries, when judged according to their inward worth, so far above the French. 
 This national element alone secured the English Mysteries a longer life than was allotted to such pieces in other 
 countries ; for we find them maintaining their ground in England by the side of the completely developed drama, 
 down to the beginning of the seventeenth century. 
 
 2 J. Lenfant, Histoire du Condle dt Constance, 4to. Amsterdam 1714, p. 440. "Les Anglois se signalerent 
 entre les autres par un spectacle nouveau, ou au moins inusite en Allemagne. Ce fut une comedie sacree que 
 les eveques anglais firent representer devant 1'empereur le dimanche 31 de Janvier [1417] sur la Naissance du 
 Sauveur, sur 1' Arrive des Mages et sur le Massacre des Innocents. Us avoient deja fait representer la meme 
 piece quelques jours auparavant en presence des magistrats de Constance et de quantite de personnes de distinc- 
 tion, afin que les acteurs fussent mieux en etat de faire bien leur role devant 1'empereur." The same narra- 
 tive is to be found in Herm. von der Hardt's Magnum Oecumenicum Constantiense Consilium. 3vol. fol. Franco- 
 furti et Lipsiae 1700. 
 
 3 "The representation seems to have been divided into three parts and to have been accomplished by 
 
SHAKESPEARE IN GERMANY. XI 
 
 The pleasure which this play afforded the Emperor must have been so great that the re- 
 presentation of similar things in Constance was intended as a peculiar attention, and it may 
 be assumed that they were able to shew him something else, if not something better, than 
 
 1 he could have become acquainted with from the German religious plays, which were also 
 in full activity at that time. 1 Perhaps the Emperor saw at Constance the same players as 
 those who had pleased him so well a year before in London. That they were able to 
 display a greater degree of skill than their colleagues in Germany may be conjectured from . 
 the fact, that at that time acting was a regular profession in England, whereas in Germany 
 the actors were still only amateurs. In the reign of Henry vi the profession of an actor 
 had become completely naturalized, and companies of strolling actors were no longer any- 
 thing uncommon. 2 Flag-bearers and trumpeters marched before them to announce the time 
 and place of the performance. The Court and the nobility maintained their troops of 
 actors, with which bands of music were always connected. Foreigners, and more especially 
 Germans, were to be found among the latter at a very early period. Five Germans, Aus- 
 trians and Bavarians, were in the service of Richard iii as Minstrels in the year 1483. In 
 
 t the month of March of the same year, two of them, Conred Smyth (Conrad Schmidt) and 
 Peter Skeydell (Seydel?), obtained permission to return to the Duke of Bavaria, and again, 
 in October, the three others, Henryke Hes, Hans Hes, and Mykell Yonger (Michael Jilnger) 
 received a similar permission to return to the Duke of Austria. 3 They probably made no 
 secret in their native country, of the wonders of English dramatic art, as they had them- 
 selves witnessed it. In the same way we also find about the year 1516, several Germans 
 among the eighteen foreign minstrels of Henry viii, whose names are mentioned in a 
 MS. in the British Museum. 4 Somewhat later, the religious disputes which played rather 
 too great a part on the stages of both countries, offered various points of connection. All 
 John Bale's pieces were printed in German Switzerland, and when Luther hulled his pam- 
 phlets against Henry viii, and the question was discussed in Germany, "Whether the King 
 
 certain artificial contrivances, exhibiting first " the armyng of Saint George, and an Angel cloying on his spores," 
 secondly " Seint George ridyng and fightyng with the dragon, with his spere in his hand," and thirdly "a castel 
 and Seint George and the Kynges daughter ledyng the lambe in at the castel gates." J. P. Collier, History etc. 
 Vol. i, p. 20, from a chronicle in the Cottonian collection, British Museum, Cotton MSS. Calig. B. ii. See also 
 (W. B. Rye) The Emperor Sigismund at Windsor, A. D. 1416. Retrospective Review, New Series, Vol. ii, 8vo. 
 London 1854, p. 238. 
 
 1 In the Records, of the Grand-masters of the Teutonic Order at Marienburg a certain " Hannos, the 
 blind speaker [Sprecher] of the New Roman Emperor" is mentioned between 1399 and 1410. This seems to 
 indicate that the Emperor retained persons of a histrionic character at his court. E. H. Hagen, Geschichte etc., p. 7. 
 
 a J. P. Collier, History of English Dramatic Poetry. Vol. i, p. 23. 
 
 3 Ibid. p. 34, from Harl. MSS. No. 433. 
 
 4 MSS. Landsdowne, No. 2. See J. P. Collier, History of the Engl. Dram. Poetry. Vol. i, p. 83. The 
 ' Minstrels named in the document are Italians, Germans, Frenchmen and Dutchmen. "Ihon de Bassani, Antony 
 
 de Bassani, Jasper de Bassani, John Baptiste de Bassini, Marcus Antonius, Nicholas de Forrewell [probably Ni- 
 colas Wohlfahrt], Pellegryne Symon, Antony Symon, Nicholas Andria, Antony Maria, John de Savernake, Guyllam 
 Guillam, John de Bovall, Nicholas Puvall, Hanse Hansvest, Haunce Hichhorne, Peter de Welder, 18 mynstrells." 
 
 B'2 
 
XII SHAKESPEARE IN GERMANY. 
 
 of England or Luther were a liar," 1 it will have been well known in Germany, that just 
 this very King had greatly enjoyed a play, in which "the heretic Luther like a party friar 
 in russet damaske and black taffeta", and Luther's wife, the honest Kate von Bora, "like 
 a frow of Spyers in Allmayn in red sylke" were held up to ridicule. 2 
 
 It was impossible therefore, but that the fame of the English stage penetrated to 
 Germany at a very early period. Later, in the time of Queen Elisabeth, when the rela- 
 tions of England to the Continent had become more numerous, it became good ton among 
 the German and Dutch Princes and Nobility to pay a visit to England, a privilege, which 
 up to that time had only been enjoyed by the French and Italians. What a rich intellec- 
 tual life here unfolded itself to their view, an intellectual life, such "that the world had 
 never seen the like since the best days of Greece!" 3 Here the theatres were at the height 
 of prosperity, the great masterpieces, those imperishable ornaments of the human intellect, 
 were revealed to the people through the medium of a thoroughly cultivated and artistic 
 stage, and the whole dramatic art had arrived at a degree of development which it had 
 hardly attained in other countries half a century later. 
 
 Of such travellers, as may safely be presumed not to have disregarded the English 
 theatre, we will only mention a few. Count Frederick of Mftmpelgard (born Aug. 19, 1557, 
 died Jan. 29, 1608) who in August 1593 succeeded Duke Ludwig on the throne of Wirtem- 
 berg, left Mompelgard on July 10, 1592, on a tour of pleasure to England. He went first 
 to Cassel, to the Landgrave William of Hesse, who stood on a footing of great intimacy 
 with Elisabeth of England, and obtained from him a letter of introduction to the Queen. 
 He embarked at Embden on the 7th of August and after a stormy voyage landed on the 
 9th at Dover, from whence he continued his journey to London. His suite consisted ori- 
 ginally of 1. Hans Georg von Brunighofen, Grand Steward, 2. Johan Docourt, Licentiate 
 and Ducal Counsellor, 3. Franz Ludwig Zorn von Bulach, Gentleman of the bed-chamber, 
 4. Hans Jacob von Mtilnheim, also Gentleman of the bed-chamber, 5. Captain Saige, 6. Johan 
 Bautin, surgeon, 7. Jacob Rathgeb, Secretary, besides seven servants, coachmen and grooms. 
 Hans Christoph, Hereditary Sewer of Rheinfelden, joined the party on the way; but the latter, 
 and the two above-mentioned H. G. von Brunighofen and Johan Docourt, must have returned 
 on the ground of ill-health, so only five of the suite besides the seven servants arrived in 
 England with the Count. This party travelled by way of Canterbury, Rochester, and Grave- 
 send, and reached London on the evening of the 10th of August. Here the French Am- 
 bassador, de Beauvois, shewed the Count many attentions. The first five days were occupied 
 in -seeing the sights of London, and on the 16th, the Count and his suite, at the invitation 
 of Queen Elisabeth, proceeded to Reading, where Her Majesty was then staying. Here he 
 
 1 (Th. Murner.) Ob der Kunig vsz engelland ein liigner sey oder der Luther. 4to. Strafsburg 1522. 
 3 The revells holldyn the X' h day of Novembyr, the xitf h yer of our sovrayn lord kyng harry y f viij '*. (1528). 
 See J. P. Collier, History etc. Vol. i, p. 108. From Richard Gibson's account at the Chapterhouse, Westminster. 
 3 Friedrich Bodenstedt, Shakespeare's Zeitgenossen, Band i. 8vo. Berlin 1858, p. 13. 
 
SHAKESPEARE IN GERMANY. XIII 
 
 was received with great honour by the Earl of Essex, who on the following day presented 
 him to the Queen. A second audience followed on the 18th, and after it, a banquet given 
 by the Count to the Earl of Essex and the other grandees of the court. On the 19th the 
 Count accompanied the Queen to Windsor, where he remained till the 21st, and was pre- 
 sent at several hunting parties and other amusements which were got up in his honour. 
 Hampton Court was next visited, from whence he returned to London. From the 25th to 
 the 29th was devoted to an inspection of Oxford and Cambridge, and on the 30th he re- 
 turned to London, where the intervening days before his return, which took place on the 
 4th of September, were passed in amusements of various kinds. Captain Saige, one of the 
 Count's suite, was left in London on account of illness. The route chosen for the journey 
 home was by way of Holland, and on the 19th of October the Count was again in Mompel- 
 gard. 1 It is to another companion of the Count's, his secretary, Jacob Rathgeb, that we are 
 indebted for a description of the journey, which contains many interesting details respecting 
 England as it was in the days of Elisabeth. 2 Unfortunately the worthy secretary has given 
 us no information respecting the Count's visit to the theatres, but notwithstanding' this omis- 
 sion, we may safely assume that the Count . did not leave them unnoticed. The allusions 
 to him in the "Merry Wives of Windsor" Act iv. sc. 3 & 5, to which we shall afterwards 
 refer, would appear to imply that he had entered into some closer connection with the 
 theatre. Altogether indeed, Rathgeb appears to have only noted what he had himself wit- 
 
 1 The following is the passport which the Duke received for his journey back to the Continent, as printed 
 in the work noticed below: 
 
 "Theras this nobleman Count Mombeliard is to passe ouer Contrye in England into the lowe Contryes, 
 These Shalbe to wil and command you in heer Maj. te name for such, and is heer pleasure to see him fournissed 
 with post horses in his trauail to the sea side, and ther to seeke up such shippinge as shalbe fit for his trans- 
 portations, he pay nothing for the same, forwich this shalbe your sufficient warrant, so see that you faile not 
 therof at your perilles. From Bifleete, the 2 of September 1592. 
 
 Your Friend. 
 * C. HOWARD. 
 
 (Locus sigilli.) 
 
 To al Justices of peace, Maiors, Bayliffes, and al other her Ma. te officers, in especial to my owne officers 
 of the admyraltye." 
 
 2 Kurtze vnd Warhaffte \ Beschreibung der Badenfahrt: \ Welche der \ Dvrchleuchtig \ Hochgeborn Fiirst vnd 
 Herr \ Herr Friderich, Hertzog zu Wiirttemberg \ vnnd Teckh, Grave zu Miimppelgart, HErr zu \ Heidenheim, Bitter 
 der beeden Vhralten Kb'niglichen \ Orden, in Franckreich S. Michaels, vnnd Hosen- \ bands in Engelland, etc. In 
 negst abgeloffe- \ nem 1592. Jahr, \ Von Miimppelgart aufs, In das weitbe- \ rilmbte Konigreich Engellandt, hernach im 
 zu- | ruck ziehen durch die Niderland, bifs widerumb \ gehn Miimppelgart, ver- \ richtet hat. \ Aufs I. F. G. gnedigem 
 Bevelch, von dero mit- \ raisendem Cammer-Secretarien [Jacob Rathgeb] auffs kiirtzist, von \ tag zu tag verzeichnet. 
 4to. Tubingen, bey Erhardo Cellio. Anno 1602. With a woodcut portrait of the Duke and other plates. Re- 
 issued together with the Duke's Journey in Italy: Warhaffte Beschreibung Zweyer Eaisen etc. 4to. Ibid., In der 
 Cellischen Truckerey. Anno 1603. This edition contains a poem of 27 pages in praise of the Duke, by Erhard 
 Cellius, which is not in the first edition. The Journey in Italy is written by Heinrich Schickhart. The portrait of 
 the Duke in the second edition is different from that in the first; it is that which adorns the first edition of the 
 Journey in Italy, Miimppelgart, Jacob Foillet, 1602. Another re-issue of the Journey in Italy bears the imprint: 
 Zu Tubingen, bey Erhardo Cellio, Im Jahr, 1603, 
 
XIV SHAKESPEARE IN GERMANY. 
 
 nessed, and that he should have accompanied the Count to the theatre is hardly probable. 
 For it must be presumed that the Count visited the theatre in the company of some ini- 
 tiated person, such as perhaps the French Ambassador, or the Earl of Essex, who attended 
 the Count in London after his return from Windsor, and etiquette would hardly have al- 
 lowed him to take with him a subaltern such as Rathgeb. That the Count was present at 
 a representation in Windsor, as some persons have supposed, I do not believe. He only 
 remained there two days, which must have been entirely taken up by the events recorded 
 by Rathgeb; for, as is well known, in those times the representations were not given in 
 the evening, but during the day. 1 
 
 It appears that during this visit, Elisabeth promised the Count to confer upon him 
 the honour of the Order of the Garter, whenever a vacancy should occur. In the beginning of 
 1595, the Duke, who had now been some time on the throne, remembered this promise, and 
 sent Hans Jacob Breuningen von Buchenbach, a much travelled cavalier who was acquainted 
 with many languages, to the Court of Elisabeth, to request her to keep her word. He had 
 the first audience on the 6th of April, and was received in a very splendid and gracious 
 manner, 2 but the investiture of the order was. declined under various pretexts. This Hans 
 Jacob B. von Buchenbach also appears to have been acquainted with Essex, at least he 
 was sumptuously entertained by him, on which occasion a question of precedence arose 
 between the Ambassador of the Duke, and Count Philip von Solms, the Ambassador of the 
 Landgrave Maurice of Hesse, which was decided in favour of the former. 3 
 
 On the accession of King James, Duke Frederick sent another ambassador to Eng- 
 land, the counsellor von Buwinghausen, after which he at last received the ardently wished 
 for order, the insignia of which were brought him in October 1603 by a very splendid 
 embassy under the conduct of Sir Robert Spencer and Sir William Dethik. 4 Of the festi- 
 vities which took place in Stuttgart on this occasion we shall have to speak hereafter, as 
 there were both English musicians and actors in the suite of the Ambassadors. 
 
 The second traveller of princely rank, whom we have to mention, is Ludwig, Prince 
 of Anhalt (born at Dessau, June 17, 1579, died Jan. 7, 1650), who had not quite completed 
 his seventeenth year, when in May 1596 he started on his travels, impelled by the desire 
 
 1 J. P. Collier, Histonj of English Dramatic Poetry. Vol. iii, p. 376. 
 
 2 In Christoph Friderich Sattler's Geschichte des Herzogthums Wiirtenberg unter der Begierung der Her- 
 zogen, Vol. v. 4to. Ulm 1772, Beilagen p. 107, will be found the speech of the ambassador addressed to the 
 Queen, in Italian. 
 
 3 Sattler ibid. Vol. v, p. 159 and p. 183185. In the year 1594, a certain Stammler, who had been 
 sent to England by Duke Frederick to buy cloth, had given himself out for an Ambassador at the Court of Eli- 
 sabeth. It appears that he succeeded in obtaining an audience of the Queen, and that he also reminded her of 
 the Garter. He was afterwards sent out of England on account of his disorderly conduct. Sattler, ibid., p. 185. 
 
 4 It is a singular fact, that on various medals, struck in 1593 and 1602, the Duke is already represented 
 with the Garter. On the title of Rathgeb's Diary too he is called Knight of the Garter. It therefore would 
 appear that the Order was granted in 1592 at the Duke's visit to England, and that Breuningen applied for the 
 Insignia only, which however were not sent to the Duke before 1603. See Sattler, ibid., p. 256. 
 
SHAKESPEARE IN GERMANY. XV 
 
 of seeing the world. His companions consisted of his brother Hans Ernst who was only 
 a year older than himself, and who in 1601 joined in the campaign against the Turks under 
 the Duke of Mercoeur, Albrecht von Wutenau his governor, and Bernhard von Krosigk 
 a page, who resembled the prince both in tastes and education. We know with the greatest 
 exactness, day by day, all the adventures of travels which lasted nearly four years, every- 
 thing indeed which occupied the mind of an observant young Prince thirsting for informa- 
 tion, in as much as fifty years later, Prince Ludwig composed a description of his travels 
 in German rhyme from his carefully kept journal. Provided with letters of introduction 
 from the Prince's reigning brother, Christian i, to the Earl of Essex, whom however they 
 did not meet with, the travellers proceeded by the route through Lower Saxony, Bremen, 
 Oldenburg, and Holland, whence they embarked for London. They arrived at the latter 
 place. on the 23rd of June, and remained there fourteen days. They then proceeded to 
 Greenwich where the Princes were presented to Queen Elisabeth, thence to Nonsuch, 
 Hampton Court, Windsor, Oxford, and Cambridge, from which place they returned to Lon- 
 don on the 24th of July, to leave it again by way of Gravesend, Rochester and Canter- 
 bury, for Dover, where they embarked for Dieppe. That Prince Ludwig was present at 
 some of the representations of Shakespeare's plays on the London stage, is almost certain. 
 It is true, in the description of his journey he does not name the plays which he had 
 seen, but he speaks of four theatres in London, and of the historical pieces which were per- 
 formed in them. The passage in question in his account of his travels, is as follows. 
 
 Hier besieht man vier spielhauser 1 
 
 Darinnen man furstelt die Fursten, Konge, Keyser 
 
 In rechter lebens grofs', in schoner Kleider pracht, 
 Es wird der thaten auch, wie sie geschehn, gedacht. 
 
 Es wird die Beeren hatz und Oclisen streit erhalten, 
 Das durch den miifsiggang die hunde nicht veralten, 
 
 Die gar zu freudig seind, fein starck und untersetzt, 
 
 Wodurch sich oftermals der Edelmann ergetzt. 
 
 Es wird der Halinen Kampf auch oftmals angestellet, 
 Sie werden, wie man wil, im Hause gleich gesellet 
 
 Auf einen runden tiscli der gantz beschlagen ist 
 
 Mit matten, hier gebraucht man tugend, keine list, 
 
 1 The Prince notices four playhouses only, but it is a known fact that there were at least seven, and 
 perhaps ten, Theatres in London in 1596, viz, the Theatre in Shoreditch, the Blackfriars, the Curtain, Paris 
 Garden, the Globe, the Rose and Newington Butts, and perhaps the Whitefriars, the Rose, and the Swan. The 
 author's speaking of four only is explained by the fact that not all the theatres were open at that time in sum- 
 mer, or perhaps the Prince had visited those theatres which were called "Public", and not those which were 
 called "Private". 
 
XVI SHAKESPEARE IN GERMANY. 
 
 Wan jetzt das beissen folgt, und manche Stunde wehret. 
 
 Bis sich das rechte gliick zum sieger hat gekehret, 
 Das wetten wird gar hoch von vielen angesetzt, 
 Und welcher Hahn gewint, dem wird sein Herr ergetzt. 1 
 
 TRANSLATION. 
 
 There are four theatres to see here, 
 
 Where Princes too, and Kings, and Emperors appear, 
 In the true size of life, in handsome robes arrayed, 
 And mention of their deeds, as they befel, is made. 
 
 And baitings too of bears, and eke of bulls they hold, 
 That through a lazy life, the dogs may not grow old. 
 
 Which full of spirit are, strong, handsome, and thick-set, 
 
 By which the nobleman does oft amusement get. 
 
 And fights between two cocks are often got up there, 
 They're matched too in the house, as one may choose a pair. 
 Upon a table round, that's covered over quite 
 With mats, here one employs no art, but virtue's might. 
 
 The biting follows now, full many an hour to last, 
 
 Till that complete success hath to the victor passed. 
 The bets are very high, which many men will lay, 
 And he is then regaled whose cock has won the day. 
 
 The Prince's travels contain moreover other interesting notices of England in the 
 time of Queen Elisabeth. Especial mention is made of the great number of Germans liv- 
 ing in London. 
 
 A very interesting and exact description of Elisabethan England has been given by 
 Paul Hentzner, who was tutor to Christoph von Rehdiger, a young Silesian nobleman, nephew 
 of the celebrated Thomas von Rehdiger, the founder of the splendid library at Breslau 
 which still bears his name. Hentzner accompanied his pupil on his travels in Germany, 
 France, England, and Italy. 2 They commenced their wanderings in the year 1596 and 
 
 1 The description of the Journey is to be found in Joh. Christ. Beckmann's Accessiones historiae An- 
 haltinae, fol., Zerbst 1716, p. 165 216. The above passage is at p. 172. It is entitled: Fiirst Ludwigs zu 
 Anhalt Kohten Reisebeschreibung von ihm selbst in Deutsche Verse gebracht. Erste Seise durchs Niederland tind 
 Engelland in Franckreich (1596 97). In fine: Vollendet den 31. des Mertzen Anno 1649. Follows: "Die Eeise 
 in Italien" (1598 99) p. 216 292. A portrait of the Duke will be found in Beckmann's Historie des Fursten- 
 thums Anhalt (to which the Accessiones form a supplement), fol. ib. Vol. V, p. 466. On his Journey and his 
 life in general see also: F. "W. Barthold, Geschichte der Fruchtbringenden Gesellschaft. 8vo. Berlin 1848, p. 29 
 et seq. 
 
 a Paulus Hentzner, Itinerarium Germaniae, Galliae, Angliae, Italiae. Norimbergae, sumt. autoris, typ. A. 
 Wagenmanni, 1612. 4to. At that time Hentzner was counsellor to the Duke of Munsterberg in Silesia. Other 
 editions are: Breslae 1617, 4to. Norimbergae 1610, 8vo. Ibid. 1629, 8vo. Lipsiae 1661, 8vo. English 
 
SHAKESPEARE IN GERMANY. XVII 
 
 continued them till 1600. Their stay in England was in the year 1598, when Hentzner's 
 pupil was eighteen years old. Sir Horace Walpole says in his preface to the English edition 
 of Hentzner's travels quoted below: "The author seems to have had that laborious and 
 indiscriminate passion for seeing which is remarked in his countrymen." In reality, Hentz-v 
 ner's work is one of the best accounts of the sights, customs, and manners of England 
 under Elisabeth. What he tells us about the theatre is unfortunately not much; but it is 
 sufficient to shew that the stage had attracted the attention of the travellers. 1 
 
 "Without the city are some theatres where English actors almost every day repre- 
 sent Tragedies and Comedies to very numerous audiences, these are concluded with ex- 
 cellent music, variety of dances, and the great applause of the audience. 
 
 Not far from one of these Theatres, which are built of wood, lies the Royal Barge 
 
 close to the river &c There is still another place built in the form of a Theatre, 
 
 which serves for the baiting of Bears and Bulls, they are fastened behind, and then wor- 
 ried by great English bulldogs etc." 2 
 
 The ambassadors of German Princes were repeatedly at the Court of Elisabeth, and 
 there can be little doubt that their reports which lie buried among the State-papers contain 
 
 Translation: A Journey into England by Paul Hentzner, in the year m.d.xc.viii. (Edited by Sir Horace Walpole.) 
 8vo. Strawberry-Hill, 1757. Travels in England 1598, to which is now added Sir Robert Stauntons fragmenta 
 regalia. 8vo. London 1797. Journey into England 1598. 4to. Reading. At the private press of T. E. Williams. 
 1807. (50 copies printed.) Reprinted in Dodsley's collection of fugitive pieces. See also, Beckmann's Littera- 
 tur der Beisebeschreibungen, Band ii, p. 11 et seq., and, Retrospective Review, Vol. i, p. 16 20. Another edition 
 is, we understand, in preparation by Mr. W. B. Rye of the British Museum, in conjunction with other foreign 
 accounts of England at the time of Shakespeare. 
 
 1 The year 1598 is a most important date in the history of the stage and the life of Shakespeare. In 
 that year Ben Jonson's play "Every Man in His Humour" was performed at Blackfriar's Theatre, it is said at 
 Shakespeare's interposition and suggestion, and Shakespeare occupies the head place in a list of the principal 
 comedians, who represented the dramatis personce. In the same year appeared the first edition of Love's La- 
 bour's Lost with Shakespeare's name on the title-page, and Eichard ii and Richard Hi were reissued with the 
 author's name, though Andrew Wise, the publisher who issued them, had only a short time previously published 
 Henry iv without mentioning the author. A third edition of Lucrece was published in the same year. In 
 1598 Francis Meres published his Palladis Tamia, the principal source for the chronology of Shakespeare's plays, 
 and in the same year Richard Barnefield gave his Poems in Divers Humours, where we read 
 
 "And Shakespeare, thou whose honey-flowing veine 
 
 (Pleasing the world) thy praises doth obtaine, 
 Whose 'Venus' and whose 'Lucrece' (sweete and chaste) 
 Thy name in Fame's immortal book hath plac't, 
 Live ever you, at least, in Fame, live ever. 
 Well may the bodye dye ; but Fame dies never." 
 
 2 The Latin text runs as follows: 
 
 "Sunt porro Londini extra urbem Theatra aliquot, in quibus histriones angli Comoedias et Tragoedias 
 singulis fere diebus, in magna hominum frequentia agunt, quas variis etiam saltationibus. suavissima adhibita 
 musica, magno cum populi applausu finire solent. 
 
 Non longe ab uno horum theatrorum, quae omnia lignea sunt, ad Thamesum Navis est Regia etc. . . . 
 Est et alius postea locus theatri quoque formam habens, Ursorum et Taurorum venationibus destinatus, qui a 
 postica parte alligati, a magnis illis canibus et molossis anglicis . . . mire exagitantur" etc. 
 
 C 
 
XVin SHAKESPEARE IN GERMANY. 
 
 many notices of great interest for the history of English civilisation. We have already mentioned 
 Count Philip von Solms, Ambassador of the Landgrave Maurice the first of Hesse, a highly 
 cultivated Prince, who received the sobriquet of "the learned". 1 He is one of the first 
 German Princes who maintained actors at their courts, among whom there were English- 
 men, of which subject we shall speak hereafter. It is possible that Count Philip of Solms 
 had something to do with it. Landgrave Maurice built a magnificent theatre in Cassel, which 
 he called 'Ottonium' in honour of his son Otto. A Count Hans Ernst von Solms, probably 
 a brother of the above, had a comedy performed in the year 1597 at the Court of the 
 Landgrave Louis of Marburg. 2 
 
 This Otto (born Dec. 25, 1594, -- died Aug. 7, 1617) kept up for many years a 
 very close correspondence with Henry Prince of Wales, the son of James the first, and of 
 just the same age as himself, and from whom in 1611, he received an invitation to the 
 English Court. Otto started on his journey with a considerable suite, among whom there 
 were: Otto von Starschedel, Privy Counsellor, Caspar von Widemarkter, a colonel, who while 
 in the service of Henry the fourth of France had already visited the Court of Queen Eli- 
 sabeth, Dietrich von Falckenberg, Burkard Schetzel, and Hermann Thalmuller, the Prince's 
 tutor. The Prince first visited Maurice of Orange at the Hague. On the 30th of June 
 Otto had his first audience of James the first at Greenwich, which was succeeded by an 
 instructive and amusing visit at the English Court which lasted almost two months. The 
 description of this journey by an unknown hand is in the library at Cassel. Unfortunately 
 I have not yet had an opportunity of seeing the manuscript, but to judge from the quo- 
 tations of Rommel, 3 it does not contain anything about the stage. In spite of this, it must 
 
 1 Landgrave Maurice was himself a dramatic author. He has composed a number of Comedies and Tra- 
 gedies, mostly in Latin, which are all lost. A few titles only of Latin plays composed by him, have come down 
 to us. See Christ, v. Rommel, Geschichte von Hessen. Band vi. 8vo. Cassel 1837, p. 400, a passage printed 
 from an account by Job. Combach in a work called Mausoleum Mauritianum, ii, p. 66, where the English stage 
 is mentioned. 
 
 8 Rommel, ibid. p. 401, note 120: "1597 schickt L. Ludwig zu Marburg dem L. Moriz die Harnische 
 und Kleider zuriick, welche ihm derselbe zu einer Comoedia geliehen, die Graf Hans Ernst von Solms mit seiner 
 Gesellschaft dort aufgefiihrt." - It does not appear whether "Gesellschaft" here means a company of players. 
 In the latter case, Count Solms would be the first German nobleman who entertained players as a part of his 
 household. 
 
 3 Rommel, ibid. p. 327, speaks only of visits to the churches, feasts of the orders of knighthood, banquets 
 at Court and at the Lord Mayor's, running at the ring, games of ball at Richmond at Prince Henry's, a journey 
 to Scotland, and costly presents at parting for Otto and his companions, among whom Starschedel and Wide- 
 markter received the honour of knighthood. Otto received a jewel from the King with 120 diamonds, from 
 Prince Henry four fine horses, from another English nobleman a crossbow for shooting deer, a buck (with the word 
 'Landgrave' engraved on its collar) which they set at liberty, and a " Commemorant" (Carmoran?) for fishing. The 
 King, who conversed with Otto on the bad English pronunciation of Latin, and quoted some verses from Ho- 
 race, went to church with him to celebrate the anniversary of the gunpowder plot, and afterwards touched several 
 persons for the King's evil. Two hundred guards always marched by the side of his carriage, and cleared the 
 way with their halberds. The attendant who handed him the wine-cup, performed this office kneeling; on being 
 dubbed a knight, Starschedel answered the King in Latin, Widemarkter in French. Besides the Earl of Lincoln, 
 
SHAKESPEARE IN GERMANY. XIX 
 
 }>e assumed that Prince Otto was present at theatrical representations, for James as well 
 us Prince Henry were great patrons of the stage. The theatrical life of 1611 was rich in 
 incident. Two editions of 'Hamlet' (the fourth and fifth) appeared with Shakespeare's name, 
 then a second edition of 'Titus Andronicus', without a name, and in the 'Accounts of the 
 Revels at Court' we find two pieces of Shakespeare, 'The Tempest' and 'The Winter 
 Nightes Tayle' represented at Whitehall by the King's players. 
 
 Duke John Frederick of Wirtemberg, the son and successor of that Frederick, of 
 whose journey to England in the year 1592 we have spoken above, sent his eldest brother, 
 Duke Louis Frederick to England in the year 1608 to endeavour to induce James the first 
 to join the Protestant Union of the German Princes. Among his followers was that same 
 Benjamin von Buwinghausen, whom Duke Frederick had already sent to England on the 
 occasion of the accession of James the first. Two years later, in 1610, Duke Louis Fre- 
 derick undertook a second journey to England for a similar purpose and one of his attendants, 
 his secretary Jacob Wurmser von Vendenheym, has written an account of this journey in 
 French. The original MS. is in the British Museum (Addit. MSS. No. 20001). It is a daily 
 chronicle of the ambassador's stay at the Court, as also of the events at the Court of James 
 and at other places. The Diary extends from March 16, 1610, to July 24 of the same 
 year, and affords several interesting notices of the places visited by the Duke both in 
 coming and returning. He embarked from Flushing, where an English garrison was sta- 
 tioned, on Tuesday the 12th of April, and arrived at Gravesend on the following day, when 
 he was waited on by Sir Lewis Lewkenor, Master of the Ceremonies, and the next day 
 conveyed in the Royal barges to London "au logis de 1'Aigle noir". On the 16th, the Duke 
 had his audience of the King, who was accompanied by the Queen, the Prince Henry, the 
 Duke of York (afterwards Charles the first), the Princess (Madame Arabella Stuart) and a 
 young Prince of Brunswick, at that time also on a visit to James. Several days were after- 
 wards spent in receiving and paying visits, and on the 23d the feast of St. George was 
 kept with the usual ceremonies. 1 Under the date of the 30th of April we find the follow- 
 ing notice, which is not without interest for the history of the theatre: "S. E. alia au Globe, 
 lieu ordinaire ou Ton joue les commedies; y fut represente 1'histoire du More de Venise." 2 
 
 whom Elisabeth sent to Cassel to a christening in 1596, Otto met a Brandenburg ambassador, who presented 
 the King during the chase with some living wild boars. Otto sat at the side of the Lord Mayor, who was waited 
 on by pages, his sword hanging against the wall, and at whose banquet an excellent alto sang to the instru- 
 ments. It is mentioned incidentally, that at that time a pound of tobacco cost in London 330 florins. On the 
 5th of September 1611, Widemarkter made his report to the Landgrave Maurice, of the journey and safe return 
 of his son by way of Brussels. 
 
 1 See Sir Frederick Madden's account of Wurmser's Manuscript in Mr. Staunton's edition of Shakespeare, 
 Vol. i. 8vo. London 1858, p. 688, of which the above is an extract. 
 
 2 According to this we must correct what Dr. William Bell, Shakespeare's Puck and his Folkslore. Vol. ii, 
 p. 251 et seq. says respecting the journey of the Duke. The Author confounds Duke Louis Frederick with the Duke 
 Frederick to whom Shakespeare alludes in the Merry Wives of Windsor. According to Dr. Bell, it was one and the 
 same person who visited England in 1592 and in 1610. But Duke Frederick died on the 29th of Jan. 1608. Con- 
 
 02 
 
XX SHAKESPEARE IN GERMANY. 
 
 The above few examples are sufficient to shew that the English Theatre in the days 
 of its prime, could not remain quite unknown and disregarded in Germany. However 
 meagre may have been the accounts which those travellers brought home with them, and 
 however narrow the circle into which they may have penetrated, they were nevertheless 
 sufficient to pave the way for the English actors, who towards the end of the sixteenth 
 century formed the resolution of trying their fortune in Germany, and to bring the English 
 drama within the German horizon. 
 
 Recourse has been had to the most extravagant conjectures to explain this fact, so 
 remarkable in the German and English dramatic history, and so important in its results for the 
 German stage. Sometimes we are told that these actors were not Englishmen at all, but young 
 Germans connected with the Hansa company of merchants in Hamburg, or adventurers, who had 
 brought translations of the most popular pieces to Germany. Sometimes they are said to be 
 German amateurs who had gone to London, and had returned with a stock of plays and parts 
 which they had studied there. 1 Another supposition is, that these English actors had come 
 to Germany. with the English auxiliary troops who were in the army of Gustavus Adolphus. 2 
 
 sequently the conclusions which Dr. Bell draws from the supposed identity of the two travellers, respecting 
 the date of the authentic version of The Tempest, likewise fall to the ground. Mr. Staunton, in the introductory 
 note to Sir Frederick Madden's account quoted above, falls into the same error of confounding the two Dukes. 
 The first journey of Duke Louis Frederick, who was the second son of Duke Frederick did not take place 
 till the middle of the year. The "Relation Benj. von Buwinckhausen wegen seiner Verrichtung in Engelland die 
 Union der Evangel. Fursten betreffend" (Account of Benj. von Buwinckhausen of what he did in England concerning 
 the Union of the Evangelical Princes) bears date Sept. 1, 1608. It is to be found in Sattler, Geschichte des Her- 
 zogthums Wiirtemberg. Vol. vi, Beilagen No. 5, p. 17 20. Respecting the journey, see ibid. Vol. vi, the work 
 itself, p. 12. 
 
 It may not be superfluous to mention a Swiss traveller, Johann Rudolph Hess, (born in 1588, died in 
 1655, probably the same who was Director of the Arsenal and member of the Great Council) who must have 
 visited London about 1614. He no doubt frequented the London theatres as may be concluded by the fact 
 that, amongst the books which he has carried home with him to Zurich, there are six plays, viz. 1. Ben Jon- 
 son's Volpone, 1607. 2. A pleasant conceited comedy, wherein a man may choose a good wife from a bad^ 
 1608. 3. The insatiate contesse, a tragedie, 1613. 4. The first and second Part of the troublesome Eeigne of 
 John King of England, written by W. Sh., 1611. 5. Shakespeare's Hamlet, 1611. 6. (Shakespeare's) Romeo 
 and Juliet, 1609. All in 4to. One of his books bears the inscription: "Ex libris Joh. Rodolphi Hessii Tigurini. 
 Constat Londini. 16.." (The last two figures are cut off.) The books are now at the Municipal Library at 
 Zurich. See Prof. Tycho Mommsen's edition of Pericles Prince of Tyre, a novel by George Wilkins printed in 
 1608. 8vo. Oldenburg 1857, p. iii. 
 
 1 Deutsches Theater, herausgegeben von Ludewig Tieck. 8vo. Berlin 1817. 2 vol. Vol. i, p. xxiv. To 
 ? Tieck belongs the merit of having first directed attention to the English Comedians, but his utterly ungrounded 
 conjectures have introduced confusion into the question from the very beginning. The authority of his name 
 occasioned others to repeat his assertions without giving them much consideration, for the above-mentioned con- 
 jectures are to be met with wherever the English Comedians are in question. Even Mr. William J. Thorns, who 
 , was the first person in England to direct attention to these English Comedians and the literary questions connected 
 with them, accepts Tieck's speculations without qualification. Mr. Thorns' suggestive essay is to be found in the 
 New Monthly Magazine, ed. by Theodore Hook, Jan. 1841, p. 19 29: On the connection between the early English 
 and early German drama, and on the probable origin of Shakespeare's Tempest, in a letter to Thomas Amyot Esq. 
 * Zeitung fur die elegante Welt. 4to. Leipzig 1827. No. 50. 
 
SHAKESPEARE IN GERMANY. XXI 
 
 Thus, at the very outset, worthless speculations have raised difficulties in the explanation 
 of an event, which was the natural result of the simplest facts; and as nobody has taken 
 the trouble to collect the materials necessary to fathom this important question, nobody 
 down to the present day has really been able to explain, to what the transformation of 
 the German theatre, which is unquestionably due to these strolling companies, is indebted 
 for its origin and progress. 
 
 Since the powerful impulse which Shakespeare and his contemporaries had given to 
 the English stage, the number of the theatres in London had increased very rapidly. A 
 necessary consequence was a constant increase in the number of persons, who, urged either 
 by natural inclination or by motives of gain, tried their fortune in these new resorts of 
 art. This must have given rise to an overfilling of the profession, which considerably ex- 
 ceeded the real demand, and resulted in a diminution in the emoluments of the actors. 
 The mediocre and subordinate actors must have suffered more especially from this cause. 
 Inferior performers were constantly leaving London to seek a livelihood in the provinces, 
 and when this resource also failed them, they again returned to the capital. 1 In addition 
 to this, the unfavorable eye with which they were regarded offered obstacles of another 
 kind in the provinces, which in London had long been overcome by the popularity which 
 the theatres enjoyed. 2 At the same time it can have been no secret among these persons 
 that English talent of every description was fully appreciated and well remunerated on the 
 Continent. English musicians, fiddlers, flutists, trumpeters, to say nothing of English athletes 
 and riders, had been objects of popular admiration in Germany and the Netherlands since 
 the middle of the sixteenth century. From 1556 to 1584 the names of English musicians 
 are constantly met with in the accounts of the Margravine Court in Prussia, to which po- 
 pular artists of every description flocked in one uninterrupted succession. 3 They are also 
 mentioned in other parts of Germany. At the Court of Vienna a Flemish actor and his 
 company appear as early as 1560, and after 1569 we repeatedly meet with Italian come- 
 dians, and among them with a certain Taborino, who in 1570 was regularly engaged^as 
 
 1 J. P. Collier, History of English Dram. Literature. Vol. iii, p. 437. 
 
 2 ''It appears from Mr. Thompson's work on the history of Leicester that, early in the reign of Elisa- 
 beth, the corporation discountenanced popular amusements. In 1566 they stopped the fees that had usually been 
 paid to the bearwards, who kept bears for the amusement of the people, and to the players who had frequently 
 performed in the Guildhall. In the year 1582, they forbade any dramatic performances except they were autho- 
 rized by the Queen or the Lords of the Privy Council, and then the acting was to be witnessed by the Mayor 
 and his brethren only. This spirit was carried to so great an excess, that the Mayor in 1586 appears to have 
 provided Lord Worcester's players with a dinner, as an inducement for them to proceed without playing" etc. 
 Shakespeare Society's Papers, Vol. iv, p. 145. Art. xvii, Dispute between the Earl of Worcester's players and the 
 corporation of Leicester, from the Records of that city. By J. O. Halliwell. 
 
 As late as 1597 an act, first passed in 1572, was renewed with additional force, by which the number 
 of itinerant performers was limited; and in 1599 the Earl of Leicester's players could not venture to set out for 
 the provinces, without obtaining a patent from Elisabeth by which they were enabled to perform "comedies, tra- 
 gedies, interludes and stage-plays" in any part of the Kingdom. 
 
 3 E. A. Hagen, Geschichte des Theaters in Preufsen, p. 46. 
 
XXJI SHAKESPEARE IN GERMANY. 
 
 Imperial comedian. 1 The London actors must also have remembered that Italian players had 
 performed in London in 1577 78, and that Italians had also met with considerable suc- 
 cess in France and Spain. 2 Why then should not English actors, who need not place less 
 confidence in their art, also obtain similar successes abroad? In the year 1585, moreover, 
 such motives received from without an additional impulse, which put in motion the wan- 
 derings of the actors towards the most kindred countries of the Continent. It was in this 
 i year that the Earl of Leicester went to the Netherlands at the head of the troops which 
 Queen Elisabeth sent to the assistance of the United Provinces, then engaged in a rebellion 
 against Philip the second. Whether the magnificent Earl, who had long maintained a com- 
 pany of actors at his own cost, hit himself upon the idea of theatrical performances as a 
 means of enhancing the splendour, which he intended to display in Holland, or whether 
 strolling players attached themselves to his vast retinue of their own accord, it is sufficient 
 for us that we know from a letter sent to England by Sir Philip Sydney, and dated Utrecht, 
 that at least one actor, namely "Will, the Lord of Leicester's jesting player" accompanied the 
 Earl, and it is propable that others, of whom we know nothing, did the same. 3 
 
 1 Ed. Devrient, GescMchte der deutschen Schauspielkunst. Vol. i, p. 149. 
 
 * See Schlager, Wiener Skizzen. 8vo. Wien 1839, Sitzungsberichte der Wiener Akademie vi, p. 1. and Ger- 
 vinus, GescMchte der deutschen Dichtung. Vol. iii, p. 104. 
 
 3 See John Bruce's Who was "Will, my Lord of Leicester's jesting playert" in the Shakespeare -Society's 
 Papers. Vol. i, 1844, p. 94. The grounds of our conjecture that "Will was not the only player who accompanied 
 the Earl are to be found in the above-mentioned paper. If, as Mr. Bruce endeavours to shew, we recognize in 
 this "Will" the player William Kemp, there would be nothing extraordinary in his having attached himself to the 
 Earl from the mere love of adventure, as we know of Kemp that he was a man of a roving spirit, who had also 
 visited France and Italy. See ibid. p. 93, also J. P. Collier's Shakespeare, edit, of 1844, Vol. i, p. cxxix. That 
 Kemp also visited Germany is evident from a passage in Sloane MS. 392, fol. 401, dated Sept. 2nd, 1601. See Co- 
 ventry Plays ed. by Halliwell, p. 410. At the end of his paper Mr. Bruce propounds the question, whether Sh/ike- 
 speare may not possibly have accompanied the Earl of Leicester to the Netherlands. Dr. W. Bell. Shakespeare's Puck 
 and his Folks-lore, 1862. Vol. ii, p. 235 assumes without any sufficient reason that this Will was no other than 
 Shakespeare himself. A similar assertion is also made by Mr. W. J. Thorns in his paper, Was Shakespeare ever a 
 Soldier? in Notes and Queries, 2nd Ser. Vol. vii, 1859, p. 330351. See also Dr. Bell's article in the Morgenblatt, 
 4to, Stuttgart 1853, No. 50, Was Shakespeare ever in Germany"? Dr. Bell answers this question in the affirmative, 
 and assumes that Shakespeare did not return to England with Leicester's players, but joined one of the later com- 
 panies, which went to Germany by way of Holland. We meet with "the Lord of Leycester's players" in 1587 in 
 Stratford, where they received a present of 15Z from the corporation. Until more powerful arguments are brought 
 forward than those produced by Dr. Bell, we must regard this subject as an open question. It appears to follow 
 moreover from a passage in Stowe's Chronicle, p. 717, which coincides exactly with the date of Sir Philip Sidney's 
 letter, that the festivities in Utrecht were not so much dramas in the stricter sense, as spectacles of another 
 v character. "It is there said that the feast was succeeded by dancing, vaulting, tumbling, and an exhibition, pro- 
 bably of a pantomimical character, termed 'The Forces of Hercules', which gave great delight to the strangers, 
 for they had not seen it before." Stowe had this description from Segar, the herald, who was present. See J. 
 Bruce, ibid., p. 92. In a paper published in Wirtemberg, a writer has recently ventured the assertion that Shakespeare 
 had made some stay at the Court of Stuttgart. I have not seen the paper in question, but suspect that some wag 
 or other has amused himself with a mystification. In all probability the Embassy of James the first to the Court 
 of Stuttgart in 1603, to which we have alluded at p. xiv, is brought into connection with this supposed visit. 
 Imagine Shakespeare at the summit of his fame, in the same year in which Hamlet was brought upon the stage, 
 contributing to the convivial pleasures of the Stuttgart Court as member of a second-rate company of players! 
 
SHAKESPEARE IN GERMANY. XXIII 
 
 This appears to be established by an event of the highest importance in the history of 
 the English Theatre, one which has been quite neglected hitherto, although Thomas Heywood 
 referred to it as early as the year 1612. In his 'Apology for actors' 1 there is the following- 
 passage, which though often cited has never been properly investigated. 
 
 "At the entertainement of Cardinall Alphonsus and the Infant of Spain in the Low 
 countryes, they were presented at Antwerpe with sundry pageants and plays: the King of 
 Denmarke, father to him that now reigneth, entertained into his service a company of 
 [English comedians, commended unto him by the honourable the Earle of Leicester: the 
 Duke of Brunswicke and the Landgrave of Hessen, retain in their courts certaine of ours 
 of the same quality." 
 
 The King of Denmark "that now reigneth," i. e. in the year 1612, in which year the 
 'Apology for actors' first appeared, was Christian the fourth (1588 1648), and his father, in 
 whose service the company of English comedians is stated to have been, was Frederick the 
 ["second (1559 1588). Hence we arrive at the striking conclusion, that prior to the year 1588 
 ' English players must have taken their art to foreign countries, and the interest which this 
 fact is calculated to excite, is considerably increased, when we prove that this event had 
 already taken place in 1585, that the actors, (we do not know whether all or only some of 
 them) who had been sent by Leicester to the King of Denmark, had gone to Germany as 
 early as 1586, and that among them there were at least two, who subsequently attained a 
 prominent position on the London stage and who not only were acquainted with Shake- 
 speare but also stood on an intimate footing with him, and one of whom was probably the 
 first to embody Shakespeare's clowns before an English audience no others than Thomas 
 Pope and George Bryan. 
 
 Whether the Danish King dismissed all those actors at once, or whether he only 
 parted with some of them to Christian the first, the Elector of Saxony, at his request, is 
 .uncertain. However this may be, in October 1586 we meet with five Englishmen, who had 
 quitted the Danish service, at the Saxon Court. It is true, in the documents now before 
 us they are called "Instrumentalists"; and this was probably their original and principal pro- 
 fession. But that there were also actors among them, or that they themselves followed 
 the profession of acting as well as that of music, is proved not only by the evidence of 
 Heywood, who calls them comedians, but also by that of one of the documents themselves, 
 and especially by that of the names of Thomas Pope and George Bryan. 
 
 The three following documents are preserved in the Royal Archives at Dresden. 
 The first two are holographs of Christian the first, the first addressed to King Frederick 
 the second of Denmark, the second to the Steward, Hans Thilo. The third is the Elector's 
 decree respecting the appointment of the Englishmen. 2 
 
 
 
 1 Republished by the Shakespeare Society in 1841, 8vo, p. 40. 
 
 8 See Moritz Fiirstenau, Zur GescMchte der Musik und des Theaters am Hofe der Kurfiirsten von Sachsen. 
 8vo. Dresden 1861, p. 69 72. The two letters of the Elector have been printed before in Anzeiger fur Kunde 
 der Deutschen Vorzeit. 4to. Niirnberg 1859, No. 1. 
 
XXIV SHAKESPEARE IN GERMANY. 
 
 "An Se. Konigl. Majestat zu Danemark. 
 
 Ew. Konigl. Majestat Einspanniger, welchen Sie den Englendischen Instrumentisten 
 zugeordnet, hat Uns Ew. Konigl. Maj. Schreiben zu seiner Ankunft bei Uns zurecht uber- 
 antworten lassen. Dafs nun Ew. Konigl. Majest. Uns auf Unser freundlich Bitten Uns nicht 
 allein diese Instrumentisten freundlich haben zukommen lassen, sondern auch mit denselben 
 zuvor vff eine gewisse Unterhaltung vorgleichen vnd ihrer Abfertigung halber so fleissige 
 Vorsehung haben thun lassen, vnd also derohalben Sich so oft vnd vielmals Unserthalben 
 bemiihet, dessen thun Wir Uns gegen Ew. Konigl. Majest. ganz dienstlich vnd freundlich 
 bedanken. 
 
 Waidenhain, den 19. October 1586." 
 
 TRANSLATION. 
 To His Royal Majesty of Denmark. 
 
 Your Royal Majesty's one-horse carriage which you assigned to the English Instru- 
 mentalists has duly delivered to us on its arrival Your Royal Majesty's letter. That Your 
 Royal Majesty at our friendly request have not only been so friendly as to allow these 
 instrumentalists to come to us, but also have arranged with them beforehand for a certain 
 maintenance, and have made such careful provisions for expediting them, and have there- 
 fore with respect to them so often taken trouble in our behalf, for this we offer our thanks 
 to Your Royal Majesty most truly and friendly. 
 
 Waidenhain, the 19th of October 1586. 
 
 "An den Hausvoigt Hansen Thilo. 
 
 Lieber Getreuer: Unser gnadigster Befehlich ist, Du wollest vnsern Englendischen 
 Instrumentisten von Unsertwegen auferlegen, sich alsbald nach Deiner Anmeldung mit 
 ihren Instrumenten anhero bei Tags vnd Nachts zu Uns zu begeben, vnd die Trauerkleider, 
 so Wir ihnen machen lassen, mitzubringen, damit sie allhier darinnen auffwarten konnen: 
 vnd damit sie der Fuhre halber nicht gehindert werden, wollest Du ihnen Unserer Kutschen 
 eine, so die Sachen pflegen zu fahren, welche unter denselben am besten fortkommen kann, 
 verordnen, der sie bis gegen der Zosse [?] fiihre, bei Tags vnd Nachts, allda sie zu ihrer 
 Ankunft Amtsfuhre bekommen werden, auch demselben Kutscher befehlen, dafs er nach 
 ihrer Ankunft gegen der Zosse [?] folgenden Tags vollends ledig hereinfahren soil, vnd 
 solches Alles dermafsen mit Fleifs bestellen, damit beruhrte Instrumentisten je eher, je besser 
 allhier sein mogen. 
 
 Berlin, den 25. October anno 1586." 
 
 TRANSLATION. 
 To the Steward Hans Thilo. 
 
 Dear and trusty servant: Our gracious command is, you dp on our behalf command 
 our English Instrumentalists immediately after your announcement to repair hither to us with 
 
SHAKESPEARE IN GERMANY. XXV 
 
 their instruments by day and night, and bring with them the mourning clothes which we 
 have had made for them, in order that they may wait upon us in them here; and that 
 they may not meet with any impediment with regard to conveyance, will you appoint for 
 them one of our carriages such as are used to convey things, and whichever of them can 
 get on the best, which may bring them as far as to the Zosse [?] by day and night, where 
 on their arrival they shall have an official carriage, also will you tell the coachman that 
 on the following day after their arrival at the Zosse [?] he is to drive in here quite empty, 
 and will you diligently arrange everything in such a way that the said Instrumentalists may 
 be here as soon as possible. 
 
 Berlin, the 25th of October, 1586. 
 
 BESTALLUNGSDEKRET. 
 
 Von Gottes Gnaden, Wir Christian Herzogk zu Sachssen etc. Thuen khuendt kegen 
 Jeder Mannigklich, Nachdeme Vnsere Hebe getreuen, Tomas Konigk [Thomas King], Tomas 
 Stephan [Thomas Stephen], George Beyzandt [George Bryan], Tomas Papst [Thomas Pope] 
 vnd Rupert Persten [Pierst?] Aufs Engelandt, Geyger vnd Instrumentisten, eine Zeittlangk 
 bei der Konigklichen Wiirde zur Dennemarken gewefsen die Vnfz Ire Kon. W. Zukommen 
 lassenn, Das wir solche zu Dienst an Unsern Hoff besteldt vnd auffgenommen, Vndt thun 
 solchs hiemit vnd in crafft des brieifes, Das sie Vnfz getreu vnd dienstgewertigk vnd 
 schuldigk sein sollen, Sich an Unserm Hoffe wesentlich zu enthalten, Vnd do wir Raisen, 
 Vns, Vf Vnseren beuehlich Jedesmahls folgen, Wan wir taffel haltten, Vnd siinsten so ofte 
 Inen solchs angemeldet wirdt, mit Iren Geygen vnd zugehorigen Instrumenten, auffwarten 
 vnd Musiciren, Vns auch mit Ihrer Springkunst vnd andern, was sie in Zirligkeit gelernett, 
 lust vnd ergetzlichkeit machen, Vnd sich sunst kegen Vns vorhalten, vnd bezeigen, was 
 getreuen vleissigen Dienern .zustehet, eignet vnd gebtlret, Welches sie also versprochen vnd 
 zugesagt, Vnfz auch daruber sambtlich einen Reuerfz vbergeben habenn. Dakegen vnd 
 Zfiergetzlichkeit solcher Irer Dienste, wollen wir Inen Jarlich, so lange diese Vnsere Be- 
 stallung weret, Funfhundert taler, Zu den Vier quatember Zeitten von dem 16. Octobris 
 negst Vorschienen anzurechnen, Aufz Vnser Renth Kammer, Defzgleichen Jedem Jarlich 
 ein Kleidt, Vnd Viertzigk Thaler zu Haiifz Zinfz, oder herbrigen Geldt vff sie alle Zugleich 
 reiclien, Vnd sie mit freien Tisch,.zu Hoffe, Auch wenn wir Raisen, freyen fhuer vorsehenn 
 lassen. 
 
 TRANSLATION. 
 THE APPOINTMENT. 
 
 By the grace of God, We Christian Duke of Saxony &c. make known to all men: 
 WTiereas our beloved and trusty Thomas King, Thomas Stephen, George Bryan, Tho- 
 mas Pope, and Rupert Persten [Pierst?] of England, fiddlers and instrumentalists, have 
 been a long time with the Royal Dignity of Denmark, whom His Royal Majesty has 
 allowed to come to us, that we have appointed and received the same into our service 
 
XXVI SHAKESPEARE IN GERMANY. 
 
 at our Court, and do so hereby, and in virtue of this letter, that they may be trusty and 
 obliging and dutiful, to demean themselves well at our Court, and when we travel to follow 
 us always at our command, and when we hold a banquet to play as often as the same is 
 ordered them, and attend with their fiddles and instruments belonging thereto, and play 
 music, and amuse and entertain us also with their art in leaping and other graceful things 
 that they have learnt, and in other respects so demean and behave themselves towards us 
 as becomes, behoves, and beseems, true and zealous servants, which they accordingly have 
 promised and declared, and have also all together given us their bond. On the other hand, 
 and for the greater delight of such their services, we will pay to them yearly as long as 
 this our appointment lasts, five hundred thalers at the four quarterly times from the 16th 
 of October last [1586], out of our treasury, in like manner to each yearly one coat, and 
 forty thalers for house-rent, or of lodging money, for all of them together, and have them 
 provided with a free table at court, also, when we travel, with free conveyance. 
 
 A separate leaf annexed to the above document bears the signatures of the artists named 
 in it, of which we give a Facsimile (see Plate i, No. 1). The German translations facing the 
 English names have been added by another person. In another decree, which is of no import- 
 ance for our object there stands, for instance, "Thomas Stephans von Lunden in Engellandt". 1 
 We need not be surprised that besides music, which at all events was the principal thing, men- 
 tion is made here only of their u art in leaping and other graceful things that they have 
 learnt," for under this expression the dramatic art was also understood in Germany at that 
 time. The term 'Comedian' or 'Player' hardly occurs at all, just because actors by pro- 
 fession were still unknown. No one will doubt that we have to do here with the Come- 
 dians mentioned by Heywood. The connection with "certaine of ours of the same quality" 
 at the Courts of Brunswick and Hesse, by which are meant actors who were staying at 
 those courts at the time at which Heywood wrote, accordingly in the year 1612 or imme- 
 diately before it, confirms the correctness of this conclusion. Was then Thomas Pope 
 really the later colleague of Shakespeare? This does not appear to us to admit of any doubt. 
 No other actor of this name is known to us of that time, and he belongs to the few whose 
 connection with the London stage can be traced back to a time prior to Shakespeare's 
 connection with the Blackfriar's Theatre in 1589, for we know that before 1588 he had 
 taken a part in Tarlton's play of 'The Second Part of the Seven Deadly Sins'. 2 The above- 
 mentioned Englishmen are not met with again in the Dresden Archives after 1586, although 
 other 'Jumpers and Dancers' are named at a later period, as for instance in 1588. It is 
 probable therefore that the Englishmen quitted the Saxon service soon after 1586, and 
 
 1 See M. Furstenau, Zur Geschichte etc., p. 72. 
 
 2 See J. P. Collier's Memoirs of the Principal Actors in the Plays of Shakespeare, printed for the Shake- 
 speare Society, 8vo, London 1846, p. 120 128. To the Memoir of Pope I am indebted for all that follows 
 above concerning him. Thomas Pope is twice mentioned in Henslowe's Diary, ed. for the Shakespeare Soc. 
 by J. P. Collier. 8vo. London 1845, p. 109 & 235. 
 
SHAKESPEARE IN GERMANY. XXVII 
 
 returned to England. On the London stages Thomas Pope had played the parts of the 
 'rustic clowns', and there is nothing surprising therefore in the supposition, that at an earlier 
 period of his life, he had condescended to still more subordinate histrionic arts. 1 It appears, 
 that in the year 1593 he belonged to the same company as Edward Alleyn, 2 and in 1596 
 his name stands at the head of the eight Petitioners to the Privy Council for the repair 
 of the Blackfriars theatre, among whom Shakespeare's name also appears. And again in 
 1599 he and John Heming represent the company of the Lord Chamberlain's servants, 
 when they received 30Z. for the performance of three plays at Court. In 1598 he had a 
 part in Ben Jonson's 'Every Man in his Humour', and in 1599 another in 'Every Man out 
 of his Humour' by the same author. He died in 1604. As to George Bryan, it is not 
 quite clear what position he held amongst the actors of the Blackfriars Theatre, but he 
 evidently belonged to it at the time when Shakespeare was a member of it. Also his con- 
 nection with the London Theatres may be traced back to a period prior to 1588, as he 
 also took a part in 'The Second Part of the Seven Deadly Sins'. Chalmers states that 
 r George Bryan "played the Earl of Warwick in 'Henry the Sixth', during 1592" 3 but he 
 gives no authority for his statement. He probably confounded Shakespeare's plays of 
 'Henry vi' with the introduction of that King attended by the Earl of Warwick, and others, 
 in Tarlton's 'Seven Deadly Sins'. Bryan did act the Earl of Warwick in that piece. Chal- 
 mers' assertion that Bryan was "certainly dead" in 1598 and that "he did not live long 
 enough to represent any part in Ben Jonson's 'Every Man in his Humour'" is, according 
 to Mr. J. P. Collier equally doubtful. "The truth is" says the latter "that we are ignorant 
 when or where Bryan died; but there is good reason to believe that he was living in the 
 spring of 1 600, for we read the following entry in the register of baptisms at St. Andrew's 
 Blackfriars, which most likely applies to our actor: 
 
 George, sonne to George Bryan. 17. Feb. 1599." 
 
 Of the other three members of the King of Denmark's Company we possess no 
 further information. Neither have any particulars been preserved respecting the perform- 
 ances of this company in Dresden and Berlin. In the latter capital they have probably 
 only performed as musicians, as they had to appear in mourning costumes. But it is suf- 
 ficient for us, that we here meet with English actors, who before leaving England must 
 have been already well-known members of the profession, practising their art in two Ca- 
 pitals of the German States. Can we suppose that all these circumstances remained un- 
 
 1 See above p. xxn, note 3. Lord Leicester's players too did not decline to act in pantomimes, and if 
 the company recommended to the King of Denmark by Leicester was connected with the Earl's visit to the 
 Low-Countries, as we believe it was, Thomas Pope may have acted in the pantomime described by Stowe. 
 
 2 See Memoirs of Edw. Alleyn, Founder of Dulwich College, ed. for the Shakespeare Soc. by J. P. Collier. 
 ' <Svo. London 1841, p. 26. 
 
 3 See a Memoir of him in Mr. Collier's work named above, p. 129 131. Chalmer's statement is to be 
 found in Suppl. Apology for the Believers in the Shakespeare papers. 8vo. 1799, p. 160. 
 
 D2 
 
XXXVIII SHAKESPEARE IN GERMANY. 
 
 known to the members of the London stage? Most assuredly not; and there is nothing 
 to prevent our assuming, that those actors who were anxious to improve their external 
 position, hit upon the idea of practising their art in foreign countries, an idea which was 
 still further nourished by the English love of roving. Fortunately, we are not obliged to 
 content ourselves with these combinations to support our conjectures, but are -able to 
 establish their correctness. The following remarkable letter of Richard Jones, an actor, to 
 Edward Alleyn, the founder of Dulwich College, is evidence of the truth of our assertion. 
 
 "Mr. Allen, - - I commend my love and humble duty to you, geving you thankes for 
 yo r great bounty bestoed upon me in my sicknes, when I was in great want: god blese 
 you for it. Sir, this it is, I am to go over beyond the seeas w 4 Mr. Browne and the com- 
 pany, but not by his meanes, for he is put to half a shaer, and to stay hear, for they ar 
 all against his going: now, good Sir, as you have ever byne my worthie frend, so helpe 
 me nowe. I have a sute of clothes and a cloke at pane fo r three pound, and if it shall 
 pleas you to lend me so much to release them, I shall be bound to pray fo r you so longe 
 as I leve; for I go over, and have no clothes, I shall not be esteemed of; and by god's 
 help, the first mony that I gett I will send it over unto you, for hear I get nothinge : some 
 tymes I have a shillinge a day, and some tymes nothinge, so that I leve in great poverty 
 hear, and so humbly take my leave, prainge to god, I and my wiffe, for yo r health, and 
 mistris Allene's which god continew. - - Yo r poor frend to command, 
 
 Richard Jones." 1 
 
 Here we see an actor, and as we shall shew presently by no means the least im- 
 portant one of his times, forming the resolution "to go over beyond the seeas with Mr. 
 Browne and the company" in order to escape from his embarrassed circumstances. But 
 the letter bears no date. When was it written? Did he adhere to his intention, or, if the 
 "company" really went "beyond the seeas", when did this happen, where did it go to, and 
 of what persons did it consist? All these points and several others are cleared up in the 
 following passport, which bears the signature of the same C. Howard, w r ho a year later 
 made out the passport for Duke Frederick of Wirtemberg on his return from England. 
 (See p. xiii.) 
 
 "Messieurs, comme les presents porteurs, Robert Browne, Jehan Bradstriet, Thomas 
 Saxfield, Richard Jones, ont delibere de faire ung voyage en Allemagne, avec intention de 
 passer par le pai's de Zelande, Hollande et Frise, et allantz en leur diet voyage d'exercer 
 leurs qualitez en faict de. musique, agilitez et joeuz de commedies, tragedies et histoires, 
 pour s'entretenir et fournir a leurs despenses en leur diet voyage. Cestes sont partant vous 
 requerir monstrer et prester toute faveur en voz pai's et jurisdictions, et leur octroyer en 
 ma faveur vostre ample passeport soubz le seel des Estatz, afin que les Bourgmestres des 
 villes estantz soubs voz jurisdictions, ne les empeschent en passant d'exercer leur dictes 
 qualitez par tout. Eiiquoy faisant, je vous en demeureray a tous oblige, et me treuverez, 
 
 1 From the Alleyn Papers ed. by J. P. Collier for the Shakespeare Society, 1847, 8vo. p. 19. 
 

 SHAKESPEARE IN GERMANY. XXIX 
 
 tres appareille a me revencher de vostre courtoisie en plus grand cas. De ma chambre a 
 la court d'Angleterre ce X me jour de Febvrier, 1591. 
 
 Vostre tres affecsionne a vous 
 
 fayre plaisir et sarvis 
 
 C. Howard."i 
 
 TRANSLATION. 
 
 Gentlemen, as the present bearers, Robert Browne, John Bradstriet, Thomas Saxfield, 
 [Sackville], and Richard Jones, have determined on making a journey in Germany, with the 
 intention of passing through the countries of Zealand, Holland, and Friesland, and while going 
 on their said journey, of practising their profession by performing of music, feats of agility, 
 and games of comedies, tragedies, and histories for maintaining themselves and providing 
 for their expenses on their said journey. These presents are therefore to request you to 
 shew and afford them every favour in your countries and jurisdictions, and to grant them 
 in my favour your full passport under the seal of the states, to the end that the Burgo- 
 masters of the towns being under your jurisdiction, do not hinder them in passing from 
 practising their said profession everywhere. In your doing which I shall remain obliged 
 to all, and you will find me very ready to return your courtesy in greater instances. 
 Given from my chamber at the Court of England the tenth day of February, 1591. 
 Your very devoted to doing you pleasure and service 
 
 C. Howard. 
 
 These two documents put to silence all such conjectures as those mentioned above. 
 We know now, that the 'English Comedians' were really Englishmen, and also what the 
 motive was which induced them to leave their native country. There is another conjecture 
 which has often been hazarded, but which now appears entirely without foundation. It has 
 been supposed, that the Netherlands were always the original goal of the wanderings of 
 these strolling players, that they there became connected with Flemish actors, and went 
 with them to Germany. We now learn the reverse of all this. Holland, Zealand, and 
 Friesland were only to be visited en passant, but Germany was to be the main object of 
 their travels, and it was only as a means of getting there, and of obtaining the necessary 
 funds for the journey, that they intended to practise their art in the Netherlands. This 
 appears to me very strong evidence for the assumption that the company went to Germany 
 in consequence of an invitation. If they expected to meet with encouragement for their 
 art in the Netherlands, why should they from the very first have directed their attention 
 to Germany ? Besides, the circumstance that the passport is addressed only to the Flemish, 
 
 1 The letter is addressed to the States-General of the Netherlands and has been discovered in the Ar- 
 chives of the Hague by Mr. J. A. de Zwaan Cz. First published in Mr. L. Ph. C. van den Bergh's " 's Graven- 
 haagsche Bijzonderheden" Hague 1857, 12mo, p. 41. See also Albert Cohn, English Actors in Germany, in the 
 Athenaeum No. 1652, June 25, 1859, and the same article republished by Mr. W. J. Thorns in Notes and Queries 
 1859, July 9. See also Dr. W. Bell, Shakespeare's Puck, etc. Vol. ii, p. 250. 
 
XXX SHAKESPEARE IN GERMANY. 
 
 and not to the German Authorities, appears to favour this view. It is most probable that 
 upon their first leaving England, the actors were already provided with German credentials 
 which promised them a safe conduct in Germany, and procured them attention from the 
 municipal authorities. At a future page we shall find Robert Browne, the leader of the 
 Company, appearing again a few years later in connection with the art-loving Landgrave 
 Maurice, in Cassel. The knowledge which we obtain from Lord Howard's document, re- 
 specting the character of the intended representations is very accurate. Comedies, Trage- 
 dies, and Histories are to be performed, a designation, from which we may safely conclude, 
 that the Company took with them the same pieces, which were known upon the London 
 boards by the same names. The intention of increasing the attraction of their representa- 
 tions by "musique" and "agilitez" is also to be explained by the practice- of that time upon 
 the London stage. 1 But we can hardly suppose that all these performances for obtaining popu- 
 larity were the province of the four above-mentioned actors themselves; we must rather assume 
 that the Company took with them several subordinate persons, who at least undertook the 
 "agilitez". They might calculate on finding musicians, even Englishmen, on the spot, for 
 there were a great many of them at that time on the Continent. 
 
 Who then were the four friends who formed a party for a journey to Germany? 
 Two of them at least were actors who must have already acquired a certain reputation in 
 England. Robert Browne 2 and Richard Jones belonged to the company of the Earl of 
 Worcester's players as early as 1586, as we learn from the following document taken from 
 the Records of the City of Leicester. 
 
 "Will" 1 Earle of Worcest r hathe by his wrytinge, dated the 14 of January, A 28 
 Eliz. Re. lycensed his s r vaunts, vz. Robt. Browne, James Tunstall, Edward Allen, Wm. Harry- 
 son, Tho. Cooke, Richd. Johnes, Edward Browne, Rye. Andrewes, to playe and goe abrode, 
 using themselves orderly, &c. in these words, &c. These are therefore to require all suche 
 her highness offycers to whom these p r sents shall cm, quietly and frendly, within yor se- 
 verall p r sincts and corporacons, to p r myt and suffer them to passe w'th your furtherance, 
 vsinge and demeanynge yselves honestly, and to give them (the rather for my sake) such 
 entertaynment as other noble men's players have" &c. 3 
 
 1 Henry Chettle in his Kind-hearts Dream, 1592, makes coney-catchers complain, that the players "spoiled 
 their trade " by singing jigs in which they were exposed. Stephen Gosson in his Plays Confuted in Five Actions, 
 talks of vaulting, tumbling, dancing of jigs, galliards etc. - - With respect to Music performed between the acts 
 Antony Munday in his Two Italian Gentlemen (about 1584) mentions the different kinds of music to be played 
 after each act, whether 'a pleasant galliard,' 'a solemn dump,' or 'a pleasant allemaigne.' See J. P. Collier, 
 History etc. Vol. iii, p. 380 and 448. 
 
 2 This player and others of the same name seem to have been members of one family. In the Earl of 
 Worcester's company we meet with an Edward Browne, and a William Browne is named as performer- of one 
 of the characters in Shakerley Marmion's Hollands Leaguer, a comedy, 1632, 4to. See J. P. Collier, History etc. 
 Vol. ii. p. 21. 
 
 3 Dispute between the Earl of Worcester's players and the Corporation of Leicester in 1586. Ed. by J. 
 O. Halliwell. Shakespeare Soc. Papers, Vol. iv, p. 145. 
 
SHAKESPEARE IN GERMANY. XXXI 
 
 Robert Browne is most probably the same person, who soon after 1570 married 
 the widow of Edward Alleyn, the father of the founder of Dulwich College of the same 
 name. He had already been an actor and a haberdasher at the same time. Edward Alleyn 
 was the proprietor of an inn, and as the old practice of using inn-yards for theatrical re- 
 presentations was still in vogue at that time, the prospect of owning the inn may very 
 likely have been one of the motives w r hich induced Browne to marry Alleyn's widow. 
 There can be little doubt that Mr. and Mrs. Browne lost no time in turning to advantage 
 the histrionic talents of Edward Alleyn, the son, who afterwards became the celebrated 
 actor, and who in 1599, in conjunction with Philip Henslowe, whose daughter he married, 
 built the Fortune Theatre; and this again would explain the neglect of Alleyn's education, 
 of which Fuller complains in his 'Worthies'. Moreover Fuller's statement that "Alleyn was 
 bred a stage player" is in harmony with this supposition. 1 Richard Jones, the last men- 
 tioned actor in the above document, stood in very close connection with Robert Browne, 
 indeed he appears to have been a partner in Browne's theatrical enterprises, for on the 
 3rd of January 1588- 89, Edward Alleyn purchases for the sum of 37Z. 10s. 6d., Richard Jones' 
 share of "playing apparels, play-books, instruments, and other comodities" which had be- 
 longed to him and Browne, and the latter's step-sons, John and Edward Alleyn, in common. 2 
 In the year 1590 Browne must also have given up his theatrical connection with his two 
 step-sons, for it was in that year that he undertook his first journey to the Netherlands. 
 The two friends left the Theatrical Company of the Alleyns so very nearly at the same 
 time, that we are justified in attributing this step to their having already resolved on their 
 expedition to Holland. It would follow from this assumption that R. Jones was also one 
 of the party, although we do not find him mentioned by name in the following entry in 
 the town accounts of the city of Leyden. But there is no reason to be surprised at this, 
 as only Robert Browne is mentioned as the leader, and his companions are briefly styled, 
 "his fellows". It is also possible moreover that the undated letter of Jones to Alleyn refers 
 to the first journey. 
 
 "Betaelt aen Robert Brone, Engelsman, ende zynde medehulpers, 'tsamen vyftien 
 guldens over geliche somme hem toegevoucht voor't verthoonen ,ende spelen von verschey- 
 den comedien ende historien mitsgaders 't doen van verscheyden sprongen by hems, zoo 
 voor Burgermeestren alsvoor de gemeente diser state verthout, blijckende by de Ordonantie 
 van dato vii. Octr., 1590. xv. gl." 3 
 
 TRANSLATION. 
 
 Paid to Robert Browne, Englishman, and to his fellows, in all fifteen guilder! 
 and above the sum of the like amount, granted to him for having acted and played divers 
 
 N. 
 
 1 See Edward Alleyn's Memoirs ed. by J. P. Collier for the Shakespeare Society, p. 145. 
 
 a Ibid. p. 4. 
 
 3 Navorscher. 4to. Amsterdam, Vol. viii (1858), p. 7. 
 
XXXII SHAKESPEARE IN GERMANY. 
 
 comedies and histories, besides for having made divers leaps, by him performed as well in 
 the presence of the burgomasters as before the community of this city, as appears by order 
 of date, Oct. vii, 1590. xv. guilders. 1 
 
 Robert Browne, and, if we accept the supposition that Richard Jones accompanied 
 him, the latter also, must have returned to England from this visit to the Continent towards 
 the end of 1590 or the beginning of 1591, in order to form the company intended for 
 Germany. The meaning of the passage in Jones' letter to Alleyn: "but not by his meanes, 
 for he is put to half a share, and to stay, hear, for they are all against his going," is not 
 clear to us. The words immediately preceding, "I am to go over beyond the seeas w h 
 Mr. Browne and the company'' stand in direct contradiction with them, for according to 
 them, Browne was the chief person in the enterprise, and how then could he remain at 
 home, and why should he especially receive only half a share? 2 
 
 In Henslowe's 'Diary' mention is twice made of a player Browne. Edward Browne 
 whom we meet with in 1599 3 is certainly the same person as the Browne we found above 
 among the Earl of Worcester's players. The second mention refers to the year 1596 "Lent unto 
 them to feache Browne X s ". 4 No Christian name is given here, and it is quite possible that 
 we have our Robert Browne again before us, who appears to have been in England in 1596; in 
 that year a Robert Browne joined the Embassy of the Earl of Lincoln, which Queen Elisabeth 
 sent to the Court of Cassel to be present at the christening of the daughter of the Land- 
 grave Maurice, who was named after the Queen. It is probable that Browne had acquired 
 a knowledge of German, at that time undoubtedly a rare case in England, and this must 
 have made him appear to the Earl of Lincoln a very welcome companion on an Embassy 
 to Germany. It is also not improbable that Browne on his first journey to Germany, which 
 
 1 Notes and Queries, Sec. Series, Vol. vii, Jan. 8, 1859, p. 36. Translated from the Navorscher. Dr. Bell, 
 Shakespeare s Puck, Vol. ii, p. 250 conjectures that the date appended to Lord Howard's passport ought to be 
 1590 instead of 1591 and that the Leyden document refers to the same journey and to the same company as the 
 passport. 1 can see no plausible reason for the conjecture, and it is a fact that 1591 is the date of the original 
 document. It is hardly credible that the date should be wrong in an official document, but where errors of date 
 occur, the wrong year is generally the preceding one and not the next. At the beginning of a new year a hasty 
 scribe may put down the date of the old one, but it would be quite inexplicable that in February 1590 a person 
 in his senses should put down 1591! 
 
 2 Malone knew this letter of Jones through a copy in his own possession, without, however, having the 
 slightest idea of its importance for the history of the English stage. Mr. Collier also in his preliminary remarks 
 to this letter in the Alleyn Papers regrets not having any clue to the date of the letter and to the identity of 
 Mr. Browne. The missing clue to both will be found above. It is moreover rather surprising, that it never 
 occured to Mr. Collier, who published the Alleyn Papers in 1843, that this Browne, and the Browne mentioned by 
 himself in 1841 in the Memoirs of Edward Alleyn, might be one and the same person. 
 
 3 The Diary of Philippe Henslowe ed. by J. P. Collier, for the Shakespeare Society, 1845, 8vo, p. 73. 
 
 4 Ibid. p. 78. It does not appear why Browne and another player 'Fleacher' [Fletcher?] mentioned in 
 the same passage, were to be fetched. 
 
 5 From the Hessen-Cassel State-Records. See Rommel, Geschichte von Hessen, Vol. vi, Cassel 1837, 
 p. 390. 
 
SHAKESPEARE IN GERMANY. XXXIII 
 
 was his second to the Continent, had entered the service of the Landgrave Maurice (who 
 reigned 1592 1627) as an actor, for that the Landgrave maintained English comedians at 
 his court, is a fact which we shall prove presently. If we accept this conjecture, we may 
 easily conceive that Browne, with his knowledge of the Court of Cassel, was able to render 
 the Earl of Lincoln very valuable services. At all events Richard Jones had returned to 
 England in 1594, if not earlier, as appears from Henslowe's 'Diary', p. 66. "Sowld Mr. 
 Richard Jones, player, a manes gowne of peche coler, In grayne, the 2 of September 1594 
 to be payd by fyve shillinges a weeke imediatelye followinge &c." From 1594 to 1601 he 
 is very often mentioned by Henslowe. In the year 1595 his name occurs in a list of players, 
 which Mr. Collier believes to be that of the principal actors forming the company of the Earl 
 of Nottingham. He undoubtedly belonged to the company connected with Henslowe and 
 Edward Alleyn, and as this company for a period of two years, namely from June 1594 
 to July 1596, while the Globe Theatre was building, either played together with, or at least 
 occupied the same theatre as, the company to which belonged Shakespeare, it is not im- 
 probable that Jones came into contact with Shakespeare, and assisted in the representation 
 of his plays. 
 
 Thomas Sackville and John Breadstreat appear to have occupied a less prominent 
 position among the members of the London stage. Neither of them is mentioned in Hens- 
 lowe's Diary, nor have we been able to discover their names among the other orginal autho- 
 rities respecting the London theatres of those times, which have appeared in print. On the 
 other hand we have been so fortunate as to find both of them in Germany, and of Thomas 
 Sackville at least we can state with certainty, that he entered the service of Duke Henry 
 Julius of Brunswick, of whose connection with the English comedians we shall speak more 
 at length presently. 1 In all probability the whole company mentioned in Jones' letter and 
 Howard's passport, appeared on the stage of this Prince in Wolfenbtittel immediately after 
 its arrival in Germany; and we must here refer once more to the conjectures we have ex- 
 pressed above, that these actors came to Germany in consequence of an express invitation. 
 Unfortunately the exchequer-accounts of the years 1590 1601 are missing from the Brun- 
 swick Court Archives from which the following notices respecting Thomas Sackville have been 
 taken; 2 and as Robert Browne, as shewn above, probably returned to England in 1596, and 
 Richard Jones most certainly did so in 1594, the exchequer-accounts later than 1602 cannot 
 give us any information respecting them. But, as will appear from the following entries 
 in those accounts, Thomas Sackville remained in Germany at least till 1617, and we shall 
 see indeed that he became completely domiciled at the Court of Wolfenbuttel. His name 
 is spelt very differently at different places, but we may see from all of them that Sackville, 
 
 1 This confirms the conjecture I have made in the article, English Actors in Germany, (see p. xxix, note), 
 that the actors were connected with Duke Henry Julius. 
 
 2 For the extracts following on the next page, which have never been published before, I am indebted 
 to Mr. C. W. Sack of Brunswick, Registrar to the Duke of Brunswick. 
 
 E 
 
XXXIV SHAKESPEARE IN GERMANY. 
 
 and not Saxfield as in Lord Howard's passport, is the correct orthography. 1 In one docu- 
 ment of the year 1597 of which we possess no further description, he is called "Thomas 
 Sackefiel, Princely servant at Wolfenbiittel". In the same year, he and another English 
 actor, who is named Edwardus Wakefiel [WakefieldJ had a quarrel in a tavern in Brunswick. 
 They had received a commission from a merchant in London "Wilhelm Thouwasen" (evi- 
 dently a corruption) to draw on a woollendraper in Brunswick for 239 thalers. - - The fol- 
 lowing are exact translations of extracts from the accounts of the Court of Brunswick, as 
 far as they are still extant. 
 
 "1602. Aug. 30. At the verbal command of my most gracious Princess and Lady to 
 Thomas Sacheviele, according as Her Princely Grace has graciously presented the English 
 comedians, -- 100 thalers. 
 
 Thomas Sacheviels at the verbal command of my Princely Grace and Lady to his 
 bill for goods, on account, 300 thalers. 
 
 1602. Oct. 1. Thomas Sacheviele on account for his purchases for the Princely kit- 
 chen, surgery, and wardrobe, 375 thalers 14 gr. 
 
 1602. Oct. 2. At the gracious written order of His most Illustrious Highness, to the 
 Court Tailor, Michael Wolframb, and to Thomas Sacheviele for the purchase of English and 
 other black garments to the behoof of the funeral of the Princely widow, blessed be her me- 
 mory, 5000 thalers." (Wolframb and Sackville were sent to Leipsic for a similar purchase, 
 and 3737 thalers were paid to them on the 31st of December.) 
 
 "1602. Decemb. 28. Edward Wakefield on account of Arnd von Wobersnow [?] having 
 been accepted by the Princely Exchequer, 160 thalers." 
 
 (From 1603 to 1607, the accounts are missing). 
 
 "1608. Feb. 2. At the command of His most Illustrious Highness, to the English Co- 
 medians as a gracious gratuity, 100 thalers. 
 
 1608. Feb. 27. To the English Comedians as a gracious present, 30 thalers. 
 
 To the English musicians, ditto,-- 100 thalers. 
 
 To Thomas Sackefiel servant, given for three pieces of flesh-colour, and three pieces 
 of blue silk ribbon, 11 thalers." 
 
 (July 4, similar payments to Sackville.) 
 
 From this date to 1614, the accounts are missing; only in 1613, Thomas Sachuell 
 is mentioned once in a payment of 180 florins. 
 
 "1615. May 8. To the English Comedians who have waited upon us for a time in 
 our Princely Court, 600 thalers." 2 
 
 1 Mr. W. J. Thorns, when he republished my letter to the Athenceum (see p. xxix, note) in Notes and 
 Queries, at once conjectured that Saxfield would turn out to be Sackville. It is evident from the above extracts 
 and from Sackville's own handwriting as given in a facsimile, that the conjecture was a happy one. 
 
 * The following names of artists are met with in the accounts of this year, but they were for the most 
 part musicians under the celebrated Pratorius, who was leader of the band: Wessel Wessaliensis, Gregoris Hulvet, 
 Jacob Mancino, Isaac Torall, Tonnies Bulgentern. 
 
SHAKESPEARE IN GERMANY. XXXV 
 
 This proves that the English Comedians had left the Court, and had returned again 
 for a time, a supposition which is confirmed by the entry of a payment of ten dollars, of 
 the date of Sept. 10, 1614 to the 'Brandenburg Comedians'. 
 
 1616. Under Duke Frederick Ulric, Tonnies [sic] Sacheviel is met with in a list of 
 payments, for 270 florins. t 
 
 1617. In a list of payments of arrears of salary, Thomas Sachviel, with 2564 flor. 
 2 gr.i 
 
 The name does not appear again in the accounts after 1617; and it may be con- 
 jectured that Sackville joined the English Comedians who in 1617 entered the service of 
 the Elector of Brandenburg. We shall have occasion to refer to them at a future page. 
 
 As far as regards John Breadstreet, I am able to state nothing more than that he 
 must also have remained a long time in Germany. I owe the certainty with which I can 
 affirm this fact, to a happy accident, which put in my hands a-so-called 'Stammbuch' [Album 
 amicorum] containing the autographs of Breadstreet and Sackville, the former with the date 
 of Feb. 1, 1604, the latter with that of March 24, 1606. For the facsimile of these auto- 
 graphs see Plate i, No. 2 & 3. The place where they were written is unfortunately not given. 
 John Breadstreet has germanised his name into 'Breidstrass', from which one is tempted 
 to conclude that his real name was not Breadstreet, but Broadstreet. The orthography of 
 proper names at that time was by no means fixed, and such an error as that in Lord 
 Howard's passport was nothing uncommon. The owner of the album was a certain Jo- 
 hannes Cellarius, born in Nuremberg, Dec. 26, 1580, died in Genoa, April 17, 1619. He 
 studied law, afterwards became steward to the Barons von Egg, whom, in 1610, he accom- 
 panied to Holland, France, England, and Italy. After his return he became Syndic of the 
 city of Nuremberg. The album was commenced in the year 1599. The stamped leather 
 binding bears the inscription "J. C. N. 1599". It contains a great number of autographs of 
 celebrated scholars and nobles of the time, with their arms and other emblazonments, most 
 of them dated from Altorf, Jena, Brunswick, and Nuremberg. The latest are those of the 
 year 1606. Besides the two mentioned above, some names of other Englishmen 2 are also 
 to be found among the autographs, only one of which deserves more especial mention here, 
 as it leads to the conjecture that its x author was also connected with our present subject. 
 It is that of the celebrated English composer and lute-player, John Dowland, a contem- 
 porary of Shakespeare, whom the latter has immortalized in his 'Passionate Pilgrim.' 
 
 If music and sweet poetry agree, 
 
 As they must needs (the sister and the brother) 
 Then must the love be great 'twixt thee and me, 
 
 Because thou lov'st the one, and I the other. 
 
 t 
 
 1 We find mentioned in 'the same list with him, Ludeke Eimens, Valentin Alslingk, Georg Hoffmeister. 
 - But it does not appear whether they were actors, or to what profession they belonged. 
 
 2 e. g. "Henricus Fitus de Bell Anglus, Jenae 26. Novemb. 1603." 
 
 E2 
 
XXXVI SHAKESPEARE IN GERMANY. 
 
 Dowland to thee is dear, whose heavenly touch 
 
 Upon the lute doth ravish human sense; 
 Spenser to me, whose deep conceit is such, 
 
 As passing all conceit needs no defence. 
 Thou lov'st to hear the sweet melodious sound, 
 
 That Phoebus' lute, the queen of music, makes; 
 And I in deep delight am chiefly drown'd, 
 
 Whenas himself to singing he betakes. 
 One god is god of both, as poets feign; 
 One knight loves both, and both in thee remain. 
 
 John Dowland must have visited Germany several times. In the year 1584 he tra- 
 velled in France, and from thence went to Germany where he met with the most flattering 
 reception at the courts of the Landgrave Maurice in Cassel, and of Duke Henry Julius of 
 Brunswick in Wolfenbilttel. Perhaps Dowland is the lute-player whom Henry Julius sends 
 to the Landgrave, in order that the latter may compare him with the other musicians. 
 Maurice answers: the former can play good motets and madrigals, the latter is a better 
 composer. 1 From Germany Dowland proceeded to Italy. In the year 1595 appeared in 
 London his 'First booke of songs or ayres of foure parts, with tablature for the lute.' 
 Shortly after this he repaired to the Danish Court. 'The second book of songs' is dated 
 from Helsingor, the 1st of June 1600. As the autograph in the album cannot have been 
 written before 1599, it may be safely assumed that Dowland visited Germany a second 
 time: in 1603 he had returned to England. About this. time appeared his work, 'Lachrimse, 
 or seven tears figured in seven passionate pavans', which became so popular, that from 
 this time Dowland assumed the sobriquet of 'de Lachrimae'. 2 The autograph in the album 
 therefore must have been written after 1603. As it bears no date, it is possible that it 
 owes its origin to the visit of Cellarius to England in the year 1610, but this is not pro- 
 bable, as the album contains no other inscription bearing a later date than 1606, and none 
 which could have been written in England. 
 
 CHAPTER II. 
 
 Having now done our best endeavours to transmute the myth of the 'English Co- 
 medians' into palpable reality, it only remains for us to shew what influence they exercised 
 upon German dramatic literature and the German theatre generally, both of which, as we have 
 seen above, were still in their infancy. We may easily form some estimate of this influence 
 from the fact, that the English comedians were the first professional actors who appeared 
 
 1 Rommel, *Geschichte von Hessen, Bd. vi, p. 417. 
 
 a The popularity of this work seems to have lasted a very long time, for in Thomas Middleton's comedy 
 No Wit no Help like a Woman 6, 1657, it is alluded to as follows: 
 
 "No, thou playest Dowland's Lachrimae to thy master." 
 
SHAKESPEARE IN GERMANY. XXXVII 
 
 in Germany. If we only imagine the contrast between these practised members of the 
 London stage and the journeyman-mechanics and schoolboys who composed the acting 
 companies in Germany, we cannot be surprised that the appearance of the former put an 
 end at once and for ever to the performances of the latter. Even if these did drag on 
 a miserable existence in some parts of Germany, this was only owing to the circum- 
 stance that the foreign companies, which were at first only isolated phenomena, could 
 not be immediately known throughout the whole country. But wherever they came, they 
 undoubtedly bore off the victory. Independently of their services in driving away the old 
 
 / dramatic subjects, their skill and security on the stage, the greater experience with which 
 they availed themselves of all their resources, their more correct calculation of effects, in 
 short all the advantages which the professional artist has over the amateur, must have 
 
 / procured them a willing audience. Hitherto the performances were not intended for the 
 sake of the spectators, the performers were themselves the primary object of the plays. 
 With the English comedians the first and exclusive object was the gratification of the 
 public. 2 The drama left its narrow local private sphere, and entered a public one, became 
 an integral part of public life, while the public obtained their rights, and the theatre be- 
 came a public interest. Now indeed an interest in the dramatic art may be observed among 
 
 > the German princes; they vie with one another in inviting the foreigners to their courts, 
 and the first court theatres arise in Germany. The enormous advantages which accrued 
 to dramatic literature as also to the public from this thorough revolution in all matters 
 appertaining to the theatre, have .either been entirely overlooked or very much under- 
 estimated by writers on the history of literature. In their blind zeal against the foreign 
 element, which was thus introduced into the dramatic literature, they regret the loss in 
 naivete - with which the native dramatists up to that time had certainly treated the people 
 very lavishly, but they forgot that by the reflection of this naivete alone, which is always 
 rather a lively element among the masses, the stage never could become those boards 
 which represent the world. It is true that with these English comedians scenes of blood 
 and horror became quite naturalized upon the German stage, that the coar.se jokes of the 
 clown must often have offended the ears of modest maidens, and that the English actors 
 would have done well to take Hamlet's warning to heart; but what are all these drawbacks 
 in comparison to the advantages which the dramatic life derived from this invasion of the 
 theatre? And then for the tales and stories of Boccaccio, Fiorentini, and Straparola &c. 
 the frivolous subjects of which had passed into the drama, were they not already in the 
 hands of the people in numerous translations? And were the obscenities of the Shrove- 
 tide Plays, which surpassed everything that the English had accomplished in the same di- 
 
 1 See Ed. Devrient, Geschichte etc. Vol. i, p. 166. 
 
 2 e. g. Karl Goedeke, Grundrifs etc. Vol. i, p. 407, who has nothing else to say of the transformation 
 of the German drama which is owing to the English Comedians, than that with it "the old strict decency was 
 lost" ("die alte strenge Ehrbarkeit ging verloren"). 
 
XXXVIII SHAKESPEARE IN GERMANY. 
 
 rection, so very remote, that we are justified in laying the corruption of taste to the account 
 of the latter? The real corruption took place at a later period, when the companies contained 
 very few English, and the rude soldiery of the thirty year's war had poisoned the German 
 morals. It is true, the refinement of the popular taste formed no part of the design of 
 those foreign companies; their sole object was to please the public, and it may be assumed 
 that to this end they are far more likely to have accommodated themselves to the state 
 of things as they found it, than to have made any very arduous endeavours to introduce 
 a new taste. For a number of years they travelled from one end of Germany to the other, 
 and the great popularity which they everywhere enjoyed is an evidence of their having 
 possessed some other hold on public favour than the coarse excitement of the masses. 
 Even if Germany had gained nothing more through these innovators than an acquaintance 
 with the subjects of Shakespeare and of the early English stage, in whatever form they were 
 presented to the public, this alone would have been an ample compensation for any loss 
 in innocence and naivete, for which some writers would like to make them answerable. 
 
 The first dramatic author of Germany in whom we can perceive the influence of 
 the English comedians, is the above-mentioned Duke Henry Julius of Brunswick (born 1563, 
 died 1613) who was the first to maintain a regular theatre at his court, the establishment 
 of which was in all probability contemporaneous with the first appearance of the English 
 actors in Germany. Henry Julius, like Maurice of Hesse, was one of the most distinguished 
 princes of his time, who himself a scholar, paid great attention to all subjects of intellectual 
 interest. As a child he had been a sort of prodigy, devoted to the arts and sciences from 
 his earliest years, and the admiration of the learned, while still a tender stripling. At the 
 age of ten years he argued with great brilliancy in a theological disputation. In the year 
 1576, when only thirteen years of age, he was appointed by the Emperor Maximilian as 
 Rector of the University of Helmstedt, which had been just founded, and entered upon his 
 office with a speech superabounding in learning. Soon after this he occupied the episcopal 
 residence in the bishopric of Halberstadt. In the year 1589 he succeeded to the throne, 
 and in 1590 married his second wife, Elisabeth, daughter of Frederick the second, King of 
 Denmark. 1 Henry Julius entertained a very decided love for the theatre. We may safely 
 presume that he possessed an intimate acquaintance with the works of Hans Sachs and 
 Frischlin, as well as other dramatic writers of the time. During the journeys which he made 
 to other German Courts a little before his accession to the throne, he probably became 
 acquainted with their theatrical representations. The manner in which in 1590 he intro- 
 duced himself to his betrothed is a characteristic trait of his love of theatricals. 2 He left 
 his attendants behind him half a day's journey from Copenhagen, proceeded to the palace 
 
 1 Herman Grim, Das Theater des Herzogs Heinrich Julius zu Wolfenbiittel in his Essays, Hannover 1859, 
 p. 144, makes the Duke marry the daughter of Christian iv. But in 1590 Christian iv was only thirteen years 
 old. The Princess Elisabeth, who became the wife of Henry Julius, was the sister of Christian iv. 
 
 For the narrative following above we are also indebted to Mr. C. W. Sack of Brunswick. 
 
SHAKESPEARE IN GERMANY. XXXIX 
 
 . ^of Kronenburg in the disguise of a foreign pedlar, and offered all sorts of jewelry for sale. 
 When the Princess bride wished to pay for the things she had selected, the pedlar declared 
 they were only to be sold at the price of a bridal night. The answer excited great in- 
 dignation, and the pedlar was thrown into prison, which, to keep up the farce, he took 
 very quietly. Upon the arrival of the Duke's suite, but not before, the comedy was brought 
 to a very merry termination. As may easily be conceived, there were great festivities at 
 the Danish Court, and as we have shewn above that English actors had already become 
 quite domesticated there, it may safely be assumed that if any of them were still in Copen- 
 hagen in 1590, they were not idle on such an occasion. Frederick the second, the father 
 of the Princess Elisabeth, the bride of Henry Julius, to whom Heywood's information refers, 
 (see p. xxiii), and who in 1586 sent the English actors to the Elector of Saxony, died indeed as 
 early as 1588. But Hey wood probably only intended to say that Frederick had first invited 
 the comedians, which does not exclude the supposition that they remained longer at that court. 
 Under the reign of Frederick the second, and for a short time after his death, under the 
 reign of the minor, Christian the fourth, a very lively intercourse was maintained between 
 the Courts of Denmark and England. The Princess Anna, a younger daughter of Frederick 
 the second, and afterwards therefore the sister in law of Duke Henry Julius, had been 
 
 ^selected as the future bride of James the sixth of Scotland, afterwards James the first of 
 England. Frederick sent an embassy to Edinburgh for the purpose of opening the nego- 
 ciations. This embassy must have passed through England and touched London on its route. 
 Queen Elisabeth threw obstacles in the way of the intended union, as she was anxions for 
 
 ( a marriage between James the sixth and Catharine of Navarre. In the mean time the 
 marriage with the Danish Princess was arranged, and in 1589 James sent an embassy to 
 Copenhagen to fetch the young bride. The ship which conveyed the Princess, was wrecked 
 
 f on the coast of Norway, and unfavorable winds obliged her to remain in Opslo, to which 
 place James hurried to consummate his nuptials. In February 1590 James repaired to 
 Copenhagen with his young wife, and was present at the marriage of Henry Julius, who 
 
 ' had now become his brother in law. This very intimate connection between two princes, 
 both possessing considerable literary culture, probably exercised some influence on the 
 Wolfenbuttel stage at a later period, after James had ascended the English throne. Also 
 the visit which Duke Frederick of Wirtemberg paid the English Court in 1592 may have 
 had some connection with that stage, for Henry Julius stood on terms of friendly inter- 
 course with that Prince also, on which point the accounts of the expences of the Court of 
 Brunswick contain many notices. 1 
 
 But whatever may have been the manner in which Henry Julius made the acquaint- 
 ances of the English comedians, it is certain that he entertained several of them at his 
 Court shortly after his return, and for no very short period, for we have seen from the 
 Brunswick exchequer accounts that even after 1612, to which year Heywood's notice refers, 
 
 1 Communicated by Mr. C. "W. Sack. 
 
XL SHAKESPEARE IN GERMANY. 
 
 English actors are still mentioned. After the return of the Duke with his young wife, his 
 wedding was again celebrated in Wolfenbtittel, at that time the residence of the Dukes of 
 Brunswick, on which occasion there was a display of splendour and magnificence such as 
 had rarely been witnessed before. Banquets and representations of all kinds took place. 
 Unfortunately we are not acquainted with any details of these nuptial festivities. Pastor 
 Voelkerling, the only contemporary chronicler who mentions them, only remarks, that 
 numerous fencers in great splendour tried their skill with foreign fencers, and that similar 
 magnificence had never been witnessed before in Germany. Here we must again regret 
 the loss of the Court Exchequer accounts of the years 1590 1601, as we should probably 
 have ascertained from them whether foreign actors were present or not. The Duke him- 
 self was the author of ten plays, nine of which were printed in the years 1593 1594. 1 
 It is probable that some of them had been written at an earlier period, and there is every 
 reason to conjecture that one of them, and indeed the most important, the ' Tragi-comedy 
 of Susanna' 2 was acted in 1590 on the occasion of these nuptial festivities. Perhaps 
 indeed it was composed for this occasion. From the terms with which the prologue 
 commences, it is evident that a very numerous assemblage of all classes was present. It 
 
 1 As far as has been ascertained as yet, all the poetical attempts of Henry Julius belong to the depart- 
 ment of the drama. We have no other authorities for determining the time at which they were written, than 
 the da'tes of the printed editions. According to these, all the ten pieces with which we are acquainted, were 
 composed in the years 1593 and 1594, before Julius had attained his thirty first year. Their titles are as follows: 
 
 1. Tragi-comoedia von der Susanna. 1593. (Tragi-comedy of Susanna.) Another version also published in 1593. 
 
 2. Tragoedia von einem Buler vnd Bulerin. 1593. (Tragedy of a lover and Ms mistress.) 
 
 3. Comoedia von einem Weibe. 1593. (Comedy of a woman.) 
 
 4. Comoedia von einem Wirthe. 1593. (Comedy of a landlord.) 
 
 5. Tragoedia von einem vngerathnen Sohn. 1594. (Tragedy of a profligate son.) 
 
 6. Tragoedia von einer Ehebrecherin. 1594. (Tragedy of an adulteress.) There is a rhyming version of this 
 
 play by Joh. Olorinus Variscus [Joh. Sommer]. 1605. 
 
 7. Tragica comoedia von einem Wirthe oder Gastgeber. 1594. (Tragi-comedy of a host, or feast-giver.) 
 
 8. Comoedia von einem Edelmann. 1594. (Comedy of a nobleman.) 
 
 9. Comoedia von Vincentio Ladislao. 1594. (Comedy of Vincentio Ladislao.) Of this piece there is a rhyming 
 
 version by Elias Herlicius. 1601. 
 
 10. Der Fleischhauer. (The Butcher.) Published for the first time in Dr. Holland's edition, from the original 
 manuscript. 
 
 A collected edition was published in 1855 for the Stuttgart Literary Society by Dr. "VV. L. Holland. It 
 is entitled: Die Schauspiele des Herzogs Heinrich Julius von Braunschweig nach alien Drucken und Handschriften, 
 herausg. von Dr. Wilh. Ludw. Holland. 8vo. Stuttgart 1855. 
 
 * Tragica Comoedia Hibeldeha von der Susanna wie dieselbe von zweyen Alien, Ehebruchs halber, falschlich 
 beklaget, auch vnschilldig verurtheilet, aber entlich durch sonderliche Schickung Gottes des Almechtigen von Daniele 
 errettet, vnd die beiden Alien zum Tode verdammet warden, mit 34. Personen. Gedruckt zu Wol/enbiittel, Anno nach 
 Christi Geburt M. D. xciii. 8vo. (Tragi-comedy of Susanna, how she was wrongly accused of adultery by two old 
 men and innocently condemned, but finally saved through the Grace of God by Daniel, and how the two old men 
 were condemned to die.) [The word 'Hibeldeha', which is to be found on the title-pages of all the Duke's plays, 
 means: Henricus lulius Brunsvicensis Et Luneburgensis Dux Episcopatus Halberstadensis Antistes.] In Dr. Hol- 
 land's edition p. 1 169. A second edition "aufs new kiirtzer verfasset." Ibid. M. D. xciii. 8vo. In Dr. Holland's 
 edition p. 170208. 
 
SHAKESPEARE IN GERMANY. XLI 
 
 begins by addressing the "Most Serene, High-born, Gracious Princes and Lords, also Prin- 
 cesses and Ladies," and then the "Noble Worships, honorable, learned, estimable and most 
 gracious Lords and Squires, and dear friends." The first scene then contains extremely 
 copious and lengthy admonitions how a young woman ought to behave herself towards 
 her husband. It appears to have been composed for the particular occasion, and has only 
 a very slight connection with the piece itself. This is all the more evident from the cir- 
 'cumstance, that a second edition of the same piece, which also appeared in 1593, does not 
 contain this scene, and that the prologue has received a very different form, through the 
 omission of the longwinded address to the audience, as also of other passages which had 
 evidently been intended only for the particular occasion. There is every probability there- 
 fore in favour of the supposition that the 'Susanna' was the first piece which the Duke 
 wrote, and as it bears evident traces of English influence, we are justified in concluding 
 that he had already become acquainted with the English comedians at the time he com- 
 posed this piece. 1 The 'Susanna' is a subject which had been repeatedly treated in Ger- 
 many by others before Henry Julius, 2 and also in England Thomas Garter's 'Commodye of 
 the moste vertuous and godlye Susanna' had appeared in print in 1578, and had been 
 entered in the books of the Stationer's Company as early as 1568 1569. The Duke's 
 piece contains many features of the German and Latin versions but differs from them en- 
 tirely in the dramatic arrangement. Perhaps these variations may manifest some approxi- 
 mation to the English play, with which I am not acquainted. It is sufficient to observe 
 that the Tragi-comedy of the Duke's contains things which had never been introduced be- 
 
 1 For much of what I have said on the ' Susanna ' as well as for the remarks that follows on the position 
 of the Duke as a dramatic author in general, I am indebted to Herman Grimm, Das Theater des Herzogs Heinrich 
 Julius von Braunschweig, in his "Essays," 8vo. Hannover 1859. I must confine myself to this general mention of 
 the work, as I should otherwise be obliged to refer to it perpetually. The Memoir is by far the best that has 
 ever been written on the Duke as a dramatic author, and it is to be regretted that the subject has not received 
 a more comprehensive treatment at Mr. Grimm's hands. What he has given is more a sketch than an "Essay". 
 The connection between the Ehebrecherin and the Merry Wives of Windsor, though alluded to by Dr. Holland, 
 appears to have escaped Mr. Grimm. 
 
 2 This subject had been brought upon the stage as early as the fifteenth century, as appears from a 
 German piece of that time, the manuscript of which is at Vienna. See Goedike, Grundrifs etc., Vol. i, p. 93. 
 In 1535 Paul Rebhun composed Ein gdstlich spiel vo der gotfiirchtigen vn keuschen Frawen Susanen. 4to. Zwickaw 
 1536. 8vo. Wittemberg 1537. 8vo. Zwickaw 1544. (A religious play . of the god-fearing and chaste maid Su- 
 sanna.) 1559: Leonard Stockel Historia von Susanna in Tragoeden weise gestellet zu vbung der Jugent zu Bartfeld 
 in Vngern. 8vo. Wittenberg 1559. (The history of Susanna, set forth inform of a tragedy for the practice of youth, 
 at Bartfeld in Hungary.} Joachim Leseberg wrote a 'Susanna' in the Low German dialect, 1609. Another 
 'Susanna' was acted in Bremen as early as 1563, and, as it seems, also in Low German dialect. See Duntze's 
 Geschichte der freien Stadt Bremen, Vol. iv. 8vo. Bremen 1851. There is a 'Susanna' in Latin by Xystus Be- 
 tulius (Sixtus Birk), 8vo. Augustas Vindel. 1537, Colonise 1538, Tiguri 1538, Colonise 1539, Aug. Vindel. no date, 
 and 1564 and by Nicodemus Frischlin 1578. The latter was translated into German by Jacob Frischlin 1589, 
 8vo, and by Andreas Calagius, 8vo. Goarlitz 1604. A 'Susanna' in the Danish language was also acted before 
 Frederick the second, the father in law of Henry Julius, but probably a translation of the Latin of Xystus Betulius: 
 Susanna, Comico-tragedia i danske Sim. 4to. Kjobnhaven 1578. The author is Peter Jensen Hegellund. 
 
 F 
 
XLII SHAKESPEARE IN GERMANY. 
 
 fore in any German play, and which evince a knowledge of theatrical requirements which 
 the Duke could not have derived from any of his predecessors, or from the arrangements 
 German stage of his own times. He has displayed great skill in the manner in 
 Which he has interwoven an underplot with the principal subject, a feat which had not 
 <*< been successfully accomplished by any of his predecessors or contemporaries, not even by 
 Jacob Ayrer, who, as will be seen hereafter, wrote under the influence of the English co- 
 medians. In Ayrer's works, these episodes advance by the side of the principal action, 
 without any inward connection with it, while, on the other hand, in Henry Julius, they are 
 made subservient to the development of the whole piece. But an entirely new character 
 in the 'Susanna' of the Duke's is the fool, John Clant, who also plays the principal part. 
 Even the name is nothing more than a transformation of the English 'clown'. Merry- 
 andrews are also to be met with among the Duke's predecessors, but it was first on the 
 Wolfenbiittel stage that an independent part was allotted to the clown. Before that time, 
 it had not been prescribed to the fool, what he had to say; he was not involved in the 
 action of the piece, but it was left entirely to him to amuse -the public in any way he 
 thought proper, just as in the case of the court-fools outside the theatre. The same liber- 
 ties which the fool enjoyed in society were also allowed him on the stage; no part was 
 written for him, --as representative of the life off the stage, he interrupted the action of 
 the piece, and destroyed the illusion of the spectators. He is rarely mentioned among the 
 'dramatis person' of the old pieces. Sometimes he appears as speaker of the prologue, and 
 sometimes we meet with a marginal note: 'here the fool says something.' But in Wolfen- 
 biittel the fool belonged to the body of the performers; he no longer interferes in the 
 action according to his own will and fancy, as a sort of mediator between stage and au- 
 dience, but, like the other actors, has his own prescribed part to perform. This preme- 
 ) ditated introduction of a comic figure is very striking; but what is far more so both in 
 the 'Susanna' and the other pieces of the Duke's, is the dramatic progress of the dialogue, 
 and the theatrical construction of the action. In these points he imitated no one, for no 
 one before him understood how to adapt a work for the stage in such a careful and 
 masterly manner. One thing proceeds naturally out of another, and carries the plot on- 
 wards; the scenes have their point, the progress of the intrigue has its ever-increasing 
 interest. This merit of the Wolfenbiittel pieces is so striking, that notwithstanding the fact 
 that some of them are still extant in the Duke's own hand, notwithstanding the knowledge 
 which he possessed, and the utter absence of any evidence to shew who besides himself 
 could have written these pieces, it appears highly probable that some one of the actors 
 must have assisted him in giving his compositions that theatrical finish which evinces a 
 greater acquaintance with routine, than even Henry Julius,' with all his talent, could ever 
 have given them without a long practical experience of the requirements of the stage. As 
 far as concerns the 'Susanna' of the Duke, we will only observe that a piece of the 
 same name belonged to the Repertory of the English comedians, for in 1602 they per- 
 formed in Ulm a piece 'Of the Prophet Daniel, the chaste Susanna, and the two judges in 
 
SHAKESPEARE IN GERMANY. XLIII 
 
 Israel 1 , 1 and in a poem printed in 1597, referring to the English comedians, which we shall 
 give at a future page, the 'Susanna' is expressly mentioned. If now Henry Julius really 
 received the aid and counsel of an actor in the composition of his piece, it cannot have 
 been from a German, for up to that time, nowhere in Germany had there been the 
 slightest appearance of any such knowledge of theatrical management as that which appears 
 in the 'Susanna'. We have therefore good reason to assume the presence of English in- 
 fluence, and consequently of English actors in Wolfenbuttel at the time when the play was 
 composed and performed; for we have no notices of other foreign actors in Germany at 
 that time, and should hardly be justified in attributing to any others such an influence as 
 that above-mentioned. If the wedding festivities in Wolfenbuttel took^.place in 1591, and 
 not in 1590, on which point there is no certain information, oujxfour wanderers under 
 Robert Browne's management may have assisted in the performances. We have above seen 
 one of them in the service of the Duke, and it is highly probable that the whole com- 
 pany on its first arrival in Germany immediately repaired to the court of Wolfenbuttel. 
 That English actors had been there, long before 1597, (see p. xxxiv), may be safely con- 
 cluded from a piece of the Duke himself. In the tragedy of 'An Adulteress' which appeared 
 in print in 1594, 2 but may have been written several years previously, we meet with the 
 following passage in Act II, sc. 3: 
 
 Gallichorcea. Ich hette es dir Teutsch genung gesagt, wenn du es sonst verstehen woltest. 
 Johan Bouset. Ick bin ein Englisch Mann, ick en son dat dudsch sprake niet wal verstahn. 
 
 [Gallickorcea. I should have told you in plain enough German, if you had been willing to under- 
 stand it. 
 
 John B*,uset. I am an English man, I do not well understand any one that speaks German.] 
 
 John Bouset, the clown, does not play here the part of an Englishman, but it is 
 perfectly clear, the words have been put into his mouth only to excuse to the audience 
 his unintelligible pronunciation. We have already called attention to the fact, that the 
 jester in the Duke's pieces* is a copy of the English Clown. 3 This becomes -still more evi- 
 dent, when we consider that a large proportion of the English theatrical jokes turns upon 
 
 1 v. Alvensleben, Allgemeine Theaterchronik, 18^2, No. 158. 
 
 2 Tragedia Hibeldeha von einer Ehebrecherin, wie die jren Man drey Mai betreucht, aber zu letzt ein schreck- 
 lich Ende genommen habe. Mit acht Personen. 8vo. "\V"olfenbuttel 1594. (The tragedy of Hibeldeha, of an adul- 
 teress, how she betrayed her husband three times, but at last came to a dreadful end.} In Dr. Holland's edition 
 p. 401 444. A rhyming version has been given by Job. Olorinus Variscus [Joh. Somrner]: Tragoedie von ge- 
 
 schwinder Weiberlist einer Ehebrecherin sehr kurtzweilig, bossierlich vnd lustig beschrieben, vnd vffm Braunschweigi- 
 
 schen Furstlichen Haufs vnd Festung Wolffenbiittel in Prosa agiret. Nun aber auff vieler Begehr in lustige anmuthige 
 Reijm mit Fleifs gesetzt. 8vo. Magdeburg, Joh. Francke, s. a. Preface dated 1605. (A tragedy of the quick fe- 
 male cunning of an adulteress very amusingly, comically, and pleasantly described, and publicly acted in prose, 
 
 in the Brunswick Princely House and Castle of Wolfenbuttel. But now at the desire of many persons carefully done 
 into pleasant rhymes.} In Dr. Holland's edition p. 555 639. 
 
 3 The various names assigned to him are : Johan Clant, Johan Bouset, Bousset and Bouschet. Is Bouset 
 perhaps a corruption from "bossed"? 
 
 Fa 
 
XL1V SHAKESPEARE IN GERMANY. 
 
 the distortion and misunderstanding of words, a species of artifice which was very largely 
 employed in the jokes of the Wolfenbuttel clowns. 
 
 The connection of the Wolfenbuttel with the old English stage becomes still more 
 manifest from the general colouring of the Duke's pieces, as, for instance, the 'Tragedy of 
 a profligate son'. 1 It is an accumulation of brutal murders. A boy's body is cut open on 
 the stage, the murderer drinks his blood, roasts his heart on a coal fire, and eats it. Then 
 he drives a nail into his father's head, strangles his cousin, cuts his mother's throat, and 
 then at a revel suddenly finds the heads of the murdered upon the dishes instead of viands. 
 Who can help being reminded by this of Titus Andronicus in the first form of the piece, 
 before Shakespeare had handled the subject, the leading features of which we probably 
 have before us in the German piece which was played by the English comedians in Ger- 
 many? Afterwards the murdered persons appear as ghosts, drive the murderer mad, and 
 carry him off. Is it possible to read this, without being reminded of Macbeth, Richard the 
 second, and Cymbeline? 
 
 But the Duke's 'Comedy of Vincentius Ladislaus' 2 leads us still more directly to 
 Shakespeare. It contains the rough prototype of Benedick in 'Much Ado about Nothing'. 
 How very close the connection is between the two pieces will appear from the following 
 passages. 
 
 MUCH ADO ABOUT NOTHING, ACT I, sc. 1. 
 
 Beatrice. I pray you is signior Montanto returned from the wars or no? 
 
 Mess. I know none of that name, lady: there was none such in the army of any sort. 
 
 Leon. What is he that you ask for, niece? 
 
 Here. My cousin signior Benedick of Padua. 
 
 Mess. O! he is returned, and as pleasant as ever he was. 
 
 Beatr. He set up his bills here in Messina, and challenged Cupid at the flight ; and my uncle's 
 fool, reading the challenge, subscribed for Cupid, and challenged him at the bird-bolt. - - I pray you 
 how many has he killed and eaten in these wars? But how many hath he killed? for, indeed, I pro- 
 mised to eat all of his killing. 
 
 Leon. Faith, niece, you tax signior Benedick too much; but he'll be meet with you, I doubt 
 it not. 
 
 Mess. He has done good service, lady, in these wars. 
 
 1 Tragoedia. Hiehabdel. Von einem vngeratenen Sohn, welcher vnmenschlicJie vnd vnerhorte Mordthaten be- 
 gangen, auch endlich neben seinen Mit-Consorten ein erbaermlich schrecklich vnd grewlich Ende genommen hat. Mit 
 18, Personen. Gedruckt zu Wolfenbuttel Anno 1594. 8vo. (Tragedy of a profligate son, who committed inhuman and 
 unheard of murders, and at last with his consorts came to a miserable, shocking, and cruel end. With 18 persons. 
 Printed at Wolfenbuttel 1594.} In Dr. Holland's edition p. 335400. 
 
 2 Comoedia Hidbelepihal von Vincentio Ladislao Sacrapa (sic) von Mantua Kempfern zu Eofs vnd Fuefs, 
 weiland des edlen vnd ehrnuesten, auch manha/ten vnnd streitbaren Barbarossae Bellicosi von Mantua, Eittern zu 
 Malta ehelichen nachgelassenen Sohn. Mit zwolf Personen. 8vo. Wolfenbuttel M. D.XCIV. (Comedy of Vincentius La- 
 dislaus Satrap of Mantua, Combatant on horseback and on foot, lawful son of the noble and honourable and war- 
 like Barbarossa Bellicosus of Mantua, Knight of Malta. With 12 Persons.} In Dr. Holland's edition, p. 507 554. 
 
 Another edition 1599, ibid. 8vo, A rhyming edition is by Elias Herlicius Cicensis, 8vo. Wittemberg 1601. In 
 Dr. Holland's edition, p. 641734. 
 
SHAKESPEARE IN GERMANY. XLV 
 
 Beatr. You had musty victual, and he hath holp to eat it: he is a very valiant trencher-man ; 
 he hath an excellent stomach. 
 
 Mess, And a good soldier too, lady. . 
 
 COMOEDIA VON VlNCENTIO LiADISLAO, ACTUS PRIMI, SCENA PRIMA. 
 
 Lakey. Es gehet mir jetzundt eben, als wie man im Sprichwort saget: Wer viel newe Herrn 
 sucht, pfleget sich selten zuuerbessern, Solches befinde ich jetzundt auch. Zuuor hatte ich einen guten 
 vnd frommen Junckern, Jetzo aber bin ich bey einen gekommen, das ich schier nicht weis, wie ich 
 mit jhine daranne bin. Er gibt wimderliche vnd seltzame anschlege fur, In seinem sinn lest er sich 
 bediincken, es sey niemandts kluger als er. Mich soil doch geliisten, was er hie suchen wil, Ich wuste 
 ja nicht, was er hie zuschaffen haben mochte, Es ware dann, das er sich hier ein zeitlang wolte fur 
 einen Narren affen vnd vexieren lassen, Wie solches dann zu Herrn Hofe gemein ist. Er wil heute 
 hier kommen, wird auch vielleicht nicht lange aus sein, Vnd hat mich vorher geschicket jhm die Her- 
 berge zubestellen etc. 
 
 SCENA SECUNDA. 
 
 Adrian. Wo wanderstu her Lackey? Wem stehest du zu? 
 
 Lackey. Ich stehe meinem Junckern zu. Vnd wolte jhm gerne Herberge bestellen. 
 Adrian. Wer ist dan dein Juncker? 
 
 Lackey. Es ist ein stadtlicher vom Adel, vnd ein Kempffer zu Rofs vnd Fues, Sein Name ist, 
 Vinceutius Ladislaus Satrapa von Mantua etc. 
 
 SCENA QUINTA. 
 
 Lackey. Ich weis nicht, was mein Juncker vor ein seltzamer Man ist. Dan damit ja jederman 
 zum anfang hier erfahren moge, das er ein Narr sey, hat er seinen Namen auff einen Zettel schreiben 
 lassen, Vnd mir befohlen, Denselben an die Thur zuschlagen. Nun bin ich sein Diener, Ich mus thun, 
 was er mir beuehlt, Ich wils anschlagen, Was gehets mir die lenge an, Aber mit der weyse werde ich 
 nicht alt bey jhme werden. (Der Lackey schlegt den Zettel an, darauff stehet geschrieben, wie volget: 
 Vincentius Ladislaus Satrapa von Mantua, Kempfier zu Rofs vnd Fues, weiland^des Edlen, vnd Ehrn- 
 uesten, auch Manhafften vnd Streitbaren Barbarossae Bellicosi von Mantua, Ritters zu Malta, Ehelicher 
 nachgelassener Sohn, mit seinen bey sich habenden Dienern vnd Pferden.) 
 
 TRANSLATION. 
 
 COMEDY OF VINCENTIUS LADISLAUS. ACT I, so. 1. 
 
 Servant. It is with me now, just as they say in the proverb: He who often seeks a new 
 master, seldom betters himself. That is just what I find now. Formerly I had a kind gentle squire 
 for a master, but now I am with such a one, that I can't conceive how I am ever to get on with 
 him. He puts forth such strange and curious projects. In his own opinion he fancies there is no 
 one cleverer than himself. I should like very much to know what he wants here. I can't imagine 
 what he can have to do here unless he wanted to get himself laughed at and jeered at for a time as 
 a fool, as is the common at princes' courts. He means to be here to-day, and perhaps will be here 
 before long, and has sent me on before to secure him a lodging etc. 
 
 SCENE 2. 
 
 Adrian. Where are you going, servant? and whom do you belong to? 
 
 Servant. I belong to my master, and should be glad to engage a lodging for him. 
 
XLVI SHAKESPEARE IN GERMANY. 
 
 Adrian. Who is your master then? 
 
 Servant. He is a citizen of quality, and a Combatant on horseback and on foot. His name 
 is Vincentius Ladislaus, Satrap of Mantua, etc. 
 
 SCENE 5. 
 
 Servant. I don't know what strange sort of man my master is. For that everybody may learn 
 here at once that he is a fool, he has had his name written on a bill, and ordered me to fasten it up 
 against the door. Now I am his servant. I must do what he orders me. I will fasten it up ; what is it 
 to me after all? But after this fashion, I shan't grow grey in his service. (The servant fastens up the 
 bill, upon which there is written as follows: Vincentius Ladislaus, Satrap of Mantua, Combatant on 
 horseback and on foot, lawful son of the noble and honorable and courageous, of the late warlike Bar- 
 barossa Bellicosus of Mantua, Knight of Malta, with the servants and horses that attend him.) 
 
 The passage in Beatrice's speech 'He set up his bills here in Messina' is happily illustrated 
 by this scene. Now we know exactly what it was she meant to say. What Beatrice wanted to 
 ^make Benedick appear, Vincentius is in reality: a boastful Bramarbas, whose cowardice is a 
 match for his bragging, the butt of the jeers of all the world, and. in all his adventures always 
 the dupe, the typical 'Capitano' of the old Italian stage, a quintessence of the lying stories 
 of all the quarters of the world, all of which however he outdoes in bombast. 1 Such a 
 coincidence as that apparent in the above parallel cannot be purely accidental; and besides 
 this, there is another point of resemblance between the two pieces. The real humour of 
 the scenes between Benedick and Beatrice consists in each of them having been separately 
 persuaded that the other is in love with him or her. There is a similar incident in Vincentius. 
 The braggadocio is talked into the belief that the beautiful Angelica is in love with him. 
 He of course falls into the snare, and the Duke promises that the consummation shall take 
 place the same evening. A page in disguise represents the bride. The fool prepares the 
 bed by stretching a sheet over a tub full of water. Vincentius mounts the bed, falls into 
 the water, and is summarily dismissed with ignominy and disgrace. Slight as the connec- 
 tion may appear between all this and the charming love passages between Benedick and 
 Beatrice, the gist of the intrigue in both cases is the trick played on a man possessing an 
 exaggerated opinion of his own merits by making him believe that a girl is in love with 
 him. The Vincentius Ladislaus was unquestionably written and performed long before 
 'Much Ado about Nothing' which first appeared in print in 1600, and is only to be met 
 with in the books of the Stationer's Company in that year. May then Shakespeare have 
 become acquainted with this piece of the Duke's through the actors on their return to 
 England, and has he metamorphosed the clumsy braggart Vincentius into the amiable Be- 
 nedick, whose apparent frivolity and conceit were not able to resist the promptings of his 
 heart? Such an assumption could hardly be ventured without better evidence than that 
 which we have adduced, and there is no other at present forthcoming. A far more pro- 
 
 On the type of the 'Capitano' who under different forms appears on the stages of all the countries of 
 Europe, see Herman Grimm, Das Theater etc. p. 164169. 
 
SHAKESPEARE IN GERMANY. XLVII 
 
 bable supposition is, that both authors took their matter either from an old English piece 
 derived from an Italian source, or directly from an Italian source with which we are un- 
 acquainted. This common origin probably contains both the intrigues which in 'Much Ado 
 about Nothing' are worked up together, and of which Henry Julius has taken the subor- 
 dinate one, and made it his principal plot, while Jacob Ayrer, who probably took his 
 'Beautiful Phaenicia' 1 from the same piece, has worked up both intrigues. When we come 
 to the consideration of this piece, we shall treat more fully of the existing sources, and 
 shall find that there must be some common origin hitherto unknown to us, whence Shake- 
 speare, Henry Julius, and Ayrer derived their matter. 
 
 Still more intimately connected with Shakespeare is the Duke's already mentioned 
 'Tragedy of an Adulteress', the plot of which entirely agrees with that of the 'Merry Wives 
 of Windsor'. A man ' Gallichoraea' [Hahnrei, i. e. a cuckold] employs a*student to put his 
 wife's virtue to the test, and endeavours to surprise her, but is always made a fool of 
 through his wife's cunning, and obliged to beat an ignominious retreat. But he also has 
 another mortification, for the student, who has no idea that the go-between is really the 
 husband of his lady-love, always reports to him his successes with the fair one, and the 
 tricks she has played her husband. For the better comprehension of this piece, and that 
 the reader may be able to judge of the degree of resemblance between the two pieces, 
 we annex a short sketch of the plot of the 'Tragedy of an Adulteress'. 
 
 Act. i, sc. 1. Enter Gallichoraea, the merchant. He complains that he has reason to 
 doubt his wife's fidelity. He wishes for an opportunity to put it to the proof. Scene 2. Enter 
 John Bousset, the servant, [the clown], Gallichoraea alludes to his wife's infidelity, and at 
 last proposes to his servant that he should sleep with her. If he succeed with her, he is 
 not to suffer any punishment, but, on the contrary, to receive a reward. John Bousset 
 steadfastly declines this proposal. Act ii, sc. 1. Enter Pamphilus, . a poor student. He com- 
 plains of his poverty, and wished he could meet with some goodnatured man in this foreign 
 town, who would assist him. Enter Gallichoraea, and John Bousset. The former enters 
 into conversation with Pamphilus, and advises him to try his fortune with the women. 
 Pamphilus agrees, and Gallichoraea proposes his own wife, but without informing Pamphilus 
 that she is so. Pamphilus is to tell Gallichoraea the next morning, what success he has 
 had. Then follows a conversation between Gallichoraea and John Bousset, which however 
 does not advance the action of the piece. Sc. 4. Gallichoraea and John Bousset. Enter 
 Scortum, the wife of the former. Her husband pretends that he must go into the country, 
 and in all probability will not return that night. He then tells the fool that he will con- 
 ceal himself in a house, and surprise his wife in the middle of the night. Sc. 4. Scortum 
 says, that she is quite aware that her husband only wants to try her. She only hopes 
 that some handsome young fellow may visit her, and when her husband comes home she 
 will manage matters so that he knows nothing about it, for it is a trade in which she has 
 
 1 See p. 77 112 of the present volume. 
 
XLVIII SHAKESPEARE IN GERMANY. 
 
 had plenty of practice. Sc. 6. Pamphilus comes before the house, entices the wife out with 
 his music, and then begs for a night's lodging, which, in the next scene, is willingly granted 
 him. Sc. 8. Enter Gallichoraea with the clown. The former demands admittance. After 
 some words have been exchanged through the closed door, the wife opens it, and tells her 
 husband she did not like to do so at first, lest it might be some stranger who wanted to 
 deceive her. While they are going into the house, Pamphilus jumps out of the window, 
 and having stated, that he had been appointed to come again the following evening, runs 
 away. Act iii, sc. 1 and 2. John Bousset betrays the infidelity of the wife to neighbour 
 Adrian, who had heard the noise in the night. Gallichoraea joins them, and persuades the 
 neighbour not to believe the clown. Sc. 3. Pamphilus relates to Gallichoraea his adventure 
 of the previous night, and how he had escaped when the husband arrived. The wife had 
 shewn him a hiding-place under the window, and after her husband had searched the house 
 for some time, she had led him up stairs, and then called out to him in a loud voice, 
 'Now sweetheart., go, it is time.' This had been the signal agreed upon for Pamphilus to 
 escape unperceived. He then promises to give Gallichoraea an account of his next visit to 
 the wife. In the next scene the fool derides the husband. Sc. 5. Gallichoraea tells Scor- 
 tum that he is now going away again, and will not allow himself to be detained by stran- 
 gers, as yesterday. His wife is very anxious about him, and charges John Bousset to look 
 very attentively after his master. After they have both left her, she wishes that the young 
 fellow of yesterday may soon return; she will contrive to outwit her husband, if he should 
 come back again. Sc. 6. Pamphilus comes, and is admitted into the house. Act iv, sc. 1 
 3 Gallichoraea and the fool come before the house again, and demand admittance. A 
 conversation follows, just as on the former occasion, and they are admitted. Some time 
 after, the husband comes out again, and opens the shutter from the outside in order to 
 discover the lover. The wife comes out to him, and says: U Lord, my dear husband, 
 what are you doing here? I do believe you think I have a lover in the house." Galli- 
 choraea confesses, that he certainly does entertain that opinion, upon which his wife an- 
 swers: "If I did not wish to be honest, I would blind you so, that you should know no- 
 thing about it, not even if you were already in the house." Gallich.: "How would you 
 manage that?" Scortum: "I would manage it so. (She covers his eyes with his cloak.) 
 Do you see that, my dove?" In the mean time, Pamphilus jumps out of the door, and 
 runs away. Act v, sc. 1. Neighbour Adrian has heard the noise again the night before. 
 Gallichoraea endeavours to bring him off the right road, but Adrian still believes that Scor- 
 tum's infidelity is at the bottom of it. Sc. 2. Gallichoraea complains to the fool, that he is 
 now worse off than before, in as much as formerly he still had his doubts whether his wife 
 really did play him false, but now he knows that she is no better than she should be, 
 and yet he must not say so, as he cannot convict her of it; besides, everybody would 
 laugh at him, as he had himself sent the young fellow to her. The fool is of opinion, 
 that the husband had himself made his wife a whore, which he denies, as she had been 
 one before, and he had only wished to prove her. In the next scene, Pamphilus again 
 
SHAKESPEARE IN GERMANY. XLIX 
 
 relates to Gallichoraea his adventures of the preceding night, and that he had an assigna- 
 tion with her for the same evening. Gallichoraea pretends to his wife, that he had received 
 a message from his brother, calling him away from home in a great hurry, and adds, that he 
 does not know when he will come home again. Scortum behaves just in the same manner as on 
 the previous occasions, and determines to deceive her husband a third time. Pamphilus comes, 
 and is admitted. Act vi. Gallichoraea is determined to set fire to the house with a torch, 
 if Scortum does not deliver up her lover. As she is not able to appease her husband, she 
 begs him at least to allow her to save her linen, that she may have something to clothe 
 herself with. Gallichoraea helps her to carry out the cask full of clothes, and then enters 
 the house again to continue his search. In the mean time Pamphilus jumps out of the 
 cask, and runs away. Adrian comes to pacify Gallichoraea. The latter is very melancholy 
 at not being able to find anything. Then follows a scene, in which Gallichoraea reproaches 
 his wife. His melancholy increases. He then learns again from Pamphilus, how he had 
 been fooled a third time. Pamphilus declares that he will not return to the wife again, 
 and takes his leave. Neighbour Adrian learns the whole story from the fool. Gallichoraea 
 ,takes his dishonour very much to heart, and goes raving mad. The fool and the neighbour 
 at last succeed in putting him in chains, and lead him into the house. Scortum then is 
 troubled with remorse at having driven her husband mad, and resolves to take her own 
 /life. Devils come, and strangle her. A moral epilogue concludes the piece. 
 
 We add here a few scenes from the sixth act, which place the connection of this 
 piece w r ith Shakespeare beyond all doubt. 
 
 ACT VI, SCENE 1. 
 Gallichorcea. Scortum. Johan Bouset (tregt zwey Fackeln). Pamphilus. Adrian. 
 
 X^V^QOi,, , . 
 
 Gallich. Johan kom fort, vnd gib mir die eine Fackel her, die ander aber behalt du. 
 
 Joh. Bous. Was wollt ihr mit der Fackel machen. 
 
 Gallich. Ich wil Huren vnd Buben zusammen im Hause verbrennen. 
 
 Joh. Bous. Seid ihr toll, was wollt ihr machen? Ihr werdet die ganze Stadt anstecken. 
 
 Gallich. Da ligt nichts an, kom du mir her. (Als sie vor das Haus kommen klopfet er mit 
 Gewalt an vnd ruffet gar laut.) Holla, mach auff, du hast mich nun lang gnug bey der Nasen herumb 
 gefuhrt, ich wil dich nun einmal wider bezalen, lass sehen, hast du den Bulen noch einmal versteckt, 
 was gilt's? Ich wil ihn finden, darumb gedenke, vnd gib ihn mir heraus, oder sihe ich wil dir das 
 Haus oben dem Kopfe anstecken. (Die Frau komt gar geschwinde heraus gelaufen.) 
 
 Scortum. Behiite Gott Man, Was wolt jhr nun anfangen? Wollet jhr mich dann nun gar 
 zum'Betler machen? Vnd diese gantze Stadt in Noth bringen. 
 
 Gall. Das hilfft nicht darzu, Ich wil kurtz rundt wissen, wo der Bule ist. 
 
 Scortum. Ich habe keinen Bulen im Hause, Vnd wollet jhr ja so toll sein, Vnd das Haus an- 
 stecken? So helfft mir doch erst meinen Leinen Zeug heraus tragen, Damit wir ja noch etwas be- 
 halten, das wir anziehen mogen, Werdet jhr alsdann einen Bulen im Hause finden, So bin ich zufrie- 
 den, Das jhr nicht allein das Haus anziindet, Sondern mir darzu den Hals entzwey schlaget. 
 
 Gall. W^o ist denn das Zeug? 
 
 Scort. Hier stehets im Hause im Fafs. Vnd ist darzu vngewaschen Zeug. 
 
 G 
 
L SHAKESPEARE IN GERMANY. 
 
 Gall. Den willen wil ich dir noch thun, Aber finde icji auch darnach jemandts im Hause, so 
 nicht darin bescheiden ist, So wil ich mich dann auch gar nicht erbitten lassen. 
 
 Scort. Das bin ich dann auch wol zufrieden, Ich wil alsdann auch keine gnade begeren.. (Sie 
 gehen ein, vnd der Man hilfft der Frawen das Zeug hinaus tragen, als das geschehen, spricht err) 
 
 Gall. Nun wil ich wieder hinein gehen, vnd Visitieren. (Gehet hinein, inmittelst springet Pam- 
 philus aus dem Fai's heraus, in welchem er mit dem Zeuge bedecket gewesen, vnd laufft dauon. Adrian 
 kompt inmittelst darzu gelauffen im Schlaffpelz, vnnd laufft gar geschwiude nach dem Hause, riifft' 
 vnd spricht:) 
 
 Adrian. Was ist hie zuthun? Wollet jhr nun ewer eigen Haus anstecken, Vnd die Stadt in 
 grundt verbrennen. (Gehet abe.) 
 
 SCENE 6. 
 [Gallichorcea gehet gar trawrich vnd seufftzet, inmittelst kompt Pamphilus gegangen.] 
 
 Pamph. Gott grusse euch guter Herr, Ich wolte euch vor alle beforderung dancken vnd mei- 
 nen abscheit nehmen. 
 
 Gall. Wiltu dann nun so daruon. 
 
 Pamph. Auff difsmahl ist meines pleibens nicht lenger hier. 
 
 Gall. Gefellt es dir dann hier nicht mehr? 
 
 Pamph. Auff difsmahl nicht. 
 
 Gall. Bistu gestern wieder an dem ort gewesen? 
 
 Pamph. Ich bin freilich dar gewesen, Ich meinte der Man hette mir schier die Leuchte ge- 
 bracht, als er ein kam. 
 
 Gall. Wie gieng denn das zu? 
 
 Pamph. Wie solt es zugehen, der tolle Narr wolte das Haus anstecken vnd sagt zur Frawen, 
 sie solt jm den Bulen heraus langen. Die Fraw, wie sie solches horte, Verbarg mich in ein Fafs, vnd 
 warff darauff alt leinen gerethe, Lieff darnach geschwind zum Man vnd bath, Wann er ja das Haus 
 anstecken wolte so mochte er doch jhres zeuges schonen, vnd jhr das helffen heraus tragen, Das that 
 er, vnd trug mich also, selber zum Hause heraus, Als er aber wieder hinein gieng vnd suchte, Sprang 
 ich heraus vnd lieff dauon. 
 
 Gall. O ich vngliickseliger Mensch, O das ich nie geboren were, Ach das ich nur Todt were, 
 So dorfften die Leute meiner so nicht spotten, etc. 
 
 TRANSLATION. 
 
 ACT I. SCENE 1. 
 Gallichorcea. Scortum. John Bouset (bearing two torches). Pamphilus. Adrian. 
 
 Gallich. John, come here, and give me one of the torches. The other you may keep yourself. 
 
 John Bous. What are you going to do with the torch? 
 
 Gallich. Burn whores and rogues together in the house. 
 
 John Bous. Are you mad? What will you do? You'll set fire to the whole town. 
 
 Gallich. That does not signify. Only you come here. (When they have come before the house, 
 he knocks violently at the door, and calls out very loud:) Holla! Open the door. You have been 
 making a fool of me long enough. Now will I pay you out for it at last. Let us see; if you have 
 got your lover hid there again, what does it matter? I will find him, therefore mind what I say, and 
 give him up to me, or look here, I will set fire to the house above your head. (His wife comes 
 running out of the house in a great hurry.) 
 
SHAKESPEARE IN GERMANY. LI 
 
 Scortum. God forbid, husband! What do you want to do? Do you want to make a beggar 
 of me then, and bring the whole town into trouble? 
 
 Gallich. That's all of no good. I am determined to know without any more pother, where 
 your lover is. 
 
 Scortum. I have not got any lover in the house, and will you really be so mad as to burn 
 the house down? At least help me to carry out my linen, that we may keep something to put on. 
 If you then find a lover in the house, you have my leave not only to set the house on fire, but to 
 break my neck into the bargain. 
 
 Gall. Where is your linen then? 
 
 Scort. Here it stands in the house, in a tub. And dirty linen it is too. 
 
 Gall. I will do you that one favour more ; but if I then find anybody in the house who does 
 not belong to it, I will not listen to any more entreaties. 
 
 Scort. I am quite satisfied with that. I will not ask then for any favour more. (They go 
 into the house, and the husband helps his wife to carry out the linen. When this is done, he says:) 
 
 Gall. Now I will go in again, and have a search. (He goes in; in the mean time Pamphilus 
 jumps out of the tub, and runs away. While this is taking place, Adrian rushes out of his house in 
 his night-gown, runs up to the house, shouts out and says:) 
 
 Adrian. What is to be done? Will you set your own house on fire, and burn down the 
 town? (Exit.) 
 
 SCENE 6. 
 [Enter Gallichorcea very melancholy, and sighing Pamphilus joins him.] 
 
 Pamph. Good morning, my dear sir. I wished to thank you for all the advancement you 
 have procured me, and then take my leave. 
 
 Gall. Are you going away then? 
 
 Pamph. For the present I shall stay here no longer. 
 
 Gall. Don't you like the place then any more? 
 v Pamph. Not for the present. 
 
 Gall. Were you at the same place again yesterday? 
 
 Pamph. O yes, certainly, I was there. I thought the husband meant to bring me the candles 
 when he came. 
 
 Gall. How was that? 
 
 Pamph. How should it be? The mad fool wanted to set fire to the house, and told his wife 
 she must give up her lover to him. When the wife heard this she hid me in a tub, and threw some 
 old linen over me. Then she ran out to her husband, and begged, that if he was determined to set 
 the house on fire, he would at least spare her linen, and help her carry it out. He did so, and so 
 he carried me out of the house too. But as soon as he had gone in again, I ran away. 
 
 Gall. O miserable man that I am! O that I had never been born! Alas, if I were only dead, 
 the people could not laugh at me so, etc. 
 
 Compare with the above scenes 'The Merry Wives of Windsor', Act iii, sc. 3 and 5. 
 Here we must greatly regret the uncertainty which prevails respecting the chronology of 
 Shakespeare's plays. The 'Merry Wives of Windsor' appeared for the first time in print in 
 1602, and indeed in a very imperfect form, certainly not that in which it came from Shake- 
 speare's hands. It is in Jan. 1601 1602, that the piece first appears in the 'Registers of 
 
 G2 
 
LII SHAKESPEARE IN GERMANY. 
 
 the Stationer's Company'. We first meet with it in its genuine form in the Folio of 1623. 
 Johnson places it between 'Henry iv' Part 2 and 'Henry v', therefore about 1598 1599. 
 Malone places it between Parts 1 and 2 of 'Henry iv', that is to say, about 1596 1597. 
 Chalmers does the same. Halliwell contended for the assumption that the earliest form 
 came from Shakespeare's pen, an opinion which he afterwards gave up. Collier rejects 
 the first form as not genuine. The allusion in Shakespeare's piece to a German Duke, 
 which we have already noticed, unquestionably refers to Frederick of Wirtemberg, who, 
 we know, was in Windsor in 1592. 1 But this Prince as we have seen above, travelled under 
 the name of Count Montbeliard. This was not an assumed name; the Duke was really 
 Count Montbeliard until he ascended the throne, ajid was even called so in his native 
 country. If therefore, as some persons have argued, the 'Merry Wives of Windsor' were 
 written soon after 1592, why should Shakespeare have transformed the Count into a Duke, 
 as the person alluded to was known to the audience as Count, and not as Duke? 
 
 It therefore appears no unjustifiable assumption that the Duke had already succeeded 
 to that title, when Shakespeare wrote his piece.- Soon after his return from his visit -to 
 England, Count Montbeliard succeeded to the Ducal throne. This event, affecting a prince 
 now personally known at the English Court, was in all probability a subject of conversa- 
 tion there, and may have suggested to Shakespeare his allusion to the foreigner as Duke. 
 Or this allusion may also have been occasioned by the Duke's application for the Order 
 of the Garter in the year 1595. For these reason, we believe we shall be nearer the truth, 
 if we place this play between the years 1593 and 1596. The 'Adulteress' of Duke Henry 
 Julius was first printed in "1594. It may have been written and acted one or more years 
 earlier; but however that may be, the date of its composition and representation are near 
 those of Shakespeare's immortal comedy. ' Was Shakespeare acquainted with the Duke's 
 play? Who would like to affirm that? But we may be allowed to observe, that the in- 
 trigue in the 'Merry Wives' is in many respects more similar to that of the 'Adulteress,' 
 than the hitherto received source of that play, namely, the tale of the ' Two Lovers of 
 Pisa' in Tarleton's 'Newes out of Purgatory' 1590, which again is a new version of the 
 Tale of the Ring, in Gio. Fr. Straparola's 'Tredeci piacevoli notti'. 2 A very similar story 
 is to be found in Giovanni Fiorentino's 'II Pecorone', which has passed into an English 
 Collection of tales, entitled 'The fortunate, the deceived, and unfortunate lovers', which 
 Malone asserts already existed in print in Shakespeare's life, although no older edition than 
 
 ' Pointed out for the first time by Mr. Charles Knight in his edition of Shakespeare. 
 
 * The Italian text with an English translation will be found in "The first Sketch of Shakespeare's Merry 
 Wives of Windsor'" ed. by J. 0. Halliwell. London, printed for the Shakespeare Soc. 1842, p. 112 125, and 
 Tarlton's English version, ibid., p. 125 135, and in J. P. Collier's Shakespeare s Library, as well as in Johnson- 
 Steevens' edition of Shakespeare. See also Quellen des Shakespeare in Novellen, Narchen und Sagen, heraus- 
 gcgeben von Th. Echtermayer, L. Henschel und Karl Simrock. 3 vol. Berlin 1831. Vol. i, p. 231, and Charles 
 Simrock's remarks, Vol. iii, p. 221. The latter translated into English, for the Shakespeare Soc. and ed. by 
 Halliwell, 1850, p. 76. 
 
SHAKESPEARE IN GERMANY. LIII 
 
 that of 1632 in 4to is now extant. 1 The love-adventures of Falstaff are most undoubtedly 
 to be referred to this source, but it admits of a question whether there may not be some 
 intermediate link, which also originating from the same sources, has undergone the same 
 
 I changes as those which appear again in Shakespeare's deviations from the Italian tales, and 
 which Henry Julius has also adopted. A very important deviation from the above-men- 
 tioned sources consists in this: that in the play of Henry Julius, the whole action of the 
 piece originates with the husband, who entertains suspicions against his wife, and desires 
 
 'to put her virtue to the test. Similarly in Shakespeare's play, Ford endeavours to test his 
 wife's fidelity by means of Falstaff s intrigues, which he encourages. That Falstaff had al- 
 ready laid his plans without Ford's intervention, is of very little importance here. This is 
 managed differently in the two Italian stories. In neither of them is the husband's motive 
 the wish to try his wife. In one story the husband only wishes to prove to the young 
 man that his wife is more beautiful than the young man's mother, whom the son had de- 
 scribed as quite incomparable in this respect, and in the other, the teacher gives his young 
 pupil, who is ardently longing for some love adventure, the necessary instructions how such 
 affairs are to be managed; that the pupil should commence his experiments with the wife 
 of his teacher, is purely accidental, and not owing to the cooperation of the husband. 
 Another point of coincidence between the 'Merry Wives' and the 'Adulteress', is this: that 
 the two lovers, in the one case Pamphilus, and Falstaff in the other, are both influenced 
 by mercenary as well as other motives in their love adventures. Falstaff says of Ford: 
 "Hang him, poor cuckoldy knave! I know him not. Yet I wrong him to call him poor: 
 they say, the jealous wittolly knave hath masses of money, for the which his wife seems 
 to me well-favoured. I will use her as the key of the cuckoldy rogue's coffer, and there 1 
 is my harvest-home." In the 'Adulteress', Pamphilus complains of his poverty, upon which 
 Gallichoraea answers: "Why you are a fine, straight, well-made, young fellow, and seem to 
 me as if you were sure to please the women. There are handsome young women in this 
 town; do you only make acquaintance with them, and you are sure to get money and 
 clothes enough." It is also to be observed in the 'Adulteress', that the duped husband is 
 constantly abusing himself as a cuckold [in German 'Hahnrei'] and that in Shakespeare, 
 Ford does the same. One character in the 'Adulteress', quite independent of the original 
 sources, is that of Jan Bouset, the servant of Gallichorsea, which has at least great external 
 similarity with Dr. Caius, as both speak in an unintelligible dialect. 2 
 
 In the tale of Giovanni Fiorentino, the hus-band is taken in by his wife twice, in 
 
 [that of Straparola three times, as in Shakespeare and in Henry Julius. In Giovanni the 
 lover is concealed the first time under a heap of linen, which the husband quietly passes 
 by. After he is gone, the wife sups with the lover, who passes the night with her. The 
 
 1 Florentine's Text with an English Translation in "The first Sketch'" etc. p. 86 101 and the English 
 version of 1632, ibid., p. 101 112. See also Quellen etc. Vol. i, p. 201 and Vol. iii, p. 221. Simrock's remarks 
 in English, p. 76. 
 
 * In the Susanna the peasants use different dialects. The same thing also occurs in Pla'utus. 
 
LIV SHAKESPEARE IN GERMANY. 
 
 second time, the wife puts out the candle when her husband approaches, and in the very 
 moment that he is about to enter the house, she pushes her lover out of the door. He 
 thrusts his sword through the heap of linen, and as he finds nobody there, is well beaten 
 by his wife's brothers, and treated as if he were mad. In Straparola, the first tune, the 
 young man is concealed in a bed, the curtains of which are drawn close, the second time 
 in a trunk, and covered over with clothes. In this case also the husband passes by with- 
 out any suspicion, and after he has left the house, the lover slips away. The third time 
 he is concealed in a cupboard, and when the husband is preparing to set fire to the house, 
 and the cupboard is also in danger of becoming a prey to the flames, the wife orders it 
 to be removed to a place of safety, under the pretence that it contains papers appertaining 
 to her dowry. We see by this how far both authors deviate from Shakespeare and Henry 
 ) Julius. Only the concealment in some receptacle, which is also full of linen or clothes has 
 passed into both pieces. The lesser details in these have more resemblance with each 
 other than with the Italian tales. In Shakespeare, Ford, in order to fix the fool's cap more 
 firmly on his head, must himself ask what is in the basket; in Henry Julius, Gallichoraea 
 is even made to assist with his own hands in removing his wife's paramour to a place of 
 safety. The tales do not contain a trace of anything resembling FalstafFs disguise as the 
 witch of Brentford, neither is this episode to be found in Henry Julius; on the other hand, 
 the second adventure in the 'Adulteress', the spreading out the cloak, that Pamphilus may 
 escape behind it, has considerable resemblance to a disguise. As many of the above-men- 
 tioned deviations from the Italian in which Shakespeare and Henry Julius agree, are to be 
 met with in a German story, I will give a brief sketch of its subject. It is entitled the 
 Tale 'Of a Goldsmith and a poor Student' in Michael Lindner's 'Rastbuchlein', 1557 or 
 1558. 1 
 
 A goldsmith in a far-famed city suspects his beautiful wife of infidelity, but has never 
 been able to obtain any proofs of his suspicions. One day, as the goldsmith is standing 
 in his shop a which is at a considerable distance from his private residence, a poor scholar 
 or student begs an alms of him. The student is a handsome young fellow, and appears 
 to the goldsmith a very likely person to put his wife's virtue to the proof. Pretending 
 therefore not to have any money about him, he directs the student to go to a certain place, 
 where he will have sweet dalliance with a beautiful woman, and receive plenty of money 
 into the bargain, but he is on no account to mention the goldsmith's name. The student 
 promises discretion, and is directed to the goldsmith's wife, who, while the goldsmith re- 
 turns to his shop to \vork, sees the handsome youth, admits him, and has her own will 
 
 1 Rasibuchlein. Darinn schone kurtzweilige, lecherliche vnd lustige Bossen vnd Fablen, welliche Hystorien 
 gleich sein, verfast vnd beschriben seind, den Feyrenden, oder sonst ruhenden, lieblicJi zulesen vnd anzuhoren. S. 1. e. a. 
 Second edition, s. 1. M.D.LVHI. - The tale alluded to is founded on the Italian Novels. For more details see 
 Dr. Holland's edition of the Plays of Duke Henry Julius, p. 874. Henry Kurz p. 144 compares our play with 
 Hans Sachs' Kwplet Schwieger. The above narrative is to be found in Dr. Holland's edition of the Plays of 
 Henry Julius. 
 
SHAKESPEARE IN GERMANY. LV 
 
 j with him. Presently the goldsmith comes home. His wife is terribly frightened, and places 
 
 I the student "outside the shop, on a board, on which nails, sticks, and other things are 
 generally placed." The husband searches the house in vain, gives it up, and returns to his 
 work. After this, the wife "finishes her business" with the student, refreshes both herself 
 and him with sweetmeats, gives him some money, sends him away and begs he will soon 
 
 : come again. The student relates all this to the goldsmith, who persuades him to go there 
 a second time. He does so, is received just in the same manner as the first time, and goes 
 to bed with her. Before he has left her, the husband comes again, and searches for the 
 student, whom the wife "has hung over a pole, and covered over with some old clothes." 
 He returns to his shop. The student goes to him again, tells him what has happened, and 
 is persuaded, though not without difficulty, to go to the wife for a third time. The wife 
 
 [ receives him with greater kindness than ever. But just as "they have finished their busi- 
 ness," the husband knocks at the door. The wife conceals the student in a great tub, and 
 throws the "dirty linen" over him. The husband searches in vain, threatens to burn down 
 the house, the wife begs him to help her first "to carry the dirty linen in the tub out of 
 the house, that when aU the things are burnt, we may have at least a shirt to put on." 
 The husband and wife take the tub on their shoulders, carry it into the street, and return 
 into the house again. The student jumps out, and runs away to the goldsmith's shop. The 
 goldsmith "who was not very particularly in earnest about burning down his house ' returns 
 there too. The student tells him all that has happened. The goldsmith says: "My dear 
 boy, the woman, with whom you have had to do, is my wife, and it is I who have been 
 to the house three times, and asked after you. But even had I found you, I should not 
 have done you any harm, for all that I have done was only to learn something about the 
 goings on of my wife." He exhorts the student 'to silence, and to leave the town. The 
 student follows his counsel. 
 
 The third adventure in Shakespeare's play, the charming scene at HerneVoak, can- 
 
 )not be referred to anything in the tales, nor in the Duke's piece, and yet the latter also 
 
 offers here an external point of connection in the concluding scene, in which the devils 
 
 punish the faithless wife with death and eternal damnation, just as Falstaff is thrown into 
 
 agonies of terror by the improvised fairy scene as a punishment for his lecherous practices. 
 
 The connection of Shakespeare's glorious comedy with the tales as well as with the 
 
 /Adulteress' is, as we have seen above, of a purely external nature; but a purely external 
 motive was sufficient for him to breathe a new life into the crude elements of the mere 
 outward form, and to produce a poetic whole. Perhaps one of the English comedians on 
 
 I their return, may have communicated to him the plot of the Wolfenbtittel play. We have 
 learnt above that in 1594 Richard Jones, and in 1596 Robert Browne, were again in Eng-- 
 land. To attempt to deny that Shakespeare made any use whatever of these sources, on 
 the ground of the very different form which the subject assumed in his hands, appears to 
 us a decided mistake. The number of coincidences in the external circumstances is far too 
 
 v great to justify such a supposition. On the other hand, to seek for models for the internal 
 
LVI SHAKESPEARE IN GERMANY. 
 
 construction of Shakespeare's dramas will always be time and trouble thrown away; and 
 we are far more likely to find the real sources of his dramas if we direct our attention 
 exclusively to then* purely external incidents. And as we know so little of the process of 
 his intellectual development, the comparison of what he has formed out of these rude tra- 
 ditional subjects with these subjects themselves, is the only possible method left us of 
 watching him as it were in the workshop of his genius. The truth is, says Charles Knight 
 somewhere, that no one can properly appreciate the extent as well as the subtlety of Shake- 
 speare's invention, its absorbing and purifying power, who has not traced him to his sources. 
 
 We have here seen four of the ten of the Duke's plays in connection with the Eng- 
 lish Comedians and with Shakespeare. It may be further remarked, that also the 'Comedy 
 of a Nobleman' 1 is probably founded on an old English subject- in the ballad from which 
 Gottfried August Burger took his subject for another ballad two hundred years afterwards. 3 
 
 In all the ten pieces, with the exception of the 'Tragedy of a profligate Son', the 
 clown plays a principal part, and generally speaking we may recognize in them a method 
 of handling a subject which could only have been learnt from the English Comedians, the 
 general plan not quite deficient in art, the characters various and real. Only one of all these 
 pieces, the 'Susanna', is biblical, and even in this case it is only the subject which is biblical, 
 for the method of treating it is altogether secular. It is expressly called a 'Mirror of the 
 course of the world.' All of these pieces are written in prose, and indeed in a prose, which, 
 as Gervinus remarks, is incomparably better than all the verses of that time. Even this 
 prose form is due to the English influence, for before the appearance of the English actors, 
 hardly any dramatic author had. ventured to write otherwise than in rhyming verses, 4 and 
 how difficult they found it to give them up, appears from the fact, that it was considered 
 necessary to put several of the Wolfenbuttel pieces into that form, before they ventured to 
 put them on the stage in other places. In comparison with the awkward management of 
 the verse, prose naturally allowed a far freer movement, from which the theatrical element, 
 the representation of these pieces, derived very great advantage. Thus we see the English 
 influence operative from the first in the case of an author, who possessed more dramatic 
 talent than all his predecessors, his contemporaries, and immediate successors. It was for 
 this reason also that his contemporaries were less .decided in their devotion to the new 
 
 1 Comoedia Hibaldeha von einem Edelman, welcher einem Abt drey Fragen aufgegeben. Mit fiinff Personen. 
 Wol/enbilttel 1594. 8vo. (Comedy of a nobleman who proposed three questions to an abbot. With five persons. 
 Wolffenbiittel 1594.} In Dr. Holland's edition p. 475 505. Another edition: Magdeburg, Job. Francke, s. a. 
 (1599). 8vo. 
 
 2 Wilh. Wackernagel, Geschichte etc., p. 463, note 7. 
 
 3 The same story forms the plot of a German Shrove-tide play of the loth century: Ein spil von einem 
 Keiser und eim Apt. See A. Keller, Fastnachtsspiele, p. 199 210. 
 
 4 Some few examples only are extant of plays written in prose, which cannot weaken our argument. 
 Jacob Camerlander's Hurenwirt, about 1542, is a dramatic transformation of a dialogue in a dramatic form, written 
 in prose. In 1583 a prose-play " Vom Eaube der Proserpina" has been acted at Innsbruck. Prose translations 
 of Terence cannot be considered as exceptions to the above statement. See ibid. p. 464, note 14. 
 
SHAKESPEARE IN GERMANY. LVII 
 
 . school: while Henry Julius from the very commencement of his career as a dramatic writer 
 
 i entirely broke with the past once for all, we see Jacob Ayrer still yielding a partial alle- 
 giance to the time and style of Hans Sachs, and indeed with far less talent and skill than 
 the latter. One lasting conquest, however, had been secured for the German stage : namely, 
 that in the place of the biblical and polemical subjects popular ones were now introduced, 
 
 C such as were already rife among the people in the form of tales and stories, and this must 
 have amply compensated them for their exclusion from the stage itself. For the new di- 
 
 [ rection of the stage was by no means confined to Wolfenbiittel, but forced its way into 
 other parts of Germany, although the transition to purely profane subjects did not become 
 general till a later period, when numerous companies of strolling actors had been formed. 
 As an instance of this, we will only mention here the 'History of the Merchant of Padua', 1 
 
 / which, as it appears, was acted in Breslau in 1596. This piece has for its subject the 
 narrative part of Shakespeare's Cymbeline, but we shall not give it any further considera- 
 tion here, as it does not stand in any intimate connection with Shakespeare or the old 
 
 t English stage; on the contrary, its affinity to Cymbeline is entirely referable to the use 
 
 . made of the same common Italian sources. 
 
 There were English Comedians at the Court of the Landgrave Maurice of Hesse in 
 
 v Cassel, at the same time as at the Court of Wolfenbiittel. We have already had occasion 
 to mention some circumstances respecting them. Considering the great intimacy between 
 the two Princes, it is probable that the Wolfenbiittel Comedians may have been sent some- 
 
 x times to Cassel; we have seen above that this was at least the case with the musicians. 2 
 Maurice, who was no less fond of splendour than Henry Julius, and also a man of great 
 cultivation, endeavoured to make his Court a nursery for the refinement of manners. He 
 appears to have directed his attention to theatrical representations at a very early period, and 
 before he had had a permanent theatre built, 3 and maintained professional actors, the pupils 
 of the Court- and Knight Academy received instruction to qualify, them for acting. They 
 
 1 Eine Schb'ne Historia, Von einem frommen Gottfiirchtigen Kauffmann von Padua, welcher zu Mantua in 
 
 beysein anderer Kau/leute, wegen seines lieben frommen Weibes Ehr vnd fromigkeit, sein Hob vnd Gut verwettet, 
 
 gestellet durch Zachariam Liebholdt von Solbergk. Gedruckt zu Brefslaw durch Georgium Bawman, Anno M.D.xcvi. 
 
 8vo. (A pretty history of a pious godly Merchant of Padua, who at Mantua in the company of other merchants 
 
 \ lost all his property in a wager on his dear wife's honour and piety, set forth by Zachary Liebholdt of Solbergk.} 
 
 i The Landgrave was himself a composer. Peacham, in his Emblems, p. 101, states, that he has seen 
 eight or ten volumes of motets composed by the Landgrave himself. But when he proceeds to tell us that while 
 Maurice was staying in London, he kept his own band there, there must be some mistake ; for there is nowhere 
 any evidence of the Landgrave ever having undertaken any journey to London at all. It is true, at the advice 
 of Henry the fourth of France such a journey had been intended, and it was with this view that the Landgrave 
 learnt English, and practised it with the Englishmen in his service ; but the plan was frustrated by the death of 
 Elisabeth. Rommel, p. 421 22. In some instructions which Maurice drew up for some pupils of the Knight's 
 f Academy whom he despatched on their travels, he remarks: "The Italian music is the finest, the English excellent, 
 the French and Belgian but mediocre." Rommel, ibid. 
 
 3 See ante p. xviii. 
 
 H 
 
LVIII SHAKESPEARE IN GERMANY. 
 
 once performed a drama in six languages. 1 Long before the year 1595 there must have 
 . been regular companies of actors engaged at the Court of Cassel, for in 1595 the Landgrave 
 Maurice writes to John Lucanus, his agent in Prague, that his comedians were then tra- 
 velling with leave of absence, and that in case they wished to act at Prague he was to 
 afford them any assistance in his power. 2 We must understand this as referring only to 
 English comedians, as regular German companies of professional actors did not exist at that 
 time. In 1597 Landgrave Maurice writes as follows to some unknown personage of princely 
 rank: "At the request of Your Highness that we would send the arms, suits of mail, 
 costumes, and whatever else we may have for the performance of the comedy of the Old 
 Potentates, we have given orders that all such things as we may have at hand should be 
 forwarded to Your Highness immediately, with the request that Your Highness will let the 
 comedians so prepare themselves, that in case we should visit Your Highness we may also 
 at once gratify our eyes with them." 3 In the Archives of the Treasury at Cassel there is 
 a list of the expences of the Court of the Landgrave Maurice during his residence in the 
 neighbouring palaces in the years 1597 and 1598, in which we meet with the following 
 entries respecting the Comedians. 4 
 
 For boards for the stage for the comedy 5 thalers. 
 
 For six ells of white woollen cloth for the Englishmen for the comedy 2 thalers. 
 
 For white clothes for the clown 4 thalers. 
 
 A pair of shoes for the fool 4 thalers. 
 
 To an Englishman for his pay 20 thalers. 
 
 To the Treasurer, Heugel, to settle with the Englishmen .... 300 florins. 
 
 To the Italian Jan and his riders twice, together . . . . . . . 150 thalers. 
 
 According to a manuscript chronicle of a certain Buch, as early as 1602, Maurice 
 "tired of the dancing and jumping" got rid of the "confounded" (i. e. the expensive) English- 
 men. This, however, cannot refer to the Comedians, or else there must have been several 
 companies in succession in the service of the Court of Cassel, for we find English actors 
 at the Court of the Landgrave till the year 1613. In 1607 his servant informs him that 
 the Englishmen were dissatisfied with the smallness of their salaries, and had said that they 
 would now perform their last comedy in Cassel, but he did not know whether this was 
 meant in earnest or was only a joke. The servant speaks of the comedy to be performed 
 as that "Of the two British Kings at war, of whom the one takes the son of the other, but 
 the latter the daughter of the former, prisoner." 5 Here we see that the English Histories 
 also belonged to the stage library of our Comedians. How far their fame had extended 
 
 1 Rommel, GescMchte etc., Vol. vi, p. 400. 
 
 * Id. ibid. p. 402. 
 3 Id. ibid. p. 402. 
 
 * Id. ibid. p. 444445. 
 
 5 Id. ibid. p. 401. This was no doubt an English play. In the course of our observations we shall have 
 occasion to revert to a drama, which may be identical with the above. 
 
SHAKESPEARE IN GERMANY. LIX 
 
 appears from the fact, that in the year 1609 John Sigismund, the Elector of Brandenburg, 
 begged the Landgrave to send him the Comedians for four weeks, to practise their art at 
 the festivities which he had arranged in honour of the nuptials of his brother, the Admi- 
 nistrator of Strasburg. The request was of course most willingly complied with. 1 In 1611 
 they play in Darmstadt. In 1612 we find them in Nuremberg, where they performed with 
 great success, as we learn from a contemporary Nuremberg Chronicle.' 2 
 
 Here then do we see two German Princes, both of whom were distinguished among 
 their equals and contemporaries for their culture and their talents, vying with each other 
 in a noble emulation to naturalize English dramatic art at their respective courts. But this 
 remarkable and striking phenomenon could not of course remain confined to the two points 
 at which it first appeared. At both of these courts, that of Cassel more especially, there 
 was a very lively intercourse with foreigners, scholars and artists of all kinds, nobles 
 and princes feeling themselves attracted by the Landgrave Maurice, who, besides possessing 
 great intellectual gifts, was extremely fond of splendour and magnificence. His Court was 
 the scene of a constant succession of visitors consisting of the most eminent personages 
 of the time. No wonder then that the fame of these actors, whose task it was to amuse 
 the visitors with their art, soon spread through all Germany. Indeed we see that before 
 the end of the century, the services of the comedians were no longer confined to the 
 courts but met with a hearty recognition among the people. It is probable that the success 
 of the Wolfenbilttel and Cassel companies soon allured others from England, at any rate 
 we meet with them at other places. 
 
 About the year 1597 3 there must have been English Comedians at Frankfort on the 
 Maine, to play during the fair, as we learn from a humorous poem printed in 1597. This 
 production possesses all the greater importance for our present object, as it gives us some 
 information respecting the outward appearance and doings of the Clown, who of course 
 constituted the chief attraction. We accordingly annex the following extracts from it. 
 
 1 Rommel, Geschichte etc., Vol. vi, p. 402. 
 
 2 The Chronicle alluded to is written in the beginning of the seventeenth century. See Joh. Chr. Sieben- 
 kees, Materialien zur Niirnbergischen Geschichte. Vol. iii. 8vo. Niirnberg 1794, p. 52. 
 
 3 In the same year English players were at Utrecht: 
 
 " Schenkelwyn, July 31. Sekere Engelsche comedianten, voor hore speelen opten stadhuyse 8 q. 
 
 Fransche wyns." 
 (July 31. To certain English Comedians for their playing at the Town-hall, eight quarts of French 
 
 wine.) 
 
 See De Staads-Kameraars-Rekeningen dienstbaar gemaakt aan de Geschiedenis, in Dodt's Archie/ voor kerke- 
 lijke en wereldsche Geschiedenissen inzonderheid van Utrecht. Deel iii, p. 271. See also Notes and Queries, Vol. vii, 
 1853, p. 114. 
 
 These may have been the same players whom we meet at Frankfort, though it is not unlikely that the 
 latter are identical with Landgrave Maurice's players, who as we have seen above, had obtained his permission 
 to go abroad as early as the year 1595, and whom he sent, in the very same year of 1597, to , some German 
 Prince. They may have passed through Frankfort on their journey back to Cassel, in order to take advantage 
 of the assemblage of persons who came from all sides to the Frankfort fair. 
 
 H2 
 
LX 
 
 SHAKESPEARE IN GERMANY. 
 
 "Da war nun welter mein Intent, 
 Zu sehen das Englische Spiel, 
 
 Davon ich hab gehort so viel. 
 Wie der Narr drinnen, Jan genennt, 
 
 Mit Bossen war so excellent: 
 Welches ich auch bekenn fiirwar, 
 
 Dafs er damit ist Meister gar. 
 Verstellt also sein Angesicht, 
 
 Dafs er keim Menschen gleich mehr sicht. 
 Auff tolpisch Bossen ist sehr gschickt, 
 
 Hat Schuch, der keiner jhn nicht trtickt. 
 In sein Hosen noch einer hett Platz, 
 
 Hat dran ein vngehewren Latz. 
 Sein Juppen jhn zum Narren macht, 
 
 Mit der Schlappen, die er nicht acht, 
 Wann er da fangt zu loffeln an, 
 
 Vnd diinckt sich seyn ein fein Person. 
 Der Wursthansel ist abgericht, 
 
 Auch ziemlicher mafsen, wie man sicht: 
 Vertretten beyd jhr Stelle wol, 
 
 Den Springer ich auch loben soil, 
 Wegen seines hohen Springen, 
 
 Vnd auch noch anderer Dingen: 
 Hofflich ist in all' seinen Sitten, 
 
 Im tantzen vnd all seinen Tritten. 
 Dafs solchs fiirwar ein Lust zu sehen, 
 
 Wie glatt die Hosen jhm anstehen. 
 
 Ist sonst auch wol proportioniert, 
 
 Sein langes Haar jhn auch was ziert. 
 Aber ein Kunst die fehlt jhm noch, 
 
 Vnd spreng er noch einest so hoch, 
 Welch wol diente zu seinen Sachen: 
 
 Wenn er sich konnt vnsichtbar machen, 
 Noch mehr Gelt er verdienen mocht, 
 
 Dann nicht alle, versteht mich recht, 
 Hineyn zu diesem Spiele gehn, 
 
 Die lustige Comedien zsehen. 
 Oder der Music vnd Saitenspil, 
 
 Zu gefallen, sender jhr viel 
 Wegen des Narren groben Bossen, 
 
 Vnd des Springers glatten Hosen." 1 
 
 Then it was further my intent, 
 To see the English play, 
 
 Of which I'd heard the people say 
 The fool, 'twas he named Jan they meant, 
 
 Was with his jokes so excellent. 
 In which I too confess forsooth, 
 
 He is a master in good truth; 
 For so distort his face he can, 
 
 He looks no longer like a man. 
 And many a clownish trick he knows, 
 
 Wears shoes that don't much pinch his toes. 
 His breeches would hold two or more, 
 
 And have a monstrous flap before. 
 His jacket makes him look a fool 
 
 With all the blows he takes so cool, 
 When he the gallant would play well, 
 
 And clearly thinks himself a swell. 
 The clown is skilled as well as he, 
 
 His equal quite, as one may see: 
 Both know full well to- play their part. 
 
 I must praise too the leaper's art, 
 Because so very high he springs, 
 
 And also for some other things. 
 His manner is so full of graces 
 
 In dancing, and in all his paces, 
 To see it's really a delight, 
 
 And then his hose too sit so tight. 
 
 He's well-proportioned too of limb, 
 
 And his long hair looks well on him. 
 One art he lacks howe'er he try, 
 
 And should he jump, oh e'er so high, 
 Which would improve his tricks, I ween, 
 
 If he could make himself unseen. 
 Then far more money earn he might, 
 
 For all men, understand me right, 
 Do not unto this play repair 
 
 At merry comedies to stare, 
 Or for the music and the lute, 
 
 But very many of them do't 
 To see the fool's coarse jokes and blows, 
 
 And leaper's tightly-fitting hose. 
 
 1 Marx Mangoldt, Marckschiffs Nachen, darinn nachgefuhret wirdt, was in dem ndchst abgefahrenen Marck- 
 schi/ aufsgeblieben, etc. 4to. s. 1. 1597, p. 12. This is a continuation of the same author's Marckschi/ oder 
 Marckschi/er Gesprdch von der Franckfurter Mefs. 4to. s. 1. 1596. 
 
SHAKESPEARE IN GERMANY. LXI 
 
 In the course of the poem, as we have already stated above at p. xliii, the 'Su- 
 sanna' is mentioned as having been performed by the Comedians. 
 
 In the year 1599, English actors and musicians played at Hildesheim, and indeed in 
 the English language. They were probably the Comedians of Duke Henry Julius, who had 
 come over from the neighbouring Wolfenbilttel. 1 
 
 CHAPTER III. 
 
 It is hardly probable that the places mentioned in the preceding chapter were the 
 only ones visited by the English Comedians. On the contrary, if we now direct our atten- 
 tion to the dramatic writer already mentioned, Jacob Ayrer, we may safely assume that 
 among other places, Nuremberg had received them within its walls at a very early period. 
 At all events what we have already stated is sufficient to shew that the English Comedians 
 were quite at home in Germany when Jacob Ayrer composed the greater part of his dra- 
 mas, and that either in Nuremberg or elsewhere he may easily have become acquainted 
 with the pieces they performed as also with themselves. 
 
 Of the circumstances of Jacob Ayrer's life we know next to nothing. All that can 
 be stated v with certainty is, that on the 13th of October 1593 he received the freedom of 
 the city of Nuremberg, and that he died there on the 26th of May 1605, as a notary and 
 proctor to the Court. 2 He is supposed to have come to Nuremberg as a boy, without 
 any means of subsistence, to have served in an iron-monger's shop, and afterwards to 
 have commenced a similar business himself. When this did not prosper, he went to Bam- 
 berg, and devoted himself to the desk, where, compelled by poverty, he learnt so much 
 
 1 "Im namlichen Jahre [1599] im Monat September hatte man in Hildesheim Englische Schauspieler und 
 Musikanten, die Vorstellungen in Englischer Sprache gaben." Beitrdge zur Hildesheimisclien Geschichte. Vol. iii. 
 8vo. Hildesheim 1830, p. 192. See also ibid. Vol. i, p. 331. This information, which is the more important 
 as it mentions expressly that the representations were given in English, was originally derived from a contem- 
 porary Mss. Chronicle at Hildesheim, by the late Mr. Zeppenfeldt, Curator of the Hildesheim Records (Archi- 
 varius) in Sonntagsblatt 1810, No. 35, 1811, No. 48 and in Mittewochenblatt 1819, No. 45 & 46. All my efforts 
 to get at the literal wording in the original document, in which my learned friend, Senator Friedr. Culemann of 
 Hannover, assisted me most energetically, remained unsuccessful. It seems that the Chronicle to which Mr. Zeppen- 
 feldt was indebted for the information has disappeared at Hildesheim. 
 
 2 Extracts from the Municipal Archives at Nuremberg: 
 
 "Jacobus Ayrer, Licentiat, wurde am 13. October 1593, zum Burger in Nurnberg aufgenommen 
 und zahlte 10 fl. Stadtwahrung." 
 
 (Jacob Ayrer, licentiate, was admitted as a citizen of Nuremberg, Oct. 13, 1593, and paid 10 florins 
 in Nuremberg currency.) 
 
 "26. Martii, 1605, starb der Ehrbar Jacob Ayrer der Elter, publicus notarius und der Gerichten 
 Procurator ins Hengasslein." 
 
 (Died on the 26th of March 1605 the Honourable Jacob Ayrer the elder, Public Notary and At- 
 torney to the Court of Justice, in Henlane.) 
 
 See Will. Bell, Shakespeare's Puck, Vol. ii, p. 287. G. A. Will's Niirnberger Gelehrten-Lexicon, Vol. i, 
 8vo. Nurnberg 1755, s. v. Ayrer, and Nopitsch's continuation, Vol. i, Altdorf 1802, p. 35. 
 
LX1I SHAKESPEARE IN GERMANY. 
 
 through practice and study as to become a proctor to the Court and City tribunal of that 
 place. His attachment to the Evangelical faith, however, induced him again to leave the 
 Catholic Bamberg, and return to Nuremberg. Like Henry Julius, with whose pieces per- 
 , haps he was not unacquainted, he left the path of the religious drama, and addressed him- 
 self entirely to the people, but did not, like that writer, entirely break w T ith the traditions 
 of the past in respect of the form. He retained the old verse of Hans Sachs; but what 
 constitutes his essential distinction from his Nuremberg predecessor, is the circumstance, 
 that he wrote all his pieces for the sole object of representation, and in many of his tra- 
 gedies and comedies displays a degree of skill in theatrical arrangements, and a knowledge 
 of the requirements of the stage, which must place him far above Hans Sachs in this re- 
 spect. The arrangements of his theatre must have been very similar to those of the old 
 English stage. We shah 1 have occasion .to draw attention to this in several passages. His 
 dramatic works were not published before 1618, long after his death, and although the 
 'Opus theatricum' 1 contains thirty tragedies and thirty-six Shrovetide-plays, we possess in 
 them only a part of his dramas, as promise is made in the preface of forty other "fine 
 merry comedies and tragedies, religious and profane," which were to follow soon after. 
 They have never appeared, and only three unpublished pieces have been lately discovered 
 in the Royal Library in Dresden, together with nineteen others which are printed in the 
 'Opus theatricum'. The manuscript is probably in Jacob Ayrer's own hand. 2 This dis- 
 
 1 Opus | Theatricum \ Dreifsig \ Aufsbundtige \ schone Comedien \ vnd Tragedien von allerhand Denck- \ wiir- 
 digen alien Eomischen Historien vnd anderen Politischen \ geschichten vnd gedichten, Sampt noch andern Seclis vnd 
 dreifsig \ schb'nen lustigen vnd kurtzweiligen Fafsnacht \ oder Possen Spilen, \ Durch Weyland den Erbarn vnd wol- 
 geldhrten Herrn Jacobum \ Ayrer, Notarium Publicum, vnd Gerichts Procuratorn zu Niirmberg seeligen, Aufs \ man- 
 cherley alien Poeten vnd Scribenten zu seiner weil vnd luft mit sonderm fleifs zusammen col- \ ligirt, vnd in Teutsche 
 Eeimen Spilweifs verfaffet, das man alles Personlich \ Agirn kan, Sampt einem darzu gehorigen Eegister. \ Gedruckt 
 zu Niirmberg durch Balthasar Scherffen. \ Anno MDCXvni. vi, 464 and 167 leaves, fol. (Opus Theatricum. Thirty 
 excellent beautiful Comedies and Tragedies of all sorts of memorable old Roman Histories and other Political stories 
 and poems. Together with other six and thirty beautiful merry and amusing Shrovetide or Farce pieces. By the late 
 honorable and learned Mr. Jacob Ayrer, Public Notary and Proctor to the Court at Nuremberg, collected out of 
 various old Poets and writers with especial industry for his own amusement and gratification and composed in German 
 rhymes for being acted $c. Together with an index appertaining thereto.} -- The first 464 leaves contain the 
 "Comedien vnd Tragedien", the 167 following leaves are occupied ,by the "Fafsnacht oder Possen-Spile." At 
 the end of the work stands "Gedruckt zu Nurnberg, durch Balthasar Scherff. Im Jahr MDCX." The Shrove- 
 tide Plays may have been printed in 1610, and the impression of the Comedies and Tragedies, for some reason, 
 now unknown, may have been delayed until 1618; this however is very improbable. No mention of any such 
 interruption of the impression is made in the long elaborate Preface, and the wrong date 1610 at the end is 
 most probably nothing el^e than a printer's blunder. Dr. Bell, Shakespeare's Puck, Vol. ii, p. 282 conjectures 
 that MDCXVIII (1618) ought to be MDCYIII (1608), that the latter date indicates the beginning and the date (1610) 
 at the end, the conclusion of the work. Nothing justifies this conjecture. Under the preface we read "Datum 
 Nurnberg, den 1. Januarii ... Im sechzehenhundert vnd achtzehenden Jahr", and in the catalogues of the Leipzig Easter 
 Fair ('Qstermefskatalog') the work does not appear before 1618. In the volume for 1618 we find it noticed in 
 this way: "Opus Theatricum (both parts): Niirnb. bey Michel Kiil/sn vnd Simon Halbm. 1618 in Fol." A com- 
 plete list of Ayrer's 69 pieces is to be found in K. Goedeke's Gnmdrifs etc. Vol. i, p. 412 415. 
 
 2 See A. G. Helbig, Zur Chronologic der Schauspiele des Jacob Ayrer, in Literarhistorisches Taschenbuch, 
 herausg. von R. E. Prutz, 1847, 8vo. Hannover, p. 441 444. 
 
SHAKESPEARE IN GERMANY. LXIII 
 
 covery is especially valuable, as the date of its composition is attached to each piece, ac- 
 cording to which the twenty two pieces of the manuscript were all written between the 
 years 1595 and 1598. Two Singing plays (Singspiele) were each written in a single day. 1 
 It seems to us almost beyond the shadow of a doubt, that nearly all Ayrer's pieces were 
 composed after 1593, the date of his return to Nuremberg. Some few, perhaps those which 
 treat religious and purely epical subjects, may belong to an earlier period. In the preface 
 to the 'Opus theatricum', the publisher says: "The late honorable ... Mr. Jacob Ayrer the 
 elder, Imperial Notary, Citizen and sworn proctor to the Courts at Nuremberg, has during 
 his life-time, in addition to his no small amount of business, partly private, partly that apper- 
 taining to his office, after diligent transaction of the same, in his hours of leisure and times 
 of recreation been pleased to amuse and delight himself with the laudable composition of 
 poetry, for the which he had an especially excellent genius and a felix, nay a divmum in- 
 genium" 2 As mention is made here only of Ayrer's official duties in Nuremberg, we are 
 justified in concluding, that at least at the time of the publisher, nothing whatever was 
 known of any literary productions of his belonging to an earlier period, for we gather from 
 a later passage in the preface that Ayrer's relations were still alive. 
 
 1 This enables us to correct Koch's statement in his Grundrifs etc., that Ayrer's pieces were composed 
 between the years 1570 and 1589, as also Tieck's conjecture (Deutsches Theater, Vol. i, p. xviii) that few of them 
 were written before 1610, which is simply impossible, as Ayrer died in 1605. No less incorrect is Gottsched's 
 statement in Nothiger Vorraih, Vol. i, p. 121, that a German translation of Julius Redivivus by Frischlin, printed 
 in 1585, is from Ayrer's pen. The title of the work alone is sufficient to shew that the translation is by Jacob 
 Frischlin, the brother of Nicodemus Frischlin. This is one of Gottsched's numerous uncritical fancies, which was 
 also adopted by Karl Schmitt in his Jacob Ayrer. Ein Beitrag zur Geschichte des deutschen Dramas. 8vo. Mar- 
 burg 1851, p. 9. The same writer also draws conclusions respecting the year of Ayrer's birth, which are there- 
 fore incorrect. Also Dr. William Bell in his Shakespeare's Puck etc., Vol. ii, p. 278 et seq. draws conclusions 
 irom it respecting the time at which Ayrer's pieces were written, which are accordingly equally unfounded. See 
 Karl Goedeke's Grundrifs, Vol. i, p. 323 and 411. 
 
 The above-mentioned conjecture of Tieck's is principally founded on a passage in the 'Julius Redivivus': 
 "Das Trucken man erfunden hat Zu Maintz in der fiirnemben Stadt Als nach Christi defs Herrn Geburt Vier- 
 zehen hundert Viertzig zehlt wurd Hans Guttenberg derselbig hiefs Der das erste Buch trucken liefs Vor Hundert 
 vnd Siebentzig Jahrn," which may be roughly translated as follows: "The art of printing man invents In the 
 famous town of Mentz, Fourteen hundred and forty years After Christ on earth appears. Hans Guttenberg the 
 printer hight, Whose printed book first saw the light. Hundred and seventy years ago." This would certainly 
 give the date of 1610, but as Ayrer died in 1605, the passage cannot be genuine, but must have been interpolated 
 by some other hand. This solves Karl Goedeke's doubt as to whether the passage really was interpolated or 
 not. (Grundrifs, Vol. i, p. 412.) A passage in Ayrer's Shrove-tide play l Der Kb'nigin Podagra Tyranney' referring 
 to Hans Sachs shews the date of its composition to have been 1602. See ibid. p. 414. 
 
 a From this passage Dr. Bell has drawn the extraordinary conclusion that his dramas "were composed 
 before he (Ayrer) was occupied by public affairs" while the natural inference is precisely the reverse. 
 
 The German Text of the passage is as follows: "Weyland der Erbare ... Herr Jacob Ayrer der Elter, 
 Kayserl. Notarius Burger vnd der Gerichten alhie zu Niirnberg geschworner Procurator . . . hat in seinen leb- 
 zeiten, neben seinen nicht wenig obgelegenen, so wol Ampts als Privat geschefften, nach fleifsiger Expedirung 
 derselben, zu seinen mussigen ruhstunden vnd erquickzeiten, jhme belieben lassen, in der Loeblichen Poeterey, 
 darzu er dann sonderlich einen guten geist vnd Foelix ja Divinum ingenium gehabt, sich selbsten zu erlustiren 
 vnd zu ergotzen." 
 
LXIV SHAKESPEARE IN GERMANY. 
 
 When we consider that according to the notices in the Dresden manuscript Ayrer 
 must have been a very rapid writer, there seems nothing improbable in the supposition 
 that all his pieces were composed between the years 1593 and 1605. But however that 
 may be, many of his dramas bear external and internal traces of English models, and it 
 does not admit of a doubt, that all Ayrer's literary activity received its direction from his 
 acquaintance with the English Comedians. Thus we find it remarked in the preface, that 
 his comedies and tragedies were not alone graceful and pleasant to read, "but that every- 
 thing was arranged after the life, and so managed, that just according to the new English 
 manner, everything could be acted and played" ("sondern auch alles nach dem Leben ange- 
 stellt und dahin gerichtet, das manns gleichsam auf die neue Englische manier und art, 
 alles Personlich Agirn und Spilen"). Hitherto this acquaintance with the English Comedians 
 has been regarded as a proof, that those pieces which are known to have been produced 
 under their influence must have been written after the year 1600, in as much as little or 
 nothing was known of the English actors in .Germany before that time. Should any doubt, 
 however, still exist as to the incorrectness of this conclusion, in spite of the other evidence 
 we have adduced, the Dresden Manuscript must remove it at once, for in some of the 
 pieces it contains, the English models are expressly mentioned. Thus we find in the Singing 
 pieces 'Of the three angry women', and 'The monk in the cheese-basket, to the same tune 
 as they sing the English Rolant'; ('Von dreyen bosen Weibern', und 'Der Monch im Kess- 
 korb, Im Dhon wie .man den Engelandischen Rolant singt') and in the 'Eulenspiegel, to 
 the tune to which they sing the English play: Let us bide a while together, &c.' ('ImDhon, 
 wie man das Engellandische Spill: Lafst uns ein Weil bei einander pleyben &c. singt'). All 
 these pieces were composed in 1598. In other dramas, which according to the Dresden 
 Manuscript were composed before 1598, the Clown appears with a part written expressly 
 for him, the surest sign of English influence. (See p. xlii.) We are therefore perfectly sill- 
 in assuming that Ayrer was acquainted with the English Comedians as early as 1595, and 
 where this acquaintance is manifest in pieces, the date of which is unknown, we are not 
 justified in concluding from it that any of his dramas must have been written later than 
 1600. 
 
 The first five pieces of the 'Opus theatricum' form a cycle of Roman histories which 
 are partly called tragedies, partly comedies. This distinction is, with Ayrer, a purely external 
 one : a piece in which deaths occur, is a tragedy, one in which there are none, a comedy, 
 just as in Hans Sachs. In four of these' comical histories, we already meet with the Eng- 
 lish Clown; and he is only wanting in the first of the five pieces. In the second piece, 
 written in 1596, he is called 'Jahnn der Bott oder Engellendische Narr' (John the mes- 
 senger, or the English Clown), in the third, also written in 1596, 'Jahnn der Bott', in the 
 fourth, written in 1598, 'Jodel, der Lackey', and in the fifth, 'Jahnn Posset, der Bott'. In 
 the 'Tragedy of the Emperor Otto the third'* he is called, 'Jahnn der Lackey'; in the 
 
 1 Opus theatricum, i, fol. 85. Tragedia, Von Reiser Often des Dritten vnd seiner gemahlin sterben tmd end, . 
 au/s Manlio. (Tragedy of the death and end of the Emperor Otto the third and his consort, from Manlius.} 
 
SHAKESPEARE IN GERMANY. LXV 
 
 'Tragedy of the Turkish Emperor Mahomet' l 'Jahn der Narr oder Possenreisser' (John the 
 clown or merry andrew) ; in the 'Tragedy of the Greek Emperor at Constantinople' 2 'Jahri 
 der Narr oder Hencker' (John the Clown or Hangman); in the second part of the 'Comedy 
 of Valentine and Urso' 3 'Jahn der Engellandische Narr oder Prologus'; in the 'Comedy of 
 Edward the third, King of England, and Elisa, Countess of Warwick' 4 'Jahn Clam', similarly 
 in the 'Comedy of the King of Cyprus'; 5 in the 'Comedy of the beautiful Phoenicia' 'Jahn 
 der Kurtzweiler' (John the jester); in the 'Comedy of the two Syracusan brothers' 6 'Jahn 
 Panser'; in the 'Comedy of the Beautiful Sidea' (see p. 2) 'Jahn Molitor'; in the 'Comedy 
 of the Old Gallant' 7 'Jahn Grundo der narrische Knecht' (John Grundo, the foolish ser- 
 vant); and in the 'Comedy of the two Royal Counsellors' 8 'John Tilrck der narrische 
 
 1 Opus theatricum, i, fol. 147. Schrockliche Tragedi. Vom Regiment vnnd schdndlichen Sterben des Turcki- 
 scfien Reisers Machumetis des andern dis Namens, wie er Constantinopel eingenommen .vnd gantz grausam tyrannisirt. 
 (Dreadful Tragedy of the government and disgraceful death of the Turkish Emperor Mahomet, the second of the 
 name, how he took Constantinople, and tyrannized very cruelly.} 
 
 2 Ibid, i, fol. 177. Reprinted in Tieck's Altdeutsches Theater, Vol. i, p. 200. Tragedia, Von dem Griegi- 
 schen Keyser zu Constantinopel, vnd seiner Tochter Pelimberia mit dem gehengten Horatio. (Tragedy of the Greek 
 Emperor at Constantinople, and his daughter Pelimperia with the hanged Horatio.) 
 
 3 Ibid, i, fol. 272. Comedia Ander Theil, Von Valentino vnd Vrso aufs der Beschreibung Wilhelmi Zilij 
 von Beern in Vchtland. (Comedy, Second Part. Of Valentine and Orson, from the account of William Zilius of 
 Bern.} 
 
 4 Ibid, i, fol. 384. Comedia vom Konig Edwarto dem dritte difs Namens, Konig in Engelland, vnd Elipsa 
 Herrn Wilhelm Montagy Gemahl, ein geborne Grdfm von Varucken [Warwick]. (Comedy of King Edward the third 
 of the name, King of England, and Elisa, wife of Lord William Montague, by birth Countess of Warwick.} The 
 same plot has been dramatised before in Germany : Elisa. \ Ein Newe vnd \ liistige Comoedia, Von \ Edvardo dem 
 Dritten \ dieses Namens, Konige in Engel- \ landt, Vnd Fraw Elisen \ einer gebornen Graf fin von Warwitz, Gestellet\ 
 Durch | Philippum Waimern von \ Dantzigk, B. E. D. \ Summu crede nefas, animam pferre pudori, \ Etpropter vitam, 
 viuendi perdere causas. \ Gedruckt zu Dantzigk, durch \ Jacobum Ehodum. \ 1591. 12mo. (Elisa, a new and merry 
 Comedy of Edward the third of the name, King of England, and Lady Elisa, a born Countess of Warwick, set forth by 
 Philip Waimer of Danzig.} This comedy has been represented at Danzig in 1591 by pupils of the Gymnasium, 
 whose names are given on a separate leaf. In the preface the author mentions Bandello as his principal source. 
 It is Novella 37 in Parte II of Bandello's novels. The comedy however deviates from the novel in many respects. 
 Ayrer does not seem to have been acquainted with Waimer's play. Whether he knew the Old English 'Edward 
 the third', ascribed to Shakespeare by some writers, is a question well worth investigation. 
 
 5 Ibid, i, fol. 397. Comedia Vom Konig in Cypern [Flavins] wie er die Konigin in Franckreich [Clareta] 
 bekriegen wolt, vnd zu der Ehe bekam. (Comedy on the King of Cyprus how he wanted to make war against the Queen 
 of France, and obtained her in marriage.} 
 
 6 Ibid, i, fol. 424. Comedia von zweyen Briidern aufs Syracusa, die lang einander nicht gesehen hetten, vnnd 
 aber von gestalt vnd Person einander so ehn(lich) wahren, das man allenthalben einen vor den andern ansahe. (Co- 
 medy of the two brothers of Syracuse, who had not seen each other for a long time, and were so like each other in 
 figure and person, that everywhere they were mistaken for each other.} 
 
 7 Ibid, i, fol. 443. Comedia von einem Alien Buler vnnd Wucherer, wie es jhme auff der Bulschafft er gang en, 
 vnd wie er seines Weibs lieb probirt. (Comedy of an old paramour and usurer, how he prospered in his loves, and 
 how he put his wifes love to the proof.} 
 
 8 Ibid, i, fol. 453. Comedia von zweyen Furstlichen Rdthen die alle beede vmb eines gewettes willen vmb ein 
 Weib Bulten, vnnd aber an derselben statt mit zweyen vnterschiedlichen Mag den betrogen worden. (Comedy of two 
 Princely counsellors, both of ivhom courted a woman for a wager, instead of whom they got two different maids..} 
 
 I 
 
LXVI SHAKESPEARE IN GERMANY. 
 
 Knecht'. x Similar designations occur in the Shrove-tide plays, but in some of them the 
 clown is not introduced. In 'The Tyranny of Queen Gout' 1 he is called 'Jahn Klan der 
 Engellendisch Narr und ist ein Arzt' (John Clan the English Clown, a physician). Two of 
 the Shrove-tide plays are entirely devoted to the Clown : the ' Carnival Play of the English 
 John Posset (Bossed?) how he behaved in his service' 2 , and the 'Shrove-tide Play of the 
 lost English John Posset.' 3 
 
 If these externals alone point imperatively to the Old English Theatre, the subjects 
 themselves which were chosen by Ayrer offer still more irrefragable evidence of his intimate 
 acquaintance with it. Thus in the 'Tragedy of the Greek Emperor at Constantinople and 
 his daughter Pelimperia with the hanged Horatio' we have a new version of the 'Spanish 
 Tragedy', foUowing the original very closely, and indeed in all probability taken from the 
 oldest form of this remarkable piece, which was afterwards remodelled by Thomas Kyd, 
 and only appeared in print in 1602. But even Kyd's later form is supposed to have been 
 played some years earlier on the London stages. Considering the great importance of the 
 'Spanish Tragedy' for the old English stage, it is a very interesting circumstance that for 
 various reasons, which it is not necessary to mention here, Ayrer's 'Pelimperia' appears 
 rather to have followed the first form of the piece which is entirely lost, and a translation 
 of which is very much to be desired. In the present work we are obliged to reserve our space 
 for pieces bearing more directly on our subject. In the 'Spanish Tragedy' as in the 'Pelim- 
 peria', a play is introduced within the play, just as in 'Hamlet', and as Gervinus has remarked, 
 Ayrer's arrangement of the stage in this scene forcibly reminds us of the old English ar- 
 rangement. In the next place, in the 'Comedy of the King of Cyprus', we meet with a 
 subject probably taken at an earlier period by the English Dramatists from Bandello, which 
 Lewis Machin, as it appears in connection with Gervase Markham, made use of in 1608, or 
 shortly before, in his 'Dumb Knight'. 4 That Ayrer got this subject from the English Co- 
 
 medians appears to be established by the fact, that among the pieces which the latter 
 
 X played in Germany, and of which we shall have occasion to speak at a later page, there 
 is one entitled: 'Ein lustig Pickelheringsspiel darinnen er mit einem Stein gar lustige Pos- 
 sen machet' (A merry play of the Clown, and of his merry tricks with a stone), which 
 almost agrees with the comical episode in the 'King of Cyprus'. In the same manner also 
 
 1 Opus theatricum, ii, fol. 38. Comedischer Prozefs, Action vnd Anklag wider der Konigin Podagra Tyran- 
 ney, mit angehenckter Defension, bifs zu Aufsgang des Proce/s. (Comedy suit, action, and accusation against the ty- 
 ranny of Queen Gout, with defence annexed, to the end of the suit.} 
 
 * Ibid, ii, fol. 110. Reprinted in Tieck's Deutsches Theater, Vol. i, p. 184199. Ein Fafsnachtsspill von 
 dem Engelendischen Jann Posset wie er sich in seinen diensten verhalten, in defs Eolandts Thon. (A Shrove-tide play 
 of the English Jann Posset, how he behaved himself in his service, to Eolandfs tune.} 
 
 3 Ibid, ii, fol. 114. Ein Fafsnachtspil der verlohren Engellendisch Jann Posset. (A Shrove-tide play of the 
 lost English Jann Posset.} 
 
 4 The Dumb Knight, An historical comedy, acted sundry times by the children of the Bevels. 4to. 1608; 
 4to. 1633. Entered on the Stationers' Registers, Octob. 6, 1608. Reprinted in Dodsley's Collection of Old Plays, 
 Collier's edition, Vol. iv. 
 
SHAKESPEARE IN GERMANY. LXVII 
 
 the two comedies 'Of an old paramour', and 'Of two princely Counsellors' have a great 
 similarity with the farce 'Of the beautiful Maria and the old cuckold' in the 'English Co- 
 medies and Tragedies', of 1620; 1 and in the 'Comedy of King Edward the third' we meet 
 with the quarrelling scenes between the clown and his wife, which are also to be found 
 in the 'Comedy of Queen Esther and the proud Haman' in the same collection. Other 
 pieces of Ayrer's, the subjects of which were also represented on the old English Theatres, 
 but of which we cannot state with certainty that Ayrer derived them from that source, 
 are as follows: 'A Tragedy of the reign and lamentable death of the Turkish Emperor 
 Mahomet.' According to Henslowe's Diary, a play entitled 'Mahomet' was acted in August 
 1594, and George Peele has also composed one on the same subject, entitled, 'The Turkish 
 Mahomet and Hiren the fair Greek.' 2 A play called, 'Valentine and Orson', by Anthony 
 Munday and Richard Hathwaye, was performed in London in 1598. It is perhaps the same 
 as that which is entered as an Interlude in the Books of the Stationer's Company as early 
 as May 1595. We also find 'Valentine and Orson, a famous history' in their books in March 
 1600. The 'Comedy of the two brothers of Syracuse' agrees almost entirely with the 
 'Comedy of Errors', a subject which was familiar to the English stage long before Shake- 
 speare, for in 1576 a 'Historic of Errors' was played in Hampton Court. But Ayrer may 
 have written his piece after Plautus. A closer comparison might determine whether he 
 took his subject from the latter or from an English source. It has been already observed 
 that the Clown is introduced in this piece. 
 
 Of Ayrer's thirty-six Shrove-tide plays it is stated in the preface to the 'Opus theatri- 
 cum', that "the invention is altogether new, and entirely his own." It must be confessed, 
 that not one of these pieces can be traced to an English Original, but, on the other hand, 
 Ayrer could only have taken the general character of them from the English Comedians, 
 to whom the English jigs with singing and dancing must have come quite naturally, as they 
 furnished them the best opportunity of amusing the public in spite of their foreign idiom. 
 
 1 It may be observed here, that also Duke Henry Julius's Comoedia von einem Weibe wie dasselbige jhre 
 Hurerey fur jhren Eheman verborgen, mit 6 Pers. Wolfenbiittel 1593, in Dr. Holland's edition p. 261 295, (Co- 
 medy of a woman, how she concealed her lechery from her husband. With six persons') treats the same subject. The 
 two pieces of Ayrer's appear to have been worked up later into one by some unnamed author: Die Buhlerische 
 Gesellschaft. Das ist: Zwey annehmliche erfreuende Comodien, die erste von einem alien Buhler, dem es auf seyner 
 Freyerey seltsam ergangen ist; und die andere von zwey verbuhlten Rcihten, so listiger Weise mit zweyen Mdgden sind 
 betrogen worden. Im jetzigen Jahr verneuert mit anweisenden Figuren. s. 1. e. a. 8vo. (The amorous party. That 
 is: two amusing agreeable comedies, the first of an old lover, who met with strange fortune in his wooing ; and the 
 second of two amorous counsellors, how they were cunningly deceived by two maids. Eenewed in this present year, 
 with explanatory figures.') Gottsched's Nothiger Vorrath, Vol. i, p. 182. Gottsched places this piece in the year 
 1623. 
 
 2 Never published. It is alluded to in the Merrie Conceited Jests of George Peele, 1627, where it is termed 
 a "famous play". Pistol's exclamation, "Have we not Hiren here?" is supposed to refer to it. One of the 
 characters in Ayrer's play is "Hircavena die schon Jungfrau" and another "Isidorus der Cardinal so die Histori 
 beschrieben" (Isidorus the Cardinal who has described this History'). This latter character reminds that of Gower 
 in Shakespeare's Pericles. 
 
 12 
 
LXVIII SHAKESPEARE IN GERMANY. 
 
 As we have already observed, the mere names of some of these farces of Ayrer's shew 
 that he had derived his manner from the English actors, a fact which is also very evident 
 from the part of the clown, who in Ayrer's pieces, as well in the tragedies and comedies 
 as in the farces and singing pieces often appears with a whistle, just as the English Clown 
 often does with a drum. Tieck conjectures that the Shrove-tide play, 'The vanquished 
 Drummer' is an English farce. It may be so, but there is no known English piece from 
 which Ayrer can have copied, though the manner certainly is altogether English. 
 
 Having thus given a general sketch of the relations of the whole of Ayrer's dramatic 
 career to the old English stage, we now proceed to the consideration of two of his pieces 
 which stand in direct connection with Shakespeare. 
 
 AYRER'S COMEDY OF THE BEAUTIFUL SIDEA. 
 
 (See p. 176.) 
 
 We give this piece complete in the German Original with an English translation 
 , annexed, not merely to promote the knowledge of Ayrer through one of his best pieces, 
 but still, more for the purpose of placing more easily within the students reach the only 
 drama extant, which points to the origin of the plot of Shakespeare's 'Tempest'. Since 
 Tieck directed attention to this piece in 1817, his conjecture that it is based upon an old 
 English piece now lost, which Shakespeare also made use of in the 'Tempest', has been 
 quoted by all the commentators, but according to all appearances none of them have become 
 acquainted with the complete piece itself. English critics have probably been deterred by the 
 difficulties of the old German style. The piece is now offered in an accessible form, and 
 every one is able to judge for himself of the extent of its affinity to the 'Tempest'. That 
 this affinity cannot be purely accidental, must be admitted at once by every attentive reader 
 who is acquainted with the manner in which Shakespeare used the crude elements of his 
 sources, but whether the common source of both authors is a drama, a legend, or a tale, 
 will remain unsettled until the source itself has been discovered. Ayrer's piece has a tho- 
 roughly legendary character. The apparently historical personages are not to be met with 
 in history. A Prince LudolfF of Lithuania has existed just as little as a Prince Leudegast^ 
 of the Wiltau. The Wiltau is a fabulous name; the nearest approach to it is Wilna, but it * 
 does not appear that the latter has ever been so denominated. History has no record of 
 any Polish Princess (Julia) who was engaged to be married to a son of a Prince of Wiltau 
 (Engelbrecht). Ludolff says to Sidea 'May Jove &c.' and also in other passages the heathen 
 gods are introduced. 'Heathen clothes' are expressly prescribed for LudohT and Sidea, a 
 direct proof that Ayrer placed the action in an ante-christian period. We thus find our- 
 selves entirely on fabulous ground, while on the other hand, in the comic scenes, the tone 
 and style of his contemporaries and a spirit of narrowminded localism are found to pre- 
 dominate, quite in the manner of the old German dramatists. 
 
 Ayrer is not the inventor of this subject; he has had either a legend or a play 
 
SHAKESPEARE IN GERMANY. LXIX 
 
 before him. A proof of this is to be found in the first Act, where Leudegast says of Prince 
 Ludolff : 
 
 Weil der zenkisch Herzog Leupold 
 Den Krieg und Zank hat also holt, &c. 
 
 Duke Leupold so loves strife and brawl, 
 That now he's challenged us to fall, &c. 
 
 No Duke Leupold appears throughout the whole piece, and the mention of one in 
 this passage is a confusion of names which can only be explained by the supposition of a 
 somewhat careless use of the original sources. It is true, in the introduction of humorous 
 scenes and episodes this piece has many points of resemblance with the old English Theatre. 
 But we have seen that all Ayrer's dramatic compositions after a certain date were under 
 this influence, and this resemblance alone therefore is not sufficient to enable us to con- 
 clude, as Tieck has done, the existence of an old English Drama with the same subject. 
 A circumstance of far greater importance is the fact, that the ideal arrangement as well 
 as the single scenes and passages in both pieces display a most unmistakeable resemblance. 
 Ayrer's removal of the action into the region of fable is a feature to which we have already 
 alluded. In both pieces then we have two hostile princes, of whom the one (Prospero or 
 Ludolff) practises the arts of magic to get the son of the other into his power, in both 
 pieces this prince has a spirit in his service, through whose power the enemy's arms are 
 rendered innocuous, and lastly, in both pieces an attachment is formed between the only 
 daughter of the one prince, and the captive son of the other, which is eventually the means 
 of bringing about a reconciliation between the hostile families. Both pieces are based on 
 the idea of a retributory justice. If these points of resemblance in the fundamental structure 
 of the two pieces are in themselves sufficient to exclude all possibility of an accidental 
 coincidence, the numerous external points of agreement in the course of the two pieces 
 must remove the last shadow of a doubt. In the one piece as in the other, the captive 
 son of the prince is obliged to pile up logs of wood, and in both pieces this scene leads 
 to the attachment of the lovers. In the 'Tempest', Act iii, sc. 1, Ferdinand says: 
 
 My mistress, dearest, 
 And I thus humble ever. 
 To which Miranda answers: 
 
 My husband then? 
 
 Again in the 'Beautiful Sidea', Act iii, we find: 
 
 Engelbrecht. 
 
 Ja dasselbe solt ihr trauen mir 
 Und ihr solt auch mem Gemahl sein. 
 
 Sidea. 
 
 Bistu denn mem? 
 
 Engelbrecht. 
 
 Ja. 
 Sidea. 
 
 So bleib ich dein. 
 
 Engelbrecht. 
 
 Thou mayst place all thy trust in me, 
 And thou as consort soon be mine. 
 
 Sidea. 
 Art thou then mine? 
 
 Engelbrecht. 
 
 Yes. 
 
 Sidea. 
 
 Then I'm thine. 
 
LXX SHAKESPEARE IN GERMANY. 
 
 In the 'Tempest', Act i, sc. 2, Ferdinand says to Miranda: 
 
 O ! if a virgin, 
 
 And your affection not gone forth, I'll make you 
 The Queen of Naples. 
 
 and similarly in the 'Beautiful Sidea', Act iii: 
 
 Engelbrecht. 
 
 Ja ich wolt mich eur Lieb ergeben 
 Zu dienst mit Leib vnd auch Leben 
 Vnd euch zu einer Furstin machen. 
 
 Engelbrecht. 
 
 I would to thee my service give, 
 And ever love thee while I live; 
 Thou shouldst a royal station grace. 
 
 Again we may compare the same scene in the 'Tempest', where Ferdinand draws 
 his sword to defend himself against Prospero, and in which he "is charmed from moving" 
 with the passage in the 'Beautiful Sidea' Act ii, in which Ludolff disarms Engelbrecht and 
 his attendant by magic, and the latter is obliged to confess, 
 
 Mein Wehr kan ich nicht herauss bringen 
 Ich glaub das sie bezaubert sey. 
 
 My sword, sir, in its scabbard sticks; 
 I think it must enchanted be. 
 
 In the same manner, the scene in the fourth act of the 'Beautiful Sidea', in which 
 the devils dance, reminds us forcibly of the 'Tempest', Act iii, sc. 3, in which the spirits 
 with dance and mops and mowes carry out the table. In Runzifall the devil, we have, 
 in spite of all dissimilarities, the counterpart to Caliban, who indeed is not the evil one 
 himself, but one of his progeny : 
 
 Prospero. Thou poisonous slave, got by the devil himself. Upon thy wicked dam, come forth! 
 (Tempest, Act i, sc. 2.) 
 
 Just as Alonso institutes a search for Ferdinand in the 'Tempest', so does Prince 
 Leudegast in the 'Beautiful Sidea' for his lost son, Engelbrecht. 
 
 O ' * ' ' 
 
 We will, however, not anticipate any further, but will rather refer the reader to the 
 
 piece itself for the numerous points of resemblance which we have not yet mentioned. "The 
 
 origin of the plot of the 'Tempest' is for the present a Shakespearian mystery," are the 
 
 words with which Mr. Hunter begins his dissertation upon that play. "That mystery I 
 
 consider as solved" is Mr. W. J. Thorns' 1 assurance after having read Ayrer's 'Beautiful 
 
 Sidea'. For our own part we cannot speak with so much confidence, for although in the 
 
 v Sidea, we possess the only link of connection between such source and the 'Tempest', we 
 
 [ have not yet arrived at any certainty respecting the source itself. If we agree with most 
 
 ' of the commentators that the 'Tempest' is one of Shakespeare's later works, there cannot 
 
 be the slightest doubt that Ayrer's piece was written long before the 'Tempest'. In all 
 
 those cases in which we are acquainted with the sources from which Ayrer derived his 
 
 plots, we see that he almost always retains the original names for his principal persons; 
 
 and as it is highly improbable that these, for the most part purely German, names should 
 
 have occurred in an English drama of the sixteenth century, we cannot place much con- 
 
 1 On the connexion between the Early English and Early German Drama. New Monthly Mag. 1841, Ja- 
 nuary, p. 26. 
 
SHAKESPEARE IN GERMANY. LXXI 
 
 fidence in the suggestion that any such work was the common source of the two plays in 
 question. Ayrer appears rather to have worked after some German original, and this may 
 have come to light in England in the form of some metamorphosis or other. Neither is 
 it impossible, or even improbable, that Ayrer's piece itself may have come to Shakespeare's 
 knowledge through the medium of comedians who had returned to England, 1 a conjecture 
 which would only become utterly untenable, if an earlier English composition of the same 
 or very similar contents should ever be discovered. 
 
 AYRER'S COMEDY OF THE BEAUTIFUL PHOENICIA. 
 
 (See p. 77112.) 
 
 At the first glance at this piece we see that it bears a very close resemblance to 
 Shakespeare's 'Much Ado about Nothing', and that this resemblance is not confined to the 
 serious portions of the two pieces, the principal features of which may be traced to Italian 
 sources, but that also the humorous scenes between Beatrice and Benedick, the sources of 
 which have hitherto been sought in vain, find their counterpart in the 'Beautiful Phse- 
 nicia'. 2 Tieck, who again was the first to point out the connection of this piece with 'Much 
 Ado about Nothing', has quite overlooked this circumstance, and yet is it precisely in these 
 portions of the two pieces that the points of agreement are the most calculated to enable 
 us to draw a conclusion respecting the source of Shakespeare's play. It is truly remarkable 
 that just in these two pieces the connection between the comic episodes should have escaped 
 Tieck's notice, while on the other hand he considers the comic scenes in the 'Sidea', which 
 really have no connection whatever with anything in the 'Tempest', as a proof of some 
 common dramatic original. 
 
 We have already (p. xliv) called attention to the relationship between Benedick and 
 the Vincentius of Duke Henry Julius. The same elements are also to be met with in Ayrer's 
 piece, although in an entirely different form; as that which in the former constitutes the 
 principal action, is only an episode in the latter, the part of Vincentius being here assigned 
 to the clown John. Externally indeed the two characters have nothing in common, but 
 their dramatic significance is the same, and their adventures lead us to Benedick and Bea- 
 trice. The resemblance of Ayrer's episode with that of Shakespeare is apparently a very 
 distant one, and yet again a very close one as soon as we disregard the persons and scenes, 
 and only pay attention to the means employed by both authors for attaining the same 
 
 1 Edward Cellius, among others, speaks of such English Comedians returning to England, in his de- 
 scription of the festivities which took place at the Court of Stuttgart in the year 1603, on the occasion of the 
 already mentioned English Embassy. "Faucis ab hinc annis in Germaniam nostram Anglicani musici dictum ob 
 finem expaciati, et in magnorum Principum aulis aliquandiu versati, tantum ex arte musica, histrionicaque ; sibi 
 favorem conciliarunt, ut largiter remunerati domum inde auro et argento onusti sint reversi." Eques auratus 
 Anglo-Wirtembergicus. 4to. Tubingae 1605, p. 229. 
 
 a This has already been noticed by H. Grimm in his above-mentioned essay on the Theatre of Duke 
 Henry Julius. For many of the observations respecting the connections between the 'Phaenicia' and 'Much Ado 
 about Nothing' that follow in the text, we are indebted to that work. 
 
LXXII SHAKESPEARE IN GERMANY. 
 
 object. The gist of Shakespeare's intrigue consists in the joke of making Benedick believe 
 that Beatrice is in love with him, and persuading Beatrice that Benedick is in the same 
 case with regard to herself. Let us now compare this with John's first adventure in the 
 'Beautiful Phasnicia'. He is in love with Anna Maria; his master offers to woo her for him 
 in his name, and deceives him into the belief that she shares his affection. Hence arises 
 the scene, in which the fool is made such a miserable dupe. Considered simply by itself, 
 so distant a resemblance would not justify any conclusion respecting a common source. 
 But here there is an additional circumstance, which decidedly favours such a conclusion. 
 The foundation of Shakespeare's as well as Ayrer' s piece is unquestionably Bandello's tale, 
 'Como il S. Timbreo di Cardona essendo col Re Piero d'Aragona in Messina s'innamora di 
 Fenicia Lionato.' l This story contains nearly all the leading features of the principal action, 
 the love affair between Claudio and Hero in Shakespeare, and that between Timbreo and 
 Phoenicia in Ayrer. Of the humorous underplots in both pieces, the tale does not contain 
 the slightest trace. 
 
 Now we must remember that the two humorous couples of lovers stand in no re- 
 lation whatever to the principal action in the two pieces. In Shakespeare indeed they are 
 
 1 There is a French version of Bandello's tale by Belleforest. German imitations of it, of the sixteenth 
 and seventeenth century, are mentioned below. Whether Ayrer knew the first two or not, is a matter of indif- 
 ference, as No. 2, and probably No. 1, contains nothing which is not also in Bandello and Belleforest. 
 
 1. Mauritius Brand, Phoenicia. Eine schone, ziichtige, liebliche vnd gedechtnifswiirdige History was massen 
 ein Arragonischer Graff de Colison sich in eine edle vnd tugentreiche sicilianische Jungfraw Phoenicia genannt, ver- 
 liebt. 4to. Danzig 1594. (Phoenicia, a beautiful, chaste, delightful and memorable history, how an Arragonian Count 
 of Colison fell in love with a noble and virtuous Sicilian virgin, named Phoenicia.) 2. Phoenicia. Eine Liebliche 
 vnd Gedechtniswirdige History, was massen ein Arragonischer Graffe de Colisan, sich in eine Edle vnd Tugentreiche 
 Sicilianische Jungfraw Phoenicia genandt, verliebete. Vnd was denselben in Heyrath vnd Freysachen wiederfahren, 
 welches billig ein Spiegel Weiblicher Ehr vnd Zucht mag genennet werden. Allen Ziichtigen vnd Ehrliebenden Frawen 
 vnd Jungfrewlein zum Newen Jahre beschrieben, durch Mauritium Brand. 8vo. Magdeburgk bey Job. Francken, s. a. 
 [circa 1600]. (Phoenicia. A delightful and memorable history fyc. And what befel them in marriage and in courting 
 which may rightly be called a mirror of maidenly virtue and honour. Written for all chaste and honorable ladies 
 and virgins for the new year.) 3. Lieb: Tugendt vnd Ehrn-Spiegel, Vermittels Herrn Timbrei von Cardona Lieb, 
 gegen Phoeniciam Lionati, dero wunderbaren begegnussen vnd endlicher Ehevollstreckung, von Herrn Francisco Belle- 
 forest in Frantzosischer : vnd anjtzo aus derselben in Teutscher Sprach vorgestellet vnd ferner adorniret durch Wolf- 
 
 gangum Seidelum. 12mo. Hof, Matth. Pfeilschmidt, 1624. (Love, Virtue, and Honours mirror set forth in 
 
 French by Belleforest, and noiv done into German language by W. Seidel.) 4. The same version by W. Seidel, 
 12mo. Coburgk, in der Fiirstlichen Druckerey, durch Job. Forckel, in Verlegung Friederich Gruners, 1627. I have 
 not seen No. 1 and quote from Koch, Grundrifs, Vol. ii, p. 245, who again refers to Catal. Bibl. Schwabianae, 
 Part ii, p. 269, and from K. Goedeke, Grundrifs etc., Vol. i, p. 413. I do not know therefore whether this ori- 
 ginal edition varies from No. 2, and whether it also contains the addition to the title "Mirror of maidenly virtue 
 and honour". If so, then Ayrer has certainly taken his title from it; if not, then the addition to the title of 
 No. 2 has been taken from Ayrer. There is also a Latin version of the same subject, unless the title in 
 Clessius, Elenchus consummatissimus librorum etc. Vol. ii, 4to. Francof. 1602, p. 241, is merely a translation of the 
 German one No. 2. According to Clessius it is entitled: Phoenicia: Historia de comite de Colisan ex Arragonia 
 amatoria erga virginem ex Sicilia, nomine Phoenicia. 8vo. Magdeburg 1600. There is also a late dramatic version 
 of the subject: Matthaei Kranich, Comodia von einem Graven von Colisan mit 26 Personen zu agiren. 8vo. Erffurdt, 
 bey Job. Bircknern (1620 or 1621). See Gottsched. Schaubuhne, Vol. iv, p. 43. 
 
SHAKESPEARE IN GERMANY. LXXIII 
 
 interwoven with the external incidents in the most charming manner, but even with him 
 they have no influence on the development of the principal action of the piece. In Ayrer, 
 of course, anything like an internal connection with the main plot is quite out of the 
 question. Is it possible then that two authors, when using the same tale, should add 
 to it a new element so very similar in the two cases? We must confess, this appears 
 to us quite inconceivable. In our opinion, either in Italy or in England a dramatic piece 
 was founded on the novel, that Shakespeare, Henry Julius, and Ayrer were all acquainted 
 with it, and that this piece contained a comic episode, which Shakespeare and Ayrer, 
 each in his own way, interwove with the main plot, but which Henry Julius has de- 
 tached, and worked up into a separate comedy by itself. 1 If this piece should ever come 
 to light, we shall certainly find in it the origin of Shakespeare's allusion in Act i, sc. 1 : 
 "He set up his bills here in Messina, and challenged Cupid at the flight &c." Does not 
 also the mention of Cupid and Vulcan at the opening of both pieces confirm ' this con- 
 jecture? In Shakespeare, Benedick says: 
 
 "Cupid is a good hare-finder, and Vulcan a rare carpenter"; 
 and in Ayrer, Cupid says of himself, 
 
 Mein Vatter der zornig Vulcanus 
 Der hat mir etlich Pfeil geschmit. 
 
 For Vulcan now my wrathful sire 
 Has a few arrows forged for me. 
 
 In Shakespeare also, the connection of the fool with Cupid in Beatrice's speech: 
 ... "and my uncle's fool, reading the challenge, subscribed for Cupid and challenged him at 
 the bird-bolt" reminds us of the fool in Ayrer's piece, who is struck by Cupid's arrow. 
 Then it must also be observed that the scenic arrangements in both pieces agree in the 
 most remarkable manner. In both we have a dance, a serenade, and the scene at the coffin, 
 but it must be confessed that the elements for it are to be found in the tale. But a careful 
 comparison of the latter itself with our two pieces affords the most striking proof that 
 there must have been some intermediate member between it and them. In the tale, Girando, 
 in determining on the shameful act of treachery against Timbreo, is influenced entirely by 
 a feeling of jealousy. In the same manner, in the episode in the fifth book of Ariosto's 
 Orlando furioso, which Bandello has certainly made use of, and which also supplied the 
 subject of 'The History of Ariodante and Geneuora', a drama acted in London as early 
 as 1582, jealousy is the sole motive of the Duke of Albania. This is not the case either 
 in Ayrer or in Shakespeare. In the former, Gerando meditates some rogue's trick against 
 Tymborus, because he has become too powerful and influential. Afterwards he appears to 
 put forward his admiration of Phoenicia as a mere pretext for his revenge on Tymborus, 
 for up to that time, there is no mention in the piece of any love affair between himself 
 and Phoenicia. Again in Shakespeare, the Bastard does not act from motives of jealousy, 
 but only from a feeling of general discontent. This makes his depravity appear all the 
 greater, arid his treachery to Claudio ah 1 the blacker. Gerando in Ayrer stands in no 
 
 1 See Herm. Grimm, Das Theater etc. 
 
LXXIV SHAKESPEARE IN GERMANY. 
 
 relations to Tymborus, just as in Shakespeare the Bastard has not the slightest connection 
 with Claudio, who is most immediately affected by his treachery. In Ayrer Gerwalt, who 
 invents the knavery, like Borachio in Shakespeare, is only the tool of another, to please 
 whom, or in whose commission as it were, the trick is executed, this other being Gerando 
 
 / ) 7 o 
 
 in Ayrer, and in Shakespeare the Bastard. In Bandello, on the other hand, the jealous 
 Girondo is also the inventor of the plan by which Timbreo is deceived. Another very 
 essential point in which the two plays diverge from the tale, is the following: In Bandello, 
 the deceit is practised by means of a servant of Girondo, who is disguised to represent 
 the pretended lover of Phaenicia, and climbs into a room at a window which is left open 
 day and night, and at which Phaenicia is in the habit of appearing occasionally. This is 
 sufficient to make Timbreo consider the suspicions which had been suggested to him, as 
 well founded. The impostors do not appear at the window of the room, neither is there 
 any conversation carried on between them. In Ayrer, the fool John is put into woman's 
 clothes, and appears as Phaenicia walking hand in hand with Gerwalt, her supposed lover, 
 in her father's garden, and conversing with him. Timbreo sees them from his hiding-place, 
 and hears their lover's talk. Similarly in Shakespeare, Margaret puts on Hero's clothes, 
 and carries on a lover's conversation with Borachio, which Claudio hears from his hiding- 
 place in the garden. Act iii, sc. 4 in Shakespeare's piece begins with a conversation between 
 Hero and Margaret about the wedding-dress. Similarly, in Ayrer, the scene in which her 
 intended marriage with Timbreo is broken off, is preceded by a conversation between Phae- 
 nicia and her parents respecting her trousseau. The resemblance between the two pieces is 
 very striking in the scenes, in which it is resolved to allow Hero and Phaenicia to be con- 
 sidered as dead, in order to bring their innocence to light. In these scenes in Ayrer, the 
 action advances in a somewhat compressed and dramatic style, while in Bandello he would 
 have had a model which could only have encouraged his natural inclination to represent 
 everything with great circumstantiality and numerous digressions. Bandello is extremely 
 diffuse here, and makes Fenicia address a long-winded speech to the bystanders, who on 
 their part also break out into very edifying lamentations. In these scenes, both in Shake- 
 speare and Ayrer, the hope is distinctly expressed, that the pretended death of the slan- 
 dered maiden may awaken the remorse of her lover, and eventually end in their happy 
 union. This feature is altogether wanting in Bandello, and it is at the same time an im- 
 portant characteristic in the two dramatists, because in the principal catastrophe of the 
 piece it points out the germ of the reconciliation, and softens the tragical character of the 
 scene. The expectation of a reconciliation which is thus raised in the mind of the specta- 
 tor justifies moreover the progress of the piece as a comedy. After the treachery, which 
 has been practised against Phaenicia, has been discovered, the prime movers in the criminal 
 act, the Bastard in Shakespeare, and in Gerwalt Ayrer, disappear. This feature is also 
 wanting in the tale. 
 
 'Much Ado about Nothing' appears to have been written either in, or about, the 
 year 1600. Francis Meres does not mention it in 1598, but the first Quarto was published 
 
SHAKESPEARE IN GERMANY. LXXV 
 
 in 1600. Ayrer's piece may have been written either earlier or later. As long as the 
 chronology of his dramas is not established with greater certainty than has been hitherto 
 the case, it is impossible to express any opinion respecting the priority of either author 
 with regard to the two pieces in question. 
 
 It may be mentioned in conclusion, that Starter, a Dutch dramatist of the seventeenth 
 century has also taken the same subject for one of his pieces. 1 But Mr. J. 0. Halliwell is 
 decidedly wrong in asserting that Starter copied Shakespeare, 2 as also Dr. W. Bell in his 
 statement, that the Dutchman's piece was founded on Ayrer's. 3 The truth is, that in Star- 
 ter's piece there are no traces either of 'Much Ado about Nothing' or the 'Beautiful Phse- 
 nicia', and that there is every appearance of his having taken his subject directly from 
 Bandello's tale or an early imitation of it. It is true, he also introduces comic personages 
 who speak in the Frisian dialect, but they have nothing in common with the humorous 
 episodes, either in Shakespeare or Ayrer. 
 
 CHAPTER IV, 
 
 In the course of our investigation up to this point, we have been able to distinguish 
 three companies of English Comedians, who started from England on their travels as early 
 as the sixteenth century. With the beginning of the seventeenth century these strolling 
 companies become more and more numerous, and no longer confine themselves to the 
 courts of princes, but extend their wanderings to every part of Germany in which they 
 may expect to find a sufficient interest in their art. 4 It is true, some companies still con- 
 tinued to make the court of some art-loving prince their head-quarters, but even these led 
 a migratory life, and it appears that they made the permission to do so, one of the con- 
 ditions in their engagements. We have already observed something of the kind in the 
 case of the Cassel Comedians. (See p. lix.) Besides the courts of Brunswick and Cassel, 
 which, as we have already seen, entertained English actors till far into the seventeenth 
 
 1 /. /. Starters \ Blyeyndich - Truyrspel, \ van \ Timbre de Cardone \ ende \ Fenide van Messine, \ Met een 
 VermaecMijck Sotte-Clucht van een \ Advocaet ende een Boer op't plat Friesch. \ Tot Leevwarden, \ Voor Jan Jan- 
 sen Starter, Boeckvercooper by de Brol, \ in d'Engelsche Bybel. Anno, 1618. 4to. 42 leaves. In rhyming verse. 
 The Argument "Inhout des Spels" appears to be a condensed narrative of Bandello's novel. 
 
 2 See Athenceum, April 21, 1862. 
 
 3 See Dr. W. Bell, Shakespeare's Puck etc., Vol. ii, p. 285. Dr. Bell founds his argument on the identity 
 of the dramatis personae in Ayrer's and Starter's plays, but he overlooks that the same names are given to those 
 personages in Bandello's novel. 
 
 1 This is confirmed by a curious passage in De Bry's India orientalis, Pars xii, fol., Francof. 1613, 
 p. 137. "Vigesimo primo ejusdem mensis die rex iterum Anglorum navem petiit, magna stipatus mulierum ca- 
 terva, quae omnes mimae erant, actrices comaediarum, et saltatrices. Solent autem hae mulieres agmine facto 
 oberrare per provincias et oppida, acturae comaedias, ut Angli ludiones per Germaniam et Galliam vaguntur, vehentes 
 secum omnis generis vestes et instrumenta histrionica, pro exigentia fabularum quas lusurae sunt, in quibus fre- 
 quentissima sunt argumenta belli, amoris, et ejusmodi." 
 
 K2 
 
LXXVI SHAKESPEARE IN GERMANY. 
 
 century, it was more especially the courts of Dresden and Berlin, which manifested the 
 most active theatrical life. 
 
 The company to which Thomas Pope and George Bryan belonged, probably dissolved 
 / itself as early as 1587, for we meet with both of them in England before 1588. The taste 
 for the English theatre had so completely established itself at the Saxon court, that it 
 maintained its preponderance till far into the seventeenth century. Indeed, even after the 
 influence of the French Theatre had obtained the mastery throughout Germany, the pieces 
 which had been introduced by the English Comedians were not entirely banished from the 
 Dresden stage, and we even meet with isolated cases of English actors long after the 
 German companies had supplanted the English ones. In the course of our narrative we 
 shall arrive at the astonishing fact, that the Germans became acquainted with the greatest 
 masterpieces of Shakespeare through the medium of the stage, nearly a century and a half 
 before any other nation except of course the English. 
 
 The Electress Dowager of Saxony, Sophia of Brandenburg, daughter of John George, 
 Markgrave of Brandenburg, (born 1568, married to Christian I in 1582, a widow in 1591, 
 died 1622) appears while still young, to have taken a peculiar interest in the English drama, 
 and the English Comedians. In October 1600, several Englishmen, ["etzliche Engelender"] 
 played a comedy before her and the young princes at the palace, for which they received 
 the sum of 75 florins. In the same year there were also English Comedians at Memmingen, 
 as appears from the following extract from a chronicle of that town: "1600, den 27. und 
 28. Hornung, hielten Engelander Comedien allhier aufF dem Saltz-Stadel, gab ein Person 
 4 kr." 1 (1600, Feb. 27 and 28, some Englishmen performed comedies here on the Saltz- 
 Stadel, each person paid four kreuzers.) In June 1601, some Englishmen played again at 
 the Court of Dresden, for which they received a hundred dollars gratuity ["Verehrung"] 
 and 78^ florins as payment. 2 They must therefore have come to Dresden as strangers, 
 and were not in the Saxon service. Perhaps they were the same who had played at 
 Memmingen; perhaps also they had come from Brunswick or Cassel on leave of absence. 
 In 1602 some English Comedians performed at Ulm a play 'Of the Prophet Daniel, the 
 chaste Susanna, and the two judges in Israel'. (See p. xlii). There must also have been 
 some English actors in Amsterdam about this time, for an incident related by Heywood in 
 the 'Apology', 3 of which we shall speak more at length at a future page, refers to them. 
 Heywood expressly calls them "A well knowne company of our English comedians", a 
 proof, that actors of reputation attached themselves to these companies. In September 1603, 
 Lord Spenser and Sir William Dethick, Garter King-at-arms, were sent to Stuttgart by 
 James the first, to bring Duke Frederick the Insignia of the Order of the Garter. (See 
 p. xiv.) The Ambassadors displayed a great deal of splendour and magnificence, and among 
 their suite they had some English musicians and actors, "Four excellent Musicians with 
 
 1 Christ. Shorer, Memminger Chronik etc. 4to. Ulm 1660, p. 115. 
 
 2 Mor. Fiirstenau, Zur Geschichte etc., p. 76. 
 
 3 Ed. by the Shakespeare Society, p. 58. 
 
SHAKESPEARE IN GERMANY. LXXVII 
 
 ten other assistants." 1 A great banquet took place after the delivery of the Order to the 
 Duke, and this was succeeded by representations given by the "Royal English Music, which 
 the illustrious royal ambassadors had brought with them to enhance the magnificence of 
 the embassy and the present ceremony, and who, though few in numbers, were eminently 
 well skilled in the art. For" continues the chronicler of those festivities, "England pro- 
 duces many excellent musicians, comedians, and tragedians, most skilful in the histrionic 
 art; certain companies of whom quitting their own abodes for a time, are in the habit of 
 visiting countries at particular seasons, exhibiting and representing their art principally at 
 the courts of princes. A few years ago, some English musicians coming over to our Ger- 
 many with this view, remained for some time at the courts of great princes, their skill 
 both in music and in the histrionic art having procured them such favour, that they re- 
 turned home greatly rewarded, and loaded with gold and silver." 2 A dance followed the 
 banquet, and then "the English players made their appearance, and represented the sacred 
 history of 'Susanna' with so much art of histrionic action, and with such dexterity, that 
 they obtained both praise and a most ample reward." 3 
 
 The following year, [1604] we meet with a company of comedians in Holland, under 
 the direction of a certain John Woods [Wood?]. 4 The following extract from the Minutes 
 of the Council of the city of Leyden [Gerechtsdag-boeken] refers to them. 
 
 Sept. 30, 1604. "Die van de Gerechte opt voorschryven van Zijne Ex e en versouc van Jan 
 Woodtss, Engelsman, hebben toegelaten ende geconsenteert dat hy geduyrende deze aenstaende jaer- 
 marct met zijn behulp zal mogen speelen zeecker eerlick camerspel tot vermaeckinge van der gemeente, 
 mits van yder persoen (comende om te bezien) nyet meer te mogen nemen nochte genyeten dan twaelf 
 penn., ende vooral betaelen tot een gootspenning aen handen van Jacob van Noorde, bode metter roede, 
 vier guld. om ten behouve van de armen verstrect te worden." 
 
 TRANSLATION. 
 
 , The magistrates, at the command of his Excellency, and at the request of John Woodtss, an 
 
 Englishman, have permitted and consented that he, with his company, during the approacHing fair, 
 
 v. , 
 
 J 'A description of the festivities has been given by Erhard Cellius, entitled Eques auratus Anglo- Wirtem- 
 bergicus. 4to. Tubingae 1605. The above passage is to be found at p. 120: "Quatuor excellentes musici, una 
 cum decem ministris aliis." , 
 
 2 Id. ibid. p. 229. "Musica Anglicana Regiae, quam Regius illustris Legatus secum ad Legationis et 
 actus huius magnificentiam adduxerat: non ita multos quidem sed excellenter in hac arte versatos. Profert enim 
 multos et praestantes Anglia musicos, comoedos, tragoedos, histriom'cae peritissimos, e quibus interdum aliquot 
 consociati sedibus suis ad tempus relictis ad exteras nationes excurrere, artemq'; suam illis praesertim Principum 
 aulis demonstrare, ostentareq'; consueverunt. Paucis ab hinc annis in Germaniam nostram Anglicani musici 
 dictum ob finem expaciati, et in magnorum Principum aulis aliquandiu versati, tantum ex arte musica, .histrioni- 
 caq'; sibi favorem conciliarunt, ut largiter remunerati domum inde auro et argento onusti sint reversi." See also 
 Notes and Queries, Vol. iii, p. 21. 
 
 3 Id. ibid. p. 244. "Histriones Anglicani mature prodibant; et sacrae Susannae historian! tanta actionis 
 histrionicae arte, tanta dexteritate representabant, ut et laudem inde et praemium amplissimum reportarent." 
 
 4 A John Wood, clerk, is mentioned in an arbitration-bond respecting certain disputes between Hen- 
 slowe and a person named Abr. Wall. See Alleyn papers ed. by J. P. Collier for the Shakespeare Society, 
 1843, p. 49. 
 
LXXVIII SHAKESPEARE IN GERMANY. 
 
 may play certain decent pieces for the amusement of the people, provided he take no more than twelve 
 pennings from each person coming to see, and, above all, pay to Jacob van Noorde four guilders, to 
 be applied to the use of the poor.i 
 
 Another company appears in Ley den in January 1605, provided with a letter of 
 recommendation from the Elector of Brandenburg, dated the 10th of August 1604. We 
 are not aware at what time this company had entered the service of the latter; but it is 
 clear that it was under the direction of a certain John Spencer, for in the same year [1605] 
 he is recommended by the Elector of Brandenburg to the Electress of Saxony. The identity 
 of these companies is beyond all doubt. The following is an extract from the Leyden 
 Minutes. 
 
 Jan. 6, 1605. "Op't versouck aen die van de Gerechte gedaen by de Engelsche Comedyanten 
 om te mogen spelen: staet geappostilleert. Die van de Gerechte deser stadt Leyden gesien in haer 
 vergaderinge opt Raedthuys der voors. stede, de favorable brieven van Recommandatie ende testimo- 
 niael van den Forst van Brandenburch van de x Augustij des jaers XVI C vier, mitsgaders t consent 
 by Zyne Ex ie van Nassau verleent den xxij Decembris laest verleden, Es disponerende opt versouc int 
 blanc van dezen, hebben voor zoo veel in hem is, de Engelsche Commedianten ende musicyns toonders 
 in dezen, conform haer versouc toegelaten binnen deser stede te mogen spelen en haer consten doen 
 ouffenen ende vertoonen ter gewoenlycke plaetse te weten opten groten hoff onder de bibliotecque, 
 dewelcke hem toonders mits dezen ten eynde voorseyt, belast wert te werden ingeruymt, Ende dit al 
 voor den tyt van veertien dagen eerstcomende, en mits, voor den jegenwoordige gracieuse toelatinge, 
 gevende ten behouve van de gemeene huysarmen dezer stede een somme van twaelf gulden van xl groot 
 tstuck. Aldus, gedaen opten vi January XVI C en vyff. My jegenwoordich en is get. J. van Hout." 
 
 TRANSLATION. 
 
 On the request to the magistrates of the English comedians to be allowed to perform, was 
 decided: The magistrates of this city of Leyden, having seen in their assembly in the Town-House of 
 the aforesaid city, the favourable letters of recommendation and testimonial of the Prince of Branden- 
 burg of the 10th Aug., 1604, as well as the consent granted by his Excellency of Nassau, the 22nd 
 of Dec. last, have permitted the English comedians and musicians, according to their request, to per- 
 form and exercise and exhibit their arts in the accustomed place, namely, in the great court under the 
 library; and this for the space of fourteen days, provided they, for this gracious permission, give 
 twelve guilders of forty groats a-piece to the poor of this city. Done on the 6th Jan., 1605. Me pre- 
 sent; and signed J. van Hout. 2 
 
 We cannot ascertain when John Spencer came from England to Germany, but he 
 must have been some time in the service of the Elector of Brandenburg when he re- 
 ceived the letter of recommendation in August 1604. It is supposed that he had been 
 obliged to leave his native country on account of his attachment to the Catholic Church. 3 
 He remained in Germany for a considerable number of years, and became one of the most 
 celebrated managers of companies. In the course of our narrative we shall meet with him 
 again at different places till as late as the year 1614. 4 
 
 1 See Navorschers Bijblad 1853, p. xl, and Notes and Queries, Vol. vii. 1853, p. 360. 
 
 2 To be found at the same place as the preceding one. 
 
 3 See Hurter, Ferdinand der Zweite, Theil iii, p. 313. 
 
 4 A Gabriel Spenser is mentioned in various places of Henslowe's Diary. In 1597 he belonged to the 
 
SHAKESPEARE IN GERMANY. LXXIX 
 
 In May 1605, the company proceeded from Leyden to the Hague, at least it is highly 
 probable that it is the same company which we meet with at the latter place. It appears that 
 several representations were given there during the fair. The States General were angry that 
 this had taken place without their having been previously informed, summoned the actors 
 to appear before them, who then alleged in their defence, that they possessed a licence from 
 the Prince Stattholder, had obtained permission from the Magistracy to give representations 
 for eight or ten days, and received three stivers as the price of admission; upon which 
 they were prohibited from continuing their performances after the expiration of the w,eek 
 they had then entered upon. The following document, which is now published for the 
 first time, refers to these circumstances. 
 
 Extract uit het Register der Resolutien van den Hove van Holland, van den 2 October 1602 
 tot den 28 Maart 1608. A. Duyck, Griffier. 
 
 "10 May 1605. Wert verhaelt van de Engelse camerspeelders ende dat die fonder virlof van 
 den Hove hier speelden ende wert den Procureur-Generael gelast te vernemen mit wiens last ofte con- 
 sent sy speelen; hy refereert dat se acte van consent van syn Excellencie hebben ende toelatinge van 
 den magistraet van den Haegen. Wert verstaen dat men se sal ontbieden in decleine earner ende 
 selfshoiren, om daer de acte te fien. Sy gecommen wesende seggen acte te hebben, ende toelatinge 
 voor 8 ofte 10 daegen van den magistraet te hebben, ende met heur consent te nemen van elck per- 
 foin 3 stuvers ; exhiberen naer de acte in forma, wert heur gevraecht waerom sy geen consent van den 
 Hove en hebben versocht. Sy verclaeren fulcx niet geweten te hebben van noode te wesen. Einteleyck 
 wert verstaen dat se niet langer als dese weecke en fallen mogen speelen, ende her fulcx aengeseit." 
 
 TRANSLATION. 
 
 Extract from the Register of the Resolutions of the Court of Holland, from the 2nd of October 
 1602 to the 28th of March 1608. A. Duyck, Clerk to the Court. 
 
 10. May 1605. It is reported of the English actors, that they played without the permission 
 of the Court, and the Procurator General is commissioned to inquire with whose authority or consent 
 they play. They answer that they have acted with the consent of His Excellency and the permission 
 of the Magistracy of the Hague. It is agreed that they shall be summoned to the little saloon, to 
 hear them ourselves, and there to see them act. When they have come, they say that they have acted 
 and have received permission from the Magistracy for eight or ten days, and with their consent to 
 take from each person three stivers. After they have exhibited their acting in form, they are asked, 
 why they had not endeavoured to obtain consent from the Court. They declare not to have known 
 that it was necessary. Finally it is agreed that they shall not be allowed to play longer than this 
 week, and that this shall be notified to them. 
 
 According to this, the company must have left Holland, and have returned to Prussia; 
 for about September and October 1605, we meet them at Elbing and Koenigsberg, where 
 
 Earl of Nottingham's players, and in 1598 he was killed by Ben Jonson in a duel in Hoxton Fields. See Hen- 
 slowe's Diary p. 98. --In 1631, a certain John Spenser addressed an admonitory letter to an unnamed Lady 
 who was present on the occasion of the performance of the 'Midsummer Night's Dream' on Sunday, Septemb. 27, 
 1631, in the house of John Williams, Bishop of Lincoln, in London. The letter is found amongst Bishop Laud's 
 papers in the Library at Lambeth Palace. The Bishop of Lincoln and many persons of rank who were present 
 [at the play, were fined by Laud. See J. P. Collier, History etc. Vol. ii, p. 2736. Has our catholic player 
 turned Puritan? 
 
LXXX SHAKESPEARE IN GERMANY. 
 
 they gave several representations before the Duchess Mary Eleanor, as appears from the 
 following extracts from the Royal Archives in Kcenigsberg. 
 
 Elbing. Rathsrecess. Session vom 14. Sept. 1605. 
 
 "1st beliebet den englischen Comodianten wegeh dessen, dafs sie vorgestern einen Erb. Rath zu 
 Gefallen agiret 20 Thlr. zur Verehrung zukommen zu lassen. Daneben aber auch ihnen zu untersagen, 
 dafs sie nunmehr zu agiren aufhoren sollen in Anmerkung sie gestern in der Comodie schandbare 
 sachen fiirgebracht." 
 
 Ausgabe- Register, fol. 127. 
 
 " 75 Mark vff begehren Meiner gst. Fiirstin vnd Frawen etc. der Herzogin in Preussen etzlichen 
 Englischen Comedianten, welche vor Ihr furstl. Gnd. agiret, zweimal getanzet vnd mit einer lieblichen 
 Musica vfgewartet, gezahlt den 3. Octob." [1605]. 
 
 TRANSLATION. 
 
 Elbing. Decree of the Council. Session of the 14th of Sept. 1605. 
 
 In consideration of what the English Comedians acted the day before yesterday for the plea- 
 sure of the Honorable Council, it is hereby resolved to award them a gratification of 20 thalers. Further, 
 seeing that they yesterday represented disgraceful things in their comedy, it is decreed that they shall 
 not act any more. 
 
 Register of Expences. Fol. 127. 
 
 75 Marks at the desire of my gracious Princess and Lady etc. Duchess of Prussia, to some 
 English Comedians, who acted, danced twice, and performed delightful music before her Princely Grace, 
 paid the 3rd of Oct. 1605. 
 
 Whether the company remained any longer in East Prussia or repaired for a short 
 time to the Court of Berlin, is a question we are unable to decide. At all events it must 
 have gone to Mecklenburg soon after, for it appears from a petition presented by it to 
 the Council of the town of Rostock, which has been found in the town-archives and which 
 is here annexed, that in March 1606, the company had already been there some time. 
 
 An E. E. Rath. 
 
 Ernuheste, Achtbare, Hoch vnd Wolgelerte, Hoch vnd Wolweise, E. E. vnd hw. sem vnsere 
 gehorsame Dienste, mit besonderem fleifse zuuor, grofsgunstige gepietende liebe Herrn, 
 
 Fur E. E. vnd hw. vns bifs dahero bezeigte vberaus grofse vnd vilfeltige gunst vnd befoderung, 
 in dem das wir nun allhie eine geraume Zeitt, von E. E. v. hw., grofsgunstiglich geduldett, vnd vn- 
 serm geringen vermugen vnd kunst nach, mit vnser Music auch geistlichenn vnd weltlichenn Historien, 
 commedien vnd tragedienn, gemeiner Stadt, dienen mugen, vnd sonsten, Dafur sein wir gegen E. E. 
 v. hw. nicht alleinn dienstliches hochstes fleisses danckbar, sondern wollen dasselbe auch umb E. E. 
 vnd hw. mit vnserm geringen gebete, vnd Diensten, Zuuordienen vnd sonsten Zuriihmen wissen, 
 
 Vnd ob wir also woll billig, E. E. vnd hw. vber gedachte bezeigte grofse vielfeltige gunst vnd 
 befoderung, ferner womitt nicht beschwerenn solltenn, weil aber dennoch, vns hiebeuohr in andern 
 Stettenn Da wir auch gewesen, vnsers vorhaltens halben allhie, E. E. vnd hw. vrkundt, in andern be- 
 nachbartten Steten vnd sonstenn furzulegen habenn, Alfsbitten wir demnach auch dienstliches hochstes 
 fleifses. [weil wir vns ie ohne ruhm zumelden auch allhie still vnd eingezogenn vorhalttenn, auch nicht 
 anders dan was lieblich vnd wol anzusehenn vnd zuhoren gewesen, agirt vnd musicirt] E. E. vnd hw. 
 wollen vber vorige vns bezeigte grosse gunst vnnd befoderung, ferner auch noch in diesem so grofs- 
 gunstiglich erscheinen, vnd vnsers vorhiltenns halbenn, vns eine vrkundt vnter gemeiuer Stadt insiegell 
 grofsgunstiglich mittheilen vnd zukommenn lassenn, vnd wir seinn es vmb E. E. vnd hw. mit vnsern 
 
SHAKESPEARE IN GERMANY. LXXXI 
 
 geringeim Dienstenn vnnd sonstenn wie vorgemeldett hinwider Zuuordienenn Zum hochstenn gefliefsenn, 
 4)atum Rogtogk denn 31. Martij 1606. 
 
 E. E. vnd hw. gehorsame, 
 
 Marggrefen von Brandenborgk Diener 
 Engelsche Commedianten. 1 
 
 TRANSLATION. 
 
 To the most honourable Town Council. 
 
 Right honourable, high and well learned, high and well-wise Gentlemen, to your honours and 
 high mightinesses our most humble services, with particular esteem before. High-favouring, commanding, 
 beloved Gentlemen, --As your honours and high worthies protected us until now with the greatest 
 and most exceeding favour and advancement, considering also, that we were suffered here for a con- 
 siderable length of time, to execute our music and religious and worldly histories, comedies and tra- 
 gedies, as far as our art would permit, and serve this town, for which we are not only indebted and 
 thankful with all our power to your honours and high worthies, but will also show our thankfulness 
 by our humble prayer and services, and testify it elsewhere as we can; and though we should not 
 further molest your high worthies, considering all that high favour and advancement; but as in other 
 towns, where we performed before, we used to receive a certificate of our demeanour under the com- 
 mon town's seal, we beg most humbly and respectfully [as we may say, without glorifying ourselves, 
 that we used in this town, too, always to live quietly and retired, and to execute our music and plays 
 only so as they may be looked at with pleasure and honesty], your honours and high worthies may 
 extend their favour, until now shown to us, as to give us a certificate of conduct under the common 
 town's seal, and we are your honours' and high worthies' most humble servants, with the most pro- 
 , found respect. Datum Rostogk, 31 Martii, 1606. Your honours and high worthies' most obedient, 
 
 The Markgrave of Brandenburg's servants, 
 the English Comedians. 
 
 We must now return to Holland. On the 8th of June 1606, some English Comedians 
 received permission from the Stattholder to play for a few days in the Hague. It is pro- 
 bable that they also performed in other towns of Holland, for as we meet with them again 
 at the Hague in April 1607, we must assume that they also passed the intervening period 
 in that country. We here subjoin the documents referring to this subject, which have not 
 been published before, and which are taken from the 'Register of the Resolutions of the 
 Court of Holland'. 
 
 "8. Juny 1606. Den Procureur Generael wert aengeseit dat de Engelsche commedianten eenige 
 daegen sullen mogen speelen volgens 't consent van syn Excellencie. 
 
 23. April 1607. Wert den Procureur Generael belast de Engelsche commedianten te verbieden 
 naer Woensdaege toecommende hier in den Haege niet langer te speelen, immers tot te kermisse toe- 
 commende. Den 26 e " is heur by apostille verboden meer te spelen en den Generael belast toe te sien. 
 
 27. April 1607. Wert den Procureur belast, enz Item dat hy zal spreecken met syn Excellencie, 
 ten einde deselve aen de Engelse commedianten geen consent en verleene om te speelen tegen tverbot 
 van den Raide heur op gisteren schriftelijck gedaen." 
 
 1 See H. W. Baerensprung's Geschichte des Theaters in Mecklenburg- Schwerin. 8vo. Schwerin 1837, p. 11, 
 and Albert Colin, Old English Actors in Germany, Athenaeum 1850, No. 1185, p. 738. 
 
 L 
 
LXXXH SHAKESPEARE IN GERMANY. 
 
 TRANSLATION. 
 
 8. June 1606. It is notified to the Procurator General, that the English Comedians shall be 
 allowed to play some days according to the consent of His Excellency. 
 
 23. April 1607. The Procurator General is instructed to forbid the English actors to play any 
 longer here in the Hague after next Wednesday until the next fair. On the 26th they are forbidden 
 to play by a notice, and the Procurator General is instructed to see to it. 
 
 27. April 1607. The Procurator General is instructed etc. Item: that he shall speak with his 
 Excellency to the end that he shall not give the English actors any permission to play against the 
 prohibition served to them yesterday in writing by the Council. 
 
 We cannot easily believe that these are the Brandenburg Comedians again, for it 
 appears to follow from the Rostock Petition that they had the intention of remaining some 
 time longer in Mecklenburg. It is indeed possible that they were not very successful at 
 the latter country, and therefore started soon afterwards on their way back to Holland, where 
 they had met with great encouragement only a short time before. In the year 1608, the 
 Authorities of the Hague issued a special proclamation prohibiting all representations, of 
 whatsoever sort they might be, as scandalous and injurious to the community, so that there 
 was an end to all theatrical performances at that place for some years. 
 
 There can be no doubt that it is the Brandenburg company which we meet with 
 again in July 1607, offering their services in Elbing. But this time their application is 
 refused, on the ground that it is "a tax upon the citizens", although a certain Brakel, re- 
 siding in Elbing, probably an English merchant, interested himself in their behalf. At last 
 they obtained permission to give private performances either in Brakel's house or else- 
 where, a permission of which they no doubt availed themselves. This is the only instance 
 of such performances in private houses, in connection with the English Comedians. We 
 subjoin the document from the Koenigsberg Archives. 
 
 Elbing. Session vom 16. Juli 1607. 
 
 "Englandische Comodianten halten heftig an, etiam intercedente Brakel deputato, ihnen zu ge- 
 statten ihre Spiele. Weil es aber eine Schatzung der Burgerschaft ist und die jetzigen traurigen Laufte 
 solches nicht zugeben wollen, hat ein Erb. Rath beschlossen, ihnen es abzuschlagen. Doch wofern der 
 Herr Deputat, oder jemand anders ihres Spiels privatim begehren wiirde in seinem Hause, konne es 
 gestattet werden."* 
 
 TRANSLATION. 
 
 Elbing. Session of the 16th of July, 1607. 
 
 The English Comedians urgently entreat that they may be permitted to perform their plays, 
 deputy Brakel also interceding for them. But as this is a tax upon the citizens, and the present 
 melancholy state of affairs will not permit it, the Honorable Council has resolved to refuse their re- 
 quest. Should however Mr. Deputy Brakel or anybody else wish them to perform privately in his 
 house, they have permission to do so. 
 
 After this the English Comedians appear to have entirely deserted Prussia for some 
 years. In the year 1609, the Elector finds himself obliged to request the Landgrave Maurice 
 
 ' Elbinger Anzeiger 1827, No. 99. E. A. Hagen, Geschichte etc. p. 53. All the preceding and following 
 documents from the Royal Archives at Kcenigsberg are taken from Mr. Hagen's interesting and important work. 
 
SHAKESPEARE IN GERMANY. LXXXIII 
 
 of Hessen to let him have his comedians for four weeks, that they might play at the festi- 
 vities given in Berlin on the occasion of the marriage of his brother. (See p. lix.) It 
 appears that the Prussian company had gone to Austria, for in the years 1607 and 1608, 
 English Comedians under the management of John Spencer performed almost every day 
 during the winter at the court of the Archduke at Gratz. 1 In November 1608 we meet 
 with a certain W. Pedel in Holland, who is expressly mentioned as an Englishman in the 
 minutes of the Council of Leyden. The document in question is as follows: 
 
 "Op te Requests daerby den voorn. Willem Pedel, versochte aen die van de Gerechte der 
 stadt Leyden omme te mogen speelen verscheyde fraeye ende eerlicke spelen mettet lichaem, sender 
 eenige woorden te gebruycken, stout geappostileert : Die van de Gerechte deser stadt Leyden hebben 
 voor zoe veel in hem es, den thoonder toegelaten ende geconsenteert, laten toe ende consenteren mits 
 desen binnen dezer stede inde Kercke vant Bagynhoff te mogen spelen voor de gemeente ende syne 
 speelen verthoonen, mits dat hy hem daervan zalt onthouden geduyrende t'doen van de predicatien van 
 Gods woorts, en dat de arme Weesen alhier zullen genieten de gerechte helfte van de incomende 
 proffyten, en dat zulcx int geheel zullen werden ontfangen en gecollecteert by een persoon daertoe 
 bij M ren van de Arme Weesen te stellen ende committeeren. Aldus gedaen op ten xviij Nov. 1608. " 2 
 
 TRANSLATION. 
 
 On the request by which the aforesaid W. Pedel petitioned the authorities of the city of lyey- 
 den to allow him to exhibit various beautiful and chaste performances with his body, without using 
 any words, was determined: The authorities of this city of Leyden have consented and allowed the 
 exhibitor to perform in the church of the Bagynhoff within this city, provided he cease during the 
 preaching of God's word, and that the poor orphans here have half the profits, and that they be re- 
 ceived and collected by a person appointed by the masters of the poor orphans. Done on the 18th 
 November, 1608. 
 
 In the year 1609 we find again a company of English Comedians at the Court of Dres- 
 den, where Christian the second orders that they should receive a payment of 500 florins. 
 And again in the following year, [1610] 11 Englishmen, who had acted some comedies 
 before the Electoral Lady, received 114 florins 6 groshen. 3 It is in all probability these 
 eleven Englishmen who played from the 6th to the 10th of June 1610 at the festivities held 
 in celebration of the marriage of the Princess Eva Christine with the Margrave John 
 George of Brandenburg, as we learn from an unprinted description of that feast. 4 
 
 "6. Juni Und nach dem Nachtessen [wurde] von Engellendern (so hievor auch zue Stuet- 
 gardt gespihlt) ein Comoedi aus dem Amadis agiret. - - Den 9. Nachmittag ein andere Comedi von 
 obgemelten Engellendern gespihlt. Sonntag den 10. nach dem Mittag-Imbifs im Schlofs-Hof ein Fecht- 
 Schuel gleich darauf wider ein Comedi agirt." 
 
 1 Karl Weifs, Die Wiener Haupt- und Staatsaktionen. 8vo. Wien 1854, p. 36. 
 
 2 See Navorscher, Deel III, 1853, p. 17. Notes and Queries, Vol. VII, 1853, p. 114. 
 
 3 Moritz Fiirstenau, Zur Geschichte etc. p. 77. 
 
 4 Beschreibung der Vermdhlungs-Solennitdten Prinzessin Even Christinen init Marggr. Joh. Georgen zu Bran- 
 denburg, in Ja'gerndorf An. 1610. See Friedr. Carl v. Mosen, Kleine Schriften, XI, p. 371 427. 
 
 L2 
 
LXXXIV SHAKESPEARE IN GERMANY. 
 
 TRANSLATION. 
 
 June 6 And after supper, a comedy from the Amadis was played by the Englishmen (who 
 
 had also played before at Stuttgart). - - June 9. In the afternoon another comedy was played by the 
 above-mentioned Englishmen. Sunday the 10th. After dinner a fencing-match in the palace-court, 
 immediately after which another comedy was acted. 
 
 Of the performances at Stuttgart, mentioned in the above passage, there is no re- 
 cord extant. 
 
 In the Autumn of the same year another company appears at the Hague. The above 
 mentioned prohibition must have ceased to be in force, for by a resolution passed on the 
 24th of Sept. 1610, the Authorities of the town grant them permission to play on Monday, 
 Tuesday, Wednesday, and Thursday, on the condition of their paying 20 florins to the use 
 of the poor. On the 29th of the same month, this permission is extended for a further 
 period of eight days. 
 
 "Extract uit het Register der Resolution van den Hove van Holland, van den 17" April 1608 
 tot den 10" Mei 1617. A. Duyck, Griffier. 
 
 24. September 1610. Seeckere Engelse commedianten wert geconsenteert te spelen, manedach, 
 dinxdach, woensdach ende donderdach mits betaelende aen de diaconen voor den armen 20 pond, son- 
 der anders ofte langer te spelen op arbitrate correctie." 
 
 TRANSLATION. 
 
 Extract from the Register of the Resolutions of the Court of Holland of the 17th of April 1608 
 to the 10th of May 1617. A. Duyck, Clerk to the Court. 
 
 24. September 1610. Certain English actors receive permission to play Monday, Tuesday, 
 'Wednesday, and Thursday, paying 20 pounds to the guardian of the poor, but not to play otherwise 
 or longer on pain of punishment. 
 
 In Koenigsberg the English actors appeared again in the year 1611, at the court of 
 Prince Albrecht Frederick. They are probably the same who entered the service of the 
 Elector John Sigismund in 1611. Here we meet once more with John Spencer, who had 
 gone back to England or to Holland, and indeed at the head of nineteen actors, and sixteen 
 musicians. 1 They receive on the 30th of November 1611, according to the deed of their 
 appointment, 720 Marks; and a suit of clothes is also made for them, consisting in part of a 
 cloak of white English cloth, trimmed with black silk braid, and lined with red. On the 30th 
 of August 1611, John Sigismund left Berlin for Koenigsberg, for the purpose of receiving the 
 investiture of the Duchy, which was to take place on the 15th of November. He stopped 
 at the frontier until he proceeded on his journey to Warsaw. The actors accompanied the 
 Elector to Ortelsburg, and their dresses were sent after them in a "baggage-waggon" (Rust- 
 wagen). After the investiture had taken place, he made his public entry into Koenigsberg 
 on the 26th of November; and in the following year, a very grand representation, 'The 
 Turkish Triumph- comedy' is given, "the Theatre in the old grand saloon" is covered with red 
 lining-cloth, and the City of Constantinople is built for the comedians. All sorts of work are 
 
 1 See C. M. Pliimicke, Entwurf einer TJieatergeschichte von Berlin. 8vo. Berlin 1781, p. 34, and E. A. 
 Hagen, Geschichte etc. p. 48. 
 
SHAKESPEARE IN GERMANY. LXXXV 
 
 necessary for this purpose. For the preparation of a cloud "blue body-colour and black can- 
 vas and fringes" are required. David Rose, the court-painter, hands in a bill for 117 marks 
 .42 shillings. The wardrobe is rich and costly. Blue, red, and white cloth, gold border, 70 ells 
 of red silk, 50 ells of red cord, Monks' dresses, 18 large and 17 long plumes, a sword with 
 a gilt hilt, and a wooden shield are purchased. Four death's heads, carved work and turned 
 work, are delivered by the court-turner and two carvers. Fourteen instrumentalists have 
 "assisted in the comedy of Constantinople". In addition to their regular salary the come- 
 dians received particular gratuities, and it happened more than once that they had to be 
 ransomed out of the inns and taverns, John Spencer at the head of them. All these state- 
 ments are founded on documents and accounts in the Royal Archives at Koenigsberg. They 
 are printed literally in E. A. Hagen's 'Geschichte' etc. p. 53 58. As Hagen's work was 
 printed for private circulation, and is therefore comparatively little known, we subjoin those 
 extracts which bear on our present subject, just as they stand in the originals: 
 
 "30 Mark den Englischen Commedianten welche fur vnserm gnedigsten Fiirsten vnd Herrn 
 HEn. Albrecht Friederichen &c. eine Commediam agieret vnd getanzet, zur Verehrung gezahlt den 
 23ten Juli (1611.) 720 Mark den Englischen Commedianten vf Rechnung der Bestallung an 400 Thlr. 
 zu 36 Gr. den 30. Novemb. 1611. -- 150 Mark den Englischen Commedianten als dieselbe nach Ortels- 
 burg verreiset vf Rechnung den 7. Octob. 1611. (1st ihnen von Churfurstl. Gnaden erlassen. 1612.)" 
 
 TRANSLATION. 
 
 30 Marks as a gratuity to the English actors, who acted a comedy and danced before our 
 most gracious Prince and Lord, Henry Albrecht Frederick &c., paid the 23rd of July 1611. 720 Mark 
 to the English actors to the account of their salary of 400 thalers at 36 groshen, paid the 30th of 
 November 1611. -- 150 Marks paid to the English actors on account, on occasion of their travelling 
 to Ortelsburg, the 7th of October 1611. (This debt was remitted them by His Electoral Grace in 
 1612.) 
 
 Then follow the order of John Sigismund directing that dresses should be provided 
 for the 19 English actors, and 16 instrumentalists, dated Ortelsburg, 16 Oct. 1611; the 
 answer of the counsellors that this has been done, 24 Oct. 1611,. the list of the cloths 
 which had been purchased, as also their destination, and lastly a list of different sums 
 expended for the actors, as well as for the various articles necessary for the performances. 
 Among them are the following items: 
 
 "7 Mark 12 sh. Hans Tanapfel Bildschnutzer hat 4 Todtenkopfe und ein Schild zur Comme- 
 dia geschnutzet. 
 
 Christian Salbert Messerschmidt hat fur die Commedianten ein Schwerdt mit einem verguldeten 
 Gefafs gemacht. 7. Febr. 
 
 1080 Mark Johann Spencern Commedianten an 600 Thlr. zu 36 Gr. so ihm noch vf den von 
 Ihr Churfurstl. Gnaden getroffenen Contract restiret, empfing er selbst 4. Febr. 
 
 124 Mark 47 sh. Vor Brennholz durch die Commedianten erkauft. 26. Mai. 
 
 6 Mark Zins von 18 groi'se und 17 lange Federbusche, so der Andreas Korner zu der tiirki- 
 schen Triumph-Commosdien geliehen. 17. Juny. 
 
 23 Mark 9 sh. vor allerlei Holzer Drehwerk durch die Commedianten beim Hofdreher bestellt, 
 1. July. 
 
LXXXVI SHAKESPEARE IN GERMANY. 
 
 81 Mark 33 sh. vor blaue Leibfarbe und schwarz Leimet [Leinwand] und franczfsen, Alles 
 zur Wolken zu der Triumph-Commedia dem Meister Dietrich zahlt. 21. Aug. 
 
 87 Mark 39 sh. vor allerlei Schnitzwerk zu der Triumph-Commedia durch Alexander Crause 
 Bildschniitzer. 21. Aug. 
 
 Ill Mark 15 sh. vor allerlei Tischlerarbeit zu der Triumph-Commedia durch Christoph Dosin 
 gefertigt. 21. Aug. 
 
 117 Mark 42 sh. Dauid Rose Hofmaler fur allerlei Arbeit, so er vf Churfurstl. Befehl den 
 Commedianten gefertigt. 16. Oct. 
 
 26 Mark 9 sh. Auslosung Ihr Churfurstl. Gnaden Comediant Johann Spenser welcher vom 
 28. Oct. bis vf den 8. Novemb. 1612 bei Christoph Hertlein gelegen. 
 
 47 Mark 48 sh. Auslosung der Churfurstl. Comedianten etc. 23. Jan. 
 
 47 Mark 48 sh. Auslosung der Churfurstl. Comodianten welche Anno 1612 bei Hans Jacob 
 gelegen etc. 13. Marz. 
 
 30 Ehlen (Futtertuch) zu Munchs-Kleider, noch 81 Ehlen rott futter Tuch das teatrum zu 
 belegen im alten grofsen Saal. 
 
 25 Ehlen flechsen Leimbt [Leinwand] den Commodianten zur erbauung der Stadt Constantinopel 
 - (und noch andere ahnliche Posten zu gleichem Zweck). 
 
 1613. 1229 Mark 24 sh. Johann Spenczern Commoedianten an Seiden-Waaren von Heinrich 
 Klehe ausgenommen, an 683 Thaler a 36 Gr. welches ihm in Berlin an seiner Besoldung soil gekiirzet 
 werden." 
 
 TRANSLATION. 
 
 7 Marks 12 sh. Hans Tanapfel, carver, has carved four death's heads, and one shield for the 
 comedy. 
 
 Christian Salbert, cuttler, has made a sword with a gilt hilt for the comedians, the 7th of Febr. 
 
 1080 Marks, being abou.t 600 thalers at 36 gr. to John Spencer, comedian, balance which was still 
 due to him on the contract made with his Electoral Grace, he received himself on the 4th of Febr. 
 
 124 Marks 47 sh. for firewood bought by the actors, May 26. 
 
 6 Marks for the hire of 18 large and 17 long plumes lent by Andrew Ko3rner for the Turkish 
 Triumph Comedy. June 17. 
 
 23 Marks 9 sh. for various articles turned in wood, ordered of the court-turner by the actors. 
 July 1. 
 
 81 Marks 33 sh. for blue body-colour and black canvas and fringes, all for the cloud for the 
 Triumph Comedy, paid to Master Dietrich, Aug. 21. 
 
 87 Marks 39 sh. for various carvings for the Triumph Comedy, made by Alexander Crause, 
 carver. Aug. 21. 
 
 Ill Marks 15 sh. for various articles of joiner's work for the Triumph Comedy, made by 
 Christopher Dosin. Aug. 21. 
 
 117 Marks 42 sh. to David Rose, court-painter, for various works executed by him for the 
 actors, at the command of the Elector. Oct. 16. 
 
 26 Marks 9 sh. as ransom of His Electoral Grace's comedian, John Spencer, who had lodged 
 with Christopher Hertlein from the 28th of October to the 9th of November 1612. 
 
 47 Marks 48 sh. as ransom of the Electoral comedians etc. Jan. 23. 
 
 47 Marks 48 sh. as ransom of the Electoral comedians, who had lodged with Hans Jacob in 
 the year 1612, etc. March 13. 
 
 30 Ells (lining-cloth) for monk's dresses, also 81 ells of red lining-cloth for covering the theatre 
 in the old great saloon. 
 
SHAKESPEARE IN GERMANY. LXXXVII 
 
 25 Ells of flax linen for the comedians for the building of the city of Constantinople -- (and 
 various other similar items for the same object). 
 
 1613. 1229 Marks 24 sh. to John Spencer, comedian, for silk goods received from Henry Klehe, 
 part of 683 thalers at 36 grosh. which is to be deducted from his salary in Berlin. 
 
 In April 1613 the Englishmen were dismissed, and received a letter of recommenda- 
 tion from John Sigismund to the Elector of Saxony, dated Grilnnig, 16 April, 1613. It is 
 preserved in the Dresden Archives, and is as follows: 
 
 "Es hat sich gegenwartiger Englischer Comodiant Johann Spenzer, eine Zeit her in unsern 
 Diensten aufgehalten und sich in seiner unterthanigsten Aufwartung dergestalt erwiesen, dafs wir darob 
 ein gnadiges Gefallen getragen. Wenn er aber nunmehr andere Oerter zu besuchen und unter andern 
 auch seine Kunst und Comodien in Dresden ansehen zu lassen gemeint, haben wir ihm diese unsere 
 Commendation mitgeben wollen. Ersuchen Ew. Lbd., Sie geruhen ihm nicht allein auf ein Wochen 
 vier oder mehr, ein solches zu vergonnen, besonderem [sondern] ihm auch sonst alle Gnade zu er- 
 weisen." * 
 
 TRANSLATION. 
 
 Bearer of these, the English comedian John Spencer, has been a considerable time in our ser- 
 vice, and in his humble waiting on us has so borne himself, that we have derived a gracious pleasure 
 therefrom. But when he purposed to visit other places, and among the rest also to exhibit his art 
 and his comedies in Dresden, we have wished to give him this our recommendation. We request 
 Your Highness will be pleased not only to give him permission to do so for four weeks, or more, but 
 also to shew him all favour in other respects. 
 
 The company cannot have remained long in Dresden, for we meet with it in Nurem- 
 berg as early as June 1613, on which subject a contemporary chronicle of Nuremberg gives 
 (Some information. 
 
 "1613. Sontag den 27. Junj, vnd etliche Tage hernach aufs Eines Erbarn Raths grofsgiinstigen 
 erlaubnifs, haben defs Churfiirsten zu Brandenburg Diener vnd Engelische Comoedianten schone Co- 
 i medien vnd tragodien von Philole vnd Mariane, Item von Celide vnd Sedea, Auch von Zerstorung der 
 iStatte Troia vnd Constantinopel, vom Tiircken vnd andere Historien mehr, neben zierlichen tantzen, 
 Ilieblicher Musica, vnd anderer Lustbarkeit, im Halfsbrunner Hof allhie, in guter teutscher Sprach in 
 I kostlicher Mascarada vnd Kleidungen agirt vnd gehalten, hat erstlich ein Person 3 Creutzer, vnd letz- 
 1 lich 6 Creutzer zuzusehen geben muefsen, darumb sie ein grofs Volckh ihnen zugelauffen, vnd mit 
 
 - sich hinweg gebracht haben." 2 
 
 TRANSLATION. 
 
 1613. On Sunday the 27th of June and a few days following thereon, with the gracious per- 
 
 " mission of the Honorable Council, the Elector of Brandenburg's servants and English Comedians have 
 
 acted and held beautiful comedies and tragedies of Philole and Mariane, also of Celide and Sedea, 
 
 also of the Destruction of the city of Troy, and city of Constantinople, of the Turk, and other such 
 
 histories, besides graceful dancing, lovely music, and other entertainments, here in the Hailsbrunn Court, 
 
 1 M. Furstenau, Zur Geschichte etc. p. 76. 
 
 . 2 From a Ms. chronicle of the city of Nuremberg by Stark. See Job. Chr. Siebenkees, Materialien zur 
 
 ' Niirnbergischen Geschichte, Vol. iii. 8vo. Niirnberg 1794, p. 52 54. In Lersner's Chronica der Eeichsstadt Frankfurt 
 
 * a. M. Fol. Frankfurt 1706, this visit of the English Comedians is mentioned as having been paid to Frankfort, 
 'which is evidently a mistake, as there is no place called " Hailsbronner Hof" in that city. 
 
LXXXVm SHAKESPEARE IN GERMANY. 
 
 in good German language, in rich masquerade and costumes. At first each person had to give three 
 creutzers, and latterly six creutzers to see it, which caused a great crowd of people to run after them 
 and to follow them. 
 
 As we learn from the same chronicle, English actors had already appeared in Nu- 
 remberg the year before ; but this was the company of the Landgrave of Hesse, which had 
 come over from Cassel. (See p. lix.) 
 
 From Nuremberg John Spencer proceeded with his company to Regensburg, and 
 played before the Emperor and the assembled Diet. 1 In September 1614, we meet with 
 the "Brandenburg Comedians" at Wolffenbiittel (see p. xxxv), and the same year an English 
 actor obtained permission 'from the Town-Council to play in Brunswick. He played on 
 two successive evenings, but on the third evening had no audience ("kein Volk", literally, 
 no people) as the notice runs, and the Council granted him one thaler as compensation. 2 
 There can be no doubt that John Spencer was the actor in question. 
 
 It appears that the Elector John Sigismund could not get on very long without his 
 English actors, for after he had dismissed one company in 1613, a new one is engaged in 
 February [March] 1614, as we learn from a decree of appointment made out for the bro- 
 thers William, Abraham, and Jacob Pedel, Robert Arzschar, [Archer?] Behrendt Holzhew, 
 [Woodhew?] and August Pflugbeil. The first four received 100 florins each, besides their 
 board at court gratis, and two suits; the two others received only 100 florins between 
 them. The salaries were to be paid quarterly, and the suits to be made by the Court- 
 tailor. The actors engage "to wait constantly and with all faithful diligence on the Elector 
 on his travels, and at his court, and to shew themselves cheerful and willing, and allow 
 themselves to be employed in their art according to the ability of each, respectively, in 
 jumping, acting, and other amusements, whenever called upon to do so, and in the best 
 way that they are able, so that His Electoral Highness may take a gracious pleasure 
 therein." 3 
 
 This engagement was not of long duration, for as early as Easter 1615, the brothers 
 Pedel, Holzhew, and Pflugbeil were dismissed. But Arzschar remained at his post till the 
 16th of May 1616, but then he was also dismissed with a sum of 250 thalers as settlement 
 of his claims. We have already met one of the brothers, William Pedel, in Holland in 
 1608. (See p. Ixxxiii.) 
 
 There was a third company in Holland about the same time, for on the 9th of 
 
 1 See Schlager, Ueber das alte Wiener Ho/theater, in Wiener Skizzen, Vol. iii. 8vo. Wien. 
 
 2 Adolph Glaser, GescMchte des Theaters zu Braunschweig. 8vo. Braunschweig 1861, p. 13. 
 
 3 C. M. Pliimicke, Entwurf einer Theater geschichte von Berlin. 8vo. Berlin 1781, p. 36 37. The German 
 Text of the above quoted passage in the appointment runs as follows: "Den Churfursten jedesmal bei Reisen 
 oder im Hoflager treuen Fleisses zu warten, und sich in ihrer Kunst, nach eines jeden Geschicklichkeit mit Sprin- 
 gen, Spielen und anderer Kurzweil, auf jederzeit Begehren, ufs Beste sie es immer zu Wege bringen konnen, 
 unverdrofsen und willig zu erweisen und gebrauchen zu lafsen, alfo dafs S. C. D. darob ein gnediges Gefallen 
 tragen konnten." 
 
SHAKESPEARE IN GERMANY. LXXXIX 
 
 October 1612, some English actors obtained permission to play for fourteen days from the 
 authorities at the Hague. 1 
 
 To give a connected account of the wanderings of the different companies, and 
 especially of that of our John Spencer, it was necessary to interrupt the chronological 
 order in our narrative, and we must now revert to the year 1611, in order to mention a 
 most remarkable incident which occured in that year. Unfortunately we are able to do little 
 more than state the naked fact itself, as all our endeavours to obtain the document which 
 establishes it have been unsuccessful. Landgrave Philip of Butzbach, Uncle of Landgrave 
 George the second of Hesse -Darmstadt, made several journeys in North Germany in the 
 year 1611, and among other places also visited Halle, where he was present at some splendid 
 banquets at the Court of the Administrator of Magdeburg, with which theatrical represen- 
 tations were connected. In a letter which he wrote from this place, probably addressed 
 to his nephew George the second, he states that he had seen a German Comedy 'The Jew 
 of Venice' taken from the English. ("Teutsche Komedia der Jud von Venedig, aufs dem 
 engelandischen.") 2 It is hardly necessary to observe that this refers to Shakespeare's 
 'Merchant of Venice', as Thomas Dekker's 'Jew of Venice' was not entered in the Reg- 
 ister of the Stationer's Company till 1653, long after the death of the poet was never 
 printed, and never acted during the poet's life; at least there is no allusion to its being 
 acted or being known earlier than 1653. On the other hand Shakespeare's 'Merchant of 
 Venice' was known by the title of 'The Jew of Venice'; for under the date of July 22, 
 1598, we find in the Register of the Stationer's Company the following entry: "James Ro- 
 bertes, A booke of the Marchaunt of Venyce or otherwise called the Jewe of Venyse." 
 
 Although, as we shall see presently, there is every probability that at least one piece 
 of Shakespeare's, and that one, Hamlet, had been acted in Germany long before this, yet 
 is the above the earliest authentic evidence that Shakespeare's masterpieces had been re- 
 presented on a German stage during the poet's life-time, - - certainly one of the most glo- 
 rious incidents in the history of the German Theatre. Of the company which played at 
 
 ! 
 
 1 Register der Resolution etc. "9. October 1612. DEngelse commedianten wert geconsenteert 14 daechen 
 te speelen, sender schandael ende sender consequentie." 
 
 a This remarkable fact was first mentioned by Mr. E. Pasque in the ' Muse> Blatter fiir ernste und heitere 
 UnterhaltungJ herausgegeben von Draxler-Manfred. Vol. I, p. 156. The author collected his valuable articles in 
 this periodical, under the title : ' Geschichte der Musik und des Theaters am Hofe zu Darmstadt, aus Urkunden dar- 
 gestellt von Ernst Pasque. Erste Abtheilung, Periode von Georg I. bis Ludwig VI., 1567 1678. 8vo. Darmstadt 
 1853. 64 pp. This work was printed for private circulation. Of the second part, there appeared only from p. 65 
 to 104. The continuation is to be found in the Muse 1854, Vol. iii p. 205208, Vol. iv p. 629726. I applied 
 to Mr. E. Pasque in the hopes of obtaining a copy of the letter of the Landgrave Philip of Butzbach which is 
 in the Darmstadt Archives. But in spite of all the trouble which Mr. Pasque kindly took in my behalf, it was 
 impossible to obtain access to the letter, which unfortunately he had not copied on first discovering it, as the 
 information it contained possessed only a secondary interest for him at that time. Since then the Darmstadt 
 Archives have been arranged, and there are so many bundles of papers to be looked through to find the letter, 
 that this has not been possible as yet. But the statements given above are perfectly authenticated, and the 
 letter is undoubtedly extant in the Darmstadt Archives. 
 
 M 
 
XC SHAKESPEARE IN GERMANY. 
 
 the Court at Halle, or any other circumstances connected with the theatre there, nothing 
 whatever is known. Perhaps the papers referring to the Court of the Administrator of 
 Magdeburg may be discovered in one of the Royal Prussian Archives. If the Exchequer 
 accounts are still extant, we may feel quite certain that they will afford ample evidence 
 that the English actors played there also. It is our firm conviction that they alone can 
 have acted the 'Jew of Venice' in Halle. 1 
 
 In the year 1612, or shortly before, there was a company of English actors in Brus- 
 sels. They are alluded to by Hey wood: "The cardinall at Bruxels hath at this time in pay 
 a company of our English comedians." 2 These are perhaps the same players who, accord- 
 ing to an entry in the 'Gerechts-dag-boeken' of the city of Leyden acted there in or about 
 1614. 3 English actors must have been known also in Amsterdam in the year 1615, as appears 
 from the following passage in G. A. Brederode's drama, 'Moortje' Act iii, Sc. 4: 
 
 "Ick mach soo oock by geen reden-ryckers zijn: I To stay with rhetoricians I've no mind: 
 
 Want ditvolckjewilsteets met alien menschen gecken, | The fool they'll play with men of every kind, 
 
 En sy kunnen als d'aep haer afterst niet bedecken; j And, like the ape, exhibit what's behind 
 
 Sy seggen op haer les, soo stemmigh en soo stijf, With gests so stiff their lesson they repeat, 
 
 Al waer gevoert, gevult met klap-hout al haer lijf ! 
 Waren't de Engelsche, of andere uytlandtsche 
 Die men hoort singen, en soo lustigh siet dantsc 
 Dat sy suyse-bollen, en draeyen as een tol: 
 Sy spreken 't uyt.^aer geest, dees leeren't 
 
 You'd swear with staves their bodies were replete! 
 Heard you the English and other strangers sing? 
 Saw you their jolly dance, their lusty spring? 
 How like a top they spin, and twirl and turn ? 
 And from the heart they speak ours from a roll 
 
 must learn . . 4 
 
 uyt een rol. ' 
 
 A Frankfort versifier, in the year 1615, speaks of the English actors in a less flat- 
 tering manner: 
 
 "Die Englische Comedianten 
 Haben mehr Leuht den Predicanten 
 Da lieber 4. stund stehn horen zu 
 Dan ein in die Kirch, da sie mit Ruli 
 Flux einschlaffen auff ein hart banck, 
 Dieweil ein stund in felt zu lang, 
 Vnd Agieren doch so schlecht sachen 
 Das sie der possn offt selbst lachen, 
 
 Folk like to see the English play, 
 Far more than hear the parson pray; 
 Four hours rather stand and hear 
 The play, than one in church appear, 
 Which seeming long, soon peaceful sleep 
 On oaken bench will o'er them creep. 
 And yet these actors play such stuff, 
 They must themselves oft laugh enough, 
 
 1 The Prince who filled the office of Archbishop and Administrator of the Bishopric of Magdeburg was 
 Christian William of Brandenburg, born 28 Aug. 1587, died 1 Jan. 1665. He occupied that place from 1598 
 to 1631. His wife was Dorothea of Brunswick, born 8 May 1596, daughter of Duke Henry Julius, the dramatic 
 author. The marriage took place June 16, 1615. This indicates a friendly intercourse between Christian William 
 and Henry Julius, which may have existed some time before the former married the latter's daughter. If so, the 
 players who acted at Halle may have been those in the pay of the Duke. We have already seen that it was 
 not uncommon for the Princes to send their players to each other. 
 
 a Hey.wood's Apology for Actors, ed. by the Shakespeare Society, p. 60. 
 
 3 NavorscJier, Deel iii, p. 17. 
 
 4 Navorscher and Notes and Queries, Vol. vii, J853, No. 180, April 9, p. 361. 
 
SHAKESPEARE IN GERMANY. XCI 
 
 Das siefs Gelt vonn den Leuten bringen 
 Zu sich, vor so narrische dingen, 
 Der Narr macht lachen, doch ich weht 
 Da ist Keinr so gutt wie Jan begehtt, 
 Vor dieser zeitt wol hatt gethan, 
 Jestzt ist er ein reicher Handelfsman." 1 
 
 To think a man his money brings 
 To them, to see such foolish things. 
 True, at the clown we laugh, and yet 
 He's not half, so good as John, I bet, 
 Whom we have seen here long ago; 
 He now is a rich John & Co. 
 
 We shall be justified in concluding from the above lines the presence of an English 
 icompariy in Frankfort- on -the-Maine in the year 1615. But we have a perfectly authentic 
 account of a very numerous company of English actors in Cologne in that same year, in 
 la manuscript in the British Museum (Harl. 3888.): "The Evangelic Fruict of the Seraphicall 
 Franciscan Order. Centur. 5. Ab Anno Domini 1600 ad ann. 1628. Dublinij elucubravit. 
 P. N. Archibold Capucinus a 1628." It is an account, in the form of a chronicle, of all 
 Ithe conversions and castings out of the devil effected by the Capuchins, and other amusing 
 stories, in which we certainly should not have expected to find any matter for our here- 
 Itical investigations. And yet we must feel truly grateful to the pious Father Francis Nu- 
 , gent, that he allowed our Thespian friends to enjoy the good fortune of returning to 
 |the bosom of the only saving church, for it is to his zeal that we are indebted for the 
 ; knowledge of a fact of considerable interest for our subject. The worthy Capuchin records 
 I under the date of 1615, as follows: 
 
 "Twentie fowre Stage players, arrive out of Ingland at Collen: all Inglish except one Ger- 
 
 manian and one Dutchman. All Protestants. Betwixt those and father Francis Nugent disputation 
 
 Lwas begunne and protracted for the space of 7 or eight dayes consecutively; all of them meeting at 
 
 Ijone place together. The chiefs among them was one N. Spencer, a proper sufficient man. In fine, 
 sail and each of them beeing clearlie convinced, they yielded to the truth; but felt themselves so drie 
 land roughharted that they know not how to pass from the bewitching Babylonian harlot to their true 
 I mother the Catholic church, that always pure and virginal sponse of the lamb "etc. 
 
 After this the narrative proceeds to state how Friar Nugent preached a sermon to 
 
 | them, and then follows the story of the "one Germanian", who dies as a good Catholic. 
 
 I We may conjecture from this, that the attempt to convert the Englishmen was unsuccessful 
 
 after all. 2 We have here a second actor of the name of Spencer. John Spencer, it will 
 
 'be remembered, is alluded to as a confessor of the Catholic faith at a much earlier date. 
 
 In the following year, 1616, English actors again appear in Prussia, and this time 
 in Danzig. The Counsel allows them to play eight comedies, but they are "not to repre- 
 
 1 Ein Discurfs von der Frankfurter Messe, vnd jhrer vnderschiedlichen Kauffleuten gut vnd bofs. 4to. s. 1. 
 1615, p. 8. 
 
 2 Hunter, New Illustrations of Shakespeare. Vol. ii, p. 231, also relates this story, but incorrectly places 
 it in the year 1613 instead of 1615. The Chronicle moreover is continued to the year 1645, apparently by the 
 same hand, although 1628 stands on the title-page. 
 
 M2 
 
XCII SHAKESPEARE IN GERMANY. 
 
 sent any unchaste pieces" and are only to take three groshen entrance-money for eacl: 
 person. 1 
 
 In 1615, John Sigismund, the Elector of Brandenburg, had dismissed his seconc 
 company of English actors, and about 1617 Squire Hans von Stockfisch (probably a thea- 
 trical nickname) a favourite of the Grand Chamberlain, Count Adam of Schwartzenberg 
 received a commission from the Elector to procure a third company from England and the 
 Netherlands. 2 Unfortunately we know no particulars about this company. We can onl} 
 assert with safety that Squire Hans executed the commission which had been entrusted tc 
 him, for in the year 1620 he addressed a petition to Count Schwartzenberg, in which h* 
 begs for the payment of his yearly salary, as also of 1000 thalers in addition, which h< 
 asserts that he had spent in procuring the foreign actors. The Elector George William 
 who was the successor of John Sigismund, decrees in answer to this under the date o: 
 Koenigsberg, 4 14 March, 1620, that the arrears shall be paid, in case the petitioner can 
 prove that he had really disbursed the thousand thalers in the affair of this company oJ 
 comedians, "which had been last in Berlin;" but as he had been credibly informed that this 
 was not the case, and that "the certificate given in his favour by the comedians, which he 
 had presented, had been surreptitiously obtained", his claim must be dismissed. It clearly 
 follows from this, that the actors were no longer in Berlin in March 1620. On the other 
 hand we gather from a complaint addressed by George William to the Magistrates of Berlin, 
 and from the answer of the Magistrates, that in 1623, "foreign actors" were again in Berlin, 3 
 but we do not know whether they were Englishmen; it is only certain that they were nol 
 in the service of the Court. George William was a pietist, and did not favour the theatre. 
 
 In 1618, at the command of the Elector, the English actors proceeded from Berlin 
 to East Prussia. They played in Elbing, Balge, and Koenigsberg, were eighteen in number, 
 and had Hans von Stockfisch at their head. In the accounts of the Electoral Court, we 
 find the following entries connected with their stay there. 
 
 "19 Mark Sein vf gnedigen Befehl Ihr. Churfurstl. Gnaden einem Stockfischen welchen Ihr 
 Churfurstl. G. nachm Elbing Comoedien (Comoedianten) von dannen anhero zu bringen abgefertigi 
 haben an 50 Thalern zu 36 Gr. gezahlt. 17. Maerz. 
 
 112 Mark 30 sli. haben Ibr Churfurstl. Dchl. den Englischen Comoedianten zu den vorhin 
 empfangenen 50 Reichsthalern nochmals zur Verehrung zu geben gst. beuohlen, welche sie empfangen 
 den 8ten November. 
 
 1 Loschin, Geschichte Danzigs. 8vo. Danzig 1822. Vol. i, p. 388. It is also mentioned there, that in 1615 
 two "Brandenburg Comedians" were permitted to give seven comedies, provided they take not more than 2 gr. 
 from each spectator; in 1623 the entrance fee is raised to 4 and in 1643 to 9 gr. but we are not told whether 
 these companies were English or German. 
 
 2 C. M. Plumicke, Entwurf etc. p. 34. K. Goedeke, Grundrifs etc., Vol. i, p. 408 wrongly assigns this 
 event to the year 1607. Pliimicke distinctly says "wenige Jahre vor des Churfiirsten Tode" (a few years be- 
 fore the Elector's death) and as John Sigismund died December 23, 1619, the appointment cannot have taken 
 place in 1607; besides, the Elector only succeeded to the throne in 1608. 
 
 3 C. M. Plumicke, Entwurf etc. p. 4143. 
 
SHAKESPEARE IN GERMANY. XCHI 
 
 An die Oberrathe des Herzogthums Preufsen. Von Gottes Gnaden Johann Sigismund etc. 
 Vir haben den Comoedianten, welche wie euch bewust, zu vnterscliiedenen mahlen, vf vnser gnedig- 
 tes Begehren, in vnserm Gemache zu Konigsberg vnd Balge agiret, fur ihre gehapte muhe, eins vor 
 Jles, zwei Hundert gulden Polnisch bewilliget, Befehlen euch demnach hiermit gnedigst, Ihr wollet 
 ihnen solche 200 gulden, aus Vnser Renthkammer also vort entrichten lassen etc. Datum Elbing den 
 JO. Juny 1619. 
 
 150 Mark. 18 Englischen Commedianten welche vor Ihr Churfurstl. Gnd. etzliche Comme- 
 lien agiret, gezahlt den 22. Juny (1619)." 
 
 TRANSLATION. 
 
 19 Marks, at the gracious command of His Electoral Grace, being 50 thalers at 36 groshen, 
 o a certain Stockfisch, whom His Electoral Grace sent to Elbing to bring from thence the English 
 domedians, paid March 17. 
 
 112 Marks 30 sh. which His Electoral Grace has graciously ordered to be given to the Eng- 
 ish Comedians as a second gratuity, in addition to the 50 rixthalers which they have previously received, 
 'aid November 8. 
 
 To the High Counsellors of the Duchy of Prussia. We, John Sigismund, by the Grace of 
 rod, etc. have granted, once for all, two hundred Polish florins to the actors for their trouble, who, 
 s is well known to you, have at different times at our gracious command, acted in our apartments 
 t Koenigsberg and Balge, and hereby graciously order you accordingly to pay them the said 200 florins 
 ut of our treasury. Dated Elbing, June 20, 1619. 
 
 150 Marks to 18 English Comedians who acted several comedies before His Electoral Grace, 
 >aid June 22, 1619. 
 
 We have already seen one of our strolling companies in Danzig in the year 1616. 
 \fter having been dismissed from that place, they appear to have proceeded to the neigh- 
 )ouring country of Poland, but before commencing this journey, they must have played at 
 he Archducal Court at Gratz in Moravia. This is the second company we meet with there. 
 ?rom Poland they proceeded to Breslau, to the Court of the Archduke and Bishop Charles, 
 with whom they had become acquainted at Gratz, to which place they again returned, 
 vith a letter of recommendation from the Duke to the Stadtholder of Moravia, Cardinal 
 on Dietrichstein. We gather all these circumstances respecting their movements from the 
 letter itself: 
 
 "Dem hochwurdigen Fiirsten vnserm freundlichen geliebten Herrn vnd gutten Freundt, Herrn 
 Frantsen der Heiligen Rom. Khirchen des Tituls Sti. Silvestri Cardinalen von Dietrichstein, Bischoven 
 zue Olmiitz, Rom. Kay. May. geheimen Rath, auch deroselben Konigreich vnnd Erblandern protectori. 
 
 Vnsere freundtliche willige Dienst, was wir sonsten mehr liebes vnd guethes vermogen zuevorn. 
 Hochwtirdiger Fiirst, freundtlicher geliebter Herr vnnd guether Freund, Vnnfs haben an Euer Ldn. 
 gegenwerttige Engellandische Comoedianten verschrifftlichen zue reccommandiren, vnd dahin zuebefor- 
 dern gehorsambist angelanget, damit ihnen von E. L. verlaubet werden mochte, in dero Statten Ihre 
 geschickligkheit vnd Comicos actus zue exerciren; 
 
 Wan wir vns dan zueruckh wol eryndern konnen, dafs noch bei weilandt vnserer geliebsten 
 Frawen Muetter hochehr- vnd Lobwiirdigsten angedenckhens, lebens Zeiten, eben dieselbe Personen 
 zue Gracz, ihre Comedien, gancz Erbar vnd zichtig, mit der Vnserigen allerseits genedigistenn gefallen 
 vndt begniigen verrichtet. An Yezo aber aus Pohln, darin Sy dergleichen bei Hirer Konigl. vndt Ldn. 
 
XCIV SHAKESPEARE IN GERMANY. 
 
 eczlich Monat Lang exhibiret mit Koniglichen recommendationen vndt guetten Zeiignus, zue vns an- I 
 khommen, vndt sich gehorsambist angegeben habenn. 
 
 Diesemnach wir gedachten Comodianten, diese Ihnen zue erspriifslichen genaden, gemeinte re- 
 commendation, an Euer Ldn. nicht wol vervviedern mogen, Ewer Ldn. hie mit freundtlichen crsuchende, 
 dieselbte Ihnen, mehrbemelte Perschonenn, zue aller gewogenheit, vnd genaigtem willen von vnsert- 
 wegen wollten freundtlichen endffollen. sein lassen, damit Sy demiittigst verffuren mochtenn, das vnsern 
 bei Euer Ldn. freundtliche Interuentionen, angenehmbe vnnd krafftighe wiirgligkheit gefunden, vndt 
 Sy sich Euer Ldn. hinwiederumb freundtlichen Zuerwiedern wier yeder Zeit gancz willig sein vnd 
 verbleiben wollenn. Geben in vnser Stadt Neil's denn achtczehenden tag Martij im Sechczehenden- 
 huudert vndt Siebeuczeheuden Jahre, 
 
 Carl von Gottesgnaden Ertz Hertzog zu Oessterreich Hertzog zue Burgundi etc. Bischoffe zue 
 Brixen vnnd Brefslaw Graffe zue Tirol. 
 
 Euer Ldn. Guthwilliger vndt getreuer Freundt 
 
 Carl m. p." 1 
 
 TRANSLATION. 
 
 To the Right Reverend Prince, our friendly and beloved Lord and good friend, Master Franz, 
 of the Holy Romish Church, of the title of St. Silvester, Cardinal von Dietrichstein, Bishop of Ol- 
 mutz, Privy-Counsellor of His Rom. Imp. Majesty, also Protector of the Kingdom and hereditary do- 
 minions of the same. 
 
 First (we offer) our friendly and willing service and whatever else of good and kind we may 
 have in our power. Most Reverend Prince, friendly and beloved lord and good friend. English Comedians 
 bearers of these presents, have respectfully requested us to give them a written recommendation to 
 Your Highness, and to assist them to the behoof that it might be permitted to them by Your High- 
 ness to practise their skill and comic plays in Your Highness' residence. 
 
 When we remember that, during the life-time of our late most beloved lady mother of high 
 and praiseworthy memory, just these same persons have performed their comedies at Gratz, quite ho- 
 norably and decently, always with our most gracious pleasure and satisfaction, but that now they have 
 come to us with royal recommendations and good testimonials from Poland, where they have some 
 months long exhibited such comedies at their Royal Highnesses, and have respectfully announced 
 themselves ; 
 
 We may not well for the above reasons refuse them the desired recommendation to Your High- 
 ness for your salutary favour, kindly hereby requesting Your Highness will allow the same often- 
 mentioned persons to be recommended on our part to all favour and good will, to the end that they 
 may humbly learn, that our friendly intervention with Your Highness may have found a powerful 
 and agreeable realization, and Your Highness on the other hand may count on our being at all times 
 willing to make a friendly return. Given in our town of Neiss, the 18th day of March in the year 
 1617. 
 
 Charles by the Grace of God Archduke of Austria, Duke of Burgundy etc., Bishop of Brixen 
 and Breslaw, Count of Tirol. 
 
 Your Highness' 
 
 Well-inclined and faithful friend 
 Charles, m. p. 
 
 1 The original letter is to be found at Briinn in the Archives of the States of Moravia, Boczek collection. 
 No. 12265. See Notizenblatt der histor.- statist. Sektion der K. K. Mdhrisch-Schlesischen Gesellschaft zur Be/orde- 
 rung des Ackerbaues, der Natur- und Landeskunde, 1858, No. 3, a paper by Jul. Feifalik. See also Elwert, Ge- 
 schichte des Theaters in Mdhren, p. 26. 
 
SHAKESPEARE IN GERMANY. XCV 
 
 In the same year, some English actors, under the management of a certain John 
 Green, played before the Emperor Ferdinand the second. 1 They were probably the same 
 company, but we have not been able to ascertain any particulars respecting them. 
 
 In the summer of 1617 we again meet with a company of our friends at Dresden, 
 where they must have already been engaged for a considerable time in the regular service 
 of the Elector, John George the first, for on the 16th of August, 1617, Hans George von 
 Osterhausen, the Marshal to the Court, reports to the Elector, that the actors have been 
 very urgent in their entreaties for a leave of absence, which, in his opinion, it were as 
 well now to grant them, "partly because they have themselves requested it, and partly 
 because if they remain here longer, the expence of their maintenance and other things will 
 be considerable." At the same time he asks for instructions as to how much he is to pay them 
 by way of settlement. The Elector answers, under the date of Honstein, Aug. 17. "In as 
 much as the ladies do not desire that they should play any longer before them," the 
 Marshal "may institute a search in the Exchequer, how much in the year 1609 (see p. Ixxxiii), 
 and since then during our present reign at different times, has been given to such persons." 
 The result is to be communicated to the Electress Dowager, and her opinion on the sub- 
 ject is to be heard, after which the Marshal is to make such a settlement with the actors 
 "that they shall have no ground for complaint." The Marshal answers under the date of 
 Dresden, August 19, that the Electress has fixed the sum at 300 thalers, which has ac- 
 cordingly been paid them. "Besides this, what they had consumed at their landlord's, be- 
 fore they had been supplied with their meals at Court, and whatever else they had required 
 and used in the way of rooms, closets, and beds, amounted to 120 florins, which is also 
 paid by the treasury." 2 
 
 Thus the new dramatic art had made its way through the whole of Germany, and 
 it is not surprising that now Germans also devoted themselves to the profession, entered 
 into connection with the foreign actors, and formed independent strolling companies. The 
 foreigners had now to support the competition of the natives; the latter had made them- 
 selves masters of the dramatic subjects which had been introduced by the former. Then 
 there was the unspeakable misery occasioned by the war, then just commencing, which was 
 destined to devastate all Germany for thirty long years. All these circumstances must have 
 contributed to check the stream of emigrating English actors, and although we often meet 
 with strolling companies under the name of "English Comedians," even till late in the cen- 
 tury, we must assume that in many cases only a minority of the members, frequently in- 
 deed only the managers, were Englishmen, and in many others, that only the name was pre- 
 1 served as b'eing an attractive advertisement. The question that has been often suggested, 
 whether it is conceivable that plays were performed in Germany at that time in the English 
 language, will engage our attention at a future page. It is sufficient to remark at present, 
 that as we have already seen in the course of our narrative, Germans, and perhaps Dutch- 
 
 1 See K. Weifs, Die Wiener Haupt- und Staatsactionen. 8vo. Wien 1854, p. 37. 
 
 2 M. Fiirstenau, Zur Geschichte etc. p. 77. 
 
XCVI SHAKESPEARE IN GERMANY. 
 
 men also joined the English actors, that the latter only employed the English language, 
 when they had found no native colleagues, and then only at first, for as many English 
 actors remained a great many years in Germany, there is nothing extravagant in the as- 
 sumption that they gradually made themselves acquainted with the German language. 
 
 The theatre had already begun to be felt as a general necessity, and although the 
 interest in it had somewhat languished during the war, enough had been done to enable 
 the actor's art to maintain its ground in spite of all storms. But it could not attain any 
 fuller development. This could only have been accomplished by permanent stages, the 
 erection of which was of course prevented by the fury of war; and dramatic art, in which 
 the national element was only just beginning to manifest itself, might consider itself fortunate 
 that its young blossoms were not entirely trodden to death. We will now give a brief 
 summary of all that we further know respecting those companies which appeared under 
 the denomination of English Comedians. 
 
 Two curious broadsides, the one of the year 1621, the other without a date have 
 come into our hands, undoubtedly referring to a company of English Comedians which had 
 been staying in the neighbourhood of Prague and replete with political allusions to the Bohe- 
 
 mian troubles. We cannot arrive at any further conclusions from these obscure documents, 
 a description of which we subjoin below. 1 The succeeding seven years form a gap in the 
 annals of the English Comedians. Whether they actually disappeared from Germany, or whether 
 it is purely accidental that we possess no information respecting their movements during 
 this period, is a question which we cannot decide. It is certain, however, that even during 
 these seven years, members of the London stage repaired to the Continent to escape from 
 \ their painful situation at home. This is distinctly proved by a passage in a tract published 
 
 .in 1625, entitled, 'The Run-away's answer', in which some players and other persons de- 
 fended themselves against the reproaches, which Thomas Dekker in his pamphlet, 'A Rod 
 for Run-away s', had hurled against all those persons who had fled from London for fear 
 of the plague. "We can be bankrupts (say the players) on this side and gentlemen of a 
 company, beyond the sea : we burst at London, and are pieced up at Rotterdam." 2 It may 
 be conjectured therefore, that the actors who emigrated at that time, generally made Hol- 
 
 1 1) Englischer Bickelhering,jetzo ein vornehmer Eysenhdndeler \ mit Axt, Beyl, Barten gen Prage jubilierende 
 Anno | Jetzt Jetzt zV haVen sJe seJne TaffeLn Mit BelL VnD Barten. Phal. 47. . 6. (1621.) Begins: In einem 
 Buch auff einem Blat \ Steht: Varietas delectat \ Das heist soviel als: bleiben nicht \ Was man gewesen macht 
 lustig | etc. Ends.: Adeich muss gehri lauffen flugs \ Ehe dann ich diese Mefs verseum \ Glock drey mu/s ich zu Prage seyn. ] 
 fol. "With an engraving between the title and the text. I have seen another impression of the same broadside, 
 with the initials "Schl." at the end. 2) Engelandischer Bickelhdring, welcher jetzund als ein vor- \ nemer Handler 
 vnd Jubilirer, mit allerley Judenspiefsen nach FrancJcfort \ in die Mefs zeucht. \ Begins: Ejn alt Spriichwort, besser 
 verdorbn \ Sey zehen mal, dann eins gestorbn \ etc. Ends: Jhr seyt fur mich, ich bin fur euch Jch ho/, ich woll bald 
 werden reich, \ Vnd euch die Spiefs nicht mehr zutragn, \ Sondern auff einem starcken Wagn, \ Euch Spiefs zufiihrn 
 mit solcher meng, \ Defs d Welt mufs werden drob zu eng. \ 
 fol. "With an engraving at the top. 
 
 * See J. P. Collier's Memoirs of the principal actors in the plays of Shakespeare. Printed for the Shake- 
 speare Society. 8vo. London 1846, p. 142. 
 
SHAKESPEARE IN GERMANY. XCVII 
 
 land the goal of their travels, and perhaps this choice was partly owing to the presence 
 there of King Frederick of Bohemia, previously Frederick the fifth, Prince Palatine, who 
 had fled to Holland in 1621. When the Prince Palatine married the Princess Elisabeth, 
 the eldest daughter of James the first, he remained a considerable time in England, and at 
 the nuptial festivities Prince Henry's players had often acted before him at Whitehall, on 
 which occasion, among other pieces, Shakespeare's 'Much Ado about Nothing', 'The 
 Tempest', 'The Winter's Tale', 'Othello', and 'Julius Caesar' were performed. After the death of 
 Prince Henry in 1612, his players entered the service of the Prince Palatine, a proof that 
 he was in some way connected with the theatre. 
 
 In the years 1626 27, the theatre at the court of Dresden displayed an unusual 
 amount of life and activity, and we know the pieces day by day which were performed 
 by actors, who called themselves English Comedians. We shall return to these records 
 in our next chapter. It will be sufficient to remark here, that the list of plays, 
 which we probably possess quite complete, comprises almost exclusively wellknown 
 English plays, and among them four of Shakespeare's tragedies. The actors accom- 
 panied the Elector to Torgau, where, on the 1st of April, 1627, the marriage was cele- 
 brated between the Princess Sophia and the Landgrave George of Hesse -Darmstadt. They 
 were dismissed on the 6th of May. At Torgau the actors were lodged in private houses, 
 and we learn their names from a list of their quarters, but unfortunately in most cases 
 only their Christian names. 
 
 "Robertt: Pickelheringk mit zwei Jungen. (Pickelhering with two boys.) Jacob der 
 Hesse. (James the Hessian.) Johann Eydtwartt. Aaron der Danzer. (Aaron the dancer.) 
 Thomas die Jungfraw. (Thomas the maiden.) Johann. Wilhelm der Kleiderverwahrer. 
 (William the keeper of the wardrobe.) Der Engelender. (The Englishman.) Der Rothkopff. 
 (The red-haired.) Vier Jungen. (Four boys.)" 
 
 The Englishman was probably the manager of the company; all the others may have 
 been Germans. Moreover a German company, one of the oldest, under the management 
 of a certain Treu, who visited Berlin repeatedly in the years 1622 25, is stated to have 
 played at Torgau on this occasion; and the first German opera, Daphne, composed by the 
 celebrated Henry Schutz, was also performed. 1 The next notices respecting dramatic per- 
 formances at the Saxon Court refer to the years 1630 36, but it does not appear whether 
 English actors took any part in them. In the beginning of 1630, among other things, 
 mention is made of a tragi-comedy, 'Isabella, Kcenigin von Klein-Britannien' ('Isabella, Queen 
 of Little Britain/) 2 
 
 The actors who were dismissed from Torgau in 1627 may perhaps have gone the 
 
 1 M. Fiirstenau, Zur Geschichte etc. p. 100. Amongst the Musicians of the Elector there were several 
 Englishmen, one of whom, John Price, deserves special notice. He was one of the most celebrated flute-players 
 of his time. See Mersenne, Harmonie universelle. fol. Paris 1636. He was appointed Musician to the Elector 
 on the 23d of April 1629, with a salary of 300 thalers a year. A dancer, George Bentley, is mentioned at the 
 same court in 1652, and an Instrumentalist, John Dixon, in 1663. 
 
 8 M. Fiirstenau, Zur Geschichte etc. p. 101. 
 
 N 
 
XCVIII SHAKESPEARE IN GERMANY. 
 
 following year to Nuremberg, where we meet with English Comedians in 1628. In April 
 they acted a piece entitled 'Der Liebe Siifsigkeit verendert sich in Todes Bitterkeit' 
 (Love's sweetness turned into Death's bitterness). We learn this from a very curious 
 broadside, a sort of play- bill, which is preserved in the town-library of Nuremberg. As 
 it is the only document of the kind with which we are acquainted, we give a facsimile 
 of it. (See Plate ii.) We learn from it the manner in which the actors made known their 
 arrival in foreign towns. What piece it is, that was designated by the above name, is more 
 than we have been able to discover. The title would suit 'Romeo and Juliet' remarkably 
 well. 1 The same or some other company of English Comedians appeared at Nuremberg in July 
 1628, and applied for permission to play for a few days. They wished to take three "batzen" 
 the price of admission for each person, but on the second day the Council reduced it to 
 six creutzers, of which they only received the half. They were allowed to play Tuesdays, 
 Wednesdays, and Thursdays, for two weeks in succession, but not till after vespers on such 
 days as might be feast-days. After the expiration of this time, they repeatedly begged for 
 a prolongation of their licence, alleging that they had bought a great many things, and 
 had spent all their money, but they were refused. Several German companies made a 
 similar application before the end of the year, and with a similar result.' 2 
 
 In April 1629 we again meet with a company of English Comedians at the Hague. 
 The Magistrates, as on the former occasion, grant them permission to play at the fair, for 
 which they have to pay 30 florins to the Orphan Asylum. On the 23rd of May, and again 
 on the 24th of December of the same year, the permission is renewed, and at the same 
 time the "Tennis-court" in the present Hoflaan is assigned to their use. 3 
 
 An interruption of ten years occurs here in our information respecting the English 
 Comedians, and indeed it would appear that the war, which had now extended itself over all 
 Germany, prevented the companies from visiting that country. The evidence of a contem- 
 porary is to this effect: 
 
 "Diesen Monsieur Pickelhaering haben die Englandischen erstmalen in Deutschland eingefuhret, 
 da es noch in guten Wohlstand war, und jedermann gerne mit Comoedien und anderen Aufziigen sich 
 belustiget, welches nicht mehr viel geschehen wird."4 
 
 TRANSLATION. 
 
 This Monsieur Pickelhaering was first introduced into Germany by the English while it was 
 still in a state of prosperity, and everybody liked to amuse himself with comedies and other repre- 
 sentations, which is now no longer the case. 
 
 Towards the end of 1639, English Comedians are again mentioned in the Koenigs- 
 
 1 The above mentioned Broadside has been first made known by Mr. F. E. Hysel, in his valiuible work, 
 Das Theater in Niirnberg von 1612 bis 1863. 8vo. Niirnberg 1864. Mr. Hysel kindly sent me the facsimile which 
 accompanies the present work. 
 
 2 F. L. v. Soden, Kriegs- und Sittengeschichte der Beichsstadt Niirnberg vom Ende des 16ten Jahrhunderts 
 bis zur Schlacht bei Breitenfeld, 7. 17. Sept. 1631. Zweiter Theil. 8vo. Erlangen 1861. 
 
 3 L. Ph. C. van der Bergh, ' Gravenhaag sche Byzonderheden, p. 21. 
 
 4 Illuminirter Reichs vnd Welt- Spiegel. 4to. s. 1. 1631. 
 
SHAKESPEARE IN GERMANY. XCIX 
 
 berg accounts, for a sum of 150 thalers. They and their trumpeters were conveyed by 
 water in two boats to the Electoral Palace at Brandenburg. 1 In the year 1643, English 
 Comedians were at Osnabrilck, at the time of the Congress for the negociations between 
 Austria and Sweden. On their leaving the place, the Town-Council gave them a testimonial 
 to the effect that they had acted their Tragedies, Comedies, and Pastorals to the satisfaction 
 of those who had witnessed them.' 2 
 
 From November 1644 till about February 1645, there was a company at the Hague. 
 One of the documents in an action brought by a certain Vincent Wodroff, an English shoe- 
 maker ('Engelsch Schoenlapper') against the members of the company is still extant. It 
 has never been published before, and though the greater part of it does not bear on our 
 present subject, we subjoin it below. 3 Five of the company are mentioned in it by name: 
 Jeremias Kite, William Coeck [Cook], Thomas Loffday [Loveday], Edward Schottuel [Scott- 
 well], and Nathan Peet [Pate]. 
 
 1 E. A. Hagen, GescMchte etc. p. 60. 
 
 2 Vehse, GescMchte der geistlichen Hofe. Vol. iii, p. 102. 
 
 3 Extract wit het Register der Dingtalen van den Hove van Holland, van den 30 en January 1645 tot den 
 laatsten Maart daaraanvolgende. C. Rollant, Griffier. 
 
 "Vincent "Wodroff contra d'Engelsche Commedianten. 
 
 Op ten dach van huyden compareerde voor den Hove van Hollandt Maerten Deym, als procureur van 
 Vincent Wodroff, Engels schoenlapper alhier in den Haghe, requirant, ende exhibeerde den voorseiden Hove 
 zeeckere obligatie by Jeremias Kite, William Coeck, Thomas Loffday ende Eduart Schottuel, alle Engelsche com- 
 medianten, tsamen ende elcx int bijsonder onder behoorlijcke renunchiatie gerequireerden op den vi en deser maent 
 January voor Notaris ende getuygen gepasseert, versoeckende daerop condemnatie; waerop Gerrit Vinck als 
 procureur van de gerequireerdens verclaerde volgende zyne speciale procuratie in de voorseide obligatie geex- 
 presseert dat hy int voorseide versoeck consenteerde. Gehoort welck versoeck ende consent ende gesien dezelve 
 obligatie alhier geinsereert. 
 
 Op huyden den vi en dach der maent van Januario 1645, compareerden voor my Ferdinande Molckman 
 openbaer notaris by den Hove van Hollant, geadmitteert, in 's Gravenhaghe residerende, ende voor de getuygen 
 naergenoemt, Jeremias Kite, William Coeck, Thomas Lofday ende Eduard Schottuel, alle Engelsche commedianten, 
 ende becenden tsamen ende elcx van hen int by sonder wel ende deuchdelyck schuldich te wesen aen Vincent 
 Wodroff, Engelsch schoenlapper alhier en den Haghe woonachtich, de somme van drie hondert twee Karoli gul- 
 dens drie stuyvers, spruytende ter zaecke van verteerde montcosten, camerhuur, ende andere nootelycke behoeften 
 by hen commedianten, met henluyden medegesellen, als Nathan Peet met een jongen off zynen soon ende hen 
 comparante daervoor zyluyden hen zyn sterck maeckende, daervan zyluyden d'een d'ander wel zullen weten te 
 vinden, alle genooten binnen den tyt van thien off elff weecken lestleeden ende metten anderen finalyck affge- 
 rekent van alles tot nu toe, dewelcke voorseide somme van IIP II guldens III stuyvers zyluyden commedianten 
 te zamen ende elcx van hen int bysonder aen den voorseiden Vincent Wodroff off den thoonder van desen zyn 
 actie hebbende beloven te betalen altyt t'zynen vermanen , onder tverbant van hen evendieps toebehoorende 
 commediants kleederen alles met den aenkleven van dien niet uytgesondert ende voorts generalyck hunnen per- 
 soonen en goederen, roerende en onroerende, hebbende ende vercrygende, geen van dien uytgesondert, subjecte- 
 rende dezelve ende de keure vandien alle Heeren Hovenrechten ende Techteren, renunchierende ten desen eynde 
 van 't beneficie van der divisien ordinis excussionis, den borgen tot voordeel verleent, ende van alle andere be- 
 neficien, zoe de rechten dicteren dat de generale renunchiatie van geender waerden en zyn ten zy saecke dat de 
 speciale voorgaen. Ende tot meerder verseeckerheyt van tgeene voorseit is soo hebben zyluyden commedianten 
 tsamen ende elcx van hen int bysonder onwederroepelyck geconstitueert Cornelis Pieck, Gerrit Vinck ende Maerten 
 Deym, alle procureurs voor den voors. Hove van Hollant ende Hoogen Raede in Hollant te samen ende elcx 
 van hen int bysonder, omme henluyden commedianten te samen ende elcx van hen int bysonder inne den in- 
 
 N2 
 
C SHAKESPEARE IN GERMANY. 
 
 From the 14th to the 25th of July 1650, a company of 'Electoral Saxon Comedians' 
 played some English comedies in the Town-hall at Zittau. 1 
 
 On the 10th of November 1650, the Emperor Ferdinand the third published a letter 
 of safe conduct for a company of English Comedians, to the following effect: 
 
 "Wir Ferdinand der Dritte, von Gottes Gnaden etc. bekennen offentlich mit diesem Brieff und 
 thuen kund allermanniglich : demnach Uns Furweiser dieses, Wilhelmb Roe, Johann Waide, Gedeon 
 Gellius [Giles?], Robert Casse sambt ihren Mitconsorten engellandische Comoedianten, unterthanigst 
 zu vernehmben gegeben, wasmassen sie nunmehre eine ziembliclie Zeit hero an unterschiedlicher hoher 
 Potentaten Hofe, wie auch anderer Orten hin und wieder, allerley lustige Spiel vnd kurzweilige Co- 
 moedien offentlich exhibirt und gespielt haben, unterthaniges bitteud, dais Wir ihnen solche allhie in 
 Unserer Kaiserlichen Residenzstadt gleichfalls auf eine Zeit lang offentlich zu agiren gnadigste Erlaub- 
 nifs ertheilen wollten, und Wir uns darein (jedoch dass sie sich dabei aller Unehrbarkeiten, sowol in 
 Wort en als Actionen allerdings enthalten sollen) allergnadigst bewilliget: - - als habeu Uns sie darauf 
 ferneres gehorsambst angezeigt, wie dafs sie nunmehr von dannen abzureisen, und besagte ihrer Pro- 
 fession unterschiedlichen anderen Orten, sowohl in dem heiligen Romischen Reich, als andern Unsern 
 erblichen Kouigreichen, Furstenthumben und Landen zu uben und zu treiben Willens waren, und dero- 
 wegen Uns zu desto besserer und unverhinderlicherer Fortsetzung dieses ihres Vorhabens, umb Unser 
 allergnadigste Hilf. Frei- und Sicherheit allerunterthanigst gebeten. 
 
 Wann Wir dann gnadigst angesehen, solch ihr diemuthig gehorsambste Bitt, besonderlich aber 
 erwogen, dais sie die Zeit iiber, so Wir ihnen alhier in unserer Stadt Wien und dariiber auch in 
 unseren Kaiserlichen Hof selbsten, ihre Comodien zu spielen gnadigst bewilliget, sich darinnen also 
 verhalten dass Uns einige Klag wider Sie nicht vorkommen: als haben Wir mit wohlbedachtem Muth, 
 gutem Rath und rechtem Wissen ihneu obgenannten Comodianten diese Kaiserliche Gnad gethan und 
 Freiheit gegeben, dafs sie solche ihre vorhabende Profession aller Orten, sowohl in dem heil. Rom. 
 Reich, als auch anderen Unsereu Erbkonigreichen, Furstenthumben und Landen unverhindert Man- 
 niglichs exerciren, treiben und sich derselben gebrauchen mogen; ihnen auch vor Niemands, wer er 
 auch seye, Kein Eintrag, Irrung, oder Verhindernii's zugefiigt werden; jedoch dafs sie sich dabei aller 
 Ehrbarkeit befleissen, auch aller unziemblicher Reden und Actionen gewifslich enthalten sollen. 
 
 Gebieten hierauf alien und jedem Churfursten, Fiirsten, Geist- und W T eltlichen, Pralaten, Grafeu, 
 Freyen, Herren, Rittern, Knechten, Laudniarschallen, Landhauptleuten, Vicedonibeu, Burggrafen, Vogten, 
 Pflegern, Verwesern, Amtboten, Schultheifsen, Burgermeistern, Richtern, Riithen, Biirgern, Gemeinden, 
 und soust alien andern Unsern und des Reichs, desgleichen Unserer Erbkonigreich, Furstenthumben 
 und Landen, Unterthanen und Getreuen, was Wiirden, Stands und Wesens sie seynd, erustlich und 
 festiglich mit diesem Brief, und wollen: dafs sie mehrbenannte engellandische Comodianten -Com- 
 pagnia, sammt ihren Leuten, Pferden und Sachen nit allein aller Orten und Enden, zu Wasser und 
 
 houden van desen by den voorseiden Hove van Hollant ende Hoogen Raede in Hollant goetwillichlyk te laten 
 condemneren ende betalen alle de costen, dewelcke hieromme zulien werden gedaen, gelyck te samen ende elcx 
 van hen int bysonder nu en t'allen dagen van waerden te houden alle tgeene by heur voorseide Procureurs te 
 zamen ende elcx van hen int bysonder hierinne gedaen ende gevordert zal werden, onder tverbant ende renun- 
 chiatie als hiervooren verhaelt, alles zonder bedroch. Aldus gedaen ende gepasseert ter presentie van Lambert 
 Pieters van Outheusden, biersteecker ende Salomon de Paris, Engelscoopman, woonende alhier in den Haghe, 
 als getuygen, die de minute van desen, beneffens de voorseide commedianten hebben ondertheyckent. Onder stont 
 Quod attestor ende was ondertheyckent Ferd. Molckeman, Notaris publicus. 
 
 Heeft tvoorseide Hoff de voornoemde gerequireerdens gecondemneert ende condemnee.rt henluyden mits 
 desen omme de voorseide obligatie te volcomen ende achtervolgen naer hare forme ende inhoudeii. Actum den 
 xi en January 1645. Present, Francken ende Kinschot." 
 
 ' Pescheck, Geschichte von Zittau. 8vo. Vol. ii, p. 348. 
 
SHAKESPEARE IN GERMANY. CI 
 
 zu Land frei, sicher und unverhindert durchkomben, passiren und repassiren, ihnen auch in alien 
 Vorfallenheiten, wo es vonnothen, geziembenden Vorschub leisten und alien geneigten befordersamben 
 Willen erwaisen, sondern auch sie bei dieser Unserer ihnen ertheilten Gnad Freiheit und Verwilligung 
 ruing verbleiben, deren aller Orten frei und ungehindert geniesseu, gebrauchen lassen, darwider mil 
 beschweren, noch defs jemands Andern zu thim gestatteten in kein Weis noch weg, das meynen Wir 
 ernstlich. 
 
 Mil Urkund dies Briefs besiegelt mit Unserem anhangenden Insiegel, der geben ist in Unserer 
 
 Stadt Wien den zehenten Monatstag Novembris nach Christi Geburt im 1650sten, Unserer Reiche 
 
 des Romischen im vierzehnten etc., des hungarischen im fiinf und zwanzigsten, und des bohomischen 
 im drei und zwanzigsten Jahre. 
 
 (gez.) Itymlinantl. 
 
 (X* SO: 1 :;..'. 
 
 TRANSLATION. 
 
 We Ferdinand the third, by the Grace of God etc. publicly declare and make known to all 
 men by these presents: After the bearers of these, William Roe, John Waide, Gideon Gellius [Giles?], 
 Robert Casse and their companions, being English Comedians, had most humbly given us to under- 
 stand how that they for a considerable time past had publicly exhibited and acted all sorts of amusing 
 plays and entertaining comedies at the Courts of various high potentates, as also at other places, 
 humbly beseeching that we would likewise grant them our gracious permission publicly to act such 
 things for a certain time in our Imperial residence, and we graciously granted them the said permission, 
 (yet only so that they should entirely refrain thereby from all improprieties as well in their words as 
 in their actions) whereas they have now further humbly announced to us, that they are desirous of 
 leaving this place and of practising and exercising their said profession in various other places, as 
 well in the holy Roman Empire as in our hereditary Kingdoms, Principalities, and countries, and to 
 this behoof for the better and freer prosecution of this their intention, have humbly begged our aid, 
 permission, and protection. 
 
 Graciously regarding this their humble and respectful petition, but more especially taking into 
 consideration, that all the time in which we have graciously permitted them to act their comedies here 
 in our city of Vienna, and yet more, in our Imperial Court itself, they have comported themselves in 
 such manner that no complaints have been made against them; We, with due consideration, good 
 counsel, and right knowledge, have shewn them this Imperial grace, and given them licence, that they 
 may without hindrance publicly exercise, carry on, and use this their intended profession in all places, 
 as well in the Holy Roman Empire as also in our hereditary Kingdoms, Principalities, and coun- 
 tries, and that they suffer no damage intended or otherwise or impediment, nevertheless so that they 
 behave themselves quite honorably therein, and surely abstain from all unseemly speeches and words. 
 
 Hereupon we order all and every, the Electors, Princes, spiritual and secular, Prelates, Counts, 
 Barons, Lords, Knights, Squires, Landmarshals, Captains general, Vicegerents, Burgraves, Prefects, 
 Wardens, Administrators, Stewards, Bailiffs, Burgomasters, Judges, Counsellors, Citizens, Commonal- 
 ties, and all other lieges and subjects of ourselves and of the Empire, as also of our hereditary King- 
 dom, Principalities and lands, of whatsoever dignity, rank, or character they may be, seriously and 
 solemnly by this letter, and decree: that they not only allow the often-mentioned company of English 
 Comedians, together with their people, horses, and effects to pass and repass at all places, by water 
 
 1 As we do not possess a literal transcript of this document, we are obliged to print it from a text 
 published by Mr. J. M. Schottky in Unterhaltungen fur das Theater - Publikum, herausgegeben von Aug. Lewald. 
 8vo. Miinchen 1833, p. 135, where the orthography is modernised. See also Der Freimiithige. (A Periodical.) 
 Berlin 1833, No. 144. 
 
CII SHAKESPEARE IN GERMANY. 
 
 and by land, freely, safely, and without hindrance, and in all emergencies where it may be necessary, 
 afford them all convenient aid, and render them all assistance and good will, but also allow them quietly 
 to enjoy this grace, freedom, and permission granted to them and to use the same at all places freely 
 and without hindrance, nor complain against the same, nor allow others to do so in any manner or 
 wise: this is our serious will. 
 
 In Witness of this letter, sealed with our seal attached thereto, given in our City of Vienna 
 the tenth day of the month of November in the sixteen-hundred and fiftieth year after the birth of 
 Christ, in the year of our sovereignty, the fourteenth of the Roman Empire, the twenty-fifth of the 
 Kingdom of Hungary, and the twenty-third of the Kingdom of Bohemia. 
 
 (signed) Ferdinand. 
 . V ;/i :J (L. S.) 
 
 ":,''.'. -This ^Gbftrpdny was at Prague the following year, and, in a memorial addressed to 
 the Royal Statholder and dated the 15th of December 1651. complained: "That at the 
 lately issued gracious prohibition of your Most Noble Excellency and Grace they have 
 ceased to act, and in as much as the maintenance of the company costs a great deal they 
 have incurred no small expense, thus besides this, a great part of their clothes and pro- 
 perty had been previously stolen and lost." In order to be able to bear these misfortunes 
 more easily, the travelling artists beg to be allowed to play also the next four days of 
 Advent, and declare in conclusion, that formerly at Vienna, they had "exercised their pro- 
 fession" even during Lent, before Cardinal von Dietrich stein and the Archduke Leopold of 
 Austria. A few days later, after their request had been granted, they apply for permission 
 to exhibit their performances and to act for three weeks longer after the next Christmas 
 holidays, alleging their approaching departure for Vienna as a reason for their request, 
 remarking by the way, "in consideration that two masters among our company are devoted 
 to the Roman Catholic religion, and that we in other respects also use all decency both 
 in words and actions." 
 
 On the 21st of July 1652, a certain John Bosslin or Gosslin of 'Basle advised that 
 permission should be given to the English players "to act their comedies." The request 
 was granted for fourteen days, but only on condition that they did not take more than 
 two shillings for admission from each person. Upon this, on the 18th of August, the 
 company offered in honour of their gracious masters "to hold a curious comedy, if they 
 were only informed of the day and the time." The Council agreed, fixed the following 
 day at three o'clock for the commencement of the play, left it to their chief officers to 
 award such "gratuity" to the company of actors as they might deem proper, and further, 
 granted the company permission to perform comedies for one week, but nothing objec- 
 tionable. 
 
 Encouraged by these first performances in Basle, Joris Jolifus "English and Roman 
 Imperial Comedian" sent an application from Strasburg to the Council of Basle in the be- 
 ginning of 1654, with the tempting assurance "that with his well-practised company, not 
 only by means of good instructive stories, but also with repeated changes of expensive 
 costumes, and a theatre decorated in the Italian manner, with beautiful English music and 
 
SHAKESPEARE IN GERMANY. GUI 
 
 skilful ("rechten") 1 women" lie would give universal satisfaction to the lovers of plays. 
 In spite of all these fine promises, the request was refused. 
 
 The English actors could never obtain permission to perform in Zurich. The pro- 
 tocol of the Council says "they were simply refused permission". Texts from the Scrip- 
 tures, passages from the Fathers and modern instances were cited against this love of play- 
 going, and it was proved that sometimes on days when plays had been performed, thun- 
 derstorms had arisen when the sky was clear and had destroyed both buildings and fruit, 
 fires had broken out and could hardly be extinguished, and persons who had played the 
 devil had never been happy afterwards. 2 
 
 The above-mentioned Joris Jolifus is undoubtedly the same person, who under the 
 name of George Jeliphur, English comedian, received 15 florins in Vienna on the 15th of 
 May 1653 "for acting a comedy with his colleagues before their Majesties". 3 
 
 At Windsheim on the Maine, on the 9th of March 1656, "the tragedy of Charles 
 Stuart the English King, how he was taken prisoner by his parliament, condemned, and at 
 last beheaded by the axe", was played "by English comedians". 4 In the course of the 
 same year, some English Comedians came to Dordrecht in Holland. 5 
 
 In 1659, a certain Joseph Jori appears at Vienna, who calls himself an "English 
 and Heidelberg comedian", and offers with his company to represent "such notable comedies 
 and tragedies as that the like had never been seen in Germany before, or ever acted by 
 others". The Council reports on his petition to the government, and is of opinion that 
 "although one cannot derive any good from such comedies, but, as is well known, idleness 
 and scandal of all sorts are only increased by them, moreover money, which any how is 
 very scarce at present, is taken out of the country, we leave it to Your Grace's pleasure 
 to decide whether Your Grace will advise His Imperial Majesty, that the petitioner may 
 perhaps be allowed to practise his performances next yean during the Carnival, or whether 
 the same shall be dismissed altogether". 6 
 
 From the llth of April 1660, the English comedians play again in Zittau, and in- 
 deed four times with the most clamorous applause. 7 
 
 As late as 1683, Grimmelshausen, the author of the celebrated 'Simplicissimus' makes 
 mention of the English players in his 'Wonderful Birdsnest'. "At that time, a company of 
 English actors had arrived in the town, who wanted to return home from thence, and were 
 only waiting for a fair wind in order to sail. I obtained from them a terrible devil's mask etc." 8 
 
 1 This is one of the earliest notices of women performing on the German stage. 
 
 2 Anzeiger fur Kunde der deutschen Vorzeit. 1855, p. 231. An article by Meyer von Knonau. From the 
 Municipal Minutes of the city of .Basle. 
 
 3 Karl Weifs, Die Wiener Haupt- und Staatsactionen, p. 36. 
 
 4 Arcliiv fur Geschichte und Alterthumskunde des Obermainkreises. Vol. i, part 1. 8vo. Bayreuth 1831. 
 From a Ms. chronicle of the city of Windsheim. 
 
 3 Navorscher, Deel iii, p. 17. 
 
 6 Schlager, Wiener Skizzen aus dem Mittelalter. Neue Folge. 8vo. Wien 1839, p. 252. 
 
 7 Pescheck, Geschichte von Zittau. Vol. ii, p. 348. 
 
 8 (H. J. Christ, v. Grimmelshausen), Des wunderbarlichen ... Vpgel-Nestes fernere Fortsetzang [Anderer 
 
CIV SHAKESPEARE IN GERMANY. 
 
 Similar notices occur at this time and even later, but possess comparatively little 
 interest for us, as the designation of the companies and the pieces they performed as 
 English is only a reminiscence, and can no longer be referred with certainty to any real 
 English origin. It is indeed, a remarkable fact, and a proof how deeply the English Theatre 
 had taken root among the people, that in order to obtain from them a welcome reception, 
 it was considered necessary to retain such designations at that period of deep humiliation 
 for Germany after the Peace of Westphalia, when the French disregard of nature, which 
 had corrupted German 'morals and manners, had also taken possession of the stage. 
 
 CHAPTER V. 
 
 We have not as yet been able to make more than a mere occasional mention of 
 the acting stock of the English Comedians; it is now time however that we should speak 
 more at length of the pieces by which the transformation of the German stage was effected. 
 Hans Sachs had already adopted an English subject for one of his best pieces; at a later pe- 
 riod Henry Julius and Jacob Ayrer wrote almost exclusively after English models, which had 
 been brought them by the English players ; and at the Courts of Cassel, Dresden and Berlin we 
 have seen English taste exercising a preponderating influence, and subjects taken from English 
 history represented on the stage. With the increasing number of English companies which 
 occurred in the beginning of the seventeenth century, English subjects began to prevail upon 
 the German stage, and a number of these pieces has been transmitted to us by means of a 
 collection of 'English comedies and tragedies' printed in 1620, and professing to be the 
 acting library of the English Comedians. But however important this collection may be as a 
 speaking evidence of the influence of the English actors in effecting a transformation of the 
 German stage, it cannot convey to us any conception of the dramatic, art of the actors 
 themselves. It is rather an evidence of the manner in which English subjects at that time 
 were remodelled under German hands; and even in this respect its evidence is only of 
 limited importance. For we have to do here with the adaptations of uneducated specula- 
 tors, whose object was to spoil the market for the English, and to appropriate their sub- 
 jects for the benefit of German companies, who had begun to compete with the English 
 at an early period. It is impossible to imagine for a moment that the English actors them- 
 selves made this collection, as has often been asserted. This supposition is principally 
 based on a false interpretation of the concluding passage of the preface, which is as follo\Ys: 
 
 "As then in our times the English Comedians, partly by their pretty inventions, 
 partly by the gracefulness of their gestures, often also by their elegance in speaking, obtain 
 great praise from persons both of high and low condition, and thus active clever minds 
 take a delight in and a fancy for such inventions, to exercise themselves therein, therefore 
 
 Theil]. 8vo. s. 1. Gedruckt Im Jahr 1683, p. 579. See also the same work in A. v. Keller's edition of Grim- 
 melshausen's Simj)Ucissimus, Vol. iv. 8vo. Stuttgart 1862, p. 654. 
 
SHAKESPEARE IN GERMANY. CV 
 
 have we been desirous to gratify them in this matter, and to print and publish these co- 
 medies and tragedies for their benefit; and as we shall perceive that they are agreeable 
 and acceptable to them, more of the same shall soon follow them. In the mean time we 
 hope they may be willing to make good and profitable use of these, and be contented 
 with them." 1 
 
 The sentence "therefore have we been desirous to gratify them &c" has been referred 
 to the actors, but both this sentence and all that follows refer to the "minds" which take 
 a delight in such "inventions," which, strictly considered, involves a confession of piracy. 
 It is almost impossible that the foreigners should ever have thought of publishing these 
 pieces to satisfy the curiosity of the public, when that very curiosity was precisely the 
 most powerful feeling which attracted the public to their performances. There is moreover 
 abundant internal evidence to shew that these pieces are not an authentic text, but have 
 been merely taken down in a hurry from the mouths of actors. In many places the dia- 
 logue breaks off abruptly with an '&c.', without the sentence coming to an end, or its mean- 
 ing being clear, a striking proof that the writer either did not catch the conclusion, 
 or did not understand it. Sometimes also there is a confusion among the characters, as 
 for instance in 'Titus Andronicus', which is a strong argument in favour of our view. We 
 possess therefore in this collection nothing but the subjects of the pieces which had been 
 brought over by the English players, not the pieces themselves in the form in which they 
 were played. So far from it indeed, the pieces had been corrupted by rude hands to such 
 an extent, that hardly the mere skeleton was left, and it is not consistent therefore either 
 with justice or sound criticism to attempt to draw any conclusions from these pieces re- 
 specting the theatrical merits of the English Comedians. If we allow that the English brought 
 these pieces to Germany, as indeed we must, why should they have put them on the stage 
 in such a cruelly mutilated state? Or are we perhaps to form such a very low estimate 
 of the German spectators at the courts and elsewhere, as to assume that the actors were 
 obliged to banish all poetry from their plays, in order to adopt them to the intellect of 
 their audience? But even if we would place the intellectual level of the educated classes 
 of those times so very low, which we have no reason to do, - - we should still have 
 to seek elsewhere for an explanation of the manner in which these pieces have been 
 treated; for the actors might always have felt quite sure of exciting a sufficient 
 interest in their audience by the purely external incidents, by what we call plot and action, 
 and need never have taken the trouble of recasting their pieces in another form. If, again, 
 
 1 The German Text of the passage runs as follows: "Wann dann zu vnsern Zeiten die Englischen Co- 
 
 inoedianten, theils wegen artiger Invention, theils wegen Anmuthigkeit jhrer Geberden, auch offters Zierligkeit im 
 
 Reden bey hohen vnd Niederstands Personen mit grosses Lob erlangen, vnd dardurch viel hurtige vnd wackere 
 
 Ingenia zu dergleichen inventionen lust vnd beliebung haben, sich darin zu iiben, Also hat man jhnen hierinnen 
 
 willfahren, vnd diese Comoedien vnd Tragedien jhnen zum besten in offentlichen Druck geben wollen, da man 
 
 nun vermercken wird, dafs sie jhnen lieb vnd angenehmb, sollen derselben bald inehr darauff folgen, vnter dessen 
 
 ? wollen sie diese niitzlich vnd wol gebrauchen, vnd jhnen gefallen lassen." 
 
 O 
 
CVI SHAKESPEARE IN GERMANY. 
 
 we assume that the collection altogether does not contain the pieces which the English 
 Comedians had acted, and that the title and preface, which assert this, were only put out 
 as a bait, the recasting of these English subjects would still only have been possible on 
 the supposition that the editors had the printed English pieces before them, and then 
 this corruption and mutilation are quite inexplicable. There remains therefore no other 
 alternative than that at which we have hinted above: illiterate scribes wrote down from 
 memory what they had heard from the actors; the skeleton of the outward incidents which 
 had remained in their memory was then filled up with a dialogue of their own compo- 
 sition, and in this manner pieces were fabricated, which contained nothing more of the 
 originals than the mere outline. 
 
 A direct proof of the correctness of this view is to be found in the fact, that in 
 almost all these pieces certain stereotype phrases are constantly recurring, indeed whole 
 scenes have been transferred from one piece to another. Some of the jokes and tricks of 
 the clown are repeated in the comic scenes of the different pieces. The clumsy hand of 
 these workmen has moreover quite obliterated all traces of higher art in the dramatic 
 treatment, in which the worst English pieces of that period far surpassed the best German 
 ones, and has brought these pieces down to the level of the contemporary German pro- 
 ductions. Their want of skill appears most strongly, in their utter ignorance of dramatic 
 combination. There is no inward connection among the parts; we see a succession of 
 moving incidents, adventures of all sorts, intended to excite the interest of the spectators, 
 to gratify their curiosity and their love of spectacle, or to tickle their risible muscles, but 
 all these incidents are merely placed side by side without any internal unity, and it is left 
 to the spectator to form his own picture of what is going on in the minds of the persons 
 concerned. The latter always appear in the climax of some affection, either 4 joy or pain, 
 anger or despair. The language has its ever-recurring stereotyped forms. The characters 
 say: "Now will I do this," and afterwards "Now I have done that." The real dramatic 
 action, even when brought with all its details before the eyes of the spectators, as for 
 instance, the throat -cutting business in Titus Andronicus, must also be spoken of as hav- 
 ing been done; the drama could never entirely emancipate itself from the form of nar- 
 rative. 1 It is impossible that the English actors, who must have been acquainted with the 
 stage of their native country, could ever have acted in that way. But that illiterate Ger- 
 mans, such as the editors of the 'English Comedies and Tragedies', should have ignored 
 all the deeper significance of these pieces, and should have attended only to the outward 
 incidents, cannot be regarded as anything extraordinary, when we consider the productions 
 of the German dramatic muse of that period. That the English actors offered something 
 better than what was so highly lauded in those collections as their property, appears at 
 once from the intellectual impulse which cultivated minds received from them. Valentin 
 Andreae, who wrote between the years 1602 and 1620, composed two Latin plays, in order, 
 
 1 See Ed. Devrient, Geschichte etc. Vol. i, p. 165. 
 
SHAKESPEARE IN GERMANY. CVII 
 
 as he himself says, to compete with the English Comedians. l A similar confession is made 
 by John Rhenanus, a physician who had travelled in England, and who since 1610 had 
 been in the service of the Landgrave Maurice of Cassel, to whom in 1613 he dedicated 
 a comedy entitled 'The battle of the senses'. He says in his preface, that among the 
 writers and performers of comedies of that time, the English maintained the first place 
 as regards both composition and action; that they understood how to use prose and verse 
 alternately, according to the nature of the subject, and that the actors were not ashamed 
 to receive instructions from the poets &c; that they (the Germans) should endeavour to 
 emulate them. He had now ventured to make this crude attempt, and begged Maurice's 
 judgment of it, which had more weight with him than a thousand others. 2 
 
 John Cam. Merck in the preface to his version of the Latin piece 'Beel', by Xystus 
 Betulius, which he had put into verse, also speaks of the English players in terms of 
 praise. He says that, to confess the truth, he was by no means dissatisfied with the man- 
 ner of the English actors, but that in his new version he had been anxious to follow the 
 old traditional custom rather than his own taste. 3 It is true, Gumpelsheimer, in his work 
 published in Strassburg in 1612, in which he recommends the academicians to frequent 
 the theatres on account of the very great advantage to be derived from them, does not 
 mention the English players by name, but it is clearly the English whom he means when 
 he says, that for invention and representation they surpass everything that had been seen 
 in Germany, up to that time. 4 We should undoubtedly find a great many similar favour- 
 able judgments respecting the performances of our strollers, if we were to ransack the 
 literature of the times for that purpose. 
 
 As the collection, in question possesses great interest with reference to our subject, 
 we shall now proceed to give a description of it. 
 
 Title: "Engelische Comedien vnd | Tragedien | Das ist: j Sehr Schone, | herrliche vnd 
 aufserlesene, I geist- vnd weltliche Comedi vnd | Tragedi Spiel, Sampt dem Pickelhering, 
 welche wegen jhrer artigen | Jnventionen, kurtzweilige auch theils | warhafftigen Gefchicht 
 halber, von den Engellandern j in Deutschland an Koniglichen, Chur- vnd Furft- lichen Hofen, 
 auch in vornehmen Reichs- See- vnd Handel Stadten feynd agiret vnd gehalten | worden, 
 vnd zuvor me im Druck aufs- | gangen. | An jetzo, | Allen der Comedi vnd Tragedi lieb- 
 
 1 The two Latin plays alluded to are 'Esther' and 'Hyacinthus'. See Joh. Val. Andrea Dichtungen. Svo. 
 Leipzig 1786, introd. p. xxxii, and also his autobiography: Selbstbiographie Joh. Val. Andrea, herausgegeben von 
 Seybold. Svo. Winterthur 1799. 
 
 * The comedy has never been printed. The MS. is in the Electoral Library at Cassel. See Chr. v. Rommel, 
 Geschichte von Hessen, Vol. vi, p. 497 98. 
 
 3 Beel. Eine Geistliche Comico-Tragoedia. Erstlich aus dem teutschen Exemplar Xysti Betuleii in die latei- 
 nische Sprach vertiert ... Nunmehr aber widerumb inn Teutsche Reimen vberlegt durch Joh. Cunr. Merckium. Svo. 
 rim 1615. 
 
 "Quantum plausibilem exactionem Germaniae nostrae imponant, usus testatur, monstrat experientia." 
 Gumpelsheimer's Gymnasma de exercitiis academicorum. Argentorati 1612. See E. A. Hagen, Geschichte etc. p. 44. 
 
 02 
 
CVIII SHAKESPEARE IN GERMANY. 
 
 habern, vnd Andern zu lieb vnd gefallen, der Gestalt | in offenen Druck gegeben, dafs fie 
 gar leicht daraofs | Spielweifs widerumb angerichtet, vnd zur Ergetzligkeit vnd | Erquickung 
 des Gemuths gehalten wer- | den konnen. | Gedruckt im Jahr M. DC. xx. | 384 leaves. 8vo. s. 1. 
 
 (English Comedies and Tragedies, i. e. Very fine, beautiful and select, spiritual and 
 worldly Comedy and Tragedy plays, with the clown, which on account of their fanciful 
 inventions, entertaining and partly true histories, have been acted and given by the English 
 in Germany at Royal, Electoral, and Princely courts, as well as in the principal Imperial- 
 Sea- and Commercial towns, never before printed, but now published to please all lovers 
 of Comedies and Tragedies, and others, and in such a manner as to be fit to be easily 
 acted for the delight and recreation of the mind). 
 
 Contents: 1. "Comoedia Von der Konigin Esther vnd hoffertigen Haman." Comedy 
 of Queen Esther and haughty Haman. 
 
 2. "Comedia. Von dem verlornen Sohn in welchen die Verzweiffelung vnd Hoff- 
 nung gar artig introducirt werden." Comedy of the Prodigal Son in which Despair and 
 Hope are cleverly introduced. 
 
 3. "Comoedia Von Fortunato vnd seinem Seckel vnd Wunschhutlein, Darinnen erst- 
 lich drey verstorbenen Seelen als Geister, darnach die Tugenden vnd Schande eingefiihret 
 werden." - Comedy of Fortunatus and his purse and wishing cap, in which appear first 
 three dead souls as spirits, and afterwards the virtues and shame. 
 
 4. "Eine schone luftige triumphirende Comoedia von eines Koniges Sohn aufs Engel- 
 landt vnd des Koniges Tochter aufs Schottlandt." A beautiful, merry, triumphant Comedy 
 of a King's son from England and the King's daughter from Scotland [Serule and Astrea]. 
 
 5. "Eine Kurtz weilige lustige Comoedia von Sidonia vnd Theagene." An enter- 
 taining, merry Comedy of Sidonia and Theagene. 
 
 6. "Eine schone luftige Comoedia von Jemand vnd Niemandt." A beautiful merry 
 Comedy of Somebody and Nobody. 
 
 7. "Tragaedia, Von Julio vnd Hyppolita." Tragedy of Julius and Hyppolita. 
 (See p. 113 156 of the present work). 
 
 8. "Eine sehr klagliche Tragaedia von Tito Andronico etc." (See p. 157 236 of the 
 present work). 
 
 9. "Ein luftig Pickelherings Spiel, von der schonen Maria vnd alten Hanrey."' A 
 merry jest with the clowns, of the beautiful Mary and the old cuckold. 
 
 10. "Ein ander lustig Pickelherings Spiel, darinnen er mit einem Stein gar lustige 
 Possen machet." Another merry jest with the clown, in which be makes merry pastime 
 with a stone. 
 
 "Nachfolgende Engelische Aufziige, konnen nach Belieben zwischen den Comoedien 
 agiret werden." The following English interludes may be acted at pleasure between 
 the Comedies (acts). All in verse, and most of them with musical notes. Five pieces 
 without titles; the following are the persons represented in each of them: 
 
 11. Wife, Husband, Pickelherring, Boy, Soldier. 12. Aliud. Pickelherring at Am- 
 
SHAKESPEARE IN GERMANY. CIX 
 
 sterdam, I have been. 13. The Blanket -washer. Husband, Wife, Neighbour. 14. 
 Wife, Pickelherring, Servant-maid, Magister, Student. 15. Nobleman, Pickelh erring, Wife, 
 Husband. 
 
 A second edition: "Zum Andern mal gedruckt vnd corrigirt. Gedruckt im Jahr 
 M. DC. xxiv." 8vo. - - Exactly the same contents. 
 
 No 1 of the first collection is a subject which had been very often treated on the 
 old English stage. In 1561 there appeared 'A newe Enterlude drawen oute of the holy 
 Scripture, of godly Queen Hester, very necessary, newly made and imprinted this present 
 Yere 1561, at London by Wyllyam Pickerynge and Thomas Hacket.' 1 This piece is partly 
 a biblical drama, partly a Morality; Vice is curiously enough represented by a jester, Hardy- 
 dardy. Different from this, and probably with more resemblance to our pieces is a piece 
 mentioned in Henslowe's Diary: 'Hester and Ahasuerus', which was acted by the Lord 
 Chamberlain's players on the 3rd of June 1594. Of these, as is well known, Shakespeare 
 was one. Again, an interlude was written in the seventeenth century, entitled 'Ahasuerus 
 and Esther.' It is ascribed to Robert Cox, and is to be found in Kirkman's 'Wits or Sport 
 upon Sport,' printed in 1672. 
 
 In the German piece, the clown is called Hans Knapkase. He has the same con- 
 test with his wife for the mastery as Jann Posset in Ayrer's 'Edward III.' He is a carpenter, 
 who builds the gallows for Haman, and hangs him upon it. "In this shadow" says Tieck 
 we may always recognize the dramatic poet who has stage-effects at his command, so that 
 the management and connection of the scenes betrays a very different spirit to the histo- 
 rical pieces of Hans Sachs, or those which Ayrer composed without any foreign model. 2 
 
 No. 2 certainly has an English model, for, as Tieck justly observes, it is well put 
 together and clearly executed. 'The Prodigal child' is a piece mentioned in 'Histriomastix' 
 in 1610, and as early as 1568 a piece entitled 'Prodigality' was acted at Court, but this 
 in all probability was a Morality. 
 
 The third piece in this collection, the 'Comedy of Fortunatus,' is interesting, because 
 perhaps it enables us to conclude what was the original form in which this apparently 
 r very popular piece was played upon the old English stage. In Henslowe's Diary we find 
 the piece continually mentioned between the years 1595 and 1599. "The 3 of February 
 1595, received at the first part of Fortunatus iij 1 '." It is probable that a second part ap- 
 peared shortly after, for it is afterwards mentioned in Henslowe simply as "Fortunatus." 
 But in November 1599, a new version of this piece was written by Thomas Dekker: "Re- 
 ceived of Philipp Hinchlow, to pay Thomas Dekker, in earnest of a booke called the hole 
 history of Fortunatus, xxxx s ." The piece was played at Court the same year, on which 
 \ occasion Dekker was obliged to make an alteration, as appears from two other entries in 
 
 1 See J. P. Collier History etc. Vol. ii, p. 253. 
 
 8 Deutsches Theater, Vol. I, preface. - - Hans Sachs wrote a play called 'Hester', and there is also an 
 old Dutch play treating the same subject, and in which Haman is hanged. See Floegel, Geschichte der komischen 
 Litteratur, Vol. iv, p. 339. 
 
 
CX SHAKESPEARE IN GERMANY. 
 
 Henslowe. Dekker's version was printed in 1600. Tieck's conjecture, that the subject was 
 known on the stage long before 1595, does not appear to have any foundation. But we 
 may see from what has been already stated how popular this piece must have been from 
 1595 to 1600, and how natural it was that it should recommend itself to the notice of the 
 English actors who came to Germany at that time. It is impossible however to determine 
 with certainty whether it was played in Germany in its first form or in that of Dekker's 
 version, for when we consider the coarse and arbitrary treatment of the German revisor, 
 the absence from the German piece of certain touches which are found in Dekker, cannot 
 be admitted as any evidence. The conclusion therefore, which Tieck would draw from the 
 German form of the piece respecting that of the English one before Dekker's version, ap- 
 pears somewhat hazardous. Just as in Dekker, the scene lies partly in the Dominions of 
 the Sultan, partly in England. When the scene is changed, Andalosia says "Now I am in 
 London" ("Nun bin ich zu Lunden") It is worthy of remark that in this piece the clown 
 (Pickelhering) has no regular written part, but whenever he enters we always find "Here 
 the clown acts something", a certain proof that the editors of this volume were still in the 
 old leaven. 
 
 The fourth piece seems to shew external traces of an English model, but we have 
 not hitherto been able to discover what that model was. The English Prince is named 
 'Serule,' the Scotch Princess, 'Astrea'. England and Scotland are at war; during the battle 
 the Prince becomes enamoured of the enemy's daughter, and takes advantage of a truce 
 to obtain access to her in the disguise of a fool. One of the characters is named Runcifax, 
 a master of the black art, which strongly reminds us of 'Runcifall the Devil,' in Ayrer's 
 'Beautiful Sidea'. Tieck says : "This comedy is one of the oldest." Upon what grounds this 
 assertion is founded, does not appear, unless perhaps Tieck may have known the English 
 prototype. The other persons represented are the King of England, the King of Scotland, 
 and an attendant. 
 
 According to Tieck 'Sidonia and Theagene" is the weakest piece in the collection, 
 and shews few traces of an English origin. In addition to the characters from which the 
 piece takes its name, there are the following: Calarissis, Sidonia's father, Chrasilea her 
 mother, Nausiclus, an old paramour, Cnemon, a peasant, a boy, and Alcke a maid. We may 
 remark here, in passing, that a piece entitled 'Theagines and Chariclea' was played at the 
 English Court as early as 1574. 
 
 The sixth play, observes Tieck, is one of the most remarkable, on account of the 
 boldness with which it mixes up ancient English history with allegory. Arcial and Ellidor 
 are alternately driven from the throne, during which changes the parasite always torments 
 and scoffs at the fallen queen, while the honest Nobody is accused of all manner of vices, 
 principally by the rascally Somebody, although he is really the most virtuous, unselfish, 
 and generous character. The satire is very palpable, but is popular and well -sustained. 
 Taken as a whole, the piece has its merits, notwithstanding the jargon in which it is 
 written. Its English prototype is 'Nobody and Somebody, with the true Chronicle History 
 
SHAKESPEARE IN GERMANY. CXI 
 
 of Elydure, who was fortunately three several times crowned Kinge of England. Acted by 
 the Queen's Servants.' 4to. s. 1. (circa 1603). The principal characters of the German piece 
 are: Marsianus and Carniel, two Counts, King Arcial and his Queen, King Ellidor and his 
 Queen. Somebody (Jemandt), Nobody (Niemandt), Nothing, Nobody's servant, Nothing at 
 all, Nobody's boy (Gar nichts, Niemandt Jung). 1 
 
 The next two pieces of the collection are printed in the present work, together 
 with an English translation: 
 
 THE TRAGEDY OF JULIUS AND HIPPOLYTA. 
 
 (See p. 113156.) 
 
 At the first glance at this piece we recognize the strong resemblance which the 
 story bears to the principal plot in Shakespeare's 'Two Gentlemen of Verona.' We are 
 acquainted with the source of the underplot in Shakespeare's play, Julia's love to Proteus, 
 in the Story of Felismena in the second book of Montemayor, but the source of the trea- 
 chery of Proteus to his friend has not yet been discovered. Here now we have a drama 
 based upon this conflict, and if we may trust the title of our collection, which is simply 
 called 'English Comedies and Tragedies,' we must assume the existence of an English play 
 from which the German has proceeded. Such a play has not yet been brought to light, 
 and it appeared to us all the more necessary for that very reason to make our readers 
 acquainted with the German piece in its entirety. The small amount of dramatic skill which 
 this composition displays, is no ground for denying the existence of an English model, for 
 of all the pieces in the collection, just this one has evidently been the most mutilated, as 
 appears from the manner in which at many places the dialogue is abruptly broken off in 
 the middle. Indeed there is every reason to conjecture that this piece is only a fragment 
 constituting only an episode in a more comprehensive subject, as Tieck justly observes. If an 
 English piece with a similar plot should ever be discovered, it will probably turn out to be a 
 far more complicated composition; but we shall find in this, as in all other cases, that Shake- 
 speare only borrowed from his sources the outward sketch of his sublime creation. For no 
 inferior poet of his times could ever have conceived the beautiful contrast between Valentine's 
 generous confidence, and Proteus's treacherous vacillation, and yet none but the work of 
 an inferior poet could ever have passed into such utter oblivion. Our German piece has 
 of course no trace of this beauty. Its subject is nothing more than the conflict of friend- 
 ship with love, and the victory of passion over good faith. But in this it is the only 
 dramatic counterpart to Shakespeare's play; .and to this circumstance alone is it indebted 
 for our attempt to rescue it from oblivion. 
 
 1 A Dutch play Yemant en Niemant by Isaac de Vos, 4to. 1661 is probably an imitation from the Ger- 
 man piece. 
 
CXII SHAKESPEARE IN GERMANY. 
 
 THE TRAGEDY OF TITUS ANDRONICUS. 
 
 (See p. 157236.) 
 
 Titus Andronicus, though inferior in dramatic merit to all the other plays of Shake- 
 speare, nevertheless betrays numerous traces of his genius. But apart from these it must 
 always possess a peculiar value for the critical lovers of the great poet, as an evidence 
 of the manner in which at the commencement of his splendid career, he accommodated 
 himself to the then existing customs of the theatre, and the taste of the public as he found 
 it at the time. It is well known that this piece passed through several forms before it 
 assumed the one in which it appears in the folio of 1623. The Editors of the latter have 
 added an entire scene which is wanting in the quarto editions, and the quartos do not 
 present the piece in its original form. Whether Shakespeare found the piece already in 
 existence and produced a new version of it, or whether he was the first to treat this sub- 
 ject at all. is a question which we cannot discuss here, and which probably will never be 
 decided; but every circumstance is of considerable importance, which enables us to arrive 
 at any conclusions respecting the original form of the piece. Now in our German 'Lam- 
 entable Tragedy' we have the play in all probability, in a form copied from the first de- 
 sign. But the coarse feeling, which was interested in the mere external action alone and 
 not in the dramatic development, has prevailed in the treatment of this as well as almost 
 all the other pieces in the collection, for the principal object has evidently been to reduce 
 the piece to the smallest possible compass. Thus it is, that motives such as the feigned 
 madness of Titus, who suggests to the Empress the idea of a disguise, are passed over in 
 silence, an omission not at all extraordinary in such a version as this. We cannot make 
 the original piece responsible for these absurdities, but if we disregard them, the original 
 form of Shakespeare's tragedy, as Tieck has already observed, may still be distinctly seen 
 to glimmer through. No notice has hitherto been taken of a circumstance in the German 
 piece, which enables us to fix with tolerable certainty the date of the English one. In 
 the year 1591, a piece entitled 'Titus and Vespasian' was performed on the London stage. 
 It must have been very popular, for from the llth of April 1591 to the 15th of January 
 1593, it is very frequently mentioned by Henslowe. In Shakespeare's 'Titus Andronicus' 
 there is no Vespasian; no one therefore could ever imagine that the piece alluded to by 
 Henslowe was the original form of the Shakespearian piece. A far more probable sup- 
 position is, that the subject must have been the destruction of Jerusalem, during the reign 
 of the Emperor Vespasian, by his son Titus. But in our German Titus Andronicus, a 
 Vespasian is one of the principal characters. It is a fictitious, and no historical personage. 
 In the beginning of the piece he appears as the partizan of Titus Andronicus, for whom 
 he claims the throne of Rome, but towards the end he is suddenly transformed into his 
 son and avenger, who at the conclusion obtains the crown, one of those instances of 
 a confusion of characters to which we have already alluded, and which are strong evidence 
 of the carelessness with \vhich this German version of the piece was made. We may 
 
SHAKESPEARE IN GERMANY. CXIII 
 
 safely assume that this Vespasian, like all the other characters of the German piece, was 
 taken from the original 'Titus Andronicus,' and thus we should have to acknowledge that 
 'Titus and Vespasian' as the original on which Shakespeare's play was founded. In his 
 first mention of it, under the date of April 11, 1591, Henslowe designates it on the margin 
 with ne, which, with him, always signifies a piece given for the first time. This nearly 
 agrees with what Ben Jonson says in the Introduction to his 'Bartholomew Fair,' first 
 acted in 1614: "He that will swear 'Jeronimo' or 'Andronicus' are the best plays yet, shall 
 pass unexpected at here, as a man whose judgment shows it is constant, and hath stood 
 still these five-and-twenty or thirty years. Though it be an ignorance, it is a virtuous 
 and staid ignorance; and next to truth a confirmed error does well." Ben Jonson's twenty- 
 five years, which in 1614 had elapsed since the time when Titus Andronicus first came 
 out, would give the date of 1589. He might easily have made an error of a couple of 
 years, as it was not his object in the above passage to fix a date. On the 23rd of Ja- 
 nuary 1593, the piece is first mentioned under the name of 'Titus Andronicus', and again 
 with the addition ne; it is probably therefore the recast of the piece, as we have it in the , 
 folio of 1623. It was first published in 1600 without Shakespeare's name. 1 
 
 All the succeeding pieces in the collection of the 'English Comedies and Tragedies' 
 are undoubtedly of English origin, but when we consider the extremely arbitrary treat- 
 ment that has been the lot of these farces, which- are much further removed from their 
 models than the greater pieces, we must despair of ever discovering the English originals, 
 most of which are probably no longer extant. In the five "English Acts" we have at any 
 rate genuine English Jigs, in rhyming verse, which were half sung half spoken, and, as in 
 England, were performed between the acts, or at the end of the piece. 
 
 In the year 1630 a second collection, professedly of 'English Comedies and Trage- 
 dies' 2 was published, but it contains little English matter. 'Silvia and Aminta' is a new 
 
 1 An old Dutch imitation of Shakespeare's 'Titus Andronicus' is: Aran en Titus, of Wraak en Weer- 
 wraak: Trevrspel van Jan Vos. 4to. t'Amstelredam 1641. Not less than eleven editions of it had been published 
 by the year 1661, and even after that date it maintained its popularity on the Dutch stage. Salomon van Rusting 
 gave a version of it in 1712, and Jacob Rosseau another in 1716. For a comparison of the Dutch and the 
 English play see "W. Bilderdijk, Bydragen tot de Tooneelpoezy. 8vo. Leyden 1823, p. 13 90. See also Albert 
 Cohn, Old English Actors in Germany, Athenaeum 1850, July 13, p. 738, and Id. Shakespeare on the early Ger- 
 man stage, Athenaeum 1851, Jan. 4, 'p. 21, where more particulars about Dutch imitations of the 'Titus Andro- 
 nicus' are to be found. 
 
 2 Liebeskampff, oder Ander Theil der Engelischen Comodien vnd Tragodien, in welchen sehr schone aufser- 
 lesene Comodien vnd Tragodien zu befinden vnd zuvor nie in Druck aufsgegangen. Gedruckt im Jahr 1630. 8vo. 
 1. c. (Conflict of love, or the second part of the English Comedies and Tragedies, in which are found most excellent 
 and select Comedies and Tragedies, never printed before.} 
 
 1. Comoedia von Macht des kleinen Knaben Cupidinis. (Comedy of the little boy's Cupid power.) 
 
 2. Comoedia von Aminta vnd Silvia. 3. Comoedia von Prob getrewer Lieb. (Comedy of the trial of true 
 love.} 4. Comoedia von Koenig Mantalors vnrechtmdfsigen Liebe vnd derselben Straff. (Comedy of King Man- 
 talors unlawful love and its punishment.) 5. Singe Comoedie. (Singing Comedy.} 6. Singe Comoedie. - 
 
 f 7. Tragi Comedia. 8. Tragoedi vnzeitiger Vorwitz. (Tragedy of untimely curiosity.} 
 
 P 
 
CXIV SHAKESPEARE IN GERMANY. 
 
 version of the Aminta of Tasso, but it may possibly have been based on the English Pastoral 
 of the same name by John Reynolds, which appeared in 1628. The last piece in the. vo- 
 lume is founded on a tale of Cervantes 'El curioso impertinente ', and, as Tieck observes, 
 often follows the Spanish text with literal exactitude. The pieces of this collection have 
 a very different general physiognomy from the old English pieces of the first; and even 
 when the subjects may be of old English origin, the traces of the models are entirely 
 effased, and can no longer be distinguished. The language is in the stilted style which was 
 the fashion of the literature of the times, and displays the same coquetry with learning. 
 The Clown has constantly scraps of Latin in his mouth, and grace of expression is sought 
 for in the admixture of numerous foreign words. The Clown is introduced under various 
 names: he is called 'Hans Worst', 'Schramgen', 'Schampitache' [Jean Potage]. The com- 
 positions are flat, and to seek for dramatic effect in them, of which some of the pieces 
 in the first collection are not quite destitute, is out of the question. A third collection in three 
 volumes appeared in 1670. It is entitled 'The Scene of English and French Comedians' 
 ('Schauplatz Englischer und Franzosischer Comoedianten'). All the English pieces it con- 
 tains are taken from the first collection. It also contains a few pieces of the second 
 collection, and the remainder of the work consists in French pieces after Moliere and others. 1 
 It would be an error to imagine that in the first of these three collections we pos- 
 sess the entire stage library of our English Comedians. Through the care of an officer of 
 the Dresden Court, a catalogue has been preserved of the pieces which were acted there 
 by the English Comedians in 1626. 2 The following is a literal transcript of it: 
 
 1 Schaubiihne Englischer vnd Franzb's. Comodianten auff welcher werden vorgestellt die schonsten vnd neue- 
 
 sten Comodien, so vor wenig Jahren in Frankreich, Teutschland vnd anderen Orten seynd agirt vnd prdsentirt 
 
 warden. 3 vols. 8vo. Frankfurt 1760. Vol. i. 1. Amor der Arzt, 2. Die Comodia ohne Comodia. 3. Die 
 kostliche Ldcherlichkeit. 4. Der Hahnrey in der Einbildung. - - 5. Die Hahnreyinn nach der Einbildung. - 
 6. Die Eyfrende mit ihr selbst. 7. Antiochus, eine Tragicomb'dia. 8. Die buhlhaffte Mutter. 9. Damons 
 Triumphspiel. Vol. ii. 10. Von Sidonia vnd Theagene. 11. Der Verliebten Kunstgri/e. 12. Lustiges Pickel- 
 hdringsspiel, darinn er mit einem Stein gar artige Possen macht. 13. Von Fortunato seinem Wiinschhiitlein vnd 
 Seckel. 14. Der unbesonnene Liebhaber. 15. Die grossmiithige Thaliklea. Vol. iii. 16. Vom Kb'nige Ahasvero 
 vnd Esther vnd dem hoffartigen Haman. 17. Vom verlohrenen Sohn in welchem die Verzweifelung vnd die Hoff- 
 nung gar artig introduciret warden. 18. Von Kb'nigs Mantalors vnrechtmdssiger Liebe. 19. Der Geitzige. - 
 20. Von der Aminta und Sylvia. 21. Macht des kleinen Knaben Kupidinis. 22. George Dandin oder der ver- 
 wirrte Ehmann. 
 
 (The stage of English and French Comedians on which are represented the most beautiful and newest come- 
 dies as they have been acted and represented a few years ago in France, Germany, and other places. 3 vols. 8vo. 
 Frankfurt 1670. Vol. i. 1. Love the physician. -- 2. The Comedy without comedy. 3. The precious absurdity. 
 4. The Cuckold in imagination. 5. The Cuckoldess in imagination. 6. The woman in a passion with her- 
 self. 7. Antiochus, a tragi-comedy. 8. The wanton mother. 9. Damons Triumph-play. - - Vol. ii. 10. Si- 
 donia and Theagene. 11. Lovers tricks. 12. A merry clowns play, in which he performs right merry 
 tricks with a stone. 13. Fortunatus' wishing cap and purse. 14. The thoughtless lover. - - 15. The generous 
 Thaliclea. Vol. iii. 16. King Ahasverus and Esther and the proud Haman. 17. The reprobate son, in which 
 despair and hope are prettily introduced. 18. King Mantalors unlawful love. 19. The miser. 20. Aminta 
 and Silvia. 21. The power of the little boy Cupid. 22. George Dandin, or the puzzled husband.} 
 
 '* I am indebted for this valuable communication to Mr. Moritz Fiirstenau of Dresden. The catalogue, 
 which is written by the above-mentioned officer, is in an Almanac, published by Mag. Johannes Kretzschmer, 8vo. 
 
SHAKESPEARE IN GERMANY. CXV 
 
 "May 31. Dresten. 1st der Haupt Vogell abgeschossen vnd Landgraf Georg Koenig 
 wor-den, auch haben die Engelender eine Comoedia von Hertzogk von Mantua vnd den 
 Hertzogk von Verona gespielt auff den steinern sahl." (May 31. At Dresden. The great 
 wooden bird has been shot down, and Landgrave George become King of the marksmen, 
 and the English have represented a comedy of the Duke of Mantua and Duke of Verona 
 in the Marble -hall.) 
 
 Junius 1. Dresten. 1st eine Cornedia von der Christabella gespielt worden. (A comedy of 
 
 Christabella acted.) 
 2. 1st eine Tragoedia von Romeo vnd Julietta gespielt worden. 
 
 4. 1st eine Comoedia von Amphitrione gespielt worden. 
 
 5. 1st eine Tragicomoedia von Hertzogk von Florentz gespielt worden. 
 
 6. 1st eine Comoedia vom Konig in Spanien vnd den Vice Roy in Por- 
 
 tugall gespielt worden. 
 
 8. 1st eine Tragoedia von Julio Cesar e gespielt worden. 
 
 9. 1st eine Comoedia von der Crysella gespielt worden. 
 
 11. 1st eine Comoedia vom Hertzog von Ferrara gespielt worden. 
 
 20. & 1st eine Tragicomedia von Jemandt vnd Niemandt gespielt worden. 
 
 (Tragi-comedy of Somebody and Nobody) 
 
 21. 1st eine Tragicomoedia von Konig in Dennemark vnd den Konig in 
 
 Schweden gespielt worden. 
 
 24. 1st eine Tragoedia von Hamlet einen printzen in Dennemarck gespielt 
 
 worden. 
 
 25. 1st eine Comoedia von Orlando Furioso gespielt worden. 
 
 27. 1st eine Comoedia von den Koenig in Engelandt vnd den Koenig in 
 
 Schottlandt gespielt worden. 
 
 28. 1st eine Tragoedia von Hieronymo Marschall in Spanien gespielt worden. 
 Julius 3. * 1st eine Tragicomoedia von dem Hamann vndt der Koenigin Ester 
 
 gespielt worden. 
 5. 1st eine Tragoedia von der Martherin Dorothea gespielt worden. 
 
 7. 1st eine Tragoedia von Dr. Faust gespielt worden. 
 
 9. 1st eine Tragicomoedia von einem Konigk in Arragona gespielt worden. 
 
 11. * 1st eine Tragoedia von Fortunato gespielt worden. 
 
 13. 1st eine Comoedia von Josepho Juden von Venedigk gespielt worden. ' 
 
 1626. Such almanacs were often used as diaries. It contains the memorandum: "No. 2, 1626, der Jung en Her rn," 
 was probably therefore in the possession of the sons of John George the first, and the notes will therefore have 
 been made by an officer of the court of the young princes. In the same volume there are also the almanacs 
 for 1621 to 1625, 1627 to 1630, but with the exception of that for 1627, which contains the statements referring 
 to this year, which will be found above, p. cxvii, we meet with no notes in them of any interest for our present 
 subject. The handwriting is the same in both almanacs. All these statements have been kindly communicated 
 to me by Mr. Fiirstenau. 
 
 P2 
 
CXVI 
 
 SHAKESPEARE IN GERMANY. 
 
 Julius 22. 
 
 23. 
 81. 
 
 Augustus 2. 
 29. 
 
 Sept. 4. 
 6. 
 15. 
 17. 
 19. 
 22. 
 24. 
 
 26. 
 29. 
 
 Oct. 1. 
 
 4 
 
 19. 
 
 22. 
 
 29. 
 
 Nov. 5. 
 
 Decemb. 4. 
 
 Dresten. 1st eine Tragicomoedia von den behendigen Dieb gespielt worden. 
 
 (Tragi-comedy of the dexterous thief) [worden. 
 
 1st eine Tragicomoedia von einem Hertzogk von Venedig gespielt 
 1st eine Tragoedia von Barrabas, Juden von Malta gespielt worden. 
 1st eine Tragicomoedia von dem alten proculo gespielt worden. 
 1st eine Tragoedia von Barrabas, Juden von Malta gespielt worden. 
 
 (See July 31.) 
 1st eine Comoedia von Hertzogk von Mantua vnd den Hertzogk von 
 
 Verona gespielt worden. (See May 31.) 
 1st eine Tragicomoedia von dem alten proculo gespielt worden. 
 
 (See Aug. 2.) 
 1st eine Tragicomoedia von Hertzogk von Florentz gespielt worden. 
 
 (See June 5.) 
 1st eine Tragicomoedia von den behendigen Dieb gespielt worden. 
 
 (See July 22.) 
 1st eine Comoedia von Konig in Spanien vnd Vice Roy in Portugall 
 
 gespielt worden. (See June 7.) 
 1st eine Tragicomoedia von den behendigen Dieb gespielt worden. 
 
 (See July 22 and Sept. 17.) 
 1st eine Comoedia von Hertzogk von Ferrara gespielt worden. (See 
 
 June 11.) 
 
 1st eine Tragoedia von Lear, Konig in Engelandt gespielt worden. 
 1st eine Tragoedia von Romeo vndJtdieUa gespielt worden. (See June 2.) 
 1st eine Tragoedia von der Martherin Dorothea gespielt worden. 
 
 (See July 5.) 
 1st eine Tragicomoedia von Gevatter gespielt worden. (Tragi-comedy 
 
 of the God-father). 
 * 1st eine Comoedia von verlohren Sohn gespielt worden. 
 
 1st eine Comoedia von den Koenig in Engelandt vnd den KOnig in 
 
 Schottlandt gespielt worden. '(i$ ee June 27.) 
 1st eine Comoedia von den Graffen von Angiers gespielt worden. 
 1st eine Comoedia von Josepho Juden von Venedigk gespielt worden. 
 
 (See July 13.) 
 1st eine Tragoedia vom reichen Mann gespielt worden. (Tragedy of 
 
 the rich man.) 1 
 
 1 Another officer has still preserved some notices on these performances, without naming the performed 
 pieces. His notices are found in a similar almanac entitled: Alt end New Schreibcalender au/ das Jahr M. D. c. xxvi, 
 mit Fleifs gerechnet durch Simonem Partlidum von Spitzberg etc. 8vo. Erffurdt, Martin Spangenburgk. (Old and 
 new writing -almanac for the year 1626, purposely counted by Simon Partlicio von Spitzberg.} As his notices 
 contain some additional information, we subjoin them here: 
 
SHAKESPEARE IN GERMANY. CXVII 
 
 The following items refer to the year 1627: 
 
 Dresden. Febr. 2, 4, 8, 14, haben die Comoedianten gespielet. (The Comedians have acted.) 
 15. Haben die Engelander abermalfs agieret. (The English have acted again.) 
 
 In April 1627 the Court removed to Torgau on occasion of the wedding festivities 
 to which we have already alluded, and the actors accompanied them. 1 
 
 The * annexed to four of the above pieces denotes that they are to be found in 
 the 'English Comedies and Tragedies'. Perhaps also the 'Comedy of the King of England' 
 is identical with No. 4 in that collection, perhaps it is the same piece w T hich was played 
 in Cassel in 1607, entitled, 'Two Kings of Britain at war'. (See p. Iviii.) The 'Comedy of 
 Amphytrion' was probably one based on Plautus. At a later period J. Dryden and L. Eckard 
 treated the same subject. The Comedy of Orlando Furioso was probably Robert Greene's 
 piece of that name. In the Tragedy of Hieronymo we have again the 'Spanish Tragedy', 
 a subject which had also been handled by Ayrer. 2 The 'Tragedy of Doctor Faustus' is 
 undoubtedly Christopher Marlowe's 'Tragicale Historic of Doctor Faustus'. The 'Comedy 
 
 Majus 29. Pfingstmontag. Zu Drefsden Stillager. Haben die Englische Comedianten unter der Abendt- 
 malzeit im Kirchsahl eine Comediam gespielet. (The English Comedians have represented a comedy at supper 
 in the room near the chapel.) 
 
 Majus 31. Quatember. Zu Drefsden Stillager. Hat der Rath alhier ein Vogelschiefsen gehalten. Auch 
 haben die Englische Comedianten uffn steinern Sahl eine Comediam gespielet. (Quarters at Dresden. Shooting 
 at a wooden bird. The English Comedians acted a comedy in the Marble-Saloon.) 
 
 Junius 1. Nicodemus. Zu Drefsden Stillager. Haben die Comedianten abermahlfs agiret. (The Come- 
 dians acted again.) 
 
 Junius 2. Marcellus. . . . 1st von den Englaendern ein Tragoedia gespielet worden. (A Tragedy acted 
 by the Englishmen.) 
 
 Junius 4. Trinitatis. . . . Haben die Comedianten agiret vnd Michael Molichs Sohn sambt ein Engelander 
 getanzet. (The Comedians have acted, and Michael Molich's son and an Englishman have performed a dance.) 
 
 (June 5, 7, 8, 9, 11, 20, 21, 24, 25, 27, 28. The Englishmen acted again.) 
 
 Junius 29. . . . Auch ist einer von den Englischen Comedianten heute friihe zu Drefsden gestorben. (This 
 morning one of the English Comedians died at Dresden.) 
 
 Julius 3. Spielten die Englander wieder. (The Englishmen acted again.) 
 
 1 The officer to whom we are indebted for the above catalogue of the pieces performed, has made the 
 following notes of the performances in the Almanac of 1627. 
 
 5. Aprilis. Zu Torgau Stillager. Haben Ihre Churf. D.(urchlaucht) abermahls im Coburgischen zu Mittag 
 taffel gehaltenn vndt hernacher den Comedianten zugehortt. (In Torgau quarters. Their Electoral Highnesses 
 have again dined in Coburg, and afterwards heard the comedians.) 
 
 6. Aprilis. Haben die Chur- vndt Fiirstliche Personen abermahls den Comedianten zugehortt. (The 
 Electoral and Princely personages have again heard the comedians.) 
 
 8. 9. Aprilis. Spielten die Englander wieder. (The English actors played again.) 
 
 13. Aprilis. Haben die Chur- vndt Fiirstlichen Personen ein Bogenschiefsen gehalten vndt uffn Abendt 
 der Musicalischen Comedien zugehortt. (The Electoral and Princely personages have held a shooting match with 
 the bow, and in the evening heard a musical comedy.) [Daphne, see Fiirstenau.] 
 
 (April 24, 25, 28. The English actors played again.) 
 
 6. Majus. Haben die Comoedianten gespielet vndt darauff von Ihrer Churf. D. Ihre Abfertigung erlanget. 
 (The comedians have played, and afterwards received their dismissal from their Electoral Highnesses.) 
 
 2 The same play must have been very popular on the Dutch stage, as we know three editions of a Dutch 
 version of it by Adrian van der Bergh: Jeronimo Marschalck van Spanje, Treurspel. 4to. 1621, 1638, and 1644. 
 
CX VIII SHAKESPEARE IN GERMANY. 
 
 of Josephus a Jew of Venice' is probably apiece, of which a MS., hitherto quite unknown, 
 is in the Imperial Library at Vienna, and is entitled, 'A Comedy, called the wisely pro- 
 \ nounced judgment of a female student, or the Jew of Venice', ('Comoedia genandt dass 
 wohl gesprochen Urtheil eynes weiblichen Studenten, oder der Jud von Venedig'). It ap- 
 pears to be a mixture of Shakespeare's 'Merchant of Venice', and Marlowe's 'Jew of Malta'. 
 The name of the Jew is Barrabas, as in Marlowe, but there are passages in the last act 
 which coincide exactly with passages in Shakespeare's play, and the three lovers who woo 
 Ancilla, the daughter of a counsellor, and her indecision, remind us of the story of the 
 caskets. 1 It is also possible that this play is aversion of Thomas Dekker's 'Jew of Venice', 
 which appears to be irrecoverably lost. The following piece, the 'Tragedy of Barrabas, 
 the Jew of Malta', is of course Marlowe's piece. 2 It is hardly necessary to observe that 
 the pieces printed in Italics, are Shakespeare's Romeo and Juliet, Hamlet, King Lear, and 
 perhaps Julius Caesar. 
 
 It is worthy of remark that many of these plays maintained their ground for many 
 years on the Dresden and other stages. In the years 1631 arid 1632, 'Orlando Furioso', 
 'Julius Caesar', and a 'Tragedy .of Prince Serule and Hyppolita' (probably No. 4 in the col- 
 lection of 'English Comedies and Tragedies') were performed again. 3 On the occasion of 
 the marriage of Prince John George II. with Magdalene Sibylla of Brandenburg, an 
 English Comedy was performed on the 5th of December 1638. 4 On the llth of Sep- 
 tember 1646, we have again the 'Prodigal Son', and on the 12th, the 'Comedy of the 
 proud youth, Eucasto', undoubtedly an echo of the English play 'Every Man', on the 
 15th of October, 'Romeo and Juliet', on the 17th of the same month, the 'Tragedy of 
 the rich man and the poor Lazarus', unquestionably the same piece as that which stands 
 last in our catalogue of 1626; on the 4th of November 1651, the 'Comedy of the Duke of 
 Mantua, and the Duke of Verona'. On the 5th of December 1652, "the English Comedians 
 acted a comedy of the Emperor Diocletian and Maximinus with the shoemaker." An Eng- 
 lish piece, entitled 'Dioclesian', had been played in the Rose Theatre as early as 1594. At 
 a later period Beaumont and Fletcher wrote a play on the same subject, entitled 'The 
 Prophetess' (licensed in May 1622, printed for the first time in 1647). On the 10th of 
 December 1652, the same actors played a piece, 'Of the four royal brothers in England', 
 and 'Somebody and Nobody'. The English Comedians are again mentioned in ^6597) In 
 March, they act the 'Farce of Pyramus and Thisbe', in June, x ' King Lear and his two 
 daughters', in November, a 'Comedy of the four resembling brothers, and the noble stranger", 
 "as the Englishmen had translated them". On the 26th of February 1661 we have the 
 
 1 I owe this information to Mr. Joseph Haupt of the Imperial Library, Vienna. 
 
 2 An early Dutch version of Marlowe's piece is : Joodt van Malta, ofte Wraeck door Moordt, Trevr-Spel. 
 Gerymt door Gysbert de Sille. 4to. Tot Leyden, 1645. 
 
 3 Mor. Fiirstenau, Zur Geschichte etc. p. 102. 
 
 4 See Ant. Week, Der ... Eesidentz- und Hdupt-Vestung Drefsden Beschreibung und Vorstellung. fol. 
 Nurnberg 1680, p. 370. 
 
SHAKESPEARE IN GERMANY. CXIX 
 
 j 
 
 ' Tragi-comedy of the Moor of Venice', which is of course Shakespeare's Othello. The Co- 
 medies of 'Amphitrione' and 'The old Proculus' were again produced in 1663, as also in 
 June 1664 'Orlando Furioso', and in February 1665 'Ahasuerus, Esther and Haman'. In 
 the year 1671 we meet again in Dresden with two Englishmen, whom we have already 
 met with above in 1650: Gideon Gellius [Giles], and John Bapt Waydt, of whom the former 
 is here entitled Master of the exercises, the latter, Comedian. In the year 1672 the Electoral 
 Family made some stay in Torgau, and the comedies of 'Christabella', and 'Chrysella' were 
 again revived. In February of the same year, 'Peter Squenz, a comedy' was again per- 
 formed in Dresden. In 1674, we meet with 'Josephus, the Jew of Venice', in 1676, 'King 
 Lear of England', in 1678 'Christabella' again, also 'Amphitrion', 'Romeo and Juliet', the 
 'Old Proculus', and a piece which had not been mentioned before, the 'Comedy of the 
 angry Catharine', a version of Shakespeare's 'Taming of the Shrew', to which we shall 
 have occasion to refer at a later page. 
 
 The representation of these plays was by no means confined to the Dresden stage; 
 on the contrary it is an ascertained fact that they became the property of all the companies 
 throughout Germany. We know for instance the acting library of a company, which soon 
 after 1650 addressed a petition to Duke Gustavus Adolphus of Mecklenburg Schwerin, who 
 resided at Giistrow, that they might be allowed to wait on him 'with some actions in the 
 English manner'. They had already performed several times in the town. Among the 
 pieces which they had with them, we find 'Of the proud Haman, and the humble Esther', 
 'The quarrel between England and Scotland', 'The beheading of the King of England', pro- 
 bably the same piece we have already met with in Windsheim, 1 1656, 'Diocletian', 'Julius 
 Caesar', the 'Martyr Dorothea', and others. 2 In this manner we find that these English 
 dramatic stories had made the round of all Germany, and we are justified in asserting that 
 they were in complete possession of the German stage of the seventeenth century. Besides 
 these new versions with which we have become acquainted through the first part of the 
 'English Comedies and Tragedies', some others have also been preserved, two of which we 
 present the reader in a complete form, and with an English translation annexed: an old 
 German 'Hamlet', and a 'Romeo and Juliet'. 
 
 1 Andreas Gryphius wrote a Tragedy: "Ermordete Majestdt oder Carolus Stuardus Konig von Grojs- 
 .Britannien" which must have been a different piece, as it was only composed in 1663. 
 
 2 H. W. Barensprung, Versuch etc. p. 26 27. All the members of the Company were Germans. -At 
 the head of it stood "Caspar Stiller mit seiner fraw, als meister, aus Hamburg" (C. S. with his wife, as man- 
 ager, from Hamburg). 
 
CXX SHAKESPEARE IN GERMANY. 
 
 FRATRICIDE PUNISHED, OR PRINCE HAMLET OF DENMARK. 
 
 (See p. 237304.) 
 
 There can be no doubt that there existed a far older German version of this piece 
 than the one with which we are acquainted; and the latter is probably only a weak copy 
 of the former, which will have stood in the same relation to the original form of the 
 German piece, as the pieces of the 'English Comedies and Tragedies' to the form in which 
 they were originally acted in Germany. About the year 1665, this piece was performed 
 by the Veltheim company, but it is of a much older date than this, for we find it in the 
 Dresden stage-library in 1626, and even then it was no new piece, as there is every reason 
 to believe that it had been brought to Germany by the English players as early as 1603. 
 The piece approaches most nearly to that form of Shakespeare's Hamlet which we find in 
 the Quarto of 1603. As in the latter, so also here Polonius is called Corambus; and notwith- 
 standing the very modernized form of the prologue, it bears so completely the stamp of the 
 old English stage, that as Mr. Will. Bernhardy observes "we are tempted to assume that Hamlet 
 must have appeared on the English stage in an earlier form than that, of the Quarto of 1603, 
 and that the German piece is a weak copy of the earlier form, little as the genius of the great 
 poet appears in it, even in this later version. 1 But what is most particularly striking is the 
 contrast between the prologue and the matter of the play itself. Almost all poetice motion has 
 disappeared from the latter, which presents us- with nothing more than a mere dry skeleton of 
 the Shakespearian piece, while the prologue, in spite of all its coarseness, has many curious 
 poetical touches and expressions, which curiously enough, remind us strongly of the modes 
 of expression in Shakespeare and his contemporaries. It is notorious that the older Eng- 
 lish pieces often had prologues in the form of dialogue, and that the introductory words 
 were not always spoken by one person alone, as in the old German Theatre. These pro- 
 logues have often been lost because it was not considered worth while to have them 
 printed; but often also, especially at a later period of the English stage, no prologue was 
 written, because the practice was considered pedantic, and even Shakespeare had already 
 spoken against it in his 'Romeo and Juliet'. The persons of the prologue were generally 
 allegorical and mythological characters, but were sometimes also taken from everyday life, 
 or from history. Thus in the 'Spanish Tragedy', Revenge and the Spirit of Andrea appear 
 as prologue, but at the same time they are spectators and speaking characters throughout 
 the whole of the piece. In Marston's 'Antonio and Malcida', a very remarkable piece, evi- 
 dently written in imitation of Hamlet, the persons of the prologue are the characters in 
 
 1 This opinion was first expressed by Mr. William Bernhardy in an essay well deserving perusal, and 
 entitled: '' Shakespeare 's Hamlet. Ein Uterar-historisch kritischer Versuch." We follow him in the argument given 
 above for the establishment of this conjecture. Mr. Bernhardy's essay is to be found in Hamburger literarisch- 
 kritische Blatter 1857, No. 49 103. At the conclusion, Mr. Bernhardy promises a thorough critical investigation 
 of this interesting subject, which however he has not yet given us. It is to be hoped that he may still fulfil 
 this promise. 
 
SHAKESPEARE IN GERMANY. CXXI 
 
 the piece itself, and its subject is the distribution and description of the different parts. In 
 that excellent old comedy, 'Wily beguiled', the persons of the prologue consist of an actor 
 and a conjurer. In 'Locrine', Ate is the prologue, and in 'Pericles', the poet Gower. The 
 prologue, moreover, of the old German Hamlet contains mystical and allegorical personages, 
 and this circumstance as well as some turns of expression, which forcibly remind us of 
 English poets, and some harsh un- German constructions appear to establish the foreign 
 origin of the piece, and that it is a translation. Thus the expression "Queen of silence" 
 (Konigin der Stille) reminds us of a passage in 'Lust's Dominion', Act i: 
 
 spotless night 
 Empress of silence, and the queen of sleep. 
 
 Not less striking is the similarity of the address "Woman of ill fortune" (Ungliicks- 
 frau) to the lines in 'Macbeth' Act iii, sc. 5, 
 
 And I the mistress of your charms, 
 The close contriver of all harms. 
 
 and we cannot but remember that also Shakespeare in 'Macbeth' Act ii, sc. 5 speaks of 
 "black Hecate's summons". Also the turn of expression in the prologue "in order that 
 those who swim in the sea of murder", ("damit diejenigen, welche in der Mordsee 
 schwimmen") and the words of Night, "I soar above" ("Ich fahre auf") may be compared 
 with Henry vi Part I, Act iv, Sc. 7, "And in that sea of blood my boy did drench", and 
 Macbeth, Act iii, Sc. 5, "I am for the air". Single passages in the German piece shew 
 that an edition of the original must have been used which contained passages that are in 
 the folio, but not in the first quarto, while other passages prove incontrovertibly, that pre- 
 cisely this quarto must have been the source employed by the translator. Thus, for in- 
 stance, the Ghost says to Hamlet, "Mark me, Hamlet, for the time draws near when I 
 must return to whence I came" and concludes his speech with the words "Thus was I 
 robbed of kingdom, wife and life by this foul tyrant". The former is evidently taken from 
 the words which the Ghost uses in our accepted text of Hamlet: 
 
 My hour is almost come, 
 When I to sulphurous and tormenting flames 
 Must render up myself. 
 
 while the latter passage corresponds exactly to the order in which the Ghost mentions the 
 same things in the original, 
 
 Thus was I sleeping by a brother's hand 
 
 Of Crowne, of Queene, of life, of dignitie 
 
 At once deprived etc. 
 
 As the reader has the entire piece before him in this volume, it will not be neces- 
 sary to call attention to the numerous passages, which, in spite of its dilution by unskilful 
 hands, place its early origin beyond all doubt. In other places we can distinctly perceive 
 the hand of the remodeller, who kept in view the circumstances of the theatre of his own 
 time, and which have given the tone to many passages. His utter want of skill is suffi- 
 
 Q 
 
CXXII SHAKESPEARE IN GERMANY. 
 
 ciently proved by his introduction of the comic characters, the peasant Jens and Phan- 
 tasmo, the fool, both of whom are altogether out of place in the piece. The manner in 
 which the scenes taken from Shakespeare's tragedy have been vulgarized, the coarse hu- 
 mour which has been mixed up with the serious incidents, the box on the ears which the 
 ghost gives the sentinel, and other absurdities, must of course be laid to the account of 
 the revisor, just as in the case of the 'English Comedies and Tragedies', and not to that of 
 the actors who first brought the piece to Germany. A remarkable reminiscence, which 
 enables us to form a conclusion respecting the age of the piece, is Hamlet's relation of an 
 incident connected with the players in Act ii, Sc. 7. There can be no doubt that this is 
 the incident which, whether fact or fiction, is introduced in the tragedy entitled 'A Warn- 
 ing for fair women', written a little before 1590. In that piece as in this, the advantage 
 of theatrical representations is intended to be proved. The passage is at the end of the 
 piece : 
 
 "A woman that had made away her husband, 
 
 And sitting to behold a tragedy 
 
 At Linne, a town in Norfolk, 
 
 Acted by players travelling that way, 
 
 Wherein a woman that had murdered hers, 
 
 Was ever haunted with her husband's ghost, 
 
 The passion written by a feeling pen, 
 
 And acted by a good tragedian, 
 
 She was so moved with the sight thereof, 
 
 As she cried out, the play was made by her, 
 
 And openly confessed her husband's murder." * 
 
 In Hamlet, Act ii, Sc. 2, Shakespeare alludes to a similar incident, perhaps the same. 
 
 I have heard 
 
 That guilty creatures, sitting at a play 
 Have by the very cunning of the scene 
 Been struck so to the soul, that presently 
 They have proclaim'd their malefactions ; 
 For murder, though it have no tongue, will speak 
 With most miraculous organ. 
 
 Heywood, in his 'Apology for actors', relates the same story, and adds that it had 
 occurred "at Lin, in Norfolke" at the performance of the 'History of Fryer Francis' by the 
 players of the Earl of Sussex. But then he relates a similar incident which is stated to 
 have happened at the performance of the 'Four sons of Aymon' by English comedians at 
 Amsterdam. 2 
 
 "Another of the like wonder happened at Amsterdam in Holland. A company of our English 
 comedians (well knowne) travelling those countryes, as they were before the burgers and other the 
 chiefs inhabitants, acting the last part of the four Sons of Aymon, towards the last Act of the history, 
 
 1 See J. P. Collier, History etc. Vol. ii, p. 438. 
 
 2 See the Shakespeare Society's reprint, p. 58. 
 
SHAKESPEARE IN GERMANY. CXXIU 
 
 where penitent Rinaldo, like a common labourer, lived in disguise, vowing as his last pennance to 
 labour and carry burdens to the structure of a goodly church there to be erected; whose diligence 
 the labourers envying, since by reason of his stature and strength, hee did usually more work in a 
 day than a dozen of the best (hee working for his conscience, they for their lucres) whereupon by 
 reason his industry had so much disparaged their living, conspired among themselves to kill him, 
 waiting some opportunity to finde him asleepe, which they might easily doe, since the sorest labourers 
 are the soundest sleepers, and industry is the best preparative to rest. Having spy'd their opportu- 
 nity, they drave a naile into his temples, of which wound immediately he dyed. As the actors handled 
 this, the audience might on a sodaine understand an outcry, and loud shrike in a remote gallery, and 
 pressing about the place, they might perceive a woman of great gravity strangely amazed, who with a 
 distracted and troubled braine oft sighed out these words : "Oh my husband, my husband ! " The play 
 without farther interruption proceeded: the woman was to her owne house conducted, without any 
 apparant suspition; every one conjecturing as their fancies led them. In this agony she some few 
 dayes languished, and on a time, as certaine of her well disposed neighbours came to comfort her, 
 one amongst the rest being churchwarden: to him the sexton posts, to tell him of a strange thing 
 happening to him in the ripping up of a grave : See here (quoth Jie) what I have found ; and showes 
 them a fair skull, with a great nayle pierst quite to the brain-pan: But we cannot conjecture to whom 
 it could belong, nor how long it has laine in the earth the grave being confused, and the flesh con- 
 sumed. At the report of this accident, the woman, out of the trouble of her afflicted conscience, dis- 
 covered a former murder; for 12 yeares ago, by driving that nayle into that skull, being the head of 
 her husband, she had treacherously slaine him. This being publickly confest, she was arraigned, con- 
 demned, adjudged and burned. But I draw my subject to greater length than I purposed: these 
 therefore out of other infinites I have collected, both for their familiarnesse and latenesse." 
 
 It is not a little characteristic of the stage at that time, that the actors who first 
 performed the German Hamlet did not rest satisfied with the mere allusion as they found 
 it in Shakespeare, but related the incident itself. Whether the passage refers to the inci- 
 dent in Norfolk or to that in Amsterdam, it is a striking evidence that Hamlet was trans- 
 planted to the German stage at a very early period. The later revisor transferred the 
 scene to Strasburg, as being nearer to his audience. It is probable that the company for 
 which this new version was adopted, had come from Strasburg, where we have already 
 seen English players in 1654. (See p. cii). We are inclined to believe that the first form 
 of the version of the piece now before us was made about that time, but that the form 
 in which it is here presented to the reader, and in which it has experienced many altera- 
 tions and dilutions, is to be ascribed to a more modern hand. 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 (See p. 305 406). 
 
 We have no evidence to shew that this piece was ever performed in Germany earlier 
 than 1626, and the version now before us is probably to be attributed to a somewhat 
 earlier date. The employment of Alexandrines is a proof that it cannot have been made 
 before the introduction of that species of verse by the Silesian poets. The places mentioned 
 
 Q2 
 
CXXIV SHAKESPEARE IN GERMANY. 
 
 at p. 375 of the present impression give no clue as to the place where the play was first 
 produced, but dialect and orthography point to South Germany or Austria. Neither 
 have we here the authentic text of the piece as it was played by the English Come- 
 dians, but a version calculated for the requirements of the stage at a later period, in 
 which the English element was but very slightly represented in the companies, perhaps 
 indeed was little more than a reminiscence. The reader will perceive at once that 
 this piece did not proceed from any of the numerous sources on which the Shake- 
 spearian tragedy is based. On the contrary, it is Shakespeare's play, almost scene for 
 scene; many passages indeed are literal translations. Though certainly against the in- 
 tention of the editor, there are even instances in which really poetical passages have 
 slipped in from the original unobserved, the poetry of which, however, can only be dis- 
 cerned after they have been divested of the jargon in which he has clothed them. But 
 the reader will easily perceive how he has compensated himself for such mistakes, 
 by the omission of all the finer motives of this magnificent tragedy, as also by the inser- 
 tion of comic scenes which are utterly devoid of taste, and by their disgusting coarseness 
 obliterate even the very smah 1 amount of tragic feeling of which this author is capable. 
 But the treasure of poetic thought contained in this sublime fiction is so inexhaustible, 
 that notwithstanding the mutilated form in which it is presented to us, we can still imagine 
 that it must have excited immense interest in a German audience of the seventeenth 
 century. 1 
 
 The third piece of the English stage library of the Dresden company of actors 
 that has come down to us, is at the same time the earliest impression of a German version 
 of an entire Shakespearian piece, and is dated 1672. It is an imitation of the 'Taming of 
 the Shrew,' under the title of "Art above all arts, the taming of a shrew &c." 2 . The Ger- 
 man Public however had become acquainted with Shakespeare's comedy at a much earlier 
 date. A piece called : "The surprising marriage of Petruvio with the wicked Catharine" was 
 
 1 A Dutch piece must be mentioned here which most probably is in close connection with the German 
 one: /. Strvys \ Borneo \ en \ Ivliette. \ Op de Eeghel: \ Naer een te hooghen vaert, en vlucht te seer verbolghen,\ 
 Plach dickmael irit ghemeen een haeste valte volghen. \ Ghespeelt op de Amsterdamsche Gamer, op Kermis, A 1634, \ 
 t 'Amsterdam, \ Voor Dirck Cornelifz Houthaeck, Boeckvercooper op de \ Nieuwe-zijds Kolck, int Bourgoens Cruys. 
 Anno 1634. \ 4to. Black letter. 
 
 z Kunst uber alle \ Kilnste \ Ein bos Weib gut zu machen. \ Vormahls \ Von einem Italidnischen \ Cavalier 
 practitiret: \ Jetzo aber \ Von einem Teutschen Edel-man gliicklich nachgeahnet, \ und \ In einem sehr lustigen Pos- 
 sen- | vollem Freuden-Spiele \ fiirgestellet. \ Samt \ Angehencktem singenden \ Possen- Spiele \ Worinn \ Die unnotige 
 Eyfersucht ei- \ nes Mannes artig betro- \ gen wird. \ Eapperschweyl \ Bey Henning Lieblern 1672. \ 12mo. (Art 
 above all arts, the Taming of the Shrew, formerly practised by an Italian Cavalier, but now happily imitated by a 
 German Nobleman, and represented in a right merry Droll. Annexed is a Singing-Droll, in which the unnecessary 
 jealousy of a husband is prettily deceived.) 238 pp., the last unpaged contains a poem: Erkldrung des Kupfer- 
 Tittels. Pages 231 237 are wrongly paged 331 337. The printed title is preceded by an engraved one: Kunst 
 uber alle Kunst. Ein bof weib \ guth Zu machen. \ Infra an engraving representing a Cavalier shutting the mouth 
 of a snake-haired fury with a fox-tail. The ''Kunst uber alle Kiinste' ends on p. 217. At the foot of the same page 
 
SHAKESPEARE IN GERMANY. CXXV 
 
 represented by students of the Gymnasium at Zittau in March 1658 and may have been 
 brought to Germany by the English Comedians, long before that date. The piece has not 
 come down to us, 1 but from the very title of it we may guess that it followed Shakespeare 
 more closely than the version of 1672, in which the names of the characters are altered 
 according to the own taste of the author, whereas in the older version the names of the 
 principal, and perhaps of all the other, characters of Shakespeare's piece are preserved in 
 their original form. The author of the 'Art above all Arts', in an address to the reader, 
 alludes to frequent representations of the piece on the stage, before he undertook his own 
 version of it: 
 
 "Kind reader. I can say of this comedy that it belongs to another, and yet is also 
 mine. It belongs to another, because it has not only been often represented by comedians 
 on the stage, but also because the plot, the old names and phrases shew him who has- 
 seen it and heard it before, that it is of Italian origin. I can call it mine, because I have 
 
 begins the Singing-Droll : Singendes \ Possenspiel \ Die doppelt betrogene \ Eyfersucht vor- \ stellend. (Dom Johannes, 
 Dessen Frau, Mons. Pickelhering, Seine Liebste, Don Jean von Brabarey, Cavalier.) 
 
 This is the description of the copy belonging to the Imperial Library at Vienna, which most kindly was 
 sent to me at Berlin at my request. Another copy, formerly in the possession of Gottsched, is at the Grand- 
 ducal Library at Weimar. It wants the lower part of the title-page with the place of printing and the date, 
 which Gottsched, and Goedeke after him, fancied to be Eappersdorf 1652. No one had seen the Vienna 
 copy. "When Dr. Reinhold Koehler, Librarian to the Grand -ducal Library at Weimar, told me, that he 
 intended to publish a reprint of the 'Kunst iiber alle Kiinste' from the Weimar copy, considered to be unique, 
 I drew his attention to the Vienna copy, and from him I learn that they vary in many points. Dr. Koehler's 
 reprint, with the corresponding scenes of Shakespeare's comedy and many notes, will be soon before the public. 
 Judging from Dr. Koehler's former publications, we have reason to expect a most careful and valuable work, to 
 which I beg to refer the reader who wishes for more particulars respecting the 'Kunst iiber alle Kiinste'. 
 
 1 The earliest and indeed the only source to which it can be traced is Gottsched, Nothiger Verrath etc. 
 Vol. I, p. 210, where it is mentioned, under the date of 1658, in conjunction with three other pieces. "Vier 
 Schauspiele. 1. Androfilo oder gottliche Wunderliebe. 2. Sylvia oder wunderthdtige Liebe. 3. Der kldgliche 
 Bezwang. 4. Die wunderbare Heurath Petruvio mit der bosen Catharine, den 5. 6. 7. Martii auf dem Zittauischen 
 Schauplatze vorgestellet. Gott gib Delner Crlstenhelt FrleDen hler, Dort SeLIgkelt. M. C. K. R. S. P." 
 Gottsched it appears, took it for granted that the four pieces were printed and that Christian Keimann, at the 
 time Rector of the Gymnasium at Zittau, is the author of them. He is mistaken in both conjectures. It is almost 
 certain that 'The surprising marriage' has never been printed. After I had ascertained that none of the prin- 
 cipal libraries of Germany is in possession of it, I addressed myself to Dr. A. Tobias, the librarian to the Mu- 
 nicipal Library at Zittau, who not only informed me that no such piece is extant in the library, which moreover 
 has received Keimann's and his son's collections of books, but at the same time kindly mentioned the circum- 
 stances which evidently have misled Gottsched in his conjecture. The four pieces have undoubtedly been repre- 
 sented at Zittau by the students of the College, and it was a custom on such occasions to print programs of 
 the performances, containing the "argument" of the pieces, which by way of invitation were sent to the Muni- 
 cipal authorities. Such a program of the performances of the 5th, 6th and 7th March 1658 may have come 
 under Gottsched's notice, and as Keimann, the author of it and the superintendent of the performances, had 
 put his initials to it, Gottsched took him for the author of the plays themselves a mistake which is the 
 more pardonable, as Keimann was indeed a dramatic author, of whom several pieces are preserved. None of 
 the four pieces however, ascribed to him by Gottsched, is his. A list of his works is to be found in H. J. 
 Ka'mmel, Christian Keimann. Ein Beitrag zur Geschichte des Zittauer Gymnasiums. 4to. Zittau 1856. 
 
CXXVI SHAKESPEARE IN GERMANY. 
 
 composed it for its clever style, and have altered it as it pleased me out of my own head, 
 and have added to it, just as the rapid fancies suggested to me, without much puzzling 
 my head about it." 1 
 
 We learn from this address that in or immediately before 1672 the piece was still 
 given by the Comedians with the original names of the characters, and as we have the 
 author's own confession, that he altered it "as it pleased him out of his own head", we 
 may fairly assume that it was brought before the Public in its genuine Shakespearian 
 shape. Even in its altered form, in which it is before us, it follows Shakespeare almost 
 scene by scene, and also the dialogue may, in a great many instances, be retranslated into 
 Shakespeare's text without many deviations from the language of the German imitator. 
 The manner in which the latter has acquitted himself of his task, places him far above 
 those of his predecessors with whom we have had to deal in the preceding pages, and 
 though under his hands too, nearly all the more delicate charms of the Shakespearian muse 
 have disappeared, it must be admitted that he possesses a certain amount of dramatic power. 
 The following list of Dramatis Personae in, and extracts from the German piece will convey 
 ari idea of the spirit in which it has been composed and the abilities which are at the 
 command of its author: 
 
 Personen dieses Freuden.- Spiels. 
 
 Der geduldige Hiob in des frommen Socratis Hosen, Vorredner. 
 
 Herr Theobald von Grifflingen [Baptisla. 
 
 Jungfer Catbarina Hurleputz ) , , , ~.. , , [Catharina. 
 
 .. , . .. ,\ dessen beyde lochter . . . ^ 
 
 Jungfer Sabma feupmaulcnen ) [manca. 
 
 Veit Schnitzer, Diener. 
 
 Sibilla Flohpeltz, Cammermagd. 
 
 Herr Hartman Dollfeder, Erbsas zum Wilrbelwind, Jungfer Catharinen Freyer [Petruchio. 
 
 Ludolf Wurmbrand, Diener [Grumio. 
 
 . Edelleute und 
 Herr Sebastian von Unvermogen [Gremio 
 
 Herr Alfons von Nestlingen, ein zeitlang ein verkleideter Musicus [Hortensio 
 
 Mitbuhler 
 
 bey Jnngfer 
 
 Sabinen. 
 
 1 "Gunstgeneigter Leser. Von diesem Freudenspiele kann ich sagen, dafs es eines andern und doch auch 
 mein seye. Eines andern ist es, weil es nicht allein schon offt von Comoedianten auff dem Schauplatz fur ge- 
 stellet worden, sondern auch die Erfindung, alte Nahmen, und Redensarten, deme, so es zuvor angesehen und 
 gehoret, zeigen, dafs es von Italianischem Ursprunge: Mein kann ich es nennen, dieweil ich solchs, wegen seiner 
 artigen Manier, gefasset, und aufs meinem Kopff'e, wie es mir gefallen, geandert, und hingeschrieben, nach dem 
 es die geschwinden Einfiille, ohne Kopff brechen gegeben." Eschenburg, the celebrated translator of Shake- 
 speare (See William Shakes2)eares Schauspiele. Neue Ausgabe. Von Joh. Joach. Eschenburg. Vol. iv. 8vo. 
 Zurich 1775, p. 398), who pointed out the first the connection of the German piece with Shakespeare's comedy, 
 is puzzled by the words "that it is of Italian origin" and doubts whether there may be an old Italian piece 
 extant from which both authors may have copied. Such a position however cannot be maintained for a moment. 
 The evident conclusion from the above passage is this: that the piece had been given to the author by the Co- 
 medians, and as the English origin of it was unknown to him, he concluded the Italian origin from the Italian 
 names of the characters. Eschenburg himself has felt the weakness of his argument, for he points out phrases 
 and expressions which can only have been translated from the English. 
 
SHAKESPEARE IN GERMANY. CXXVII 
 
 Herr Adrian von Liebenthal, der altere .; . ... . [Vincentio. 
 
 Herr Hilarius von Liebenthal, der Jiinger, Jungfer Sabinen Freyer, und der 
 
 verkleidete Herr Johannes [Lucentio. 
 
 Felix Vielwind, Cammerdiener, und verstellete Jilngere von Liebenthal . . . [Tranio. 
 
 Fabian Affenschwantz, Diener [Biondello. 
 
 Frau Eulalia von Hohunk Wittib, Herr Alfons Vertraute [Widow. 
 
 Mag. Blasius Nasenweis, Rector paganus, der verstellete Aeltere von Liebenthal [Magister. 
 Meister Fritz Fingerhut vom Kratzenberg, kunstreicher Schneider und Kleider- 
 
 macher [Tailor. 
 
 Matz Triimper, wohlbestellter Ofenschiirer und Feuerverwahrer [Curtis. 
 
 Faulwamst, Immernafs, Schliugenstrick. Drei Diener so nur ein Wort reden. 
 
 (* tftfv \ f - r ; 
 
 \^ 
 
 Act n. 
 
 (See Shakespeare's 'Taming of the Shrew'. Act II, sc. 1.) 
 
 Cdth. Bekenne mir hier also bald und rund heraus, welchen du unter deinen Buhlern am 
 liebsten habest, und spare mir ja die Wahrheit nicht: Oder ich will deines Fells nicht schonen. 
 
 Sab. Glaube mir, als wie der Wahrheit selbst, dafs unter alien Manns -Personen, so mir zu 
 Gesichte gekommen, noch keiner in mein Hertz genommen (ist). 
 
 Cath. Auff eine Luge gehoret eine Maulschelle (schlagt sie). Du lose Katze hast du dich 
 nicht an Alfons vergaffet? 
 
 Sab. Ich gedencke meine Schwester du liebst ihn, wann dieses ist, sey nur zufrieden. Ich 
 will dir ihn herzlich gern iiberlassen. 
 
 Cath. O ich sehe nun wohl, dein Ehrgeitz und leichter Sinn trachtet nach Reichthum . . . 
 
 Sab. Du thust mir grofs unrecht, wie in vielen Dingen. Wann es urn seinet Willen ist, dafs 
 du mir so feind bist, kanstu deinen Sinn wohl andern. (Cath. bindet ihr die Hande.) Aber was 
 fangst du doch fur Kurtzweil mit mir an. 
 
 Cath. Ich sehe wohl, die Jungfer will gekurtzweilet seyn. Wart, (schlagt sie) wann dieses 
 dann Kurtzweil ist, so ist alles andere Kurtzweil gewesen. 
 
 Theob. Wie nun, du rasendes Thier? Was ist hier zu thun? Was ist dies fur ein boshaffiter 
 Muthwill ; wer hat dir die Macht gegeben iiber dies . arme . Kind wiitherisch zu herrschen ? Ich glaube 
 du wilst gar zu einem Henker an ihr werden, du boshaffter Schinder. Gehe hinein mein Kind, und 
 bleibe von diesem Lindwurm. (Sab. weint.) 
 
 Cath. Wollet ihr mich noch aufhalten, mich an ihr zu rechen? Ich sehe nun, dafs ich gantz 
 bey auch aufsgethan bin, diese untuchtige aber euer Augapfel ist, den man nicht anriihren darf. 
 . . . Doch nein sie mufs einen Mann haben, der ihr auffwartet : ... darmit ich ihr zu Ehren auff der 
 Hochzeit barfui's tantzen moge. 
 
 TRANSLATION. 
 
 Cath. Confess then to me openly and at once, which of your suitors dost thou love the best, 
 and be not -sparing with the truth, or I shall not spare thy hide. 
 
 Sab. Believe me as the truth itself, that of all the men I ever set eyes on, not one has yet 
 been taken into my heart. 
 
 Cath. To a lie belongs a box on the ears. (Striking her.) Thou loose cat, hast thou not 
 got foolish about Alfonso? 
 
 Sab. I think, sister, thou lovest him. If this be so, be quite at ease. I will most gladly 
 leave him to thee. 
 
 Cath. Oh, I see now, thy ambition and trivial mind aim at riches . . . 
 
CXXVHI SHAKESPEARE IN GERMANY. 
 
 Sab. Thou art very unjust to me in this as in many things. If it is on his account that 
 thou art so angry with me, thou canst change thy mind. (Cath. binds her hands). But what jest 
 is this that thou wilt play with me? 
 
 Cath. I see indeed, the maiden will be jested with. (Beating her). If this then is jest, then 
 has all the rest been jest. 
 
 Theob. How now, thou mad animal! What is to be done now? What malicious insolence is 
 this? Who has given thee the power to domineer so fiercely over this poor child? I believe thou 
 really wishest to be her executioner, thou malicious hangman. Go in my child, and keep away from 
 this dragon. (Sabine cries) 
 
 Cath. Will you prevent me from having my revenge on her? I see now that I am quite put 
 aside by you, but this good-for-nothing is the apple of your eye, whom one must not touch . . . but 
 no, she must have a husband to wait on her . . . that I may dance barefoot at her wedding in 
 her honour. 
 
 Act H. 
 (See Shakespeare's 'Taming of the Shrew'. Act I, sc. 5.) 
 
 Hartm. Wann mir recht ist, so ist diese Herrn Alfons Behausung. Du, schlag einmal an. 
 
 Wurmb. Was schlag? Wann, was soil ich schlagen? Sehe ich doch niemand. Hat euch ja 
 auch niemand leid gethan, den ich schlagen miifste. 
 
 Hartm. Schelm ich sage schlag an, und schlag nur stark an. 
 
 Wurmb. Dieses ist abermahl eine Ursach, pro more, vom Jauer, meinen Buckel auf schlagen 
 zu beschweren. Soil ich euch schlagen? Da behiite mich St. Niclas fur. 
 
 Hart. Narr ich sage dir, da schlag mir an, und stark genug, oder ich will dir deinen schel- 
 mischen Kopf zerschlagen. 
 
 Wurmb. Ich gedachte wohl, das Lied wurde in solchem Thon aushalten. Mein Herr hat 
 gewifs einmal Lerm in seinem Kopffe, und haben jhm die Horniissen das Gehirn zerwiihlet. Ich soil 
 jhn schlagen? der Teuffel schlagen jhn. Ja, wann es nicht uber mich aufsgienge. 
 
 Hartm. Ich sehe wohl die Glocke will nicht lauten, ich ziehe denn den Schwengel. Ich wil 
 dir die Ohren recken, und sehen ob du kanst fa, sol, la, singen. (Er ziehet jhn bey den Ohren hin 
 und her.) 
 
 Wurmb. Mordio, Mordio, Lerm in alien Gassen. Helfio, Helfio! Mein Herr ist dem Verstand 
 entlauffen, und wil sich bey mir aufhalten. 
 
 Hartm. Leichtfertiger Vogel, willtu nun singen? 
 
 TRANSLATION. 
 
 Hartm. If I am not mistaken, this is Signer Alfonso's house. Just knock once. 
 
 Wurmb. Knock what? When, what shall I knock? I do not see anybody. Nobody has done 
 you any injury that I must knock him. 
 
 Hartm. Rogue, I tell you, knock, and knock hard. 
 
 Wurmb. This is another cause according to the custom of Jauer, to get a load of blows upon 
 my back. Shall I knock you? St. Nicholas forbid! 
 
 Hartm. Fool I tell thee, knock there for me, and hard enough, or I will knock that roguish 
 head of yours to pieces. 
 
 Wurmb. I thought that would be the end of the song. My master has certainly got a noise 
 in his head, and the hornets have been rummaging in his brain. I beat him! The devil may give 
 him a beating, if it do not pass over me. 
 
 Hartm. I see that the bell will not ring, until I pull the clapper. I will stretch your ears 
 for you, and see whether you can sing fa, sol, la. (Pulls him backwards and forwards by the ears.) 
 
SHAKESPEARE IN GERMANY. CXXIX 
 
 Wurmb. Murder! murder! an alarm in all the streets! Help, help! My master has run away 
 from his senses, and wants to lodge with me. 
 
 Hartm. You mad bird, will you sing now? 
 
 Act IV. 
 
 (See Shakespeare's 'Taming of the Shrew.' Act. IV, sc. 5.) 
 
 Hartm. Nun wollen wir den alten Herrn Theobald wacker uberfallen. Wie scheinet der 
 Mond so hell, wir haben gewifs Vollmond. 
 
 Cath. Der Mond? Ei Schatz, es ist ja die Sonne. 
 
 Hartm. Was Sonne, soil ich wieder nicht recht sehen, Wurmbrand die Pferde aus dem Wirths- 
 hause. Wir mussen bei diesem Mondesschein wiedrum zurucke, welcher so gewifs scheinet, als meines 
 Vatters Sohn in meinen Hosen steckt. 
 
 Alf. Sagt doch wie er will. Jhr wifst ja seinen Sinn. 
 
 Cath. Nun so bleibe doch bei diesem Mondesschein hier. 
 
 Hartm. Ich sage es noch einmal, es ist der Mond. 
 
 Cath. Ich sehe es nun selbst, dafs es nicht anders ist. 
 
 Hartm. Nun irrest du dich doch, es ist ja die gesegnete Sonne. 
 
 Cath. Gott lasse es dann die Sonne sein. Ich bin wohl zufrieden, lasset es ein Wachslicht, 
 Stern, Fackel, oder was ihr wollet sein. 
 
 Alf. Der Bruder kann nun gemachlich die Wafien niederlegen das Feld ist schon erhalten. 
 
 TRANSLATION. 
 
 Hartm. Now will we come in upon the old Sir Theobald. How bright the moon shines! It 
 must surely be full moon. 
 
 Cath. The moon! Why, love, it is the sun. 
 
 Hartm. What, the sun! So again I cannot see right! Wurmbrand, bring the horses out from 
 the inn. We must turn round and go home again by this moonlight, which is shining now as surely 
 as that my father's son is in my breeches. 
 
 Alf. Say as he wishes. You know his humour well enough. 
 
 Cath. Well then, remain here by this moonshine. 
 
 Hartm. I repeat it once more, it is the moon. 
 
 Cath. I now say myself, that it is nothing else. 
 
 Hartm. Now you are wrong though; it is the blessed sun. 
 
 Cath. God let it be the sun then; I am content, let it be a waxlight, star, torch, or what you will. 
 
 Alf. My brother may now quietly lay down his arms. ' The field is already won. 
 
 Many of the phrases and turns of expression bear on the face of them evident traces 
 of having been translated from the English; and these passages are so numerous, and for 
 the most part are such a literal translation of Shakespeare's text, that it may be safely 
 asserted, that a, German version of Shakespeare's 'Taming of the Shrew' in its original form 
 had been placed in the author's hands. 1 The deviation's from the original in the piece 
 before us are, as we have seen, his own work, and not that of the players. The piece 
 offers many points of connection with others from the library of the English Comedians. 
 
 1 Simrock's conjecture, that the 'Surprising marriage of Petruvio' etc. was the -original from which the 
 author altered his piece, is plausible enough. See Quellen des Shakespeare etc. Vol. iii, p. 241. 
 
 R 
 
CXXX SHAKESPEARE IN GERMANY. 
 
 Thus, for instance, the "Sword dance" ("Schwerd Tantz") is mentioned (p. 38) which is also 
 introduced at the conclusion of 'Julius and Hippolyta.' At p. 126 we find the same play 
 on the words "rapier" and "warm beer" ("Rappier" and "Warmbier'') as in the German 
 'Hamlet' (p. 299). Also English expressions, such as "Ruffian" at p. 80 have been retained. 
 Several passages seem to point to a South-German origin: p. 83, "But as my affair has 
 so far gone on well, I must go to Frankfort" ("Aber weil nun meine Sache so weit richtig, 
 muss ich nach Franckfort"). Hartman-Petruchio is a native of Worms. But then Hanover 
 is also mentioned (p. 57): "It is also fair-time at Hanover" ("zu Hannover ist es auch 
 Markt"). Scraps of French and Latin are of frequent recurrence. We have seen above 
 from the passage at the conclusion, that the piece has been often acted, and there cannot 
 exist a doubt that the 'Comedy of the angry Catharine' which was performed in Dresden 
 in 1672, is identical with the piece before us. 
 
 At a later period, Christian Weise also chose the same subject for his 'Comedy of 
 the angry Catharine' ("Die bose Catharina"), which was performed in Zittau in 1705. 1 
 Everything in this piece is so flat and common-place, that it is hardly possible to recognize 
 a trace of Shakespeare in it. Incidents which are not found in Shakespeare's comedy have 
 been added, and the dialogue has no connection with Shakespeare's text. We should have 
 been inclined to imagine that Weise was entirely unacquainted with Shakespeare's play, if 
 the names of his characters, Baptista, Catharine, and Bianca, had not corresponded with 
 those in the 'Taming of the Shrew.' He could not have taken them from Straparola's 
 tale in the 'Piacevoli Notti,' as the names in it are different. It may be taken for granted 
 therefore that Weise had seen the piece acted somewhere in Germany, and perhaps at his 
 native town Zittau, in its first form, and then wrote his comedy from it, which is of far 
 inferior merit to the 'Art above all arts.' The late date at which it was composed renders 
 it unnecessary for us to consider Weise's piece more 'at length. 
 
 The Comedy of the clowns in Shakespeare's 'Midsummer Night's Dream' must have 
 come to Germany before 1636, as the 'Absurda Comica, or Mr. Peter Squenz' 2 of Andreas 
 
 1 Two Ms. copies of it are at the Municipal Library at Zittau, one of which was kindly sent me by 
 Dr. A. Tobias. The piece has never been printed. 
 
 2 Absurda Comica. Oder Herr Peter Squentz, Schimpff Spiel. 8vo. s. 1. e. a. (circa 1660). Two editions 
 probably printed in the same year. Reprinted in the collective edition of Gryphius's works, 8vo. Breslau 1698, 
 in Tieck's Deutsches Theater, Vol. ii, and in G. Bredow's edition 8vo. Breslau 1823. There has been a good 
 deal of dispute about the first invention of the story on which the Interlude of the Clowns in the "Midsummer 
 Nights Dream' is founded. Henry Schmid (Nekrolog der deutschen Dichter, Vol. i. 8vo. Berlin 1785, p. 122) main- 
 tains that it is of French origin, but he has not brought forward the proof which he promised. Bredow (in the 
 work mentioned above, p. 103), Wachler (Vorlesungen iiber Deutsche Literatur, 8vo. Frankfurt 1818, Vol. ii, p. 60) 
 and H. L. Voss (Shakespeare's Dramatische Werke, Vol. i, p. 505) contend that the older play from which Gry- 
 phius copied was composed in imitation of a German farce. The extracts given above will clearly shew that 
 
 ' Gryphius's piece is derived directly from Shakespeare. According to Bredow, Peter Squenz was from an early 
 period a current designation- of a clown. A parody of Gryphius's piece is Christian Weise's Neue Parodie eines 
 Neuen Peter Squenzes von lauter Absurdis comicis, in Zittauisches Theatrum, 8vo. Zittau 1683. 
 
SHAKESPEARE IN GERMANY. CXXXI 
 
 Gryphius' (born 1616, the year of Shakespeare's death, died 1664, a hundred years after 
 Shakespeare's birth) is an imitation of it, which the author confessed to have taken from 
 a version by Daniel Schwenter, who died in 1636. His piece, which appears to be lost, 
 must have been very popular, as may be concluded from Gryphius's 'Address to the reader' 
 which is as follows: 
 
 "Kind and honoured reader. Mr. Peter Squenz, now no longer unknown in Ger- 
 many, and in his own opinion greatly celebrated, is here presented to you. Although his 
 ideas may not all have quite so much point as he vainly imagines to himself, they have 
 nevertheless till now been accepted and laughed at in different theatres, not without the 
 special favour and amusement of the spectators. For which reason then, persons have 
 been found here and there, who have had neither shame nor scruple to give themselves 
 out for his father. ... But that he may no longer have to thank strangers for his origin, 
 know that Daniel Schwenter, who has deserved well of all Germany, and is well practised 
 in all sorts of languages and mathematical sciences, first brought him upon the stage in 
 Altdorf, from which place he wandered further and further, till at last he met my dearest 
 friend, who equipped him better, added to him some new characters, and had him repre- 
 sented together with one of his tragedies, to the eyes and judgment of all. But as he 
 
 '- was afterwards quite forgotten by him, more important affairs engrossing his attention, I 
 have been so bold as to demand him from the library of my said friend, to have him 
 printed, and sent to you, my gentle and most honoured reader." 
 
 Tieck's conjecture that Schwenter wrote his Peter Squenz after the interlude of 
 "Bottom the Weaver," is altogether false, as Bottom the Weaver was not printed till 1660, 
 
 I and certainly not played much before that time. Nothing can be more probable than that 
 Shakespeare's piece was brought to Germany by the English Comedians. Such a farce 
 must have been especially suitable for their object. That the whole of the 'Midsummer 
 Night's Dream' belonged to the acting stock of the Comedians, is very unlikely. On the 
 contrary, they probably only took from it the comedy of the clowns, as may also have 
 been done occasionally in England. That Gryphius's piece is derived directly from Shake- 
 speare must be evident to everybody at the first glance. It is almost the same arrange- 
 ment, scene for scene, and hardly one of Shakespeare's jokes has been omitted. The few 
 following passages may serve as a specimen: 
 
 Act I. 
 
 Pickelharing. . . . Aber saget Herr Peter Squenz. Hat der Lowe auch viel zu reden? 
 
 Peter Squenz. Nein, der Lowe mufs nur brullen. 
 
 Pickelharing. Ey so wil ich der Lowe seyn, denn ich lerne nicht gerne viel auswendig. 
 
 Peter Squenz. Ey nein! Mons. Pickelharing mufs ein Hauptperson agiren. 
 
 Kricks. Ja mich diinket aber, es solte zu schrecklich lauten, wenn ein grimmiger L5we her- 
 eingesprungen kame, und gar kein Wort sagte, das Frauenzimmer wtirde sich zu heftig entsetzen. 
 
 R2 
 
CXXXH SHAKESPEARE IN GERMANY. 
 
 Klotz George. Ich halte es auch dafiir. Sonderlich ware rathsam wegen schwangerer Weiber, 
 dafs ihr nur bald anfanglich sagtet, ihr waret kein rechter Lowe, sondern nur Meister Klipperl, der 
 Schreiner 
 
 Kricks. Kummert euch nicht darum lieber Schwager, Herr Peter Squentz 1st ein gescheidener 
 Mann, er wird dem Lowen wol zu reden machen. 
 
 Klipperl. Kummert euch uicht, kiimmert euch nicht, ich wil so lieblich brullen, dafs der Konig 
 und die Konigin sagen solleu, mein liebes Lowichen brulle noch einmal 
 
 Peter Squenz. Lasset euch unterdessen die Nagel fein lang wachsen, und den Bart nicht 
 
 abscheren, so sehet ihr einem Lowen desto ahnlicher Der Kirchen-Lehrer Ovidius schreibet, 
 
 dafs der Monden geschieneu habe, nun wissen wir nicht ob der Monde auch scheinen werde, wenn 
 wir das Spiel tragiren werden. 
 
 Kricks. Dem ist leicht zu helfen, wir miissen im Calender sehen, ob der Mond denselben 
 Tag scheinen wird. 
 
 Klotz George. Ja, wenn wir nur einen batten. 
 
 Meister Lollinger. Hier habe ich einen, den habe ich von meines Grofs-Vatern Muhme 
 ererbet &c. . ' 
 
 Kricks. Hort, was mir eingefallen ist, ich wil mir einen Pusch um den Leib binden, und ein 
 Licht in einer Laterne tragen, und den Monden tragiren, was diincket euch zu der Sachen? 
 
 Peter Squenz. . . . Wie werden wir es mit der Wand rnachen? . . . Piramus und Thisbe 
 miissen mit einander durch das Loch in der Wand reden. 
 
 Klipperl. Mich diiucket, es ware am besten, man beschmierte einen um und um mit Leim- 
 wellern, und steckte ihn auf die Biihne, er miiste sagen dafs er die Wand ware, wenn nun Piramus 
 reden soil, miiste er ihme zum Maule, das ist zum Loch, hineinreden. Wenn nun Thisbe was sagen 
 wolte, miiste er das Maul nach der Thisbe kehren. 
 
 TRANSLATION. 
 
 Clown. . . . But tell us Master Peter Squenz, has the lion much to speak? 
 Peter Squenz. No, he has only to roar. 
 
 Pickelhdring. Well, then let me be the lion; for I don "t like having to learn much by heart. 
 Peter Squenz. Oh no, M. Pickelharing must act a principal part. 
 
 Kricks. Yes, but I rather think it would sound too awful for a furious lion to come in bound- 
 ing upon the stage, without saying anything; the ladies would be too much frightened. 
 
 Klotz George. I think so too. On account of the pregnant women particularly, it would be 
 advisable, to say at the beginning that you are no lion at all, but only Master Klipperl, the joiner. 
 
 Kricks. Don 't be afraid of that my dear brother in law, Master Peter Squenz is a clever 
 man, he is sure to make the lion speak. 
 
 Klipperl. ^ Don 't be afraid of that; I will roar so charmingly that the King and Queen shall 
 say: My sweet lion, pray roar again. 
 
 Peter Squenz. Let your nails meanwhile grow nice and long, and do not have your beard 
 shaved, and you will resemble the lion all the more. . . . Ovidius, the Ecclesiastic, says, the moon did 
 shine, but we don 't know whether the moon will shine when we shall act the play. 
 
 Kricks. That is easily managed, we must refer to the Calendar, and see if the moon will 
 shine on that day. 
 
 Klotz George. Yes, if we only had got one. 
 
SHAKESPEARE IN GERMANY. CXXXIII 
 
 Master Lollinger. Here I have one; it is a legacy from my grandfather's aunt. 
 
 Kricks. Listen to what has occurred to me! I will tie a plush round my body and carry a 
 light in a lantern, and thus represent the moon; what do you think of that? 
 
 Peter Squenz. How shall we do for a wall? . . . Pyramus and Thisbe must talk together 
 through the chink in the wall. 
 
 Klipperl. I think it would be best to paint one of you with lime-water and to put him on 
 the stage. He would have to say, he was the wall; and when Pyramus is to speak into his mouth, 
 he must speak into the chink, and if Thisbe should want to say anything he would have to turn his 
 mouth to Thisbe. 
 
 Compare with the above scene, Shakespeare's Midsummernight's Dream, Act I, sc. 2, 
 and Act III, sc. 1 . 
 
 Towards the end of the century, Michael Kongehl, a German Poet, (born 1646, died 
 1710) directed his attention to Shakespearian subjects. We have from his pen the 'Phoenicia 
 awakened from death' 1 and 'The innocence of the innocently accused Innocentia.' 2 The 
 former handles the plot of 'Much Ado about nothing', the latter, that of 'Cymbeline'. Kon- 
 gehl has probably not known Shakespeare, and yet there are many passages differing from 
 the tales, from which we should feel inclined to conclude that he did not derive his sub- 
 ject directly from Bandello or Boccaccio, but that there were some dramatic intermediate 
 links from which he copied. Perhaps he may have seen similar pieces acted by the com- 
 panies of actors. 3 His 'Phoenicia' agrees with Ayrer's piece as far as to the courtship of 
 Tymbor, but the characteristic comic scenes as also the characters of Venus and Cupid 
 are omitted. In the place of Venus we have here Tisiphone "a Fury from Hell" (see the old 
 German 'Hamlet'), who makes Gerando her tool for the destruction of Phoenicia. In other 
 respects the progress of the two pieces is very nearly the same, only that Kongehl is nearer 
 than Ayrer to Bandello. Similarly in Kongehl's 'Innocentia' there is nearly everything which we 
 find in Boccaccio's tale, on which Shakespeare's 'Cymbeline' is based, and yet there are 
 deviations also here which, like the whole management of the piece, would lead us to 
 suppose he had some dramatic model. 
 
 We may here remark that the Imperial Library at Vienna contains a number of 
 MS. dramas of the seventeenth century, several of which are new versions of English pieces, 
 which me must also reckon as having belonged to the Acting library of the English players. 
 To one of these MSS. we have already had occasion to refer (p. cxvii). Another without a 
 
 1 Die vom Tode erweckte Phonicia. Eine anmuthige Sicilianische Geschicht in einem Mischspiel (Tragico 
 Comoedia) auf die Schaubiihne gebracht. 8vo. Konigsberg s. a. 
 
 2 Der unschuldig beschuldigten Innocentien Unsclmld. Eine nachdenkliche Genuesische Geschicht in einem 
 Mischspiel (Tragico Comoedia) auf die Schaubiihne gefiihrt. 8vo. Ibid. s. a. Gottsched, Nb'ihiger Vorrath, Vol. i, 
 p. 243 244, and after him K. Goedeke, Grundrifs Vol. ii, p. 519, mention the year 1680 as the date of the im- 
 pression of both pieces, which however cannot have been printed before 1682 as Kongehl calls himself on the 
 title-pages "Churfurstl. Brandenb. Secretarius", a dignity which he acquired only in 1682. 
 
 3 The old German play of 'The Merchant of Padua' (see p. Ivii) may have been known to Kongehl. 
 
CXXXIV SHAKESPEARE IN GERMANY. 
 
 title, (MS. Suppl. 1136) treats the subject which forms the second part of Shakespeare's 
 Winter's Tale. Dimas, the son of Damon, the shepherd, plays here the part of Autolycus. 
 Then we have a 'Merchant of London,' undoubtedly John Ford's 'London Merchant,' and 
 the 'Honest Mistress', which is of course Thomas Dekker's 'Honest Whore', and was first 
 printed in 1G64. In addition to these there is a copy of the date of 1755, of a probably 
 much older piece, 'Phaeton,' perhaps a late imitation of Dekker's lost drama of this name. 
 I have not seen these manuscripts, 1 as I did not hear of them till the present work was 
 nearly through the press. 
 
 A Fragment of some English verses, falsely described as part of a Moral Play, 
 which first came to light in Germany a few years ago, and consists of a single leaf in 
 folio, printed, as it appears, from a block, has also been brought into connection with 
 the English Comedians. 2 There is no other argument for this assumption than the circum- 
 stance that this fragment appears to have been printed on the Continent. We quite agree 
 with the following remarks of Mr. Henry Bradshaw 3 : "The fragment cannot be considered part 
 of a moral play, or any such production. If any one will glance at the various lists of John 
 Lydgate's works, he will see enough to show him that this is a set of stanzas on the seven 
 theological virtues, written most probably for scrolls to be put above or beneath figures 
 representing these virtues on the wall of a room, or in some such position as many of 
 Lydgate's verses are known to have been". The Fragment also belongs to a period, (the 
 reign of Henry vm or Mary) w^hen there were no strolling companies of English actors on 
 the Continent of which we have any knowledge. 
 
 In conclusion, we have to make a few observations as toyp how these English players 
 performed. Various surmises have been made concerning the language in which they de- 
 livered themselves before the German public, and till very recently writers of note have 
 considered it doubtful whether the English language was used in those performances 
 on the German stage. It will be remembered that even the nationality of the English 
 Comedians has been considered till lately an open question; but we trust that the facts 
 alleged in the preceding pages have definitely set at rest all misgivings on this point, and 
 if the contemporary evidence we have brought to light should have still left any doubt respect- 
 ing the language employed, a document which we are enabled to adduce will conclusively 
 settle that point also. We find the following entry in Rochell's Chronicle of the city of 
 Miinster (edited by Joh. Janssen, Miinster 1852): 
 
 "Den 26. Novembris (1599) sindt alhir ange- i On the 26th of November 1599 there arrived here 
 
 kommen elven Engellender, so alle jungi und rasche 
 Gesellen waren, ausgenommen einer, so tzemlichen 
 althers war, der alle dinge regerede. Dieselben 
 
 eleven Englishmen, all young and lively fellows, 
 with the exception of one, a rather elderly man, 
 who had everything under his management. They 
 
 ' I am indebted for a descriptive list of them to Mr. Joseph Haupt of the Imperial Library. Vienna. 
 * See Athenaeum, 1856, Sept. 6, No. 1506. Dr. W. Bell, Shakespeare's Puck etc. Vol. ii, p. 268. 
 3 See Le Bibliophile illustre. 1. Decemb. 1863, p. 141. 
 
SHAKESPEARE IN GERMANY. 
 
 cxxxv 
 
 acted on five successive days five different come- 
 dies in their own English tongue. They carried 
 with them various musical intruments, such as 
 lutes, cithern, fiddles, fifes, and such like; they 
 danced many new and foreign dances (not usual 
 in this country) at the beginning and at the end 
 of their comedies. They were accompanied by 
 a clown, who, when a new act had to commence 
 and when they had to change their costume, made 
 many antics and pranks in German during the perfor- 
 mance, by which he amused the audience. They were 
 licensed by the Town-Council for six days only, after 
 which time they had to depart. During those five 
 days they took a great deal of money from those 
 who wished to hear and see them, for every per- 
 son had to give a [Bremen?] shilling to each of 
 them at their departure. 
 
 agerden vif Tage uf den riidthuse achter-einandern 
 vif verscheiden comedienin ihrerengelscherSprache. 
 Sie hetten bi sich vielle verschieden instrumente, 
 dar sie uf speleten, als luten, zitteren, fiolen, pipen 
 und dergelichen; sie dantzeden vielle neuwe und 
 frommede dent7,e (so hier zu lande nicht ge- 
 pruechlich) in anfang und Ende der comedien. 
 Sie hetten bei sich einen schalkes naren, so in 
 duescher sprache vielle botze und geckerie machede 
 under den ageren, wann sie einen neuen actum 
 wollten anfangen und sich umbkledden, darmidt 
 ehr das volck lachent machede. Sie waren von 
 den rade vergeliedet nich lenger als ses taghe. 
 Do die umb waren. mosten sie wedder wichen. 
 Sie kregen in den vif taghen von den, so es horen 
 und sehen wolten, vielle geldes; dan ein jeder 
 *moste ihnen geben zu jeder reise einen schillinck/' 
 
 This may have been the same company which had performed in the English language 
 at Hildesheim in 1599 (see p. Ixi.). It is probable that all these English players soon acquired a 
 familiarity with the German language, or that they associated themselves with Germans and 
 then merely undertook the managing part of the performances. As early as 1600, Landgrave 
 Maurice of Hesse, in an agreement with his English players, stipulated that at his demand 
 they should arrange such comedies, tragedies and histories as he or they might wish to be 
 acted on the stage. 1 Thus we also find at a much later period, in 1659, that the English 
 Comedians at the Dresden Court had to provide German translations of the plays which 
 they intended to act (see p. cxviii). That those who settled in Germany acquired a per- 
 fect mastery of the German language, may be concluded from the facsimiles of the autographs 
 of Thomas Sackville and John Breadstreet, to be found in the present work. The above 
 extract shows moreover that the German language was not altogether excluded from 
 performances enacted in English. It is most likely that the gart of the clown was usually 
 given by a German, w.ho frequently availed himself of his privilege to interpret to the 
 German audience the foreign idiom of his fellow -players. We learn further from the 
 passage in Rochell's chronicle that the performances were opened and concluded by music 
 ; and dancing. The intervals between the acts were not always filled up by the jests of 
 < the clown, but more frequently by music, as we are told by Michael Prastorius, 2 one of the 
 ! principal writers on music at that time: 
 
 .... "Und gleich wie in comedien jedem Actu 
 erne feine liebliche Musica Instrumental, mit cor- 
 netten, Violen oder andern dergleichen Instrumen- 
 ten umbwechselnde , bisweilen auch mit Vocal- 
 
 .... So it is also done in comedies, where 
 a sweet and lovely Musica instrumentalis is per- 
 formed between the acts, with cornets, fiddles, and 
 other similar instruments, varying sometimes with 
 
 1 See Rommel, GescMchte von Hessen, Vol. VI, pag. 401. 
 
 2 Michael Praetorius, Syntagma Musicum. 4to. Wittenbergae 1615, pars III, p. 110. 
 
CXXXVI 
 
 SHAKESPEARE IN GERMANY. 
 
 Stimmen angeordnet und von den Italis Intermedia 
 genennet wird; Darait unterdessen die personatae 
 personae sich anders vmbkleideu und zu folgendem 
 Actu praepariren, auch etwas respiriren und sich 
 erholen konnen" etc. 
 
 vocal music, called Intermedia by the Italians, in 
 order that the personatae personae might be en- 
 abled to change their costume, to prepare them- 
 selves for the next acts and to recreate them- 
 selves. 
 
 The variety and brilliancy of the theatrical costume of the English Comedians has been 
 noticed by another well-known writer of the period, John Soinmer, commonly called Johannes 
 Olorinus Variscus, who in his work "Geldtklage" ! thus reflects on the luxury of his con- 
 temporaries : 
 
 "Da miissen die Kragen mit Perlen besetzet 
 werden, vnnd wird ein solcher Pracht gesehen, 
 dass sie einher gehen, wie die Englischen Como- 
 dienspieler in Theatre." 
 
 Their collars must be set with pearls, and such 
 a display of finery is indulged in, that they 
 strut along like the English Comedians in the 
 theatre. 
 
 These were the actors, who, as the earliest representatives of the English stage 
 abroad, initiated the Germans into dramatic art and, when Shakespeare was still living, trans- 
 ferred his works on German ground; but nearly a century elapsed after the English Co- 
 medians had disappeared, until Shakespeare's name appeared in Germany. The Gallomania 
 which infected the nation, exhausted by the thirty years' war, and corrupted its morals, 
 gradually destroyed the effect of English influence and interrupted for a long time that 
 development of free dramatic art, so auspiciously begun under an early impulse, received 
 from the representatives of the old English stage. It was only in an indirect manner 
 
 and most probably without any acquaintance with Shakespeare himself, that Andreas Gryphius, 
 the only German dramatist of note in the seventeenth century, became indebted to English 
 models for the vast superiority which he attained over his contemporaries. Shakespeare's 
 name occurs for the first time in Germany in MorhofFs "Unterricht von der deutschen 
 Sprache und Poesie", 1682, but the author at the same time confesses himself per- 
 fectly unacquainted with his works. We next meet with Shakespeare's name in Barthold 
 Feind's "Gedanken von der Opera" preceding a collection of his poems, 1708; but all that 
 he has to say of Shakespeare is, that according to "M. le chevalier Temple" some 
 persons, on hearing a reading of the tragedies of "the famous English tragedian Shakespeare", 
 could not help sobbing loudly and shedding floods of tears. As late as 1740 the name 
 of Shakespeare could appear in the works of the learned Bodmer in the guise of "Saspar"" 
 the best proof that he knew Shakespeare only from hearsay. The first who was fa- 
 voured with the gift of appreciating Shakespeare to a certain extent w r as a Baron von 
 Borck, Prussian ambassador in London, who in 1741, translated 'Julius Csesar' into German 
 Alexandrines, a very creditable performance for that time, which however was taboed by' 
 Gottsched and his school. But what must have been the mortification of the latter, when 
 he saw his disciple John Elias Schlegel, the dramatist, so much appreciating Shake- 
 
 1 Joh. Olorinus Variscus, Ethnographia mundi, pars IV, Geldtklage. 8vo. Magdeburgk (1614) p. 472. 
 
SHAKESPEARE IN GERMANY. CXXXVII 
 
 speare as to admit his superiority over Gryphius; and this he really did in a periodical 
 founded by Gottsched himself, the blind worshipper of French taste. A few other 
 faint voices made themselves heard in praise of Shakespeare; the boldest of these be- 
 longs to a writer in a periodical "Der Englische Zuschauer" 1742, who had the courage to 
 confess that he would much rather read any play of Shakespeare, however "irregular", 
 than any of the most "regular" productions of the leading school. A few persons only, 
 however, could boast of so intimate an acquaintance with Shakespeark, and for a series 
 of years the latter continued to remain almost unknown in Germany. In Zedler's large 
 Cyclopaedia, 1743, Shakespeare is mentioned as having achieved great skill in poetry, 
 "although he was no great scholar", and as having had "some subtle controversies with 
 Ben Jonson, to the advantage of neither of them"; and even in 1751 the learnd Jocher, 
 in his "Gelehrten-Lexicon" copied this luminous dictum with the only addition: "He had 
 a humourous turn of mind, but sometimes could be also very grave and excelled in 
 Tragedies." 
 
 It was reserved for Lessing, the great regenerator of the German drama, to impress 
 his countrymen with the genius of Shakespeare and with the conviction that a conscien- 
 tious study of his works was the only means of rescuing the drama from total decline. 
 The enthusiasm with which the Germans responded to this call of their greatest critic, 
 and the results since obtained by them in the field of Shakespearean literature, are suffi- 
 ciently well known; and it cannot be denied that no other nation has ever made a foreign 
 poet so completely its own, as the Germans have done in the case of Shakespeare. 
 
ADDENDA. 
 
 Pag. lix. The Company of English Comedians whom we meet at Frankfort in 1597 appears 
 to have visited Stuttgart in the same year. Pfaff, Geschichte der Stadt Stuttgart, I, p. 
 116 relates: "A regular company of actors came to Stuttgart for the first time in 
 May 1597; they were Englishmen, who performed during seven days before the court, and 
 in recompense received from Duke Frederick I 300 florins, besides having their expenses 
 defrayed." Duke Frederick I, it will be remembered, had visited England in 1592. 
 
 Pag. xcvii. According to the Beschreibung des Stadt- mid Direktionsbezirkes Stuttgart, her- 
 ausgeg. von dem K. Statist. Topogr. Bureau. 8vo. 1856, p. 417 there was a company 
 of six English Comedians at the Court of Stuttgart in 1625, who held a permanent ap- 
 pointment. One of them was John Price who is spoken of as early as 1609, and who 
 received a salary of 270 florins, besides his expenses at court, clothing, and other emo- 
 luments. Other names given are John and David Morell, and John Dixon. We have 
 met with one John Price, a celebrated musician, at the Dresden court. See p. xcvii, note. 
 The company to which he belonged in 1609 must have been the .one which performed 
 at Dresden in the same year, and which in June 1610 performed at the festivities men- 
 tioned at p. Ixxxiii. A company of Englishmen "who had also played before at Stutt- 
 gart" is expressly mentioned in the quotation from an unpublished MS. given at 
 p. Ixxxiii. 
 
 Pag. cvii. Another acknowledgement of the superiority of the English Comedians by a 
 contemporary author will be found in Daniel von Wensin's Oratio contra Britanniam, 
 delivered at Tubingen hi 1613: "Nee diu est cum plerique artifices in Anglia peregrini 
 et exteri et aurifabri Londini pene omnes fuerunt Germani: Anglis interea gulae volup- 
 tatibus . . . . et rebus nihili, atque adeo histrionae jugiter operam dantibus; in qua sic 
 profecerunty ut jam apud nos Angli histriones omnium maxime delectant etc. (Nor is it 
 long since that the majority of artisans in England were aliens and foreigners, and the 
 goldsmiths in London were nearly all Germans. Meanwhile the English have given 
 their constant attention to culinary pleasures and to trifles, but also constantly to the 
 histrionic art, in which they have attained to such perfection that the English players 
 delight us the most of all etc.) See Fr. Achillis Ducis Wiirtemberg. Consultatio de prin- 
 cipatu inter provincias Enropae habita Tnbingae in illustri collegia. 4to. Tubing. 1613. 
 
 For these addenda I am indebted to Mr. W. B. Rye of the British Museum, who 
 is in the possession of valuable materials respecting Foreign travellers in England under 
 Queen Elizabeth arid the subsequent reign. 
 
PART II: 
 
 TEXTS. 
 
COMEDY OF THE BEAUTIFUL SIDEA 
 
 BY JACOB AYRER OF NUREMBERG. 
 
 (CIRCA 1595.) 
 
In JACOB AYRER'S Opus theatricum, Nuremberg 1618, in-fol., the BEAUTIFUL SIDEA occupies folio 433 
 recto, col. 2, to folio 442. It is entitled: 
 
 (EomeMa 
 
 Don irer fdjonen 
 
 3ibea 1 rote t$ jljr Mft ju jrer 
 Derhciiratung mjangen, 
 
 16. <pfr|onfn, Dnb l)at 
 5. 3, 
 
 (COMEDY OF THE BEAUTIFUL SIDEA, AND WHAT BEFEL HER TILL THE TIME THAT SHE GOT MARRIED. 
 
 WITH 16 PERSONS AND IN 5 ACTS.) 
 
 The play has been reprinted in: Deutsches Theater. Herausgegeben von LUDEWIG TIECK. Erster Band. 
 Berlin 1817, in-Svo, where it occupies pages 323 to 365. 
 
 A considerable want of care is perceptible in TIECK'S edition which, in many places, deviates from the 
 original impression. Nearly all the deviations are printer's blunders, no editorial alterations. Grammar and Or- 
 thography have been equally disregarded, syllables and words and indeed in one instance a whole line, have been 
 omitted. 
 
 In the present impression of the German text the original has been strictly followed, even in its irre- 
 gularities and punctuation. 
 
COMEDIA 
 VON DER SCHONEN SIDEA. 
 
 Volgen die Personen in difs Spil. ' 
 
 LUDOLFK der Fiirst in Littau 1 
 
 SIDEA sein Tochter 
 
 LEUDEGAST der Fiirst in der \Viltau 3 
 
 FRANCISCUS ) 4 
 
 _ ; seme zwen Kahte 
 
 ELEMAUS ^ o 
 
 ENGELBRECHT defz Fiirsten Sohn 6 
 
 FAMULUS sein Jung 7 
 JULIA defz Fiirsten in der Wilte fremde Jungkl'rau 8 
 
 JAHN MOLITOR der Miiller 9 
 
 ROLLUS der Bauer 10 
 
 DIETERICH der Schuster 1 1 
 
 FINELIA sein Weib 12 
 
 AGNES defz Schusters Tochter 13 
 
 ELA defz Baurn Tochter 14 
 
 RUPRECHT der Postbott I 5 
 
 RUNCIFALL der Teuffel 16 
 
 ACTUS PRIMUS. 3 
 
 RUPRECHT DER POSTPOTT geht ein, tregt ein Brieff in 
 
 einer kluppen vnd S. * 
 fechweigt still vnd hort mir ein weng zu 
 Ein absag Brieff ich bringen thu 
 Von Leudegast dem grofsmechtigen Fiirsten 
 Der wil Ludolffen den gediirsten 
 Vberziehen mit grosem Heer 
 Sehen das er sein hochmuth wehr 
 Vnd will auch nicht ehr lassen ab 
 Bifs er jhn gar vertrieben hab 
 Weil jhm so iibel ist mit fridt 
 Helt kein Vertrag vnd Bundnufs nit 
 Darumb will ich each alien rathen 
 Wo jhr nicht kommen wolt zu schaden 
 So seh ein jeder zu dem sein 
 Sie zihen schon vom Berg herein 
 
 COMEDY 
 OF THE BEAUTIFUL SIDEA. 
 
 his two counsellors. 
 
 Persons represented: 
 
 LUDOLFF, Prince of Lithuania. 
 
 SIDEA, his daughter. 
 
 LEUDEGAST, Prince of the Wiltau. 
 
 FRANCISCUS, 
 
 ELEMAUS, 
 
 ENGELBRECHT, the Prince's son. 
 
 FAMULUS, his boy. 
 
 JULIA, the Prince in the Wiltau's foreign lady. 
 
 JOHN MOLITOR, the miller. 
 
 ROLLUS, the peasant. 
 
 DIETRICH, the shoemaker. 
 
 FINELIA, his wife. 
 
 AGNES, the shoemaker's daughter. 
 
 ELA, the peasant's daughter. 
 
 RUPRECHT, the postman. 
 
 RUNCIFALL, the devil. 
 
 ACT I. 
 
 Enter RUPRECHT, THE POSTMAN, bringing a letter in a 
 
 clip. 
 
 _De silent all and list to me: 
 I bear high words of enmity 
 From Leudegast, the mighty king, 
 Who means an armed host to bring. 
 Attack Ludolff, that man of greed, 
 See how pride stands him in his need. 
 Nor leave him till the recreant yield. 
 And vanquished fly the battle field. 
 For peace with him is nought but ill; 
 He neither pact nor treaty will. 
 If therefore you would grief eschew, 
 This counsel I would give to you: 
 Let each unto his own look well. 
 E'en now they rush from hill and fell. 
 
 1 In the 'Opus theatricum' all the lists of Persons represented are placed at the end of each play. 
 
 2 A Princess of Poland. 
 
 3 All the designations of acts .are placed at the end of each act throughout the ' Opus theatricum'. 
 
 4 vnd S. i. e. und sagt, and says. The same note, or the letter S only, is appended to all the characters' names in the 
 'Opus theatricum'. 
 
 1* 
 
COMEDY OF THE BEAUTIFUL SIDEA. 
 
 Darumb mufs ich eylendt Postirn 
 Vnd disen Brieff bait Praesentirn 
 
 [Er geht ab. 
 
 Kompt ROLLUS DER BAUR schlegt in die hend 
 Ja der Dieb hat zu vil genriitzt 
 'IcK hab'.das Meel geknetten jetzt 
 Es gehn.mifga schir zwen Laib ab 
 . :Se;wejig'icfa-lang nicht bachen hab 
 Vnd wenn ich jetzt den Dieb ergriff 
 Ich jhn mit Fausten alsbalt anlieff 
 Wolt jhm das Meel vom Halfs rab schlagen 
 
 JAHN MOLITOR geht ein in gestallt eines Milliners 
 Sich Eolle mein, ich mufs dich fragen 
 Wer ist der dort so eylend Reit 
 Vnd sag mir auch was es bedeut 
 Er fiihrt ein Brieff in einer kluppen 
 
 ROLLUS 
 
 Du Dieb das dich ankumb die schnuppen 
 Was hab ich nach dem Renter zu fragen 
 Hor Muller thu mir das vor sagen 
 Warumb stahlstu mir von mein Meel 
 
 JAHN MOLITOR 
 Ich habs nit than bey meiner Seel 
 
 ROLLUS 
 
 So hats aber dein Weib than die Hur 
 JAHN MOLITOR sagt gar ernsilich 
 Ey nein mein Metz die nim ich nur 
 Aufs deinem Sack von deinem Korn 
 Vnd was das selbig mehr ist worn 
 Aber vom Meel nim ich kein staub 
 
 ROLLUS 
 
 Ja dasselb ich auch gar wol glaub 
 Stihlstu vil Korn aufs dem Sack raufs 
 So wird dest weniger Meel daraufs 
 Defs ich bin heut wol worn innen 
 Hab kaum zehen Laib bachen kiinnen 
 i Der jhr doch solten zwolff worden sein 
 
 JAHN MOLITOR 
 
 Hor wann du die Laib machest klein 
 So kanstu jhr wol achtzehen bachen 
 
 ROLLUS 
 
 Kom her vnd lern mich Haufslaib machen 
 Vnd spott mich noch wol aufs darzu 
 Ein rechter arger Dieb bistu 
 Von dem kombt niemand vnbetrogen 
 
 JAHN MOLITOR 
 
 Ey das ist auff mein Seel erlogen 
 Ich bin nicht alzeit in der Miihl 
 Wie kont ich dann stehts nemen zu vil 
 
 And therefore must I post away, 
 This letter to present to-day. 
 
 [Exit. 
 
 Enter ROLLUS, THE PEASANT, clasping his hands together. 
 Yes, the thief has cribbed too much; 
 I have the meal just kneaded, such 
 Should give at least two good loaves more. 
 So little I ne'er baked before. 
 And if I now could catch the thief, 
 My fists should bring him soon to grief 
 Till from his neck the flour ran. 
 
 
 Enter JOHN MOLITOR in the form of a miller. 
 
 Tell me, my Roily, if you can, 
 Who's riding there so fast away? 
 And what it means, I prythee, say, 
 He bears a letter in a clip. 
 
 ROLLUS. 
 
 You thief! Pox take you! What's the rip. 
 And rider too indeed, to me? 
 Hark, Miller, tell me honestly, 
 Why of my meal so much you stole? 
 
 JOHN MOLITOR. 
 I? not a jot! Upon my soul. 
 
 ROLLUS. 
 Your wife has done it then, the whore. 
 
 JOHN MOLITOR, very earnestly. 
 Oh no, my measure, never more, 
 From out your sack of corn 1 take, 
 And just whatever more it make. 
 But of the meal, no jot, no jot. 
 
 ROLLUS. 
 
 Aye, as for that, I doubt it not. 
 For if the corn you freely steal, 
 The less remains to grind to meal. 
 I'm up to that, my man, to-day. 
 Could scarcely bake ten loaves, I say! 
 Though twelve there should have been in all. 
 
 JOHN MOLITOR. 
 
 Why, if you would but have them small. 
 Eighteen at least you well might make. 
 
 ROLLUS. 
 
 Hallo! You'd teach me how to bake. 
 And cut your jokes upon me too! 
 A regular vile thief are you, 
 Who never fail to pluck your bird. 
 
 JOHN MOLITOR. 
 
 Now that's a lie, upon my word. 
 I am not always in the mill; 
 How can I then the flour pill? 
 
9 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 10 
 
 So hab ich lauter gar from Knecht 
 Die thun den Bauren nit vnrecht 
 . Zu mahl wann sie jhn was verehrn 
 Drumb mag ich dir nit mehr zuhorn 
 Es mocht sich zu weit reissen ein 
 
 [Jetzt drommet man, 
 
 ROLLUS 
 
 Hor hor frembt Leut im Lande sein 
 Ich wil gehn zu den meinen sehen 
 Das mir kein schaden thu geschehen 
 
 [Sie gehn ab. 
 
 LUDOLFF geht ein mit SIDEA seiner Tochter in Heidnischen 
 kleidern unit zweyen Trabanten, setzt sich vnd sagt zornig. 
 Sidea liebe Tochter mein 
 Jetzund wir Bottschaft gwertig sein 
 Was der Fiirst in Littau wird sagen 
 Dem wir sein Gsanden habn erschlagen 
 Dem vnser gmiith nit gfelt gar wol 
 Dann vnser hertz steckt zorens vol 
 Vnd so bait wir es kiinnen fiigen 
 So woll wir jhn mit gwalt bekriegen 
 Vnd treiben von sein Leut vnd Landen 
 
 SIDEA 
 
 Herr Vatter nichts guts thut mich anden 
 Wir haben vns wol fur zuschauen 
 Dann keinem Feind ist nicht zutrauen 
 Darzu ist vnser Feind auch starck 
 Ist darzu sehr listig vnd arck 
 Dorfft vns mit gegen wehr begegen 
 Dar zu alles vngliick anlegen 
 So hett wir den schimpff allezeit 
 Von wegen der vermessenheit 
 Die wir bifsher haben begangen 
 Doch mag eur Lieb auch raht empfangen 
 Von jhren wol verstendigen Ra'hten 
 Die solch sach bafs erfahren theten 
 Als ich arme junge Jungfrau 
 
 LUDOLFF 
 
 Trabant bait zu der Pforten schau 
 Seind Leut draufs die fur vns begern 
 Lafs sie nur rein das wir sie horn 
 
 Ein Trabant geht hin thut auff, so kompt RUPRECHT DER 
 
 POST BOTT tregt ein Brief in einer kluppen, neigt sich vor 
 
 dem Fursten 
 
 RUPRECHT 
 
 Durchleuchtigster Fiirst ich bin ein Bott 
 Gefreyt vor aller gfahr vnd noht 
 Gleich wol so bitt ich vmb genaxl 
 Hertzog Leudegast mich her gschickt hat 
 
 My men are in the pious way, 
 
 Won't cheat a peasant, no, not they; 
 
 Especially if tipp'd before; 
 
 And therefore I will hear no more. 
 
 The thing might get beyond a joke. 
 
 [Drumming without. 
 ROLLUS. 
 
 Hark! hark! I fear that's foreign folk. 
 
 I'll go and mind my chattels all; 
 
 Lest any damage me befall. 
 
 [Exeunt: 
 
 Enter LUDOLFF with SIDEA, his daughter, in heathen costume, 
 with two attendants. LUDOLFF sits down, and says angrily: 
 
 Oh daughter sweet, my own Sidea, 
 
 The answer now must soon be here, 
 
 What will the prince in Littau say, 
 
 That we his envoy dared to slay. 
 
 Our spirit liketh him not well, 
 
 For anger doth our bosom swell. 
 
 As soon as we can war prepare, 
 
 He'll taste our mettle then and there. 
 
 We'll drive him from his land, we will. 
 SIDEA. 
 
 My heart forebodes, sir, nought but ill. 
 
 We for ourselves may well take heed; 
 
 For who would trust a foe indeed? 
 
 Besides our enemy is strong, 
 
 And cunning in devising wrong, 
 
 Perhaps may offer opposition, 
 
 And lead us on to our perdition. 
 
 And thus, my father, would our name 
 
 Be covered with undying shame 
 
 For those presumptuous acts of thine. 
 
 Oh, rather may thy heart incline 
 
 To those, who can with counsel aid 
 
 Far better than a simple maid, 
 
 Men, whose experience is great. 
 LUDOLFF. 
 
 Attendant, look thou to the gate, 
 
 Admit all who an audience seek; 
 
 We'll hear them, let them freely speak. 
 
 The attendant opens the door. Enter RUPRECHT, THE POST- 
 MAN, carrying a letter in a clip, and makes obeisance to 
 the Prince. 
 RUPRECHT. 
 
 Most noble Prince, I come to thee, 
 As envoy from all danger free, 
 But still your grace I'd humbly crave. 
 Duke Leudegast the missive gave, 
 
11 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 12 
 
 1m zorn mit diesem absag Brieff 
 Was der inhalt gibt sein begrieff 
 
 FURST LUDOLFF nimbt den Brieff mit zorn aufs der 
 
 kluppen, liest den vnd sagt zornig 
 Dein Fiirst der ist vns leiden gut 
 Sag wenn er hab eins Helden muth 
 Vnd will vns lernen kennen bafs 
 Thu er was er sich gliisten lafs 
 Wir wolln alhie seiner warten 
 In der mafs schlagen auff die schwarten 
 Das er sol sein hochmuth verstehn 
 Vnd du magst deins wegs wol fort gehn 
 Oder wir wolln dir fiifs macben 
 Ruprecht der Bott neigt sich vnd geht ab, der Furst 
 
 sagt weiter. 
 
 Nun mufs wir auch thun zu den sacben 
 Vnd ein gewaltigs Heer bestelln 
 Dem Fiirstn sein hochmuth dempffn wolln 
 
 SIDEA sagt kleglich 
 Ach jhr G otter last euch erbarmen 
 Es ist zu thun nur vmb mich armen 
 Ach thuts nicht lieber Hen- Vatter mein 
 
 LUDOLFF 
 Halt nur das maul es mufs doch sein 
 
 [Abgang jhr aller. 
 
 Kompt LEUDEGAST DER FURST IN DER WILTAU mit FRAN- 
 CISCO vnd ELEMAUS sein zweyen Rdhten geriist 
 
 LEUDEGAST 
 
 Weil der zenckisch Hertzog Leupolt 
 Den Krieg vnd zanck hat also holt 
 Das er vns fordert in sein Land 
 So seit nur behertzt allesand 
 Last vns erlangen Gut vnd Ehr 
 Kein Fried treff wir mit jhm nicht mehr 
 So lang wir vnd er thut leben 
 Wir haben vns darein ergeben 
 Das die Feindschafft so lang soil bleiben 
 Bifs einer den andern thu vertreiben 
 Von seinem Fiirstenthumb vnd Land 
 
 FRAXCISCUS 
 
 Darzu sind wir geriist alsand 
 Vnd haben vns schon drein ergeben 
 Daran zu setzen Leib vnd Leben 
 Vnd alles was von noten thut 
 
 ELEMAUS 
 
 Ja das Lebn, den Leib, auch das Gut 
 Vnd alles das so wir vermugen 
 Wenden wir als an zu bekriegen 
 Dem stoltzen Fiirsten in Littau 
 
 In wrathful mood. This hostile letter 
 Informs thee of the import better. 
 
 PRINCE LUDOLFF, frowning, takes the letter out of the 
 
 clip, reads it, and then says angrily: 
 Thy prince doth please us passing well; 
 And if a hero's courage dwell 
 Within his bosom, which he still 
 Would prove, why let him do his will. 
 We will his coming here abide, 
 And leave such marks upon his hide, 
 That he his insolence shall learn. 
 The way you came, you may return. 
 Or we will teach you expedition. 
 Exit Ruprecht, the postman, making obeisance. The 
 
 Prince continues: 
 
 We now must look to our position, 
 A mighty army too provide, 
 To tame this haughty prince's pride. 
 SIDEA, in a melancholy voice. 
 Ye Gods! that this should e'er befall 
 Through wretched me, the cause of all! 
 Do it not, father mine! oh no! 
 
 LUDOLFF. 
 Girl, hold thy tongue; it must be so. 
 
 [Exeunt. 
 
 Enter LEUDEGAST, THE PRINCE OF WILTAU, with his two 
 counsellors, FRANCISCO and ELEMAUS, all armed. 
 
 LEUDEGAST. 
 
 Duke Leupold so loves strife and brawl. 
 That now he's challenged us to fall 
 Upon his land, and fight it out. 
 Let's meet him then with hearts as stout. 
 Honour and wealth will we obtain. 
 And ne'er make peace with him again, 
 As long as both of us shall live. 
 Ourselves unto the cause we give, 
 Our enmity will never smother, 
 Till one of us shall drive the other 
 From principality and land. 
 FRANCISCUS. 
 
 'Tis for that end in arms we stand. 
 Devote ourselves unto the strife. 
 Though it may cost us limb and life, 
 And all that man has dear to him. 
 
 ELEMAUS. 
 
 Aye land, and goods, and life, and limb. 
 All, all we'll venture, all we can 
 We'll do, to conquer that proud man. 
 Who now in Littau holds the sway. 
 
13 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 14 
 
 FRANCISCUS 
 
 Wenn einer sicht von ferrn gar gnau 
 So geht irn Feld dort auff ein staub 
 Das ist der Feind wie ich gelaub 
 Drumb hab acht es wird kappen geben 
 
 LEUDEGAST 
 
 Ja wir sehen die Fahnlein schweben 
 Darumb seit keck vnd auch bereit 
 Es wird geben ein kampff vnd streit 
 Die Feind greift'en vns hinden an 
 Drumb wehret euch nur dran, dran, dran 
 Lau/en Ilertzog LUDOLFFS gesind ein, kemp/en lang mit 
 einander vnd werden LUDOLFFS Lent alle erschlagen, 
 LUDOLFF fellt zu fu/s 
 
 LUDOLFF 
 
 Ach vngluck ist auff meiner seiten 
 Allein kan ich kein Heer bestreiten 
 Drumb bitt ich vmb genad vnd hult 
 
 HERTZOG LEUDEGAST 
 Das vngluck ist allein dein schuld 
 Vnd ich hett gut vrsach vnd recht 
 Das ich dich also bait vmbrecht 
 Mit eim grausamen bosen todt 
 Doch wil ich dich zu schand vnd spot 
 Lebendig jagen aufs dem Land 
 Bait glob vnd schwer mit Mund und Hand 
 Das du vns das Land raumen wolst 
 Vnd darein nicht mehr kommen solst 
 Allein so viel sey dir vergiint 
 Was du vnd auch dein Tochter kiind 
 Beide mit euch von hinnen tragen 
 Vngefuhrt auff Karn vnd Wagen 
 Dasselbig miigt behalten jhr 
 Wiltu das thun so glob es mir 
 
 LUDOLFF DER HERTZOG sagt kleglich 
 Als ich hab mir zu vil vertraut 
 Zu sehr auff meinen gwalt gebaut 
 Drumb die Grub die ich graben hab 
 Darin fall den halfs ich selbst ab 
 
 \_Er globt an vnd geht traurig ab 
 
 HERTZOG LEUDEGAST 
 Jr lieben Kriegsleut kompt herein 
 Last vns die Stadt auch nemen ein 
 Nun hab wir gwunnen Ehr vnd Gut 
 Zerstort des Fiirsten vbermuht 
 Darfiir thun wir euch vil dancks sagen 
 Das jhr thet leib vnd leben wagen 
 Vnd wolln vnter euch jetzunder 
 Aufs theiln in der Stadt den blunder 
 
 \_Sie gehn alle ab 
 
 FRANCISCUS. 
 
 I think if you would look this way, 
 You'll see a -field a cloud of dust; 
 It is the enemy I trust; 
 Take heed, for there are helmets there. 
 
 LEUDEGAST. 
 
 And standards floating in the air. 
 Therefore prepare ye for the fight, 
 Your courage, as your weapons, bright. 
 The foe attacks us from the rear; 
 But at them! at them! Never fear! 
 Duke LUDOLFF'S people rush in and fight for some time. 
 At last they are all killed. LUDOLFF falls at Duke 
 LEUDEGAST'S feet. 
 
 LUDOLFF. 
 
 Ill fortune to my side hath flown! 
 I cannot fight a host alone; 
 Therefore for quarter humbly sue. 
 
 LEUDEGAST. 
 
 Ill fortune is but thy just due; 
 And rightful cause would fail me not, 
 If I would kill thee on the spot, 
 With torture, yet I deem it best 
 To let thee live the scorn and jest 
 Of men, and chase thee from the land. 
 But swear to me with mouth and hand. 
 To cede the whole of thy domain 
 To us, nor e'er return again. 
 But then thus much I thee allow: 
 Of all thy goods, whatever thou 
 And daughter too together can 
 Convey by waggon, cart, or van, 
 The same to keep. If thou agree 
 To these conditions, swear to me. 
 
 LUDOLFF, piteously. 
 Alas! alas! I see at length, 
 I built too much upon my strength; 
 And therefore while I dug a pit 
 For others, fell myself in it. 
 
 [He takes the oath. Exit sorrowfully. 
 
 LEUDEGAST. 
 
 The town is ours, enter here 
 And occupy it, comrades dear. 
 For wealth and honour you have gained, 
 The prince's arrogance restrained, 
 Great services with peril rendered, 
 For which our thanks to you are tendered. 
 So on to town, among you there 
 The plunder we will freely share. 
 
 [Exeunt, 
 
15 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 16 
 
 Kompt LUDOLFF mit SIDEA, tregt einen weisen Silbern 
 Stab in der hand. 
 
 LUDOLFF 
 
 Ach wie thut mir die spot vnd schand 
 Vber die mafs so weh vnd and 
 Es mocht mir wol mein hertz zerbrechen 
 Das ich mich difsmal nit kan rechen 
 Hab verloren mein Fiirstenthum 
 Mein Reichtum Wolfahrt Ehr vnd Ruhm 
 Vnd ob ich schon kein Land mehr hab 
 Will ich jedoch nit lasen ab 
 Gebrauchen alle renck vnd tiick 
 Bifs mir \viderumb scheint das gliick 
 Vnd ich sey an meim Feind gerochen 
 
 SIDEA 
 
 Herr Vatter ich hab die gantze Wochen 
 In meinem hertzen gehabt grofs pein 
 Hab kein stund kiinnen frolich sein 
 Dann es hat wol mein hertz geand 
 Ach weh des jammers spot vnd schand 
 Kein wunder wer das mir vor schmertz 
 In tausent stucken zerspreng mein hertz 
 Vor lebt ich in Fiirstlichem Stand 
 Jetzt hab ich weder Leut noch Land 
 Vor nennt man mich Furstlichs Fraulein 
 Jetzund mufs ich ein Bettlerin sein 
 Vor hett ich als vol auff vngemessen 
 Jetzt wers noht das ich grafs thet essen 
 Vor hett ich viel die vmb mich worben 
 Jetzt mufs es sein einsam gestorben 
 Vnd weifs nicht wie es nimbt ein end 
 
 LUDOLFF ist zornig, zuckt den stab. 
 Halts maul das dich Jupiter schend 
 Vnd hab ein zeit gedult mit mir 
 Jetzt will ich bringen mein Geist herfiir 
 Der mufs mir sagen wi^ vns auff Erd 
 Bifs zu dem todt ergehn noch werd 
 
 [Er macht ein kreifs mit dem stab vnnd etliche 
 C'aracteres darein 
 
 SIDEA 
 
 Ach wolt jhr den Geist thun beschwern 
 Last mich zuvor von hinnen kehrn 
 Dann er ist gar zu forchtsam mir 
 
 LUDOLFF 
 Schweig still er ist vnschedlich dir. 
 
 [Er macht den Kreifs aufs, vnd klopfft mit dem 
 Stdblein auff das loch, so springt der TEUFFEL 
 heraufs, speit Feur aufs, geht in Kreifs vnd 
 sagt zornig: 
 
 Enter LUDOLFF with SIDEA, carrying a white silver wand 
 in his hand. 
 
 LUDOLFF. 
 
 Alas! What torture 'tis to face 
 Indignity and foul disgrace! 
 My heart indeed is like to break 
 That now I can no vengeance take. 
 I've lost my kingdom, lost my name, 
 My wealth, my honour, and my fame! 
 And though no more of land possess'd, 
 Yet not a moment will I rest, 
 But use all stratagem and wile, 
 Till once more fortune on me smile, 
 And vengeance on my foe I wreak. 
 
 SIDEA. 
 
 Alas, my father! all this week 
 Such trouble doth my heart oppress, 
 I've known no moment's happiness. 
 Too truly did my heart forebode 
 Of foul disgrace this weary load. 
 It is no wonder, then, the smart 
 In thousand pieces burst my heart. 
 In princely state I lived before; 
 Now suite and land are mine no more. 
 And princely rank belonged to me; 
 But now a beggar 1 must be. 
 Before I ne'er knew stint nor need; 
 But now on herbage I may feed. 
 Before would lovers round me sigh; J 
 But now unwedded must I die, j 
 
 Nor know I what the end will be. 1 
 
 LUDOLFF angrily, twitching at his wand: 
 Silence! May Jove dishonour thee! 
 Have patience with me while I call 
 My spirit, he shall tell me all 
 Will happen to us here below 
 Till death, for I'm resolved to know. 
 
 [He draws a circle with his wand, and describes 
 certain characters in it. 
 
 SIDEA. 
 
 Ah, if the spirit thou would'st raise, 
 I pray thee let me go my ways. 
 The thought doth fill me with alarm. 
 
 LUDOLFF. 
 Silence! he will not do thee harm. 
 
 [He opens the circles, and strikes the opening 
 with his wand. The DEVIL springs out of it, 
 spits out fire, walks round in the circle, and 
 says angrily: 
 
COMEDY OF THE BEAUTIFUL SIDEA. 
 
 18 
 
 Ludolff du bist ein boser Mann 
 
 Vor dir ich nirgent bleiben kan 
 
 So bait dir nur was schlechts fellt ein 
 
 Meinstu ich mufs schlechts bey dir sein 
 
 Nun magstu wissen vnd das ich 
 
 Noch mehr beschwerer hab als dich 
 
 Vnd kan dir nicht so gschwind auffhupffen 
 
 Obs dir schon thut ind nasen schnupffen 
 
 Drumb sag mir bait was wiltu mein 
 
 LUDOLFF 
 
 Du Schelm wann du so stoltz wilt sein 
 So sag mich ledig meiner glueb 
 Oder mir alsbalt antwort gib 
 Warumb ich dich jetzund thu fragen 
 
 RUNCIFAL DER TfiUFFEL 
 
 Was wiltu dann so thu mir sagen 
 Wiltus nit sagen so ziech ich bin 
 Meins wegs wo ich herkommen bin 
 Du horsts das ich mufs weiters fort 
 
 LUDOLFF 
 
 So sag mir bait mit einem wort 
 Ob ich mich kan an meim Feind rechen 
 
 RUNCIFAL 
 
 In warheit thu ich dir versprechen 
 Es wird geschehen nicht nach langen 
 Wirstu deins Feindes Sohne fangen 
 Vnd der wird dir lang Dienstbar sein 
 Vnd nach lang aufsgestandner pein 
 Wird er von dir ledig durchaufs 
 Kompt wider seim Vatter zu Haufs 
 Als dann wirstu wider zu ehrn 
 Vnd wider guts gliick zu dir kehrn 
 Ein mehrers kan ich dir nicht sagen 
 
 [Runcifal der Teuffel fehrt ab 
 
 LUDOLFF 
 
 So du im Walt horst jemand Jagen 
 So zeig mirs an als bait will ich 
 Auff das best wol fiirsehen mich 
 Das ich auch etwas thu erlangen 
 Kond ich den Jungen Fursten fangen 
 Vnd das ich mich kondt an jhm rechen 
 So will ich dir hiemit versprechen 
 Das er mufs bleiben mein Leib eygen 
 Wolt jhm auch alles bofs erzeigen 
 Wie vns sein Vatter hat gethan 
 Nun Ms vns in die Hiitten gahn 
 Weil wirs doch jetzt nit besser han 
 
 [Abgang. 
 
 Ludolff, thou art a wicked man; 
 
 For thee I nowhere tarry can. 
 
 Whene'er thou mischief meditate, 
 
 Thou thinkst I must be with thee straight. 
 
 Now know, 1 serve not thee alone, 
 
 But others too for masters own, 
 
 And can't hop up at such a pace, 
 
 E'en though thou pull'st so long a face; 
 
 Say quickly what thou wouldst with me? 
 
 LUDOLFF. 
 
 Thou rogue! if thou so proud wilt be, 
 Either release me from my vow, 
 Or give immediate answer now, 
 Whatever I may ask of thee. 
 
 RUNCIFAL. 
 
 What is it then? Come tell it me; 
 If not, why then the way is clear \ < 
 For my return, which I came here. 
 For I must forth, as thou hast heard. 
 
 LUDOLFF. 
 
 Then tell me quickly in a word, 
 Can I revenge me on my foe? 
 
 RUNCIFAL. 
 
 Thus much 'tis given thee to know: 
 Not many days will lapse, I wis, 
 Before his son thy prisoner is. 
 And he will serve thee long, at last 
 When that his term of trial 's past, 
 He will from thee his freedom earn. 
 And to his father's house return. 
 Thy honours then will be restored, 
 And fortune too be thy reward. 
 But more I'm not allowed to say. 
 
 [Exit Euncifal, the devil. 
 
 LUDOLFF. 
 
 Shouldst thou hear huntsmen pass this way, 
 Inform me quickly, then will I 
 Arrange my plans so craftily, 
 That I may also something take: 
 Could I the prince my prisoner make. 
 And wreak my vengeance on him too, 
 Why then I promise this to you: 
 That he as slave remain behind, 
 And such ill-treatment shall he find, 
 As we must from his father bear. 
 Now let us to the hut repair, 
 As there is nothing better there. 
 
 [Exeunt. 
 
19 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 ACTUS SECUNDUS. 
 
 Kompt JAHN MOLITOR ist sehr staubig von Meet, lacht 
 Ein Miihl die da Wassers gnug hat 
 Das es kan treiben nur drey Ralit 
 Kan sich des nutzens nicht erwehrn 
 Vnd wol ein faulln Miiller ernehrn 
 Beydes mit Weib vnd auch mit Kind 
 Vnd mit all seinem Haufsgesind 
 Dann kein Ampt ist auff diser Erd 
 AVers vbel braucht ist Henckens wehrt 
 Vnd weil die Miiller miitzen gern 
 Den Baurn die Seek zu gar weit lern 
 So miissen sie jhr Dieb auch sein 
 Das klingt vor den Leuten nicht fein 
 Aber was ist daran gelegen 
 Man thut doch als nur von Gelts wegen 
 Vnd wenn des Menschen lust nicht wehr 
 O die Welt sti'md jetzt nimmermehr 
 Daher wird einer ein ankleger 
 Der ander wird ein Hundts schleger 
 Der dritt ein Stattknecht oder Biittel 
 Der viert ein Baur in seinem Kiittel 
 Der fiinfft wird ein Schalck vnd Verrather 
 Der sechst ein Morder vnd Vblthater 
 Der sibend ein Wuchrer werden thut 
 Der acht hat ein leichtfertigen mut 
 Der neund purgiret die privet 
 Der zehend mit bosen schaden vmbgeht 
 Der eylfft Peinlich sach exequirt 
 Der zwolfft desselben lehrknecht wirdt 
 Vnd also fort durch alle Stiindt 
 So viel der tadelhafftig send 
 Vnd die man scheulich acht darneben 
 Dennoch thut man sich drein ergeben 
 Das schafft allein die Lieb vnd lust 
 Ich wer kein Miiller worden sunst 
 Wenn ich nit so wol hett gewist 
 Was groser Nutz beym Miihlwerck ist 
 Ich mest all Jar etliche Schwein 
 Kauffen von mir die Metzger ein 
 Fragen nit wo ichs hab genummen 
 Guts Dreits gnug kan ich vberkummen 
 Das ich nit als verzehren kan 
 Ein gmesten Ochsen ich drinn han 
 Den schlag ich mir jetzt in mein Haufs 
 Ich mach Kefs vnd riihr auch Schmaltz aufs 
 Vnd hab mein bares Gelt dar zu 
 Allein das bringt mir grofs vnruh 
 Das ich Heur hab mein Weib verlohrn 
 
 ACT II. 
 
 Enter JOHN MOLITOU, covered with flour, and laughing. 
 A mill, which only has indeed 
 Water enough three wheels to feed, 
 Brings cash enough at least for that, 
 To keep a lazy miller fat, 
 His children too, and eke his spouse, 
 And all the servants in his house. 
 Each trade must its own pickings bring. 
 But not for that should tradesmen swing. 
 And as the millers like their snack, 
 Dig somewhat deep in peasant's sack, 
 Why truly they are thieves, but then 
 The word sounds ill to other men. 
 Yet who for that need take offence? 
 . It's only done for sake of pence. 
 If man's desires lost their power, 
 The world could never last an hour. 
 One man informs against his brother; 
 As dog -killer too lives another. 
 The third as beadle may be seen; 
 The fourth a clown in gabardine. 
 The fifth, a rogue, betrays his friends; 
 The sixth cuts throats to gain his ends. 
 The seventh takes his cent per cent; 
 The eighth's on idle pleasure bent. 
 The ninth cleans privies out for pay; 
 The tenth malicious plots will lay. 
 Th'elev'nth for debt doth chattels seize; 
 The twelfth his prentice if you please. 
 Thus through all trades it is the same; 
 There's always much deserves our blame. 
 And though they may detest the thing, 
 Yet use doth resignation bring. 
 The only joy is cash to win; 
 For I no miller should have been, 
 Had I not known the way a mill 
 May well be made one's purse to fill. 
 Each year I fatten swine , you see, 
 And these the butchers buy of me. 
 They don't ask how I fill the trough. 
 With three good pigs I come well off. 
 For I can never eat them all. 
 A fatten'd ox have I in stall, 
 Which I shall slaughter in my yard; 
 Besides, I make both cheese and lard. 
 Of ready cash I have a store : 
 But one thing troubles me full sore; 
 This year hath ta'en my wife from me, , 
 
COMEDY OF THE BEAUTIFUL SIDE A. 
 
 22 
 
 Wer sunst lieber ein Muller worn 
 Als der best Doctor in der Statt 
 
 ROLLUS DER BAUR gelit mit ELA seiner Tochter ein, die 
 tregt ein eingewickelts Kindt. 
 
 ROLLUS 
 
 Sie da El dort steht der vnflat 
 Dem wolln wir dein Kindt heim tragen 
 Vnd, das er dich bhalt, zu jhm sagen 
 Thut ers nit so verklag ich jhn 
 
 ELA 
 O lafs vns nur bait zu jhm bin 
 
 [Sie gehn zu John Molitor 
 ROLLUS 
 
 Ey Muller da find wir euch recht 
 Weil jhr mir habt mein Tochter gschwecht 
 Die mit euch hat tragen ein Kindt 
 So must jhr euch erkleren gschwindt 
 Ob jhrs wolt wider zu ehrn bringen 
 
 JAHN MOLITOR kratzt sich im kopff 
 Jr sagt mir von seltzamen dingen 
 Ich sol eur Tochter bringen zu ehrn 
 Dergleichen Kunst thet ich nie lehrn 
 Dann an ehrn mir selbst mangeln thut 
 1st eur Tochter gut so bleibs gut 
 Ich bin des Kindes Vatter nicht 
 
 ROLLUS 
 
 Ja du Schelm du hast jhrs zugricht 
 Wil ich bei meinem Eid erhalten 
 JAHN MOLITOR lacht, deut auff den Baurn 
 Schau einer den leichtfertigen Altn 
 Der schwert da fur die Tochter sein 
 Vnd glaubt was sie jhm bildet ein 
 Vnd er hats weder ghort noch gsehen 
 
 ELA 
 
 Nein es ist dennoch also gschehen 
 Vnd du laugnest so hart darfiir 
 Das Kind hab ich allein von dir 
 Schaus nur es ist ein schons Sohnlein 
 
 JAHN MOHTOR 
 
 Ists schon so solts ein Maidlein sein 
 So gried es seiner Mutter nach 
 Gebt mir ein bedacht heint den tag 
 Als dann so will ich mich erklern 
 
 ROLLUS 
 Ey gut das woll wir thun gar gern 
 
 [Sie gehn ein wenig auff die Seiten, reden zusammen 
 
 in die Ohren, John lacht, so kompt DIETRICH 
 
 mit AGNES, seiner Tochter, die tregt auch ein 
 
 Kind, DIETRICH gelit zu jhm, vnd sagt zornig. 
 
 Find ich dich hie du ehrlicher Mann 
 
 Else I would rather miller be 
 Than the best doctor in the town! 
 Enter ROLLUS, THE PEASANT, with ELA, his daughter, 
 carrying a baby in swaddling clothes. 
 
 ROLLUS. 
 
 Look, Ela, look! There stands the clown. 
 We'll tell him that thy child thou'st brought. 
 That he must both of you support; 
 If not, I'll prosecute the loon. 
 ELA. 
 
 father, let us at him soon. 
 
 [They walk up to John Molitor. 
 
 ROLLUS. 
 
 How lucky, miller, thou art there! 
 For thou to me must now declare, 
 As thou my daughter hast defiled, 
 And she hath borne to thee a child. 
 If thou'lt restore her honest name. 
 
 JOHN MOHTOR, scratching his head. 
 That's a queer notion, is that same; 
 
 1 should her honesty restore, 
 Yet never had the thing before ! 
 My stock of it is nearly drained. 
 If honest once, she's so remained. 
 I'm not the father of her child. 
 
 ROLLUS. 
 
 Thou rogue! I know thou'st her beguiled. 
 Can take my solemn oath, I can! 
 JOHN MOLITOR laughing, and pointing at the peasant. 
 Now look at that old hasty man! 
 For daughter there he'll swear away. 
 Believe whate'er the wench may say! 
 He neither saw nor heard the act. 
 
 ELA. 
 
 Nevertheless, the thing 's a fact. 
 And yet indeed thou wilt not own 
 I had the child by thee alone ! 
 As pretty a boy as one may see. 
 
 JOHN MOLITOR. 
 
 If pretty, it a girl should be, 
 Take after its own mother more. 
 Give me to-night to think it o'er, 
 And then I'll tell you my intent. 
 
 ROLLUS. 
 Aye, aye, to that we will consent. 
 
 [They walk a little on one side, and whisper 
 
 together. John laughs. 
 
 Enter DIETRICH with AGNES, his daughter, carrying a baby. 
 He walks up to the miller, and says angrily: 
 Thou honest man! I find thee here? 
 
 2* 
 
23 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 24 
 
 JAHN erschrickt, kratzt sich im kopff 
 Ja was hab ich dann dir gethan 
 
 DIETRICH 
 
 Mein Tochter hast mir zschauden gmacht 
 Da hab wir dir das Kind gebracht 
 Das wird dir zu ziehen gebiirn 
 Auch so mustu gen Kirchen fuhrn 
 Mein Tochter bhalten zu der Eh 
 
 JAHN MOLITOR 
 
 Deiner Tochter ich keins Kinds gsteh 
 So hab ich sie auch nit genommen 
 
 DIETRICH 
 
 Lestus fur die Obrigkeit kommen 
 So wirst wol sehen was du gwinst 
 Du must ins gfengknus auffs aller minst 
 Vnd dennoch bhalten die Tochter mein 
 Ich will dir ein guter Schwer sein 
 Vnd hundert gulten geben darzu 
 
 JOHAN 1 MOLITOR 
 
 Hundert gultn vnd wolt mir flicken die Schu 
 Das ich euch nichts darff lohnen darfur 
 Ein Weib ist not zu nemen mir 
 Dann ichs mit meinen Maid vnd Knechten 
 Nicht als kan erstreiten vnd fechten 
 Aber verziecht ein weil hierinnen 
 Ich mufs mich vor darauff besinnen 
 \_Er geht abwdrts,wo der JRollus mit seiner Tochter steht 
 
 JAHN 
 
 Hort was wolt jhr mir geben dar zu 
 Wann ich eur Tochter nemen thu 
 Zu eim ehrlichen Heiirat Gut 
 
 ROLLUS 
 
 Wann jhr mein Tochter nemen thut 
 Gib ich euch hundert gulten mit jhr 
 JAHN deut auff den Schuster 
 O der beut hundert Thaler mir 
 Vnd hat mir noch verheissen darzu 
 Vmb sunst zu flicken all mein Schu 
 Vnd ist sein Tochtr schoner als die 
 
 ROLLUS 
 
 Wiltu zu Kirchen fiihren sie 
 So gib ich dir ein guten zahler 
 Zu jhr anderthalb hundert Tahler 
 Vnd fiihr dir vmb sunst aus dein mist 
 
 JAHN schmutzt 
 
 Das alles dennoch gut mit ist 
 Verziecht ich mufs nur etwas fragen 
 Ich will euch bait gut antwort sagen 
 
 JOHN frightened, and scratching his head. 
 What have I done to thee? Oh dear! 
 
 DIETRICH. 
 
 What? Why my daughter thou'st defiled; 
 And now we've brought to thee the child, 
 Which it's thy duty to maintain. 
 And after that, of course 'tis plain, 
 Thou must in church my daughter wed. 
 
 JOHN MOLITOR. 
 
 Through me she ne'er was brought to bed, 
 Ne'er did I treat her in that sort. 
 
 DIETRICH. 
 
 Then let us go before the court, 
 And thou wilt see what thou wilt gain: 
 At least in prison to remain, 
 And wed my daughter none the less. 
 As father, I'll the marriage bless 
 With hundred florins if you choose. 
 
 JOHN MOLITOR. 
 
 A hundred down, and mend my shoes, 
 And nothing for it have to pay? 
 I want a wife too any way. 
 For with my maid and servants too, 
 I cannot all the work get through. 
 Excuse me while I step aside, 
 And think before I choose my bride. 
 
 [Aside to Bollus who is standing near his daughter. 
 
 JOHN. 
 
 Now tell me, how much wilt thou give, 
 If I thy daughter take to live 
 With me, I mean in wedlock fast. 
 
 ROLLUS. 
 
 If thou my daughter take at last, 
 I will a hundred florins say. 
 
 JOHN, pointing to the shoemaker. 
 T'other will hundred dollars pay, 
 And promises he'll not refuse 
 To mend for nothing all my shoes. 
 His daughter's handsomer than she. 
 
 ROLLUS. 
 
 If thou to marry her agree, 
 I'll pay of dollars without fail 
 Hundred and fifty on the nail, 
 Thy dung besides for nothing cart. 
 
 JOHN, chuckling. 
 
 That is worth something too, as part. 
 Your pardon, I'd a word to say 
 To him; I'll answer you to-day. 
 
 1 Sic in the original impression. 
 
25 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 26 
 
 JAHN lacht 
 
 Wann sie nicht wolln hocher nauif 
 So wird aufs dem gebot kein kauff 
 
 [Er geht zu dem Schuster 
 Hort jhr mein Meister Dietrich 
 Fur war eur Tochter ist nicht fur mich 
 Ihr gebt jhr zu weng Heiirat Gut 
 Der Rollus mir anbieten thut 
 Zwey hundert Thaler, das jhrs wist 
 Vnd will mir aufs fiihrn all mein mist 
 So lang ich vnd er thut leben 
 
 DIETRICH verwundert sick 
 Zwey hundert Gultn wil ich dir geben 
 Ich meint ich thet der sach genug 
 
 JAHN MOLITOR 
 
 So habt noch ein kleinen verzug 
 Ich wils gehn dem Rollus abschlagen 
 
 [Die zwey der Schuster vnd sein Tochter stosen 
 die kopff zusammen, er geht zum Rollo. 
 
 (JAHN) 
 
 Hort mit eim wort wil ichs euch sagen 
 Er will zwey hundert Thaler geben 
 Vnd mein Schu flicken weil wir leben 
 Nun ist sein Tochtr ein Burgers Kind 
 Die ehrlicher als die Baurn sind 
 Darumb wil ich diesejben nemen 
 
 ROLLUS 
 
 Ey, ich wolt mich in mein hertz schemen 
 Das ich nit so gut als er wer 
 Vil mag dir wol verheisen er 
 Nicht weifs ich wie er zahln wiir 
 Jedoch so will ich geben dir 
 Zwey hundert Thaler wie vor gemelt 
 
 JAHN 
 
 Zwey hundert Thaler ist vil gelt 
 Nun hab ich zu bedencken frey 
 Welche mir die nutzlichste sey 
 
 [Er geht wegk vnd eh er zum Schuster kompt 
 
 sagt er 
 
 Ich mag ebn der Hum keine nit 
 Jetzt wil ich machen ein vnfrid 
 Das die zwen sollen vneins wern 
 Vnd weil sie aneinander bern 
 Die weil so treh ich mich davon 
 
 [Er geht zum Dietrich 
 Was sol ich mit deiner Tochter than 
 Rollus sagt vnverholn vnd frey 
 Das sie doch nur dein Hurnkind sey 
 Vnd du seist auch nit Ehlich geborn 
 
 JOHN, laughing. 
 
 If they their highest bid have made, 
 We shan't do business I'm afraid. 
 
 [Walking up to the shoemaker. 
 Now master Dietrich, do you see, 
 Your daughter's not the girl for me. 
 You will not dower give enough. 
 'Tis Rollus offers me the stuff. 
 Two hundred dollars will he pay, 
 And all my dung will cart away, 
 As long as both of us shall live. 
 
 DIETRICH, much surprised. 
 Two hundred florins will I give; 
 If that won't do, the deuce is in it. 
 
 JOHN MOLITOR. 
 
 Be kind enough to wait a minute, 
 While I shew Rollus to the door. 
 
 [ The shoemaker and his daughter put their heads 
 together, while John walks up to Eollus. 
 
 JOHN. 
 
 I wish to say just one word more: 
 He will two hundred dollars give, 
 And mend my shoes while both do live. 
 His girl, as burgher's daughter, too 
 Ranks higher than the peasants do. 
 And therefore she shall bear my name. 
 
 ROLLUS. 
 
 'Twould be for me a downright shame, 
 Were I not quite as good as he. 
 Though much indeed he promise thee 
 I don't know how he'll ever pay. 
 But yet two hundred will I say 
 Before the wedding, come now, come! 
 
 JOHN. 
 
 Two hundred is a good round sum. 
 I'll take my leisure to reflect, 
 From which I may most help expect. 
 
 [He goes aside, but before he turns to the shoe- 
 maker, continues: 
 
 I don't like either wench, not I, 
 So to get up a brawl will try. 
 That they from words may come to blows, 
 Exchange black eyes for bloody nose ; 
 Then in the midst I'll take my leave. 
 
 [Walking up to Dietrich. 
 Thy daughter I can ne'er receive. 
 For Rollus says quite openly, 
 No honest woman's child is she. 
 And thou thyself a bastard born. 
 
27 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 28 
 
 DIETRICH sagt zornig 
 Das sey dem schelm ein Eyd geschworn 
 Wolt er solchs ding von vns aufs geben 
 Es must jhn kosten leib vnd leben 
 Ich will jhm sein Leib Himlblau schlagen 
 
 JAHN 
 Verzeich ich wil jhn vor recht fragen 
 
 [Er geht zum Eollus 
 Rollus dein Tochter ich nit mag 
 Geh hor was Dietrich von dir sag 
 Du seist ein schelrn solst gedencken 
 Man thet dir dein Vatter erhencken 
 Auch hab man dir ein Bruder gricht 
 
 ROLLUS lau/t zum Schuster 
 Du leugst wie ein schelm vnd bofswicht 
 Ey schweig ich wil dich lernen liigen 
 
 DIETRICH 
 
 Komb her du solst deins Manns wol kriegen 
 [Sie schlagen einander, John lacht, schlegt die hend 
 zusammen vnd laufft ab, sie schlagen auch ein- 
 ander ab. 
 
 LEUDEGAST DER FURST IN DER WILTAU mit FRANCISCO vnnd 
 
 ELEMAO seinenzweyenEdhten vnd sewiem$o^nExGELBRECHT 
 
 sein auser defs Fiirsten, wie Jdger staffirt, geht ein. 
 
 LEUDEGAST 
 
 Weil jhr je naufs wolt auff das Jagen 
 So wil ichs euch mit treuen sagen 
 Das jhr gebt auff einander acht 
 Jr wist das der Feind stettigs wacht 
 Solt der euch Wehrlofs im Walt finden 
 Oder mit Waffen fiber windeu 
 So leget er euch an grofs leidt 
 Darumb brauchet bescheidenheit 
 Vnd halt zusammen alle sander 
 
 ENGELBRECHT 
 
 Wir lassen gar nicht von einander 
 Hett sich einer verriten schon 
 So kan er durch der horner thon 
 Leichtlich aus der jrr werden bracht 
 
 FRANCISCUS 
 
 Defs Ludolffs gwalt ich wenig acht 
 Der hat kein Leut vnd Land nicht mehr 
 Das man auff jhn darff sehen sehr 
 Zu dem wer weifs wo er vmb zeucht 
 Vor vns in fleder Meufs winkl kreucht 
 Er setzt sich gwifslich daher nicht 
 
 ELEMAIS 
 
 Er kompt vns nimmermehr zu gsicht 
 Seinthalb hat es kein mangel nit 
 
 DIETRICH, angrily. 
 On that the rascal shall be sworn. 
 If such things are maintained by him, 
 The lie shall cost him life and limb. 
 I'll beat him till his body burst. 
 
 JOHN. 
 Pardon, I'll ask about it first. 
 
 [Going up to Bollux. 
 Rollus, thy daughter will not suit; 
 For Dietrich says, that by repute, 
 Thou art a rascal, and should rather 
 Remember that they hanged thy father, 
 And brother too, as far as that. 
 
 ROLLUS, rushing up to the shoemaker. 
 Thou liest, thou rogue, I tell thee flat! 
 Silence! I'll teach thee lies to hatch! 
 
 DIETRICH. 
 
 Come on! come on then! I'm your match! 
 
 [They fight. John laughs and clasps his hands to- 
 gether. The others beat each other off the stage. 
 
 Enter LEUDEGAST, THE PRINCE OF THEWILTAU, with his two 
 counsellors, FRANCISCUS and ELEMAUS, and his son ENGEL- 
 BRECHT. All, except the prince, in huntsman's costume. 
 LEUDEGAST. 
 
 As you've resolved to hunt to-day. 
 
 I'll a few words of counsel say. 
 
 Each of you keep the rest in view; 
 
 Be sure the foe is watchful too. 
 
 If he surprise you in the wood 
 
 Unarmed, or if by force he should 
 
 Subdue you, he'll do you a harm. 
 
 So stand prepared at each alarm, 
 
 Nor separate, lest ill befall. 
 ENGELBRECHT. 
 
 We will not separate at all; 
 
 If one of us should ride astray, 
 
 By sounding of our horns, we may 
 
 Easily guide the truant right. 
 FRANCISCUS. 
 
 I don't think much of Ludolff's might. 
 
 He has nor land nor people more, 
 
 That we should heed him as before. 
 
 Besides, who knows where he may prowl, 
 
 Hiding perhaps like bat or owl? 
 
 You may be sure he is not here. 
 ELEMAUS. 
 
 Nor will again to us appear; 
 
 We may for him be quite at ease. 
 
29 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 30 
 
 LEUDEGAST DER FURST 
 Nun wol so ziehet bin in frid 
 Der Hirsch 1st jetzund in der feist 
 Secht das jhr jhn abbruch beweist 
 
 [Sie gehn alle ab. 
 Kompt LTJDOLFF mit SIDEA, hat ein jedes ein weissen stab, 
 
 LUDOLFF 
 
 Mein geist thet mir heint offenbarn 
 
 Das in dem Walt auffs gejaid woll fahrn 
 
 Defs Hertzogen Sohn Engelbrecht 
 
 Der soil mir kommen eben recht 
 
 Den wil ich in dem Walt aufsspiirn 
 
 Fangen vnd der mafs tribulirn 
 
 Der gleichen keim zuvor ist gschehen 
 
 SIDEA 
 
 Fiirwar das wolt ich gern sehen 
 Wann wir den Vogl kriegen theten 
 Als dann wir gut hoffnung hetten 
 Wider zu bringen in die hend 
 Das gantz Furstliche Regiment 
 Vnd woltn jhn weidlich Rancionirn 
 Vnd wolt er das leben nicht verliern 
 Must er vns wider setzen ein 
 
 LUDOLFF 
 
 Schweig nur es soil sich schicken fein 
 Dann ich wil mich kurtz an jhm rechen 
 Oder mich vnd dich selbsf erstechen 
 
 [Er laufft mit der Tochter gantz traurig ab. 
 
 Kompt ENGELBRECHT mitseinenFamulo, schreien erstlich im 
 eingang: holla, holla, holla, alsdann sie aufziehen, sagt 
 
 ENGELBRECHT 
 
 Wir sind weit kommen von der Strassen 
 Wir schreyen oder die Horner blasen 
 So gibt man vns doch kein antwort 
 Schau, schau, was gehn fur Leut nur dort 
 Sie lauffen warlich auff vns zu 
 Darumb dich wol fiirsehen thu 
 Sie greiffen zu den Eappirn, kompt LUDOLFF DER FURST 
 mit der SDDEA, hat in der ein hand ein blose Wehr, in der 
 andern ein weisen stab 
 
 LUDOLFF 
 Du Junger Fiirst bait gib dich gfangen 
 
 ENGELBRECHT 
 
 Den Raub wirstu heiit nicht erlangen 
 Famule stofs durch jhn die Klingen 
 Sie wollen von Leder ziehen, LUDOLFF schlegt mit den stab 
 
 auff die Wehr, FAMULUS 
 Mein Wehr kan ich nicht heraufs bringen 
 Ich glaub das sie bezaubert sey 
 
 LEUDEGAST. 
 
 'Tis good, my friends, then go in peace. 
 The stag just now is gaining fat; 
 See how you put a stop to that. 
 
 [Exeunt. 
 Enter LUDOLFF with SIDEA, each bearing a white wand. 
 
 LUDOLFF. 
 
 Last night, the spirit did declare, 
 That Engelbrecht, the Prince's heir. 
 Will in the forest hunt to-day. 
 To me he's welcome any way. 
 For I will follow on his track, 
 Catch him, and plague him, that, good lack ! 
 The like was never heard before! 
 
 SLDEA. 
 
 Nothing indeed would please me more. 
 If we could only catch this bird, 
 Our hope might not be long deferred, 
 To get once more into our hands 
 Our princely government and lands. 
 And then hard blows should be so rife, 
 That if he would not lose his life, 
 He must us quickly reinstate. 
 
 LUDOLFF. 
 
 Cunning's the thing, so hold your prate. 
 For vengeance take on him I will, 
 Or me, and eke thyself, will kill. 
 
 [Exeunt, very sorrowfully. 
 
 Enter ENGELBRECHT with his squire. They first shout as they 
 enter: holla! holla! holla! and then advance to the front. 
 
 ENGELBRECHT. 
 
 From the right way we've wandered out, 
 And when we blow the horn or shout, 
 No answer's borne upon the air. 
 Look! look! what people are they there? 
 Indeed they're making straight this way! 
 Therefore be on your guard, I pray. 
 They lay their hands upon their swords. Enter PRINCE 
 LUDOLFF with SIDEA, carrying a drawn sword in one hand, 
 and in the other a white wand. 
 
 LUDOLFF. 
 Young Prince, I thee my prisoner make. 
 
 ENGELBRECHT. 
 
 To-day thou no such prize shalt take. 
 Boy, draw your sword, and him transfix. 
 They try to draw. LUDOLFF strikes their sword with his wand. 
 
 THE SQUIRE. 
 
 My sword, sir, in its scabbard sticks; 
 I think it must enchanted be. 
 
31 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 32 
 
 ENGELBRECHT 
 Ja es ist lauter Zauberey 
 Ich bin erlembt an beyden henden 
 Kan mich nicht wol rucken vnd wenden 
 Derhalb weils nit kan anderst sein 
 So mufs ich sein der gfangen dein 
 Vnd difsmals deines willens geleben 
 
 LUDOLFF 
 
 So thu mir defs dein treu bait geben 
 Du lecker aber bait troll dich wegk 
 Oder ich tritt dich in den dreck 
 Vnd hau dir alle viere ab 
 Das ich vor dir zu bleiben hab 
 Vnd das dich fressen Krahen vnd Raben 
 
 FAMULUS 
 
 Ach weh ein bose Jagt wir haben 
 Gnediger Fiirst in grosen Leid 
 Ich zu demmal von euch abscheid 
 
 [Famulus geht ab. 
 
 LUDOLFF 
 
 Jetzt bistu mein Leib eygner Knecht 
 Wie mich dein Vatter wider recht 
 Hat getrieben von Leut vnd Land 
 Vnd auffgethan grofs schmach vnd schand 
 Also solstu geschieden seyn 
 Von jhm vnd gantzer Landschafft dein 
 Solst meiner Tochter Holtz tragen 
 Vnd alles was sie dir thut sagen 
 Solstu verrichten vnd volbringen 
 Darzu soils dich mit schlegen zwingen 
 Vnd wo sie klags weis bringt fur mich 
 Das du wolst etwas weigern dich 
 Als bait wil dich erschlagen ich 
 
 [Er stost jhm zum dbgang, scJilegt jhn mit dem 
 stab auff die Lend, also auch die Tochter, vnd 
 gehn alle ab. 
 
 ACTUS TERTIUS. 
 
 Kommen DIETERICH vnd ROLLUS mit eim grosen geschrey 
 
 gelo/en, 
 
 ROLLUS 
 
 Nun hor auff wenns anderst ist gnug 
 Kein Mensch mich mein tag also schlug 
 Vnd ich hab dir kein leid gethan 
 
 DIETRICH 
 
 Bin ich ein Hurn Kind so zeig an 
 Vnd von wem du es hast vernommen 
 
 ROLLUS 
 Es ist mir aufs meim maul nie kommen 
 
 ENGELBRECHT. 
 
 Yes, it is nought but sorcery. 
 That from my lamed limbs I learn, 
 For I can neither move nor turn; 
 And therefore, as no choice I see, 
 Thy prisoner I acknowledge me, 
 Will after thy good pleasure live. 
 
 LUDOLFF. 
 
 Of this at once thy promise give. 
 As for you, jackanapes, pack quick. 
 Or I'll thee in the kennel kick, 
 Thy limbs from off thy body hack. 
 That I on thee must turn my back, 
 And crows and ravens feed on thee. 
 
 SQUIRE. 
 
 Alas! what a sad hunt have we! 
 O gracious Prince, I sorely grieve, 
 That thus I from you take my leave. 
 
 [Exit. 
 
 LUDOLFF. 
 
 Now art thou verily my slave! 
 And as before thy father drave 
 Me most unjustly from my place, 
 And heaped upon me foul disgrace, 
 In the same way thou partest here 
 From father, country, all that's dear. 
 Shalt for my daughter carry wood, 
 Whatever else too she think good 
 To order, see thou dost it well, 
 Or heavy blows shall thee compel. 
 And should she e'er complain to me, 
 Thou shew'st thyself refractory, 
 Upon the spot I'll murder thee. 
 
 [He beats him off, strikes Mm on the leg ivith his 
 ivand. Sidea does the same. Exeunt. 
 
 ACT III. 
 
 Enter hastily DIETRICH and ROLLUS with a great deal 
 
 of noise. 
 
 ROLLUS. 
 
 Hold! hold! enough, enough! Oh! oh! 
 No mortal man e'er beat me so! 
 And I to thee no wrong have done. 
 
 DIETRICH. 
 
 Tell me, am I a strumpets son, 
 From whom too thou the lie hast heard? 
 
 ROLLUS. 
 My mouth ne'er uttered such a word; 
 
COMEDY OF THE BEAUTIFUL SIDEA. 
 
 34 
 
 Der Miiller aber sagen thet 
 Ein Schelmen jhr mich gschmehet hett 
 Vnd man hett mein Vatter ghangen 
 Also wers auch meim Bruder gangen 
 Das selbig wolt aufsfiihren ich 
 
 DIETRICH 
 
 Ich hab kein schelm gscholten dich 
 So ist mir auch nie ingedencken 
 Von deins Vatters vnd Bruders hencken 
 Wie ich dann kein Wort weifs davon 
 
 ROLLUS 
 
 So hat vns also ghetzet an 
 Der Miiller, dem woll wirs nit schencken 
 Den schelm selber lasen hencken 
 Wir wollen jhn vor dem Schultheifs verklagen 
 Vnd nicht mehr dencken an das schlagen ' 
 Weil wir darzu seind worden ghetzt 
 Es soil an jhm aufs gehn zuletzt 
 
 [Sie lauffen ab, kommen zur andern seiten wider rein 
 
 DIETRICH 
 Der schelm hat sich gedrehet aufs 
 
 ROLLUS 
 
 Ja er ist je nit in seim Haufs 
 Jedoch so lafs ich gar nit ab 
 Bis ich den Hudler gfunden hab 
 
 Kompt JAHN, hat sich wie ein alt Weib verkleid, geht an 
 einem Kriicklein, 
 
 DIETRICH 
 
 Mein liebe alte thu mir verjehen 
 Hastu nit den Jahn Miiller gsehen 
 
 JAHN MOLITOR in einer alien Frauengstalt, sagt klein 
 Jahn Miiller was soil ich jhn gsehn han 
 Was Teuffls hab ich mit jhm zu than 
 Fragt ander Leut die wissen drum 
 
 ROLLUS 
 
 Ey liebe alte Mutter kum 
 Ich kenn ein wol den wil ich fragen 
 Was gelts er wirdts vns gar bait sagen 
 
 JAHN in gestalt der alien Frauen 
 Ja wenn er das kan so ists viel 
 Derhalb ich auch mit euch gehn wil 
 
 [Sie gehn alle ab 
 
 Kompt LEUDEGAST DER FURST mit FRANCISCO vnd 
 ELEMAUS, setzt sich 
 
 LEUDEGAST 
 
 Es kombt mir zwar gar seltzam fur 
 Das allein zuhaufs kommet jhr 
 
 The miller though declared before, 
 Thou said'st I was a rogue, and more, 
 That father dangled in a noose, 
 And brother died too in his shoes; 
 That was the debt I wished to pay. 
 
 DIETRICH. 
 
 I never called thee rogue, I say 
 Nor came it e'er into my head, 
 But what thy friends had died in bed. 
 I know no word about the matter. 
 
 ROLLUS. 
 
 The miller by his lies and chatter 
 Hath set us on, but we'll be quit; 
 The rogue himself shall hang for it. 
 Before the mayor we'll him arraign, 
 But won't try fisticuffs again. 
 And if he set us on before, 
 'Tis he at last shall pay the score. 
 
 [They run off at one side, and return on the other, 
 
 DIETRICH. 
 Hulloa! the rogue has bolted clean! 
 
 ROLLUS. 
 
 At home he's never to be seen. 
 But hang me, if I leave the lout, 
 Until I've found the fellow out. 
 
 Enter JOHN, disguised as an old woman, and walking 
 with a crutch. 
 
 DIETRICH. 
 
 Pardon old lady; hast thou seen 
 If John, the miller, here has been? 
 
 JOHN, speaking in a weak voice, like an old woman. 
 The miller? What the deuce should he, 
 A miller, have to do with me? 
 Ask other people, who may know. 
 
 ROLLUS. 
 
 Come then, old lady, let us go. 
 I'll ask a man, whom I know well, 
 I'H lay a wager, he can tell. 
 
 JOHN, still imitating an old woman. 
 That is no trifle, if he can; 
 And therefore I'll go too, young man. 
 
 [Exeunt. 
 
 Enter PRINCE LEUDEGAST with FRANCISCUS and ELEMAUS. 
 The Prince sits down. 
 
 LEUDEGAST. 
 
 It seems to me most strange, I own, 
 That you should now come home alone, 
 
 1 This line is omitted in Tieck's edition. 
 
COMEDY OF THE BEAUTIFUL SIDEA. 
 
 36 
 
 Vnd last mir aufs mein lieben Sohn 
 
 Den ich euch hoch befohlen ban 
 
 Darm jhr ja sollet bey ihm bleiben 
 
 Last vns an alle ortter scbreiben 
 
 Das ich erforsch wo er bin kura 
 
 Dann jhr brecht mich sunst rait jhm vmb 
 
 Das wer mir ein traurigs gejaid 
 
 FRANCISCUS 
 
 Es ist vns gar ein treulichs Leid 
 Das er so von vns kommen soil 
 Ein Hirschen hett wir im gestell 
 Den wolt der junge Fiirst selbst biirschen 
 Vnd wird verlorn mit sambt dem Hirschen 
 Dem macbt wir nach ein Jager gschrey 
 Bliesen vnser 1 Homer dabey 
 Vermeinten er solt wider kehrn 
 So kond wir jhn nicht sehen noch horn 
 Doch seind wir nicht verzaget gar 
 Weil wir wusten das bey jhm war 
 Sein Leib Jung, der geht da herein 
 
 FAMULUS geht ein. 
 
 FURST 
 
 Wo lestu dann den Sohne mein? 
 Wie hats euch auff der Jagt ergangen 
 
 FAMULUS 
 
 Ach weh der Jung Herr ist gefangen 
 A Is er nach Jaget einem Hirschen 
 Den er wolt aus seim gschofs erbiirschen 
 Hat sich derselbig Hirsch verlorn 
 Vnd sind wir in dem Walt jrr worn 
 Weder Hund noch Jager horn kunden 
 Als wir gleich in gedancken stunden 
 Stiefs vns ein Weib auf vnd ein Mann 
 Der selbig grieff vns kecklich an 
 Wolt wir solten vns gfangen geben 
 Vnd betroht vns gar hart darneben 
 Wir aber grieffen zu den Wehrn 
 Wolten jhn von vns mit abkehrn 
 So hett er in der hand ein stab 
 Ein klein streich auf die Wehr vns gab 
 Da kond wir keine ziehen aufs 
 Vnd kam vns an ein solcher graufs 
 Das wir vns musten geben gfangen 
 Vnd als er vns hart troht nach langen 
 Hat er mich meins wegs heisen gahn 
 Vnd hat bhalten eur Gnaden Sohn 
 Also hat sich all sach zu tragen 
 
 LEUDEGAST 
 Ach du bofs vngluckliches Jagen 
 
 And leave my own dear son and heir. 
 Whom I entrusted to your care, 
 Most faithfully on him to tend. 
 Now everywhere I'll letters send, 
 To find out where the prince may be. 
 If lost, with him you've murdered me. 
 That were a sorry hunt indeed! 
 
 FRANCISCUS. 
 
 Oh Prince! our hearts within us bleed, 
 That we your son have not brought back: 
 We found a deer, were on the track, 
 The prince himself would shoot the same, 
 And thus we lost both prince and game. 
 We shouted loud, as huntsmen do, 
 And also on our horns we blew; 
 We thought he'd soon again appear. 
 But nought of him could see or hear. 
 Yet this did no alarm inspire, 
 Because we knew his faithful squire 
 Was with him, he who enters here. 
 
 Enter THE SQUIRE. 
 
 THE PRINCE. 
 
 Where hast thou left my son so dear? 
 What of the hunt, I prythee, say? 
 
 THE SQUIRE. 
 
 The Prince is taken, woe the day! 
 As eager in the hot pursuit, 
 He would himself the quarry shoot, 
 He lost it, then we missed the way, 
 And in the forest went astray. 
 Nor hound nor huntsman succour brought; 
 When as we stood, absorbed in thought. 
 A woman came, and then a man, 
 Who straight a fierce attack began, 
 Demanded we should yield, and let 
 His rage appear in many a threat. 
 However, we clapped hand on sword. 
 Hoping the base attack to ward, 
 When he, who bore a wand, just laid 
 The lightest touch upon the blade, 
 And then we found we could not draw, 
 But were so struck with dread and awe, 
 That we submitted us in fear; 
 And after many a threat severe, 
 At last he bade me go my way, 
 But forced your Highness' son to stay. 
 And this is how the thing befell. 
 
 LEUDEGAST. 
 Oh wretched hunt, how sad to tell! 
 
COMEDY OF THE BEAUTIFUL SIDEA. 
 
 38 
 
 Wie ubel kombstu mir zu Haufs 
 Vnd \venn ich wer gezogen naufs 
 So wer es mir auch also gangen 
 Wie sol ich nun mein sach anfangen 
 Das ich mein Sohn wider erlofs 
 Ludolff der meints gegen vns gar bofs 
 1st ers der mein Sohn hat bekommen 
 So wird jhm gwifs das leben gnommen 
 Darumb so dorff wir feyern nicht 
 
 ELEMAUS 
 
 Es ist ein seltzame geschicht 
 Davon nicht gut ist vil zusagen 
 Vnd doch hochnotig zu Rathschlagen 
 Wie man alle sach fang kluglich an 
 
 LEUDEGAST 
 
 So kombt last vns reden davon 
 Lang daher stehn ist wenig nutz 
 Meim Sohn dem miifs wir suchen schutz 
 
 \_Sie gehn alle ab. 
 
 Kompt LUDOLFF DER FURST mit seinem stab 
 Jetzt hat sich das gliick wider gwend 
 Vnd ich hab mein Feind in der hend 
 Dem will ich jetzund hart gnug sein 
 Schau was kompt da fur gsind herein 
 
 Kommen DIETRICH vnd ROLLUS mit JAHN MOLITOR in 
 Weibskleidern, 
 
 DlETERICH DER SCHUSTER 
 
 Gnediger Herr wir bede hetten 
 Mit euch etwas heimlichs zu reden 
 Weil wirs nicht konnen erfahren sunst 
 . So helfft vns mit eur Zauber kunst 
 Wir wolln euch gern reichlich lohnen 
 Ein Miiller thut naht bey vns wohnen 
 Der hat vns zugfiigt grose schmach 
 Zu dem wir haben schwere klag 
 So lest er sich daheim nit finnen 
 Vnd duncket vns in vnser sinnen 
 Die alte Frau wifs wo er sey 
 
 JAHN MOLITOR in gestalt eines alien Weibs 
 Nein ich weifs nit bey meiner treu 
 So weifs ich auch nicht wer er ist 
 
 LUDOLFF DER FURST schuttelt den Kopff, legt jhr den 
 
 stab auff den Kopff 
 Ein recht lose Hur du bist 
 Ich kenn dich wol du loser dropff 
 Thu mir den stauchen von dem kopff 
 So woll wir bait den Miiller finnen 
 
 How fatal to my house thou art! 
 And had I also taken part, 
 I might have been a prisoner too. 
 Now must I try what I can do, 
 My son to rescue from his fate. 
 Ludolff doth bear us bitter hate, 
 And if my son 'is in his power, 
 His life is hardly worth an hour; 
 Therefore we may not idle be. 
 
 ELEMAUS. 
 
 It is a curious history; 
 
 And though there's not much hope indeed. 
 Of counsel there is utmost need, 
 What course were wisest to pursue. 
 
 LEUDEGAST. 
 
 Come, let us talk the matter through. 
 For idling here's a useless thing, 
 If we my son would succour bring. 
 
 [Exeunt omnes. 
 
 Enter PRINCE LUDOLFF with his wand. 
 Once more hath fortune changed, and I 
 Have in my hands mine enemy. 
 Hard measure shall he have: but see! 
 Who can these common people be? 
 
 Enter DIETRICH and ROLLUS with JOHN MOLITOR in 
 
 woman's clothes. 
 DIETRICH THE SHOEMAKER. 
 There is a secret, which we two, 
 Most gracious sir, would learn of you. 
 What otherwise we cannot know, 
 Oh lend thy magic art to shew, 
 And for thy pains we'll pay thee well. 
 Near us there doth a miller dwell, 
 Who both of us hath put to shame, 
 And 'gainst him we would now reclaim. 
 But he won't let himself be caught 
 At home, and somehow we have thought 
 This old one, where he hides, could shew. 
 
 JOHN MOLITOR, as an old woman. 
 Now by my faith it is'nt so, 
 Nor know I who he is, I vow. 
 
 PRINCE LUDOLFF, shakes his head, and lays his wand 
 
 upon Johns head. 
 A regular loose wench art thou! 
 I know thee well, thou slipp'ry chap! 
 Old lady, just take off that cap, 
 The miller then will soon appear. 
 
 3* 
 
39 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 40 
 
 Er schlecht jhm den stauchen mit den stab vom kop/, so 
 ists der John Molitor, 
 
 DIETRICH 
 
 Nun kombst nit lebendig von hinnen 
 Wir wolln dich strafFn nach vnsern sinn 
 Das durch dich nicht werd, als vorhin 
 Ein guter Mann bracht in vnrath 
 
 JAHN MOLITOR 
 
 O Herr Zaubrer ich bitt vmb gnad 
 Eur Kunst ist besser als die mein 
 
 LUDOLFF 
 
 Was begert jhr denn fur ein pein 
 Das ich sol jhm anlegen fluchfs 
 
 ROLLUS 
 
 Herr Zaubrer macht jhn zu eim Fuchfs 
 Das er fort nicht sey so vermessen 
 
 JAHN MOLITOR 
 
 So wolt ich dir dein Hiiner fressen 
 Vnd noch mehr vbls als jetzo than 
 
 DIETERICH 
 
 Herr Zauberer wenns der Herr kann 
 So mach der Herr ein Esel aufs jhm 
 
 JOHAN MOLITOR 
 
 Mein Narrischer Schuster, so vernim 
 Wenn du zum Esel machest mich 
 So wolt ich gar verderben dich 
 Das in dem Land Kiih, Pfert, vnd Schwein 
 Miisten lauter Esel werffen allein 
 Der Heut zeucht man nur auff die Drummen 
 Wo wolstu Narr Leder bekummen 
 "Was gelts ich wolt dirs Esels geben 
 
 DIETERICH 
 
 Ey so last jhn ein Menschen leben 
 Vnd straffet jhn nach eurem sinn 
 
 LUDOLFF DER FURST 
 Defs selben ich schon willens bin 
 Im Walt soil er hie bey mir bleiben 
 Vnd das keine loffley nit treiben 
 Mein Tochter vnd der Engelbrecht 
 Soil er auff sie acht haben schlecht 
 Vnd mir dasselbig zeigen an 
 Glob mirs bait an dastus wilt than 
 
 [Er globt an, vnd sie gehn alle ab. 
 SIDEA bringt den Jungen Fiirsten ENGELBRECHT gar ubel 
 bekleid, der tregt etliche klotz holtz vnd ein holtz hacken, 
 legt sie nider SIDEA throt jhm mit dem stab 
 
 SIDEA 
 
 Bait keil du mir das Holtz zu scheiten 
 Wiltu anderst die streich nit leiden 
 Du bist ein rechter fauler Hund 
 
 He strikes the cap off his head, and it appears to be 
 John Molitor. 
 
 DIETRICH. 
 
 Never alive go'st thou from here. 
 We'll punish thee in our own way, 
 That no good man be led astray 
 By thee again to his perdition. 
 
 JOHN MOLITOR. 
 
 I sue for pardon, great magician ; 
 Thy art is better far than mine. 
 
 LUDOLFF. 
 
 What punishment do you incline 
 To choose for him, say what's your whim? 
 
 ROLLUS. 
 
 Magician, make a fox of him, 
 And so take down his impudence. 
 
 JOHN MOLITOR. 
 
 Then I will eat your cocks and hens, 
 And do more harm than now, my man. 
 
 DIETRICH. 
 
 Mr. Magician, if you can, 
 Pray let him then a donkey be. 
 
 JOHN MOLITOR. 
 
 My foolish cobbler, dost thou see, 
 If thou wilt make an ass of me, 
 I'll thus contrive to ruin thee. 
 All thro' the land, cow, pig, and mare. 
 Shall nought but little asses bear, 
 Whose hide is only good for drums. 
 Tell me, whence then thy leather comes? 
 That thou the donkey art, is plain. 
 
 DIETRICH. 
 
 Why let him then a man remain. 
 And punish him as you deem fit. 
 
 PRINCE LUDOLFF. 
 Already I'd determined it. 
 He shall remain then with me here. 
 And lest the prince and my Sidea 
 Some passages of love should try, 
 He shall on both keep watchful eye, 
 And tell me all that happens there; 
 But first he shall obedience swear. 
 
 [He swears. Exeunt omnes. 
 
 Enter SIDEA with the young Prince ENGELBRECHT, very 
 
 meanly attired. He carries some logs of wood and an axe, 
 
 and lays them down. SIDEA threatens him with her wand. 
 
 SIDEA. 
 
 > Now cut those logs, and do it quick. 
 I Unless thou wish to feel the stick! 
 y A lazy idle dog thou art! 
 
41 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 42 
 
 ENGELBRECHT fellt jhr zu fufs, hebt die Jiend auff 
 
 ENGELBRECHT 
 
 Ach ich bin kranck von hertzen grund 
 Vnd weis mir nicht welter zu gehn 
 Noch einiger Arbeit vorzustehn 
 Dann ich bin aufsgemergelt matt 
 Mein gantzer Leib kein krafft mehr hat 
 Besser ists ich \verd erschlagen 
 Dann taglich solchen last zu tragen 
 Vnd solche schwere arbeit zu than 
 Ich bitt so hoch ich bitten kan 
 Erschlaget mich folgents zu todt 
 
 SIDEA sagt zum Leuten 
 Wie wol in grofs vngliick vnd noth 
 Sein Vatter bringt den Vatter mein 
 Vnd mich sein Furstlichs Frauelein 
 Das wir hetten vrsach zur Rach 
 Doch wenn ich denck den sachen nach 
 So ist er auch Fiirstlich geborn 
 Vnd an vns gar nicht schuldig worn 
 Darumb er, die warheit zu melden 
 Seins Vatters nit hat zu entgelten 
 So ist er ein solche Person 
 Dem ich schon halb nicht feind sein kan 
 Vnd wenn ich gleich solcher gestalt 
 Lang bleiben must in disen Walt 
 Was hett ich lust vnd freud dabey 
 Wenn er mir wolt erweisen treu 
 Vnd mich behalten zu der Eh 
 Wolt ich jhm helffen aufs noth vnd weh 
 Ich wils jhm heimlich zeigen an 
 
 [Sie geht zu ihm. 
 
 Mein Engelbrecht was wolstu than 
 Wenn ich dir deiner Dienstbarkeit 
 Zu wegen brecht jetzt ein froyheit 
 Vnd dich als dann nem zu der Eh 
 
 ENGELBRECHT fellt nider zu fufs 
 Ach schweigt, verstiirtzt ich gar vergeh 
 All lebendig Cotter diser Erden 
 Konnen nicht machen das war mog werden 
 Wenn aber das war werden kiind 
 Mein sach zum aller besten stiind 
 Ja ich wolt mich eur Lieb ergebfn 
 Zu dienst mit Leib vnd auch Leben 
 Vnd euch zu einer Fiirstin machen 
 
 SIDEA 
 Dorfft ich dir trauen in den sachen 
 
 ENGELBRECHT falls at her feet, and raises his hands. 
 
 ENGELBRECHT. 
 
 Alas! I am so sick at heart, 
 Can hardly drag along my feet, 
 My task appointed to complete. 
 For I am tired out at length, 
 Nor has my body any strength. 
 'Twere better far I murder'd were, 
 Than everv day such burdens bear, 
 And such hard work do evermore. 
 Most earnestly I thee implore, 
 That thou at once wilt strike me dead! 
 
 SIDEA, ad spectatores. 
 Although his father mine hath led 
 Into sore trouble and distress, 
 And me his daughter, a princess, 
 That he our vengeance might expect, 
 Yet when I on the thing reflect, 
 He also is a prince's son, 
 And to ourselves no ill hath done, 
 And should not therefore, truth to say, 
 Be forced his father's debt to pay. 
 And then such beauty too hath he, 
 I could not be his enemy; 
 And if I long such life must lead 
 Here in the forest, why indeed, 
 What happiness and joy to me, 
 If he would true and faithful be, 
 And take me as his wedded wife! 
 I'd help him out of all this strife. 
 My thought I'll tell him secretly. - 
 
 [She walks up to him. 
 My Engelbrecht, how would it be 
 If I, thy service to reward, 
 To thee thy freedom would accord, 
 And then thee for my husband take? 
 
 ENGELBRECHT, falls at her feet. 
 Oh speak not, or my heart will break, 
 For all the gods that rule below, 
 Could never make it happen so; 
 But could it really so befall, 
 My fortunes then stood best of all ; 
 I would to thee my service give, 
 And ever love thee while I live; 
 Thou shouldst a royal station grace. 
 
 SIDEA. 
 If I my trust in thee may place, 
 
43 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 44 
 
 Vnd du wilt dem so kommen nach 
 Mir mit der Hand vnd Mund zusag 
 So will ich ferners reden mit dir 
 
 ENGELBRECHT 
 
 Ja dasselb solt jhr trauen mir 
 Vnd jhr solt auch mein Gemahl sein 
 
 [Sie geben die hend aneinander 
 SIDEA 
 Bistu denn mein 
 
 ENGELBRECHT 
 Ja 
 
 SIDEA 
 
 So bleib ich dein 
 
 Die Gotter bleiben mit vns beyden 
 Nun soil vns nichts als der todt scheiden 
 Vnd das du meinen ernst auch spiirst 
 Zih ich mit dir wo du mich hinfiihrst 
 
 Sie trucken einander, kompt RUNCIFALL DEK TEUFFEL 
 Sidea disen deinen anschlag 
 Ich deinem Vatter strachs ansag 
 Dann es will sich gar nicht gebiirn 
 Das du dich lest von hinnen fiihrn 
 
 SIDEA nimbi jhrn stab schlegt jhn mit auffs maul, der deut- 
 er kb'nn nicht reden, vnd geht traurig ab, ahdan 
 
 spricht sie 
 
 Also kan vns der Geist zu schaden 
 Bey meinem Vatter nicht verrahten 
 So konnen wir all bede sand 
 Die weil kommen aufs disem Land 
 
 [Sie gehn ab 
 
 Kompt LUDOLFF DER FiJRST mit JAHN MOLITOR, ist gar 
 zornig schlegt den Jahnnen mit dem stab auff den kopff 
 Wo ist Sidea sag mir bait 
 
 JAHN MOLITOR 
 
 Ich weis nit ist sie nit im Walt 
 So ist sie bey dem Engelbrecht 
 
 LUDOLFF 
 
 Bistu nicht mein Leibeigner Knecht 
 Der achtung auff sie haben sol 
 
 JAHN MOLITOR 
 
 Ja, ja, dasselbig weis ich wol 
 Aber Gnediger Herr jhr sein zwen 
 Vnd sagn mir nicht wo sie hin gehn 
 Drumb weis ich gar nit wu sie sein 
 
 LUDOLFF 
 
 Das sol dir kosten das leben dein 
 Drumb zih hin vnd such wo sie sind 
 
 And thou wilt aid in my intent, 
 
 And with both hand and mouth consent, 
 
 I will hold further talk with thee. 
 
 ENGELBRECHT. 
 
 Thou mayst place all thy trust in me, 
 And thou as consort soon be mine. 
 
 [They give their hands to each other. 
 
 SIDEA. 
 Art thou then mine? 
 
 ENGELBRECHT. 
 Yi*. 
 SIDEA. 
 Then I'm thine. 
 
 may the gods desert us never! 
 Hence nought but death shall us dissever! 
 To prove that 'tis my will indeed, 
 
 I'll follow thee where'er thou lead. 
 
 They embrace each other. Enter RUXCIFALL THE DEVIL. 
 Sidea, to thy father straight 
 
 1 go, and this thy plan relate. 
 For most unseemly 't will appear. 
 If thou art led away from here. 
 
 SIDEA takes her wand, strikes him with it on the mouth. 
 He makes signs that he cannot speak, and walks away 
 
 melancholy. 
 
 Now can he us to our dismay 
 No longer to my sire betray; 
 But we together, hand in hand. 
 May for the present leave the land. 
 
 [Exeunt. 
 
 Enter LUDOLFF THE PRINCE, with JOHN MOLITOR. He is 
 very angry, and strikes John on the head with his staff". 
 Now tell me quickly, where's Sidea. 
 
 JOHN MOLITOR. 
 
 I know not, but if she's not here, 
 She's sure with Engelbrecht to be. 
 
 LUDOLFF. 
 
 Now art thou not a slave to me, 
 Who had to keep them both in view? 
 
 JOHN MOLITOR. 
 
 Oh yes, I know, that's very true: 
 But then, my Lord, they're two, you see. 
 And where they go, they tell not me. 
 Therefore I know not where they be. 
 
 LUDOLFF. 
 
 That, rogue, shall cost thy life to thee. 
 But go at once, seek far and wide. 
 
COMEDY OF THE BEAUTIFUL SIDE A. 
 
 46 
 
 Vnd wirstu sie nit bringen gschwind 
 So schlag ich dir ab deinen grint 
 
 [Jahn Molitor kratzt sich im kopff vnd gehn ab. 
 
 ACTUS QUARTUS. 
 
 Kommen ENGELBREOHT vnd SIDEA 
 
 (SIDEA) 
 
 Ich hoff \vir sollu den Vatter mein 
 Nunmehr meinsts theils entrunnen sein 
 Jedoch bin ich so mild von gehn 
 Wenn ich naichs gleich wolt vnterstehn 
 Vnd leg mir leib vnd leben dran 
 Jedoch nit welters ich gehn kan 
 Ach weh wer ich daheimen blieben 
 Die brinnet Lieb hat mich getrieben 
 Das ich mich gab in solch gefehr 
 
 ENGELBRECHT 
 
 Ach last euch sein die sach nit schwer 
 Wann jhr nicht weiters kiind zu fufs 
 Man euch zu Kutschen fiihren mufs 
 Wart mein alhie bifs ich zuriick 
 Euch wider ein Kutschen raufs schick 
 Mit Knechten die sollen euch holn 
 
 SIDEA 
 
 Von meim Vatter hab ich mich gstoln 
 Meint jhr vnd das er es vnderlafs 
 Mir nicht nach forsch auff alle strafs 
 Vnd wenn er mich hie finden thet 
 Ich euch das letzt mal gsehen hett 
 Vnd must sterben vor seim angsicht 
 
 ENGELBRECHT 
 
 Ey das wolln ja die Gotter nicht 
 Das euch eur Vatter nicht mehr find 
 Jr auff den Baum nauff sitzen kiind 
 Darunder laufft er sechsmal fur 
 Eh vnd wann er euch da aufs spiir 
 Darzu blcibt jhr alhie nit lang 
 
 SIDEA 
 
 Ach wie ist mir so angst vnd bang 
 Dann ich fiircht jhr vergesset mein 
 
 ENGELBRECHT 
 
 Ach hertz Lieb last das sorgen sein 
 Ich verheifs euch mein treu vnd ehr 
 Die vergifs ich mein tag nit mehr 
 
 [Er hebt sie auff den Baum, sie sagt 
 
 (SIDEA) 
 
 Ich hoff ich will da sicher sein 
 Doch bitt ich euch vergest nit mein 
 
 If soon I hear not where they bide, 
 I'll lay my stick about thy hide. 
 
 [John Molitor scratches his head. Exeunt. 
 
 ACT IV. 
 
 Enter ENGELBRECHT and SIDEA. 
 
 SIDEA. 
 
 I hope that now all danger's past, 
 And father we've escaped at last. 
 For if I the attempt would make, 
 And life and limb thereon would stake, 
 So weary am I, that I know, 
 I could not one step further go. 
 Oh, that I had remained at home! 
 But burning love forced me to roam, 
 And this fatigue and danger share. 
 
 ENGELBRECHT. 
 
 Oh yield not thou to such despair! 
 For if to walk thou art too weak, 
 Why then I must a carriage seek; 
 Till I return, wait here for me, 
 And I'll a carriage send to thee, 
 And what attendants thou require. 
 
 SIDEA. 
 
 'Twas secretly I left my sire; 
 Dost think he ever will forbear 
 To have me searched for everywhere? 
 And if perchance he find me here, 
 I ne'er again should see thee, dear; 
 His presence would prove death to me. 
 
 ENGELBRECHT. 
 
 Be sure, that's not the god's decree. 
 But that his search may fruitless be, 
 Perhaps you'd better climb this tree. 
 Six times he may run round, and more, 
 Ere he thy hiding-place explore. 
 Besides, thou needst not long remain. 
 
 SIDEA. 
 
 My fears I can no more restrain, 
 Lest thou forget that I am there. 
 
 ENGELBRECHT. 
 
 Oh dearest lay aside thy care. 
 My word of honor will I give, 
 I'll not forget thee while I live. 
 
 [He assists her to climb the tree. 
 
 SIDEA. 
 
 I hope in safety I shall be, 
 But do entreat, forget not me. 
 
47 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 48 
 
 ENGELBRECHT 
 
 Ey was sol das vergessens vil 
 Als bait ich euch da holen wil 
 
 [Er geht ab. 
 
 Die Jungfrau sitzt auff den Baum, vnd sagt kleglich 
 Ach solt mich der Fiirst setzen an 
 Dem ich hab so vil guts gethan 
 So wolt ich jetzt vnd all mein tag 
 Vber jhn schreyen straff vnd rach 
 Kompt FINELIA, des Schusters Weib, will wasser holn 
 
 tregt ein Krug 
 
 Alhie in dieser armen Stadt 
 Es kein guten trinck Brunnen hat 
 Miissen das trinck wasser weit holn 
 Mein Mann mir daheira hat befohln 
 Ich solt eillend ein wasser bringen 
 Wasser macht weder Tantzen noch springen 
 Darumb ich bath vnd haben wolt 
 Das er ein Bier doch kauffen solt 
 So ist der Narr so karck vnd gnau 
 
 [Sie geht zum Brunnen als woll sie eins schopffen 
 Ey, ey, jetzund ich mich beschau 
 Aufs dern schatten in dem Brunnen 
 
 [Sie wirfft den Krug nider, schwantzt auff der 
 
 Brucken rumb 
 
 Meins gleichen nicht allhie wird gfunnen 
 Ein aufsbiindig schon Creatur 
 Was hab ich mich geziehen nur 
 Das ich hab gnommen den Pechpatzen 
 Den hefslichen vngschaffnen Fratzen 
 Nun will ich bey jhm nicht mehr leben 
 Sender mich strachs gen Hof begeben 
 
 [Sie geht ab. 
 
 EL A die Bauern Magd geht ein rn.it einem geschirr Wasser 
 zuholen, kommt zum Brunnen will einschopffen sieht den 
 
 schatten 
 
 Nicht gnug kan ich verwundern mich 
 Jetzt so ich meinen schatten sich 
 Befind ich wie ich so schon bin 
 Ey ey wo hab ich nur dacht hin 
 Das ich vermeint den Miiller zu nemen 
 Ich wolt michs in mein hertz nein schemen 
 Ob ich schon hab ein Eyssen abgrendt 
 Jedoch vil Leut in der Welt sendt 
 Die es nicht wissen oder schmecken 
 Vnd ich solt mich zu jhm verstecken 
 O nein ich mag den Muller nimmer 
 Ich will gehn Hof ins Frauenzimmer 
 
 [Sie wirfft jhr Gefdfs auch hin, vnd geht gar 
 stoltz ab. 
 
 ENGELBRECHT. 
 
 Why say so much about forget? 
 Ere long, we shall again have met. 
 
 [Exit. 
 
 The maiden sits down in the tree, and says in a melancholy tone : 
 Ah if the prince should me betray. 
 And thus my services repay, 
 Then would I now, and evermore. 
 Dire vengeance on his head implore. 
 Enter FINELIA, the shoemakers wife, carrying a pitcher 
 
 to fetch water. 
 
 In all this town the water's bad; 
 None fit for drinking to be had; 
 We fetch it from a distant spring. 
 I now must for my husband bring 
 Some in a hurry, water can 
 Excite to dance no mortal man, 
 And therefore I did beg and pray 
 The fool would buy some beer to-day; 
 But no, he loves too well his pelf. 
 
 [She goes to the spring to draw water. 
 Aye! Now that I behold myself 
 There in my image, all around 
 My like is nowhere to be found. 
 [She throws down the pitcher, and loalks coquettishly 
 
 about the platform round the well. 
 A creature most exceeding fair! 
 Oh what a blunder made I there, 
 When I took up that cobbler wight, 
 An awful, awkward, ugly, fright! 
 I'll live with him no more, I swear, 
 But straight unto the court repair. 
 
 [Exit. 
 
 Enter ELA, the peasant's daughter, with a pitcher to fetch 
 water. She goes to the well, and is about to draw some 
 
 when she sees the image. 
 My wonder's more than I can tell! 
 For now I view my image well, 
 I see that I am fair indeed; 
 Ah, what could ever me mislead 
 To think I could the miller take? 
 My heart for very shame doth ache. 
 Although I out of jail have got, 
 Yet many men, who know it not, 
 Are in the world, that were a whim. 
 To hide myself with such as him! 
 Oh no. he'll never do for me; 
 A grand court-lady will I be. 
 
 [She also throws down her pitcher, and walks 
 haughtily away. 
 
4!) 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 50 
 
 JAHN MOLITOR geht ein 
 
 Mein Herr thut grausam schwermen vnd fluchen 
 Ich soil sein Tochter wider suchen 
 Weil ich nicht recht auff sie thet sehen 
 Thet mich lestern schenden vnd schmehen 
 Ja er thet mirs vnters gsicht sagen 
 Find ichs nicht, wolt er mich erschlagen 
 Ich bin den gantzen Walt durchloffen 
 Hab nichts gefressen noch gesoffen 
 Vnd brennd so mechtig heifs die Sunnen 
 Schau da vnten hats ein schon Brunnen 
 Da will ich mich ein wenig laben, 
 
 [Er geht zum Brunnen sicht nein, steht wider auff, 
 
 siclit auff den Baum. 
 
 Vor dem schatten bin ich erschrocken 
 Wie tregt der Baum die schonsten Docken 
 Ach wie der aller gliicklichst Brunnen 
 Weil ich da hab die Jungkfrau gfunnen 
 Nun will ich gehn sagen meim Herrn 
 Der wird sie gar bald holn wern 
 
 [Jahn geht ab. 
 
 SIDEA sagt auff dem Baumen kleglich 
 Ach wehe wo soil ich nun hinimfs 
 Mein hertzliebster bleibt zu lang aufs 
 Vnd ich bin durch defs Wassers schatten 
 Dem Jahn Molitor schon verrahten 
 Vnd er wirds sagen dem Vatter mein 
 Ach weh des jammers vnd der pein 
 Nun steh ich hie in neuer gfahr 
 Engelbrecht hat mein vergessen gar 
 Ach jammer weh wo soil ich hin 
 Das aller elendst Mensch ich bin 
 Das nicht auff dieser Welt kan leben 
 Ach wie thu ich in hertzleid schweben 
 O jammer weh ich hor schon Leut 
 DIETERICH DER SCHUSTER geht ein vnd spricht 
 Ich weifs nicht was es doch bedeut 
 Meiner Frauen hab ich befohln 
 Das sie mir soil ein Wasser holn, 
 So kompt sie heimb so vnbesunnen 
 Sagt sie hab gsehen in den Brunnen 
 Wo sie sey so ein schones Weib 
 Darumb sie nicht mehr bey mir bleib, 
 Sonder will kommen ins Frauenzimmer 
 So kan ich den durst leiden nimmer 
 Denn will ich nicht vor durst versincken 
 Mufs ich mir selbst holen zu Trincken 
 Darneben will ich auch beschauen 
 Was so narrisch hab "gmacht mein Frauen 
 
 [Er geht zum Brunnen schopfft Wasser. 
 
 Enter JOHN MOLITOR. 
 My master kicks up such a rout, 
 Swears I must find his daughter out; 
 'Cause I don't watch her like her nurse, 
 He must forsooth, storm, swear, and curse. 
 Indeed he to my face hath said, 
 If she's not found, he'll strike me dead. 
 I the whole forest through have beat. 
 And nothing had to drink or eat. 
 And 'tis so hot in such a sun; 
 Down there I see some water run. 
 I will refresh me with a draught. 
 
 [He goes to the spring, looks into it, gets up again 
 
 and looks up into the tree. 
 The shadow almost frightened me! 
 A pretty head-dress for a tree! 
 Most fortunate of springs art thou! 
 Through thee I've found the maiden now. 
 I'll go at once, my master tell, 
 And he'll soon fetch her from the well. 
 
 [Exit. 
 
 SIDEA in the tree, says in a melancholy tone: 
 Alas! Shall I now fly or stay? 
 Too long rny love remains away! 
 The image that the water made, 
 Me to the miller has betrayed. 
 To tell my father would he go; 
 Alas! oh misery and woe! 
 Now am I in new danger here. 
 Forgotten by my love so dear; 
 Alas! Oh whither shall I hie? 
 Most wretched of all mortals I! 
 But death must soon my troubles cure, ' 
 Such bitter anguish I endure! 
 Oh misery! I hear them near! 
 
 Enter DIETRICH, THE SHOEMAKER. 
 What it all means, I've no idea! 
 To-day I told my wife to bring 
 Some water for me from the spring; 
 And ever since she has returned, 
 She's lost her wits, and says she's learned. 
 Through her fair image in the well. 
 She's far too beautiful to dwell 
 With me, but will to court repair. 
 This thirst I can no longer bear: 
 And as for thirst I would not sink, 
 Some water I will fetch to drink; 
 And also look into the pool, 
 To see what's made her such a fool. 
 
 [Goes to the well to draw water. 
 4 
 
51 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 52 
 
 Der Brunnen giebt von sich ein schein 
 Ein schones Weibsbild mufs da sein 
 Vnd hie fiber den Brunnen sitzen 
 
 [Er siecht sich umb, ersicht die Sidea 
 Ja ich habs schon ersehen jetzen 
 Ach zarte Jungfrau saget mir 
 Was machet auff dem Baumen jhr 
 Wem steht jhr zu wo kompt jhr her, 
 
 SIDEA hebt die Hand auff 
 Ach guter Freund ich bitt euch sehr 
 Jhr wollet mir doch helffen wider 
 Das ich komb von dem Baum hernider 
 Vnd beherbrigt mich nur zwen tag 
 Das ich ein weng aufsruhen mag 
 Vnd entgeh meim Feind aufs den henden 
 Helfft jhr mir das vngluck abwenden 
 Ich will each geben reichen lohn, 
 
 DEETERICH DER SCHUSTER hebt sie von dem Baumen 
 Ey ja das will ich gerne thon 
 Jedoch es geht bey mir schlecht zu, 
 
 SIDEA 
 
 Drinnen ich euch als sagen thu. 
 "Wie ich bin leider kommen her 
 Dann ich furcht mich sehr das ich wer 
 Gefangen wenn ich lang hie stehe 
 So kem ich in jammer vnd wehe 
 
 [Sie gehn mit einander ab. 
 
 Kompt LUDOLFF DER FlJRST 
 
 Allhie wart ich auff meinen Geist 
 Wenn mir der nicht mein Tochter weist 
 So ists mit dem Milliner verlorn 
 Vnd sey jhm dann ein Eyd geschworn 
 Er mufs sterben von meiner hand 
 
 Jetzt macht LUDOLFF mit seinem Stab ein kreifs, so 
 springt RUNCIFALL heraufs, 
 
 LUDOLFF 
 
 Runcifall mach du mir bekannt 
 Wo ist mein Tochter kommen hin 
 Auff dicb ich hart erzornet bin 
 Das du sie hast glassen davon 
 Vnd mir solches nicht zeiget an 
 
 [Runcifall deut er hab kein schuld daran, er kiinne 
 nicht reden, 
 
 LUDOLFF 
 Wie stellst du'dicb, bald red mit mir, 
 
 [Runcifall deut er konns nicht 
 
 The water does a form reflect; 
 A handsome woman, I expect, 
 Is sitting somewhere up on high. 
 
 [He looks round and sees Sidea. 
 Yes, I already her espy. 
 Ah, gentle lady, say to me, 
 What you are doing in the tree? 
 Whom you belong to, whence you came? 
 
 SIDEA raising her hands. 
 Oh friend, your kindness would I claim, 
 And beg that you your aid will lend, 
 To help me from the tree descend, 
 For two days yield me an asyle, 
 Where I myself may rest awhile, 
 And also may escape my foe. 
 If thus you help avert the blow, 
 A rich reward I'll give to you. 
 
 DIETRICH, THE SHOEMAKER, helps her down from the tree. 
 Oh yes, all that I'll gladly do; 
 My house though is a wretched place. 
 
 SIDEA. 
 
 When there, I'll tell you all my case, 
 How I unhappily came here; 
 For if I tarry long, I fear, 
 I may be taken, which to me 
 Would bring much grief and misery. 
 
 [Exeunt together. 
 
 Enter PRINCE LUDOLFF. 
 My spirit I'm expecting here. 
 Should he not shew me my Sidea, 
 The miller's a lost man, for now 
 I've sworn to him a solemn vow, 
 That he by my own hand shall die. 
 
 LUDOLFF makes a circle with his wand. RUNCIFALL 
 springs out of it. 
 
 LUDOLFF. 
 
 Now Runcifall, resolved am I 
 To learn where my Sidea may be. 
 And know I'm very wrath with thee, 
 That thou hast let her run away, 
 And not a word to me didst say. 
 
 [Runcifall intimates by signs that that is not his 
 fault, as he cannot speak. 
 
 LUDOLFF. 
 What mean those gestures? Speak to me. 
 
 [Runcifall makes signs that he cannot speak. 
 
53 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 54 
 
 LUDOLFF 
 
 Er ist verzaubert das merck ich schir, 
 
 [Er schlegt den Teuffel mit dem stab auffs maul, 
 
 RUNCIFALL 
 
 Dein Tochter hat den Fvirsten gnommen 
 Vnd ich bin eben darzu kommen 
 Vnd hab dir dasselb wollen sagen 
 So hat sie mich auffs maul geschlagen 
 Das mir mein Zung verstummen thet 
 Vnd hab seither kein Wort mehr gredt. 
 Wie hab ich dirs dann sagen konnen 
 Alsdann theten sie dir endrinnen 
 Vnd ziehen zu seim Vatter hin, 
 LUDOLFF sagt kleglich 
 Nun ich erst gar verdorben bin 
 Find sie mein Jahn Molitor nit 
 So hat mein hertz nimmer kein frid 
 
 In dem gehet JAHN MOLITOR ein, hat ein Drummelein vnd 
 Pfei/en, er pfei/t, der Teuffel hebt an zu Tantzen, 
 
 LUDOLFFUS 
 
 Jahn weil du Pfeiffst vnd lustig bist 
 So sag mir wo mein Tochter ist 
 
 JAHN 
 Eur Tochter, 
 
 [Er Pfei/t wider vnd Drummelt 
 
 LUDOLFF 
 
 Ja meine Tochter wo ist sie 
 
 JAHN MOLITOR 
 
 Ich hab gar wol gesehen die 
 
 [Jahn Pfei/t vnd Drummelt wider, so tantzt all- 
 weg der Teuffel, 
 
 LUDOLFF 
 
 Wo hastn sie gsehen zeig an 
 JAHN MOLITOR 
 Ich sah sie 
 
 [Er Pfei/t wieder, dann sagt er 
 auff eim Baumen stahn 
 
 LUDOLFF sagt zornig 
 Hor auff deins Pfeiffens, sag darfiir 
 Von meiner lieben Tochter mir 
 
 [Jahn Pfei/t vnnd Drummelt, der Teuffel Tantzt, 
 lauffen etliche Teuffel raufs, die alle Tantzen, 
 endtlich hort Jahn Molitor auff, 
 
 LUDOLFF 
 
 Ich glaub du seyst gar toricht worn 
 Dafs du thust so grausam rumorn 
 Jhr Geister ziecht eurs wegs bald fort 
 Vnd du sag mir bald mit eim wort 
 Wo du mein Tochter gsehen hast 
 
 LUDOLFF. 
 
 He is enchanted, that I see. t 
 
 \He strikes the devil on the mouth with his wand. 
 
 RUNCIFALL. 
 
 Thy daughter with the prince would fly. 
 Just at that minute, up popped I. 
 And as I wished to let thee know, 
 She gave me on the mouth a blow, 
 Which made me dumb, nor any word 
 Since then hath from my mouth been heard. 
 How could I then tell thee indeed? 
 On which they fled with utmost speed, 
 And hurried towards his father's seat. 
 
 LUDOLFF, says piteously. 
 Oh now my ruin is complete! 
 And should the miller's search prove vain, 
 My heart will ne'er know peace again. 
 
 Enter JOHN MOLITOR with a little drum and a whistle. 
 He whistles, and the devil begins to dance. 
 
 LUDOLFF. 
 
 John, as you whistle and are gay. 
 Where is my daughter, prythee say? 
 
 JOHN MOLITOR. 
 Your daughter, 
 
 [he whistles and drums again. 
 
 LUDOLFF. 
 
 Yes, pray tell me, do. 
 JOHN MOLITOR. 
 That I have seen her is most true. 
 
 [John whistles and drums again, and the devil 
 continues to dance. 
 
 LUDOLFF. 
 Where have you seen her? tell it me. 
 
 9 JOHN MOLITOR. 
 I saw her 
 
 [whistling again 
 standing on a tree. 
 
 LUDOLFF, angrily. 
 
 Now cease that whistling! Do you hear? 
 And tell me of my daughter dear. 
 
 [John whistles and drums. The devil dances. Other 
 devils appear, who all dance too. At last John 
 leaves off. 
 
 LUDOLFF. 
 
 You must have lost your wits, 'tis clear, 
 To kick up such a shindy here. 
 Ye spirits, take yourselves away. 
 But, you sir, in a word, I pray, 
 Where did you see my daughter now? 
 
 4* 
 
55 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 56 
 
 JAHN MOLITOR 
 
 Sie sitzt dort auff eins Baumens ast 
 Zu allernechsten bey dem Brunnen 
 Vnd weil ich sie hab wider gfunnen 
 Bin ich erfreuet worden hoch 
 Kompt her wir wollens finden noch 
 Ich zwar hett sie gesehen nit 
 Der schattn im Brunnen sie verrieht 
 Als ich eben da trincken wolt 
 
 LUDOLFF 
 
 Ach das ichs wider kriegen solt 
 Drumb geh bald fort thu dich nicht bsinnen 
 Hilff mir wider mein Tochter finnen 
 
 [Sie gehn ab. 
 
 Kompt DIETERICH DER SCHUSTER mit seiner Frauen, 
 
 DlETERICH 
 
 Finelia mein sag doch mir 
 
 Was hastu eingebildet dir 
 
 Das du mir kein gut mehr wilt than 
 
 FINELIA 
 
 Mich reuts das ich dich gnommen han 
 Vnd darzu das ich bey dir bleib 
 Ich bin ein herrlichs schones Weib 
 Dergleich keine ist in der Statt 
 
 DIETERICH 
 
 Sag wer dir solchs gesaget hat 
 Der hat dich ubel iiberredt 
 
 FINELIA 
 
 Der widerschein mirs sagen thet 
 Welchen ich durch den schein der Sunnen 
 Hab aufs dem Wasser in dem Brunnen 
 Besser gesehen als zuvor nie 
 
 DIETERICH 
 
 So komb mit mir zum Brunnen, vnd sih 
 Ob du nicht selbst betrogen worn 
 
 FINELIA geht mit jhm zum Brunnen, sicht hinein 
 Mein vorige gstalt hab ich verlorn 
 Also wie ich jetzunder sich 
 Kan ich gar nicht verwechfsln mich 
 Vnd ich bin dir kaum gut genug 
 Aber da ich zerwarff den Krug 
 Da wart ich also zart vnd schon 
 "Wie die Jungkfrauen zu Hof hergehn 
 Defamal daucht ich mich dir zu gut 
 
 DIETERICH 
 
 Mein Finelia sey gemuht 
 Schau dorten dritt ein Jungkfrau rein 
 Die gab in Brunnen diesen schein 
 
 JOHN MOLITOR. 
 
 Sitting aloft there on a bough. 
 The tree is very near the water, 
 And just because I found your daughter, 
 I'm now in such a merry cue; 
 You'll find her still, if you come too. 
 It's true, I have not seen the maid; 
 She through her image was betrayed, 
 As I my thirst prepared to quench. 
 
 LUDOLFF. 
 
 Oh, that I could but catch the wench! 
 So go at once, in thinking waste 
 
 No time, till we've my daughter traced. 
 
 [Exeunt. 
 
 Enter DIETRICH, THE SHOEMAKER, with his wife. 
 
 DIETRICH. 
 
 Finelia mine, explain to me. 
 What fancy has come over thee, 
 That thou no service do me more? 
 
 FINELIA. 
 
 That I e'er took thee, I deplore, 
 And also that I live with thee; 
 I am so beautiful to see, 
 My like's not in the town, I know. 
 
 DIETRICH. 
 
 Tell, me, who was it told thee so? 
 His counsel was n't very good. 
 
 FINELIA. 
 
 'Twas the reflection. Where I stood, 
 The sunbeams on the water fell. 
 And shewed my image in the well. 
 I'd never seen it so before. 
 
 DIETRICH. 
 
 Then come with me, and see once more 
 Whether it was not a delusion. 
 
 FINELIA goes to the well, and looks into it. 
 My beauty's gone, to my confusion! 
 And now I see myself so plain, 
 I can't mistake myself again. 
 For thee I'm hardly good enough; 
 But when the pitcher, in a huff, 
 I threw away, I was, methought, 
 As fair as ladies of the Court. 
 And so I seem'd for thee too good. 
 
 DIETRICH. . 
 
 Finelia mine, now if you would 
 Look there, a maiden's coming here, 
 Who caused the image to appear; 
 
COMEDY OF THE BEAUTIFUL SIDEA. 
 
 58 
 
 Die ich fand sitzen auff dem Baum 
 Dein schon war ein erdichter traura 
 Dann dein schon taug zu der gar nit 
 
 SIDEA geht ein 
 
 Mein Meister Schuster es ist mein bitt 
 Jhr wolt euch willig lassen finnen 
 Mir eurs Weibs kleider vergiinnen 
 Das ichs anleg auff der Strassen 
 Vnd wolt sie mit mir gehn lassen 
 Das sie trag meine kleider mir 
 Reichlich will ichs belohnen jhr 
 Dann ich je nicht weiter beger 
 Als das ans Fiirsten Hof ich wer 
 Ich will sie bait schicken zuriick 
 
 DIETERICII 
 
 Das als soil sein, darzu mit gliick 
 Wolln euch die Gotter beleiten 
 Vnd das wir mit bessern freiiden 
 Bait wider zammen kommen miigen 
 Das wollen alle Gotter fiiegen 
 
 [Sie gehn alle ab. 
 
 Kompt LUDOLFF DER FuRST mit JAHN MOLITOR 
 
 JAHN 
 
 Auff diesem Baum ob diesen Brunnen 
 Hab ich eur Gnaden Tochter gfunnen 
 Sie ist aber jetzt nicht m'ehr do. 
 LUDOLFF DER FURST 
 Deins findensts bin ich so nicht fro 
 Such sie wo sie wird sein hinkommen 
 Du solst sie haben mit dir gnommen 
 Vnd sie mit dir heim haben bracht 
 
 JAHN MOLITOR 
 
 Vor freud hab ich daran nicht dacht 
 Verrneint wenn eur Gnad selbst kemen 
 Vnd die Jungkfrau vom Baum nemen 
 So wer es vil ein grossre freud 
 
 LUDOLFF schlegt jhn mit , den stab 
 Was ists aber jetzt fur ein Leit 
 Du vnbesunner grober knopff 
 Du bist ein einfeltiger tropff 
 Vnd gar ein einfeltiges Kalb 
 Was du solst thun thustu nicht halb 
 Das mustu zahlen mit der haut 
 
 RUNCIFALL DER TEUFFEL lau/t ein 
 Es ist vergebens was jhr streit 
 Ich bin jhr allenthalb nach zogen 
 Wir sind durch list von jhr betrogen 
 
 I found her sitting on the tree. 
 
 Thy beauty was all fantasy; 
 
 It can't at all with hers compare. 
 
 Enter SIDEA. 
 
 Oh Mister cobbler, might I dare 
 Ask your permission to propose, 
 Your wife should lend me all her clothes, 
 To wear them on the public way, 
 And also that she with me stay 
 To bear my clothes for me, which aid 
 Shall liberally be repaid. 
 For nothing I desire indeed 
 More than to reach the court with speed; 
 I soon will send her back to you. 
 
 DIETRICH. 
 
 It shall be so. With fortune too 
 May all the gods thy steps attend, 
 And may they grant that in the end, 
 We meet once more, and days enjoy 
 Of happiness without alloy! 
 
 [Exeunt omnex. 
 
 Enter PRINCE LUDOLFF with JOHN MOLITOR. 
 
 JOHN MOLITOR. 
 
 Upon this tree, above the water 
 It was, I found your Grace's daughter. 
 But she's no longer there, I see. 
 
 PRINCE LUDOLFF. 
 
 Your finding's not much gain to me. 
 Learn where she's gone to, if you can : 
 You should have ta'en her with you, man. 
 And home unto her father led. 
 
 JOHN MOLITOR. 
 
 That never came into my head 
 For joy; I thought that if should be, 
 Your Grace should fetch her from the tree. 
 It would be a much greater pleasure. 
 
 LUDOLFF, striking him with his wand. 
 But now a trouble without measure, 
 Thou thoughtless stupid blockhead, thou! 
 Thou art a simpleton, I vow, 
 Oh silliest of silly calves! 
 What thou must do, ne'er do by halves; 
 For that thou payest with thy hide. 
 
 RUNCIFALL THE DEVIL runs in. 
 It's useless now to storm and chide. 
 For everywhere I've sought thy child ; 
 We all by her have been beguiled. 
 
59 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 60 
 
 Sie zicht zum Fiirsten von Wiltau 
 Da wird sie defs Engelbrechts Frau 
 Darumb last eur nachfolgen bleiben 
 
 LUDOLFF 
 
 Mein vngluck ist nicht zu beschreiben 
 Jetzt komb ich in mehr leids vnd schaden 
 Ich bin verkaufft vnd auch verrahten 
 Weis nicht wie ich mein sach anfang 
 Darumb last vns nicht warten lang 
 Sondern hinein gehn in mein holn 
 Allda wir still abreden wolln 
 Wie ich mog meine sach anstelln 
 
 [Abgang jhr otter. 
 
 ACTUS QUINTUS. 
 
 Kompt LEUDEGAST DER FITRST INN DER WILTAU mit 
 FRANCISCO vnd ELEMAO vnd sagt kleglich 
 
 (LEUDEGAST) 
 
 Ach wie soil ich meim hertzleid thon 
 . Das Engelbrecht mein einiger Sohn 
 In seiner schrecklichen Gefengknufs 
 So lang auffgehalten werden mufs 
 Wir haben vil nach jhm aufsgsand 
 Aber es findet jhn niemand 
 Das ich besorg er sey schon gstorben 
 Nun hab ich jhm ein Weib erworben 
 Nemlich defs Konigs Tochter aufs Poln 
 Die wir schon haben her lassen holn 
 Die wartet seiner mit verlangen 
 Vnd als sie hort das er ist gfangen 
 Will sie sich nimmer trosten lahn 
 Sie auch nicht mehr erhalten kan 
 Sie will morgen wider heimb fahrn 
 
 FRANCISCUS 
 
 Wir sollen keinen fleifs nicht sparn 
 Sender dran wenden was wir kunnen 
 Bifs wir den Jungen Fiirsten finnen 
 Auch soil man bey nacht vnd bey tag 
 Mit Kriegsnoacht Ludolff folgen nach 
 Vnd jhn erschlagen wie ein Hund 
 Dann er feirt doch zu keiner stund 
 Vns vnd dem Land schaden zu thon 
 
 ELEMAUS 
 
 Woll wir eur Ffirstlich Gnaden Sohn 
 Bringen aufs defs Ludolffen Henden 
 Mufs wir ein groses Heer aufssenden 
 Vnd jhm den mit gwalt tringen ab 
 
 To Wiltau's prince thy daughter sped, 
 There with young Engelbrecht to wed; 
 To cease pursuit were therefore well. 
 
 LUDOLFF. 
 
 My fate is worse than words can tell! 
 On me new trials now are laid. 
 I've been deceived! I've been betrayed! 
 I do not know what course to choose! 
 'Tis better then no time to lose, 
 But to my cave at once repair, 
 And we can then determine there, 
 How best to manage the affair. 
 
 [Exeunt omnes. 
 
 ACT V. 
 
 Enter LEUDEGAST, PRINCE OF WILTAU, with FRANCISCUS 
 
 and ELEMAUS. 
 
 LEUDEGAST, in a piteous tone. 
 What words can all my anguish say, 
 That P^ngelbrecht remains away! 
 My only son, so long remains, 
 And wears a wretched captive's chains! 
 We've sent to search the country round, 
 But yet he's nowhere to be found, 
 That I'm afraid he must have died. 
 Now I have found for him a bride: 
 The daughter she of Poland's king, 
 Whom messengers I sent to bring. 
 With longing waits she his return; 
 And when she does his story learn, 
 No consolation will accept, 
 Nor let herself be longer kept. 
 To-morrow will she homewards wend. 
 
 FRANCISCUS. 
 
 Now all our efforts will we spend, 
 Nor any trouble will we spare, 
 Until again the Prince is there. 
 By day and night we will pursue 
 This Ludolff, with our forces too, 
 And like a dog, this prince we'll kill. 
 For if he can but do us ill, 
 He knows no rest until it's done. 
 
 ELEMAUS. 
 
 We'll get your Princely Grace's son 
 Out of this Ludolff 's hands, although 
 A mighty host must strike the blow, 
 And carry him by force away. 
 
(il 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 62 
 
 Mich dunckt wie ich vernomrnen hab 
 Das sich Leut tinden vor der Thiir 
 
 LEUDEGAST 
 
 Was draussen ist das lafs als fur 
 Vielleicht kompt vns ein Bottschaft her 
 Von meinem Sohn ohn als gefehr 
 
 ELEMAUS thut auff, so gehet ENGELBRECHT gar iibel zer- 
 
 rissen ein, LEUDEGAST DER FURST stehet auff, gehet jhm 
 
 entgegen, 
 
 (LEUDEGAST) 
 
 Ach secht ach weh was soil wir thon 
 Ach sey vns willkomm lieber Sohn 
 Ach solstu sein ein Fiirst geborn 
 Vnd so gar iibl sein ghalten worn 
 Ach wo bistu blieben die zeit 
 Geht eylend vnd bringt jhm ein Kleid 
 Neii Schu vnd auch ein Finger Ring 
 Vnd seyt mit niir all guter ding 
 Du aber sag wie ist dirs gangen 
 
 ENGELBRECHT 
 
 Ludolff der Fiirst hat mich gefangen 
 Durch den kam ich in grofs vnruh 
 Must jhm holtz genug tragen zu 
 Vnd auch dasselb schneiden vnd spalten 
 Vnd thet mich auch gar iibel halten 
 Vnd seiner Tochter iibergeben 
 Die mir bait gnommen hett das leben 
 Dann thet sie sich iiber mich armen 
 Halb todt krancken Menschen erbarmen 
 Thet mir forthin nicht mehr so wehe 
 Die hat mich gnommen zu der Ehe 
 Ist mit mir zogen bifs nahend her 
 Als sie kund nicht fort kommen mehr 
 Hab ich sie abwegs von der Strassen 
 Auff einen Baumen steigen lassen 
 Auff einer Kutschen her zuholn 
 Drumb Herr Vatter es werd befohln 
 Das man Sidea fuhrt hie her 
 
 \Jetzt kommen die Edht bring en jhm kleider leg en 
 jhn an, 
 
 LEUDEGAST 
 
 Mein lieber Sohn was fehlt dir mehr 
 Dann alles was du thust begern 
 Das woll wir dich gnedig gewern 
 Auch theten wir dir vmbschauen 
 Nach der aller schonsten Jungkfrauen 
 Die solstu nemen zu eim Weib 
 Derhalb mein Sohn fort bey vns bleib 
 Vnd gib dich nicht wie vor in gfehr 
 Jhr Herrn bringt doch die Jungkfrau her 
 
 Unless my ear deceives me, they 
 Are persons at the door I hear. 
 
 LEUDEGAST. 
 
 Whoe'er they be, they may appear. 
 Perhaps they bring the news to me, 
 My son's regained his liberty. 
 
 ELEMAUS opens the door, and ENGELBRECHT enters very 
 shabbily dressed. PRINCE LEUDEGAST rises, and goes 
 
 to meet him. 
 
 LEUDEGAST. 
 
 Oh see! alas! What must be done? 
 Oh! welcome home beloved son! 
 Alas, that thou a prince by right 
 Should e'er return in such a plight! 
 Where didst thou of thy time dispose? 
 Go quick, and fetch him other clothes, 
 New shoes, and eke a ring. Ye may 
 Rejoice with me my friends to-day. 
 But tell me, how's it gone with ihe 
 
 ENGELBRECHT. 
 
 Ludolff, the Prince, has taken me. 
 Through him I came to grief and 
 And logs enough too had to bear, 
 Must cut and split them at his will. 
 He treated me extremely ill, 
 And gave me over to Sidea. 
 At first I for my life did fear; 
 But soon she did commiserate 
 My wretched and half-dying state; 
 No longer would she give me pain ; 
 As husband would she me have ta'en: 
 Has walked with me, until to-day, 
 Not far from here, her strength gave way. 
 I led her from the road aside, 
 And helped her up a tree to hide, 
 Until a carriage could be got. 
 And therefore, Sire, deny me not, 
 But orders give to fetch her here. 
 
 \The counsellors return with clothes which they put 
 on Engelbrecht. 
 
 LEUDEGAST. 
 
 Wouldst thou aught else, o son, most dear? 
 For all thy wish, whate'er it be, 
 We graciously will grant to thee. 
 We've also look'd around to find 
 The fairest of all womankind, 
 Whom thou, my son, as wife shalt take, 
 And stay with us for her dear sake, 
 And keep thyself from danger clear. 
 But now, sirs, bring the lady here, 
 
63 
 
 COMEDY OF THE BEAUTIFUL S1DEA. 
 
 64 
 
 Die hie schon lang gewartet dein 
 Die wind auch hoch erfreuet sein 
 
 ELEMAUS geht db, tregt die Kleider ab, kompt under 
 bringt JULIAM die Jungkfrau 
 
 (ELEMAUS) 
 
 Gnediger Furst ich bring die Jungkfrau 
 Das sie eur Gnaden Sohn anschau 
 Dem wir mit freuden theten sehen 
 
 JULIA die Jungkfrau 
 Den Gottern woll wir lob verjehen ' 
 Die eur lieb zu Land gholffen ban 
 
 ENGELBRECHT 
 
 Mein freud ich nicht aufssprechen kan 
 Das ich die stund hab eine gnoramen 
 Vnd das vngluck daraufs ich kommen 
 Kan mir. kein Mensch glauben auff Erden 
 Doch hoff ich es soil besser werden 
 Nach Regen kompt der Sonnenschein 
 
 LEUDEGAST DER FURST 
 Hertzlieber Sohn so komb herein 
 So woll wir reden von den Sachen 
 Wie wir auffs ehest ein Hochzeit macheii 
 Vnd als auffs kostlichst richten zu 
 Das es an nichten mangeln thu 
 
 [Sie gehn alle ab 
 ENGELBRECHT fuhret die Jungkfrau, LUDOLFF DER HERTZOG 
 
 geht ein mit seinem JAHNEN 
 Jahn Molitor nun sein wir verdorben 
 Es mufs sein gwunnen oder gstorben 
 Mein Tpchter will ich wider han 
 Oder mein leben setzen dran 
 Will der Jung Furst Sidea bhalten 
 Mufs er mich beim Vatter dem alten 
 Wider zu hult vnd gnaden bringen 
 Weil du bist schuldig an den dingen 
 Das Sidea ist zogen davon 
 So wirstu wissen das best zuthon 
 Oder zu zahlen mit der haut 
 
 JAHX MOLITOR ziecht ab, 
 Ein kluger Mann ward ich allzeit 
 Drumb wenn eur Gnad mir folgen wolt 
 Mein Kleider jhr anziehen solt 
 So wolt ich eure ziehen an 
 Vnd darinn auch gen Hof mit gahn 
 So vil practict suchen vnd finden 
 Wie wir wider wegk fiihren kiinden 
 Die Sideam oder den Jungen 
 Dardurch wird der alt Furst bezwungen 
 
 Who long has waited his return. 
 Which she will be rejoiced to learn. 
 
 Exit ELEMAUS, taking Engelbrechts former clothes with" 
 him. He returns again, leading the lady JULIA. 
 
 ELEMAUS. 
 
 Oh Gracious Prince, I bring to thee 
 The maid, your Grace's son to see, 
 Whom we so joyfully did greet. 
 
 JULIA. 
 
 We'll thank the gods with praises meet. 
 Who helped thee to thy happiness. 
 
 ENGELBRECHT. 
 
 I cannot all my joy express, 
 That such an hour was granted me. 
 The misery, from which I flee, 
 None can believe me when I tell; 
 But now I hope that all is well; 
 The sun will after rain appear. 
 
 LEUDEGAST. 
 
 My dearest son, just enter here, 
 And we'll discuss the whole affair. 
 How best a wedding to prepare. 
 And all on such a costly scale, 
 That nought of pomp or splendour fail. 
 
 [Exeunt. 
 ENGELBRECHT, leading in the lady. Enter DUKE LUDOLFF 
 
 with his JOHN. 
 
 John Molitor, our day's gone by, 
 And we must either win or die. 
 My daughter I will have again. 
 Or stake my life upon the main. 
 If the young Prince will keep Sidea. 
 Then his old father, that is clear, 
 Must me his former favour shew. 
 And as it is your fault, you know, 
 That my Sidea has run away, 
 Why manage it, as best you may, 
 Or with your back you'll pay for it. 
 
 JOHN MOLITOR, pulling off his coat. 
 I never wanted much for wit; 
 So if your Grace my counsel take, 
 To wear my clothes a shift would make, 
 I then your Grace's clothes would wear. 
 And to the court we'd both repair; 
 And there such cunning plans we'd lay. 
 How we again could bring away 
 Either Sidea or the Prince, 
 As soon his father would convince, 
 
65 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 66 
 
 Das er zu fiirkommung den schaden 
 Eiir Fiirstlich Gnad auch thet begnaden 
 Vnd machet mit euch einen Fridt 
 
 LUDOLFFUS DER FlJRST 
 
 Ja wol versucken schadt doch nit 
 
 Wir wolln versuchen vnser Heil 
 
 Guts gliick woll sein auff vnserm theil 
 
 [Sie gehn ab 
 
 Kompt JULIA vnd sagt traurig 
 Ach ich bin in erfahrung kommen 
 Fiirst Engelbrecht hab vorhin gnornmen 
 Sideam die allrschonst Jungkfrau 
 Defs Fiirsten Tochter in Littau 
 Ach weh vnd wann das war soil sein 
 So wiird sie sich auch lassen ein 
 Mein Verliebnufs zu disputirn 
 So must ich als die letzt verliern 
 Darzu bestehn in spot vnd schand 
 Vor Reich vnd-Armen in dem Land 
 Ach wenn ich das solt haben gwist 
 Es hett mich keines Menschen list 
 In das Land nimmermehr gebracht 
 Der Fiirst mir die sach wol gut macht 
 Verheist mir Silber Hugel vnd Berg 
 Geht mir derhalb nichts iiber zwerg 
 Mocht ich villeicht noch wol bestehn 
 Ich will jetzt in mein Gmach nein gehn 
 
 [Abgang. 
 
 Kompt SIDEA, hat iiber jhre schb'ne Kleider eine schlechte 
 
 Schauben an, eine stauchen auff, die sie bald vonjhr werffen 
 
 kan, tregt ein Scheurn voll Getrancks 
 
 (SIDEA) 
 
 Nun bin ich wol gen Hot' her kommen 
 Aber sehr bose mehr vernommen 
 Nemlich das der Fiirst Englbrecht 
 Hab nun mehr gar vergessen schlecht 
 Mein wohlthat die ich jhm gethan 
 Auch leib vnd leben gwaget dran 
 Aller dings aufs den augen gsetzt 
 Vnd ein andere gnommen zu letzt 
 Mit der er heint belt sein Hochzeit 
 So hab ich jhm ein Trunck bereit 
 Mit dem ich schleich nein zu den Gasten 
 Vnd wenn sie sind bereit am besten 
 So beut ich jhm den trunck zu Trincken 
 Den ersten tropffen den er will schlincken 
 Der macht das er mich mufs erkennen 
 Mich ehrn vnd mit Namen nennen 
 Vnd denkeu was er mir versprach 
 Mich zu Kirchen fiihren darnach 
 
 That he, his losses to replace, 
 
 To favour must restore your Grace, 
 
 And then a peace conclude with you. 
 LUDOLFF. 
 
 'Tis well; th'attempt no harm can do. 
 
 Once more then shall our luck be tried ; 
 
 Oh fortune favour thou our side! 
 
 [Exeunt. 
 Enter JULIA, and says sorrowfully. 
 
 Alas! already, as I hear, 
 
 The Prince was plighted to Sidea, 
 
 Most beautiful all men have thought her, 
 
 In Littau she the Prince's daughter. 
 
 Oh woe is me! for if it's true, 
 
 There's one thing she'll not fail to do, 
 
 My claim to Engelbrecht refuse, 
 
 And I, as last, must surely lose, 
 
 The mark of jest and scorn to stand 
 
 To rich and poor throughout the land. 
 
 Ah! had I known all that before, 
 
 The arts of man had nevermore 
 
 Persuaded me to venture here. 
 
 The Prince doth generous appear, 
 
 Promises silver, hill, and vale; 
 
 For that indeed I need not fail, 
 
 Perhaps I still might hold my own. 
 
 But now I'll to my room alone. 
 
 [Exit. 
 
 Enter SIDEA with a shabby cloak over her fine clothes, and 
 
 a hood on, all of which she can throw off. She bears a 
 
 goblet full of some beverage. 
 
 SIDEA. 
 
 'Tis true, I now have reached the court. 
 
 But with it sad experience bought. 
 
 For young Prince Engelbrecht, I hear. 
 
 Hath now alas! forgotten sheer 
 
 The services I rendered him, 
 
 At peril too of life and limb; 
 
 Hath cast me, wretched maid, aside. 
 
 To take another for his bride! 
 
 To-night he means to wed the fair. 
 
 So I have got a potion rare, 
 
 With which I too will be a guest; 
 
 And when the moment seems the best, 
 
 Will ask him just to take a sip, 
 
 And when a drop hath touched his lip, 
 
 He'll know me, will me honour do, 
 
 And by my name will call me too, 
 
 Will recollect his plighted troth, 
 
 To wed me then be nothing loth, 
 
 5 
 
67 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 68 
 
 Damit vnser traurigkeit anfang 
 Gewinn ein frolichen aufsgang 
 
 [Sie geht ab 
 
 Kompt LEUDEGAST DER FURST mit seinen Rahten FRAN- 
 CISCO vnd ELEMAO, JULIA vnnd ENGELBRECHT seinem Sohn, 
 
 setzt sich, 
 (LEUDEGAST) 
 
 Nun weil heut ist der Hochzeit tag 
 
 So legt von euch als leit vnd klag 
 
 Es samblen sich die Fiirsten vnd Herrn 
 
 Von allem Landen weit vnd ferrn 
 
 Die begeren vns difs Fest zu zirn 
 
 Darumb so wil vns auch gebiirn 
 
 Das wir jhn erzeigen als guts 
 
 Darumb seit alle gutes muts 
 
 Bait woll wir nach altem Exempl 
 
 Gehn in Jovis des grosen Tempi 
 
 Euch darinn lassen Copulirn 
 
 Essen Trincken vnd Musicirn 
 
 Rennen, Stechen, Streiten vnd Kempffen 
 
 Mit kurtzweil alles trauren dernpffen 
 
 Darumb empfangt die frembten Gast 
 
 Vnd ehret sie auffs aller best 
 
 Sie neigen sich alle, Kompt SIDEA, wie vor gemelt, ver- 
 
 kleidet, tregt jhre Scheurn in henden, gibt jnen die hend, 
 
 sagt darnach zum Breutigam 
 
 (SIDEA) 
 
 Herr Breutigam ich bin ein gsande 
 
 Villeicht euch gar ein vnbekante 
 
 Doch von grossen Leuten hergschickt 
 
 Das jhr euch jetzt stattlich erquickt 
 
 Vnd heut erfahrt das jhr nicht west 
 
 So trinckt den Wein, der ist der best 
 
 Den wil ich euch verehren heut 
 
 Auff euer Furstliche Hochzeit 
 
 ENGELBRECHT nimbt die Scheurn sicht sie an trinckt legt 
 die hend zusammen 
 
 (ENGELBRECHT) 
 
 Ach weh ich bin je gwest vermessen 
 Das ich hab so schendlich vergessen 
 Sidea der hertzliebsten mein 
 O weh weh jammer angst vnd pein 
 Weh hertzenleid seufftzen vnd schmertzen 
 
 [Er zuckt den Dolchen 
 Ich will meinem betriibten hertzen 
 Hiemit helffen aufs langer pein 
 Vnd mir selbsten ein Richter sein 
 Das ich meiner liebsten vergessen 
 
 [Sidea fellt in Dolchen, sie lauffen alle zu, 
 
 And thus what hath begun in sorrow, 
 May end in joy upon the morrow. 
 
 [Exit. 
 
 Enter PRINCE LEUDEGAST, with his counsellors FRANCISCUS 
 
 and ELEMAUS, his son ENGELBRECHT and JULIA. 
 
 LEUDEGAST sits down. 
 
 LEUDEGAST. 
 
 As we've a wedding here to-day, 
 
 I pray you, put all care away. 
 
 The lords and princes, far and wide, 
 
 Are thronging in from every side. 
 
 They wish to honour this our feast, 
 
 A hearty welcome then at least 
 
 Is due to them, and all of you 
 
 Should wear a cheery visage too. 
 
 We soon, old custom to obey, 
 
 To great Jove's temple wend our way, 
 
 In wedlock join the youthful pair, 
 
 With feasting and with music there, 
 
 We'll race, we'll tilt in mimic fight, 
 
 With mirth all sorrow put to flight. 
 
 Therefore receive the stranger guest 
 
 And honour him, as you may best. 
 
 They all bow. Enter SIDEA, disguised as already described. 
 
 She bears a goblet in her hands. She gives them her hand, 
 
 and then turns to the bridegroom. 
 
 SIDEA. 
 
 Sir Bridegroom, I am sent to you. 
 
 Perhaps a stranger, it is true, 
 
 But sent by those of high repute 
 
 That you your strength might now recruit. 
 
 And learn, what else you'd ne'er have guessed. 
 
 Drink then this wine, it is the best. 
 
 This offering at your feet I lay, 
 
 As present on your wedding-day. 
 
 ENGELBRECHT takes the goblet, looks at it, drinks, and 
 clasps his hands together. 
 
 ENGELBRECHT. 
 
 Alas! how heartless! was it not? 
 That I so shamefully forgot 
 Sidea, the loved one of my heart! 
 Oh woe and anguish! pain and smart! 
 Alas! oh misery, and grief! 
 
 [He lays his hand on his dagger. 
 This burdened heart I'll bring relief, 
 From longer torture will I free, 
 And to myself my judge will be, 
 That I forgot my dearest best! 
 
 [Sidea snatches at his dagger, and the others run up. 
 
69 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 70 
 
 SIDEA 
 
 Mit was thorheit seit jhr besessen 
 Seit getrost all sach wird noch gut 
 Drumb fast euch selbst ein kecken mut 
 Ob jhr schon auff der wilten Strafsen 
 Sideam auff dem Baum verlassen 
 So lebt sie doch noch frisch vnd gsund 
 Vnd jhr solt sie sehen jetzund. 
 
 SIDEA wirfft die schauben vnd stauchen von sich, ENGEL- 
 BRECHT fellt dem Vatter zu fufs 
 
 (ENGELBRECHT) 
 
 Ach Herr Vatter erbarmt euch mein 
 Secht das Mensch das da kompt herein 
 1st ein Tochter Fiirsten Ludolffs 
 Defs gmiit war boser denn eins Wolffs 
 Der hat mich jhr zu eygen geben 
 Die hat mich erhalten beim leben 
 Vnd hett die Jungkfrau nicht gethan 
 Wehr ich vor lengst erfaulet schon 
 Der versprach ich Ehliche pflicht 
 Vnd als sie fort konnt kommen nicht 
 Stellt ichs auff einem Baum im Walt 
 Verhiefs sie her zu holen bait 
 Wie ich euch zeigt Herr Vatter an 
 Darnach ich es vergessen ban 
 Vnd mich mit Julia verlobt 
 Derhalb mein gwissen also tobt 
 Das ichs nicht kan zu Kirchen fuhrn 
 Will eh mein leben drob verliehrn 
 
 Zu der Julia sagt er 
 Drumb bitt ich Fiirstlichs Frauelein 
 Last euch erbarmen meiner pein 
 Vnd gebt mich meiner Ehpflicht lofs 
 
 JULIA 
 
 Es ist daran nicht glegen grofs 
 Wann jhr sie vor mir habt genommen 
 Solt ich billich nicht her sein kommen 
 Dann das erst geliibt gehet doch vor 
 Also mufs ich nun armer thor 
 Von jederman grofs schimpff einnemen 
 Doch habt jhrs euch noch mehr zu schemen 
 Als ich die ich nichts darumb west 
 
 LEUDEGAST DER FURST 
 Ach last bey euch bestehn das best 
 Ist es gschehen vnwissent doch 
 Das euch kein schimpff so grofs vnd hoch 
 Wie jhr vermelt draufs kan entstehn 
 Thut mit vns in die Kirchen gehn 
 Wir wollen euch mit seines gleichen 
 Ein Gfiirsten Sohn schonen vnd reichen 
 
 SIDEA. 
 
 What madness now hath thee possessed? 
 Take comfort! all is well at last. 
 Be of good cheer, the danger's past, 
 Although upon the road, so drear, 
 Thou in a tree hast left Sidea, 
 She's still alive, and fresh and healthy, 
 As thy own eyes shall shortly tell thee. 
 SIDEA throws off her cloak and hood. ENGELBRECHT falls 
 at his fathers feet. 
 
 ENGELBRECHT. 
 
 Take pity on me, Father dear! 
 Seest thou that person coming here? 
 The daughter of Prince Ludolff she, 
 And fiercer than a wolf is he. 
 He gave me to her for her own, 
 I owe my life to her alone. 
 Had she not helped me in my need. 
 I'd perished long ere this indeed. 
 I vowed to marry her, and so, 
 Until she could no further go, 
 We fled, and then upon a tree 
 She sat, and was to wait for me. 
 All this I did to you explain, 
 But soon forgot it all again; 
 My troth to Julia did I vow, 
 For which my conscience stings me now. 
 She cannot therefore be my wife, 
 And should it even cost my life. 
 
 Turning to Julia, he continues 
 Oh Lady! I would thee implore, 
 Take pity on my trouble sore, 
 And give me back my plighted troth! 
 
 JULIA. 
 
 To do so I am nothing loth. 
 If thou before hast ta'en Sidea, 
 'Twere better I had ne'er come here. 
 The prior vow is here the rule, 
 And therefore I alas ! poor fool 
 Am now exposed to scorn and blame, 
 And yet thou hast more cause for shame 
 Than I, who nought about it knew. 
 
 LEUDEGAST. 
 
 Bear us no grudge, whate'er thou do; 
 'Twas but an error after all. 
 That no dishonour thee befall, 
 So great as thou hast pictured, thou 
 Hadst better grace the wedding now. 
 I promise thee, ere we have done, 
 We'll wed thee to a prince's son, 
 5* 
 
71 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 72 
 
 Eh jhr wegk kompt noch wol begaben 
 Auch solt jhr von vns abtrag haben 
 Alles eurs schadens grofs vnd klein 
 
 [Er geht zu der Sidea gibt jhr die hend 
 Ach solt ihr denn mein Schnur fort sein 
 Eur Vatter 1st mein ergster Feindt 
 So wolt ich das er auch kom heint 
 Wir wolten vns beede vertragen 
 Vnd forthin bey all vnsern tagen 
 Kein vnfried haben nimmermehr 
 Auch habet danck der treu vnd ehr 
 Die jhr habt meinem Sohn gethan 
 
 [Man klopfft, 
 DER FURST 
 Lieber sich wer klopffet an 
 
 Man thut auff, geht LUDOLFFUS DER FURST mit JAHN 
 MOLITOR ein, stellt sich in ein ecken, 
 
 HERTZOG LEUDEGAST 
 Wer seint die Leut die herein gehn 
 Zwar gar ungleicher Gsellen zwen 
 
 SIDEA sicht vmb erkennt als bait jhrn Vatter 
 Ach weh es ist der Vatter mein 
 Wie waget er sich da herein 
 
 Zu jhrem Vatter sagt sie 
 Ach Herr Vatter was macht jhr hie 
 Fiir euch bin ich erschrocken je 
 Das jhr euch daher wagen thut 
 
 LUDOLFF 
 
 Ach solstu sein mein fleisch vnd blut 
 Vnd mich so jammerlich verrahten 
 
 [Er geht zu Leudegast 
 Ich bitt eur Lieb woll mich begnaden 
 Weil sich die sach so hat begeben 
 So will ich fort bey meinem leben 
 Nimmermehr thun wider eur Liebt 
 
 LEUDEGAST DER FURST gibt jhm die hend 
 Weil sich all ding also begibt 
 Das wir nun sollen gut Freund sein 
 Gib ich euch eur Land wider ein 
 Vnd mach mit euch ein stetten Fried 
 Das keiner mehr den breche nit 
 Sender es stets dabey soil bleiben 
 So woll wir den fleissig beschreiben 
 Nach dem wir vns werden bereden 
 Vnd Sigln mit vnsern Secreten 
 So bait die Hochzeit hat ein end 
 
 Handsome and rich too shall he be, 
 And recompense we'll give to thee 
 For all thy losses great and small. 
 
 [He goes to Sidea, and gives her his hand. 
 Henceforth I thee my daughter call. 
 Thy father is my bitter foe. 
 Would he were here to-night, that so 
 We might at once here end our strife, 
 And live as neighbours all our life, 
 Nor cause again for quarrel find! 
 My thanks for all the service kind 
 That thou hast shewn my son before. 
 
 [Knocking without. 
 LEUDEGAST. 
 See there, who's knocking at the door. 
 
 The door is opened. Enter PRINCE LUDOLFF with JOHN 
 MOLITOR, and stands in a corner. 
 
 LEUDEGAST. 
 
 Who are those persons that I see? 
 They're most unequal company. 
 
 SIDEA looks round, and immediately recognizes her father. 
 Alas! it is my father's face! 
 How could he venture to this place? 
 Turning to her father she continues, 
 
 father say, what brings thee here? 
 
 1 must for thy dear safety fear, 
 That thou so great a risk should run. 
 
 LUDOLFF. 
 
 My flesh and blood! Oh thou art none, 
 Myself so vilely to betray! 
 
 [Turning to Leudegast 
 Your Grace's pardon I would pray. 
 As that's the turn which the affair 
 Has taken, by my life I swear, 
 Your Grace I'll ne'er again offend. 
 
 LEUDEGAST, giving him his hand. 
 As all things seem that way to tend. 
 That we henceforth good friends should be, 
 I will restore thy lands to thee. 
 A lasting peace too will I make, 
 Which neither of us e'er shall break, 
 But always faithfully maintain. 
 The terms set down in language plain 
 After due consultation, we'll 
 Affix our signature and seal, 
 Soon as the wedding's taken place. 
 
73 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 74 
 
 LUDOLFF 
 
 Aller vnfried soil sein verwend 
 In lauter Lieb vnd gut Freundschafft 
 Das auch fort derselbig hat krafft 
 Vnd fang bait an zu dieser stund 
 Versprich ich euch mit Hand vnd Mund 
 
 LUDOLFF gibt jhm die Hand, vnd sagt zu seinem Eyden, 
 Nun wiinsch ich euch vil gliicks vnd heil 
 Wiewol ich euch hart hielt zum theil 
 1st es doch abgangen ohn schaden 
 Vnd noch alles zum besten grahten 
 
 LUDOLFF sagt zum JAHNEN 
 Seh hin, hab dein Kleider wider 
 Leg mir dargegen meine nider 
 
 Er legt sick Hochzeitlich an, LEUDEGAST nimbt JULIAM 
 bey der hand. 
 (LEUDEGAST) 
 
 Weil sich dann das gliick zu vns wend 
 Vnd alle feindschafft hat ein end 
 So kompt allsampt mit vns herein 
 Last vns lustig vnd frolich sein 
 Vnd die Hochzeit anfangen schan 
 Euch Julia gebn wir zum Mann 
 Vnsern Fiirsten Herrn Franciscum 
 Mit einem zimlichen Reichthum 
 Auff das dest grosser werd die Freud 
 
 [Er fiihrt sie zum Fiirsten FRANCISCO giebt sie 
 
 zusammen 
 
 So gebn wir euch zusammen beyd 
 So geht die Hochzeit in eim hin 
 
 FRANCISCUS 
 
 Es ist kein schad es bringt ein gwin 
 Hertz allerliebste nun seit getrost 
 Aus allem leidt seit jhr erlost 
 Die Heurath soil euch nicht gereuhen 
 
 JULIA 
 
 Wenns eur Lieb meint gen mir in treuen 
 Ich mit eur Lieb zu frieden bin 
 Vnd ist mir alles trauren hin 
 Will auch als thun was euch gefellt 
 
 LEUDEGAST DER FURST 
 Weil dann alle ding ist bestellt 
 Vnd die zeit ist vorhanden schon 
 Das man die Hochzeit fange an 
 
 LUDOLFF. 
 
 My love and friendship for your Grace 
 Shall terminate our difference. 
 And that the same at once commence, 
 Aye from this very moment too, 
 With hand and mouth I promise you. 
 
 LUDOLFF gives him his hand, and says to ENGELBRECHT: 
 I wish thee joy for many a year; 
 And though thy treatment was severe, 
 There's no great harm now all is past, 
 For it has turned out well at last. 
 
 Turning to JOHN MOLITOR. 
 Just take these clothes, for they are thine; 
 And then I'll beg thee, put off mine. 
 
 LUDOLFF puts on a wedding garment, and LEUDEGAST 
 takes JULIA by the hand. 
 
 LEUDEGAST. 
 
 As fortune now to us doth wend, 
 And all our discord's at an end, 
 Let's all together step in here, 
 Be joyful and of merry cheer. 
 The wedding shall at once proceed, 
 And Prince Franciscus, he shall lead 
 Thee Julia to the altar, who 
 Shalt have with him a fortune too. 
 This will enhance our great delight. 
 
 [He leads JULIA to FRANCISCUS, and joins their 
 
 hands. 
 
 Thus then do we you two unite, 
 And both the weddings join in one. 
 
 FRANCISCUS. 
 
 Our gain is great, our loss is none. 
 Oh dearest heart, have comfort thou, 
 Released from all thy troubles now! 
 This marriage thou shalt ne'er repent. 
 
 JULIA. 
 
 If in good faith thy love is meant, 
 I with thy love am satisfied, 
 Henceforth will lay all care aside, 
 And all thy pleasure try to do. 
 
 LEUDEGAST. 
 
 As every thing's prepared for you, 
 And now the time has come indeed, 
 In which the nuptials should proceed, 
 
75 
 
 COMEDY OF THE BEAUTIFUL SIDEA. 
 
 76 
 
 So folget vns allsampt hernach 
 Vnd leget von each alle klag 
 Heut ist eur aller Freuden tag 
 
 [Sie gehn alle in einer Ordnung ab. 
 
 JAHN MOLITOR bleibt heraufs vnd beschleust 
 Diese History zeiget an 
 Bofs sey dem sterckern stand zuthan 
 Derhalben wo es sich zutregt 
 Das man zu zoren wird bewegt 
 Das man sich darinn moderir 
 Bedenck wenn man die sach verlier 
 Was schads vnd nachtheyl draufs entstehe 
 Wol sagt man aygner schad thut wehe 
 Jedoch soil man den sterckern reichen 
 Viel lieber schweigen oder weichen 
 Als sich mit jhm in zanck begeben 
 Dann der sterckst thut gmeincklich ob schwebe 
 Vnd ob schon der gering hernach 
 Erfind ein vortheil zu der rach 
 Soil er sich doch defs nicht anmassen 
 Vermeints gliick nicht verfiihrn lassen 
 Dieweil es sich offt thut begeben 
 Das beut ein theil thut oben schweben 
 Das er doch kiirtzlich wider fellt 
 Dann girigkeit Gott nicht gefellt: 
 Sender wie die Schrifft thut melten 
 Woll er das bofs selbst vergelten 
 Drumb thu man ein wenig gemach 
 Vnd handel also in der sach 
 Das sichs zu beyden theilen leit 
 Vnd aufs vorigen zanck vnd streit 
 Werde ein ewig einigkeit. 
 
 [Abgang. 
 
 ENDE. 
 
 Follow me all of you, I pray, 
 And put all care from you away, 
 That all of us rejoice to-day. 
 
 [Exeunt omnes in procession. 
 
 JOHN MOLITOR remains, and says in conclusion: 
 Of this our story, hear the gist! 
 Tis ill the stronger to resist. 
 Wherever therefore it may prove, 
 That stronger men our anger move, 
 'Tis best our anger to allay. 
 Remember, if we lose the day 
 What damage may to us be done: 
 Wise proverb: 'Look to number one.' 
 Tow'rds those who rich and stronger are. 
 Quiet submission's better far 
 Than eagerly the thing contest; 
 For stronger mostly comes off best. 
 Though afterwards indeed the weak 
 Devise how they may vengeance wreak, 
 They should not think themselves too sure. 
 Let fancied fortune them allure. 
 For often doth it chance, I say. 
 That he who's uppermost to-day, 
 To-morrow must endure a fall: 
 God loves not arrogance at all. 
 For in the Scripture there's a line: 
 "All vengeance," saith the Lord, "is mine!" 
 Be gentle therefore to thy foe, 
 And bear thee in thy quarrel so. 
 That each may due forbearance shew, 
 And out of former strife and woe. 
 Eternal amity may grow. 
 
 [Exit. 
 
 THE END. 
 
COMEDY OF THE BEAUTIFUL PHAENICIA 
 
 BY JACOB AYRER OF NUREMBERG. 
 
 (CIRCA 1595.) 
 
In JACOB AYRER'S Opus theatricum, Nuremberg 1618, in-fol., the COMEDY OF THE BEAUTIFUL PHAENICIA 
 occupies folio 408 recto, col. 2, to folio 433 recto, col. 1. It is entitled: 
 
 Spiegel UJeiblidjer judjt tnb CEIjr. 
 
 Han &er flatten 
 
 $ I) aroma tmfr 
 bri J0n (iolifon cufs 
 rote es jljueu in jljrcr ^l)rlid)en ficb gangen, 
 bt("9 |tc (l)clid) jufammen hoinen, ^it 
 17. Jlerfonen, nnb Ijat 
 6. 3-ctus. 
 
 (MIRROR OF MAIDENLY VIRTUE AND HONOUR. COMEDY OF THE BEAUTIFUL PHAENICIA AND COUNT TYMBRI OF 
 GOLISON FROM ARRAGON, AND HOW THEY FARED IN THEIR HONORABLE LOVE UNTIL THEY GOT MARRIED. 
 
 WITH 17 PERSONS AND IN 6 ACTS.) 
 
 Reprinted in: Deutsches Theater. Herausgegeben von LUDEWIG TIECK. Erster Band, Berlin 1817, in-Svo, 
 where it occupies pages 252 to 321. 
 
COMEDIA 
 VON DER SCHONEN PHAENICIA. 
 
 Die Personen in dise Comedi. 
 
 seine beede Rath 
 
 PETRUS der Koenig in Arragonien 
 
 TYMBORUS der Graf von Golison sein Kriegs Rath 
 
 REINHART 
 
 DIETERICH 
 
 LIONITO VON TONETEN, der Alte Edelmanu 
 
 VERACUNDIA sein Gemahl 
 
 PHAENICIA sein Tochter 
 
 BELLEFLURA Phaenicia Schwester 
 
 VENUS die Gottin der Lieb 
 
 CUPIDO jhr Kindt mit sein Pfeil vnd Bogen 
 
 PHILLIS der Phaenicia Kammer Frau 
 
 LIONATUS ein Alter vom Adel, zu Messina 
 
 GERANDO ein Ritter, OLERIUS VALERIAN genandt 
 
 ANNA MARIA ein Kammer Jungfrau 
 
 JAHN der kurtzweiler 
 
 MALCHUS der pracher od. betriger 
 
 GERWALT der betriegerisch Edelma 
 
 ACTUS PRIMUS. 
 
 VENUS die Gottin geht ein, mit blosen halfs vnd armen, hat ein 
 fliegents gewand, vnd ist gar Gottisch gekleit ist zornig vnd S. 
 
 _Lch wolt hie gern klagen mein not 
 Das mich vnd mein Sohn macht zu spot 
 Tymborius der Graf von Golison 
 An Konigs Hof zu Arragon 
 Der belt sich Mannlich starck vnd vest 
 Hat im nechsten Krieg than das best 
 Da Prochyte angfangen hat 
 In Sicilien das grofs blutbad 
 
 COMEDY 
 OF THE BEAUTIFUL PHAENICIA. 
 
 his two counsellors. 
 
 Persons represented: 
 
 PETER, King of Arragon. 
 
 TYMBORUS, Count of Golison, his counsellor of war. 
 
 REINHART, 
 
 DIETERICH, 
 
 LIONITO OF TONETE, the old nobleman. 
 
 VERACUNDIA, his wife. 
 
 PHAENICIA, his daughter. 
 
 BELLEFLURA, Phoenicia's sister. 
 
 VENUS, the goddess of love. 
 
 CUPID, her child with his arrow and bow. 
 
 PHILLIS, Phaenicia's attendant. 
 
 LIONATUS, an old nobleman of Messina. 
 
 GERANDO, a Knight, called OLERIUS VALERIAN. 
 
 ANNA MARIA, a maid of honour. 
 
 JOHN, the clown. 
 
 MALCHUS, the swaggerer or impostor. 
 
 GERWALT, the false nobleman. 
 
 ACT I. 
 
 Enter VENUS with bare neck and arms wearing a loose robe. 
 She has the attire of a goddess, and says angrily : 
 
 -L would complain, my son and I 
 Have now become the mockery 
 Of Tymbor, Count of Golison, 
 Of the King's Court of Arragon. 
 He bears him manly, stout, and true; 
 In the last war the most did do, 
 When Prochyte the slaughter great 
 In Sicily did perpetrate. 
 
 [She relates further, that she had caused many a hero to desert the profession of arms for 
 the love of women; but that the Count offered the most obstinate resistance, and did not care for 
 women at all.] 
 
 Cupido hat vil Pfeil verschossen 
 Nach jhm send all gangen in windt 
 Vulcan us ist zornig vnd geschwindt 
 Vnd will jhm keine Pfeil mehr schmiden 
 Wird offt mit mir drob zu vnfrieden 
 
 Cupid has many arrows shot 
 At him, which all in air are spent. 
 Vulcan is wrath and violent, 
 Will no more arrows for him make. 
 And at me too offence doth take. 
 
 6 
 
83 
 
 COMEDY OF THE BEAUTIFUL PHAENICIA. 
 
 Darumb so mufs ich mich bedencken Therefore I must devise a way, 
 
 Wie ich den Ritter mocht ablencken How I the knight inveigle may, 
 
 Das er auch Weiber lieb mocht han. That he may love the ladies too. 
 
 [She then proceeds to state, that the beautiful Phaeuicia was to appear at the tournament which 
 Peter, King 1 of Arragon, intended to hold at Messina; the Count was to fall in love with her there, 
 and then she, (Venus) would soon tame him.] 
 
 CUPIDO geht ein, wie er gemalt wird, mit verbunden augen, Enter CUPID, as he is painted, with his eyes bound, and 
 
 hat ein Pfeil auff sein bogen. 
 Frau Mutter habt fort kein verdrufs 
 Mein Vatter der zornig Vulcanus 
 Der hat mir etlich Pfeil geschmit 
 Vnd sagt ich konn mit fehlen nit 
 Sonder treff was ich treffen sol. 
 
 an arrow in his bow. 
 Dear mother lay aside thine ire, 
 For Vulcan now, my wrathful sire. 
 Has a few arrows forged for me, 
 And says that they unerring be, 
 And hit whatever I may wish. 
 
 [At this Venus is very much delighted, and promises Cupid a new tunic, if he hits Tymborus 
 well. Exeunt Venus and Cupid. Upon this John enters, wounded by Cupid's arrow, which is still 
 sticking in his back. He exclaims that he is suffering violent pains in his heart through love for Anna 
 Maria, without whom he cannot live. He then abuses Cupid, and draws the arrow out of the wound. 
 His master Gerando enters, attracted by the noise. John complains to him of his miserable condition, 
 and Gerando promises to assist him, and to plead his cause with Anna Maria. Exeunt John and Ge- 
 rando. Enter the King and two Counsellors. The tournament is to take place. 'In the mean time 
 all the ladies ascend the battlements, and look down from them.' l Tymborus beats all his adver- 
 saries, (Lionito, Lionatus, and Gerando) in single combat. The King closes the tournament; his guests 
 follow him to join in the dance.] 
 
 GERANDO geht allein ein. 
 Tymbor der Graf von Golison 
 Legt vns hie alien grofs schandt an . 
 Der thut gar hoch herprechen sich 
 Weil er im Franckreichischen Krieg 
 Durch verrehterey angericht hat 
 Vberaufs ein sehr groses blutbadt 
 Das man Sicilisch Vesper heist 
 Vnd jhn der Konig so gar hoch preist 
 Des belt er sich dest steiiff vnd strenger 
 Vnd ander gegen jhm vil wenger 
 Sein Kiinheit wechst von tag zu tagen 
 Der hats im Turnir als wegk gschlagen 
 Vnd ist beim Koniglichen Abent essen 
 Zu nechst oben bey dem Koriig gesessen 
 Bey jhm das Koniglich Frauen /immer 
 Das ich es kan zusehen nimmer 
 Sonder bin gleich gangen davon 
 Weil ich schir safs zu vnderst an 
 Vnd will der sachen dencken nach 
 
 GERANDO, returns alone. 
 Tymbor, the Count of Golison, 
 Most dire disgrace is laying on 
 Us all, pretensions doth advance, 
 Because that in the war with France 
 He a most treach'rous plan had laid, 
 A dreadful massacre had made. 
 Sicilian Vespers called, a thing 
 For which he's lauded by the king. 
 He holds himself so stiff and high, 
 Treats others so disdainfully, 
 He bolder grows from day to day. 
 In tourney bears each prize away, 
 And at the royal supper, he 
 Was seated next his Majesty. 
 I saw the royal lady there 
 Sit next him, which I could not boar. 
 But soon determined me to go, 
 Because I sat far down below; 
 And now some stratagem I'll seek, 
 
 1 This stage direction possesses a peculiar interest, as giving us some insight into the arrangement of the German stage at that 
 time. It appears to have been similar to that of the English stage. The whole space was divided into two parts, separated from each 
 other by a curtain. The battlements from which the ladies look down, were a raised gallery at the back of the stage. The change 
 of the locality was effected by the drawing or closing of the curtain in the back-ground. 
 
COMEDY OF THE BEAUTIFUL PHAENICIA. 
 
 86 
 
 Wie ich mich an jbm rechen mag 
 
 Nun ists mit Kempffen gar vergebens 
 
 Mir schad der schimpif die zeit meins lebens 
 
 Er ist zu Khun, liistig vnd scharff 
 
 An jhn ich mich nicht richten darff 
 
 Bonder mufs mich nur dahin schicken 
 
 Das ich mit falschem Practicken 
 
 Ihm etwa schand vnd schimpff beweifs 
 
 Ich will ankehren alien fleifs 
 
 Vnd will mich an dem Grafen rechen 
 
 Mir woll dann Gott das leben brechen. 
 
 \Er geht zornig ab. 
 
 How I on him may vengeance wreak. 
 'Tis vain with arms to wage the strife, 
 It brings dishonor for my life, 
 He is too bold, too strong of limb, 
 I should have no success with him; 
 Must therefore some sly plan devise, 
 By which with cunning and with li 
 Dishonor on his name may rest. 
 I'll spare no pains, but do my best 
 Against the Count for vengeance' sake. 
 Then God be pleased my life lo take. 
 
 [Exit angrily. 
 
 [Venus and Cupid return, and place themselves in ambush. Trumpets are heard. Enter the 
 King and his Counsellors. 1 All sorts of side-play. Then Tymborus with Phaenicia and all the rest 
 in couples, begin the dance. Cupid shoots his arrow at the Count. The latter is hit, and immediately 
 struck by Phaenicia's beauty. The King breaks off the dance, and leads the guests to supper. Venus 
 and Cupid remain behind alone. Venus says she will urge the Count to woo Phaenicia in dishonor- 
 able love, but that she shall only become his in lawful wedlock.] 
 
 ACT II. 
 
 [Enter Gerando. He repeats his complaints of the arrogance of Tymborus, whom the King's- 
 favour has made proud. Anna Maria joins him. Gerando informs her of the passion which his ser- 
 vant John entertains for her. Anna Maria is highly exasperated, and Gerando finds her very ready 
 agree to his plan for deceiving Jonm The latter enters, and to his delight learns from his master 
 that Anna Maria is burning with love for him, and has appointed to give him a meeting that night. 
 The clown praises his own cleverness, and then walks away with his master. Enter Tymborus. He 
 complains of the pains of love, and considers how he may win -the beautiful Phaenicia. At first he 
 thinks of writing her a letter, but afterward determines to serenade her. Exit. Enter Gerando. He 
 
 O ' 
 
 goes to Anna Maria's house to wait for John at the place of rendezvous, and then to cool his burn- 
 ing love by throwing a pail of water over his head. The poor fool appears and makes his presence 
 known. Gerando answers in a feigned voice, and the above-mentioned cooling-process follows. John 
 runs away, forswearing all love for the future. Then follows Tymborus's serenade before Phaenicia's 
 house. He appears with his musicians. After they have given a specimen of their art, a singer en- 
 deavours to allure the fair one with a love song of six verses. The lover is not listened to, and with- 
 draws with his musicians. 
 
 Enter Lionito, Phaenicia's father, and Veracundia, her mother, soon afterwards Phaenicia, 
 who on being asked, whether she knew who had serenaded her, replies, that it must have been Tym- 
 borus, as he had given signs of his passion for her during the dance. After some advice from her 
 mother, they all withdraw. An interview follows between Tymborus and Phaenicia, which gives him 
 no more grounds for hope than his serenade had done before.] 
 
 ACT III. 
 [The first scene forms an episode, which like John's courtship of Anna Maria, stands in no 
 
 1 At the end of the last scene, the procession had certainly left the front part of the stage by passing through the opened 
 curtain. It now returns, and the front of the stage represents the royal saloon. 
 
 6* 
 
87 
 
 COMEDY OF THE BEAUTIFUL PHAENICIA. 
 
 88 
 
 connection with the principal action. 'Malchus, the cheat,' pretends to be the ghost of John's mother, 
 and swindles John out of all the ready cash he had inherited from her. l 
 
 Tymborus has now written a letter to Phaenicia, which has been delivered by Phillis, the lady's 
 maid, who endeavours to promote the interests of Tymborus with her mistress. In the next scene, in 
 spite of all Phillis's persuasion, Phaenicia declares angrily that 'she does not wish to receive any more 
 letters. - Tymborus is very much disheartened at this answer. 
 
 'Therefore have I put all my misery and pain into this song,' 
 
 which Phillis is to bring her mistress. Tymborus declares that he wishes to die, if Phaenicia will not 
 listen to his suit. Hitherto he had only endeavoured to obtain her love, not her hand, as she, a poor 
 though noble lady, was not of equal birth with himself, a rich Count. But now he determines to sue 
 for her hand, as he cannot possess her on any other terms. Lionatus 'the old nobleman,' is to con- 
 vey his proposals to her parents. 3 In the following scene, Phillis sings Tymborus's song, which is 
 also six verses, to her mistress. The latter confesses that she had never heard a more beautiful song. 
 After this, her father and mother inform Phaenicia of the offer of Tymborus. Phaenicia gives her 
 consent.] 
 
 ACT IV. 
 
 [In the first scene of this act, John recovers the stolen money from Malchus. 
 
 Gerando appears, and declares his great vexation that Tymborus was affianced to Phaenicia, 
 as she had also won his own heart. He confides his unhappiness to John, and orders him to bring 
 Gerwalt, as he wishes to ask his counsel. The latter is then also informed of Gerando's unhappy love.] 
 
 GERWALT 
 
 So geh ich zu dem Grafen bin 
 Phanicia auffs hochst verklag 
 Wie das man vnehr von jhr sag 
 Mit jungen Gesellen in jhren Garten 
 Will jhn darinnen lassen warten 
 Zu nachts wol bey den Moneschein 
 Steigen mit eurn Knecht allein 
 In Weibers kleidern, mit den wil ich 
 Gar freundlichen besprechen mich 
 Als ob er Phanicia wer 
 Ihn fiihrn in Garten bin vnd her 
 Endlichen mich in einer ecken 
 Mit jhn verliru vnd verstecken 
 Das vns der Graf nicht mehr kan sehen 
 So meint er, es sey mit jhr geschehen 
 Wird jhr die Heiirat wider auff sagen 
 
 GERANDO 
 Was ich hab will ich als dran wagen 
 
 GERWALT. 
 
 I'll go unto the Count at once, 
 Phaenicia gravely will defame, 
 Assert she's lost her own good name 
 In her own garden with young men, 
 To which he shall have entrance then 
 At night, by moonshine, where too we, 
 Your servant and myself, will be; 
 He in girl's clothes. With him I'll walk, 
 And in a friendly manner talk, 
 As if that he Phaenicia were, 
 And lead him round the garden there; 
 Then with your man I'll step aside, 
 And somewhere in a corner hide. 
 Where both of us are out of sight. 
 Then thinks the Count, she's ruined quite, 
 Will therefore his engagement break. 
 
 GERANDO. 
 All that I have, for that I'd stake. 
 
 1 These episodes shew that the Clown had become a want on the German stage, which it was absolutely necessary to satisfy, 
 
 probably to please the 'groundlings' in the pit. 
 
 ! This scene reminds one very forcibly of the scene between Julia and Lucetta in the 'Two Gentlemen of Verona.' 
 
 3 In Bandello, this mediator is called 'the Messenian nobleman.' 
 
89 
 
 COMEDY OF THE BEAUTIFUL PHAENICIA. 
 
 90 
 
 Geht nur bin, richt die sacb wol aufs 
 Ich will wider schleichen zuhaufs 
 
 [Sie gehn mit einander ab, schwatzen gemechlich 
 
 mit ein ander. 
 
 Dann kompt TYMBOR DER GRAF 
 Heut ist der aller gliicklichst tag 
 Weil mir ist geschehen die zusag 
 Das Phanicia mein soil sein 
 Verschwunden ist all schmertz vnd pein 
 All meih anfechtung ist vergangen 
 Zu jhr steht mir all mein verlangen 
 Dann ich hab warlich recht gethan 
 Das ich mehr hab gesehen an 
 Jhr Tugent, zucht, dann zeitlichs gut 
 Nun bin ich frolich, vnd wolgemuth 
 Gott helff vns beiden gliicklich zammen 
 Vnd lafs vns auch lang leben beysammen 
 Der Graf spacirt hin vnd under, ficht mit den henden, in 
 dem geht GERWALT der Edelman ein. 
 
 (GERWALT) 
 
 Gnediger Herr verzeihet mir 
 Was haben euer Gnaden fiir 
 Das sie also melancolirn 
 
 TYMBOR 
 
 Nein zwar ich geh sonst hie spacirn 
 In lieblichen siissen gedancken 
 Vor hett ich schmertzen wie die krancken 
 Die send mir Gott lob all verschwunden 
 Das bin ich fro, wie andere gsunden 
 Alles leid hab ich gelegt ab 
 Dieweil ich nun bekommen hab 
 Phanicia die aller schonst Jungfrauen 
 
 GERWALT 
 
 Gnediger Herr thut mit zuschauen 
 Das jhr nit werd betrogen mit 
 Ich wolts eur Gnaden gonnen nit 
 Phaniciam kennt jhr nicht recht 
 
 TYMBOR 
 
 Last jhr mir mein Braut vngeschmecht 
 Wolt jhr mit mir bleiben zufrid 
 
 GERWALT 
 
 Gnediger Herr ich schmech sie nit 
 Bonder sag eur Gnad soil zuschauen 
 Vnd jhr so vil guts nicht vertrauen 
 Als eur Gnad jhr mocht bilten ein 
 
 TYMBOR 
 
 Soil dann das nicht geschmehet sein 
 Nun solt jhr nicht kommen von mir 
 Jhr sagt dann was jhr wist von jhr 
 Oder ich werd eins mit euch wagen 
 
 Go, put thy project well in train; 
 I'll quietly slip home again. 
 
 {Exeunt conversing together in a friendly manner. 
 
 Enter COUNT TYMBORUS. 
 To-day's the happiest of all 
 I've known, it gives me right to call 
 My own Phaenicia mine alone. 
 All pain and trouble now have flown, 
 All opposition now is past, 
 All my desire's on her cast. 
 For I in this have rightly done, 
 That I by virtue have been won, 
 And not by riches or by greed. 
 Now am I happy, blest indeed! 
 May God to both his favour shew, 
 And length of days on us bestow! 
 The Count walks up and down, and throws his arms about. 
 In the mean time, enter GERWALT the nobleman. 
 
 GERWALT. 
 
 My gracious Lord, pray pardon me. 
 What may your Grace's reason be, 
 That you so very sad appear? 
 
 TYMBORUS. 
 
 No, faith! -- I'm only walking here, 
 In pleasant thought, although before 
 A sick man's pains indeed I bore. 
 But now, thank God! all that is past, 
 Like healthy men, I'm blest at last. 
 All grief -and care I've laid aside, 
 Since I have won her for my bride, 
 Phaenicia, fairest of the fair! 
 
 GERWALT. 
 
 O gracious Lord, I pray take care, 
 Lest you in her should be deceived; 
 For I should be most truly grieved; 
 Should you not judge the maid aright. 
 
 TYMBORUS. 
 
 Against my bride no word of slight, 
 Or all our friendship is forgot. 
 
 GERWALT. 
 
 O gracious Lord, I slight her not, 
 But say, your Grace yourself should see, 
 Nor trust that so much good there be 
 In her, as to you seemeth now. 
 
 TYMBORUS. 
 
 Are not those slighting words? I vow, 
 Ere from this spot I let you stir, 
 You tell me what you know of her, 
 Or we'll decide it with the sword. 
 
91 
 
 COMEDY OF THE BEAUTIFUL PHAENICIA. 
 
 92 
 
 GERWALT 
 
 Gnediger Herr ich wils nicht sagen 
 Sender heut die nacht solt jhr sehen 
 Was thu in jhren Garten gschehen 
 In einer stunden bey dem Monschein 
 
 TYMBOR 
 
 Ja wie solt ich kommen hinein 
 Dieweil die Pforten ist verspert 
 
 GERWALT 
 
 Ein gute Lattern darzu gehort 
 Da kriecht jhr in die Haselstauden 
 Halt euch drin ohn regen vnd schnauden 
 Da werd jhr kennen vnd horn mich 
 Was mit jhr werd fiirbringen ich 
 Das jhr, jhr werd nicht mehr vertrauen 
 
 TYMBOR 
 
 Ich glaub es nicht von der Jungfrauen 
 Doch was des Menschen Aug selbst sicht 
 Das kan das hertz betrigen nicht 
 Ziecht hin die nacht bricht schon herein 
 Ich will bait in dem Garten sein 
 
 [Tymbor geltt ab. 
 GERWALT 
 
 So geh ich recht zum Jahnnen zu 
 Das ich den Grafen betrigen thu 
 
 [Er geht aucli ab. 
 
 [A short scene follows between Veracundia 
 gratitude to her parents.] 
 
 Jetzund wird ein Lattern aufsen des eingangs angeleint, \ 
 daran steigt TYMBOR herunder, als wenn er vber ein Maurn 
 
 stieg, vnd dann so sagt er. 
 Alhie so bin ich in dein Garten 
 Vnd will der Abentheur erwarten 
 Die mir Gerwalt thet offenbarn 
 Die warheit dardurch zu erfahrn 
 
 [Er steckt sich in ein ecken, 
 Alda kan ich bey dem Monschein 
 Sehen wer hie geht aufs vnd ein 
 
 Es steigt GERWALT, vnd dann der verkleidt JAHX, in Wei- 
 berkleidern auch herab , Gerwalt fiihrt Jahnnen bey der \ 
 hand, John brangt wie ein Weib, 
 
 GERWALT 
 
 Ach Phanicia hertzliebste mein 
 Jetzt send wir abermahl allein 
 Vnser Bulwerck hie zuverbringen 
 
 JAHN 
 
 Ey schweigt nur gar still zu den dingen 
 Das es mein Vatter nicht erfahr 
 
 [Sie gehn im Garten hin vnd wider, setzen sich 
 zusammen 
 
 GERWALT. 
 
 I will not say a word, my Lord; 
 This night though will I shew to you, 
 What in her garden she will do 
 By moonlight, in another hour. 
 
 TTMBORUS. 
 
 To get there is not in my power; 
 Ere then, they've always locked the door. 
 
 GEUWALT. 
 
 I'll have a ladder there before. 
 You'll creep in near the hazel-trees, 
 But must not either move or sneeze, 
 And then you'll hear and see me too, 
 And mark what I with her shall do, 
 Nor longer in the maid confide. 
 
 TYMBORUS. 
 
 I cannot think it of my bride. 
 By what the eye of man can see, 
 His heart can ne'er deluded be. 
 But h'ence; the day is breaking, so 
 I soon will to the garden go. 
 
 GERWALT. 
 
 Now I at once to John will hie. 
 That I the Count may mystify. 
 
 [Exit. 
 
 [Exit. 
 and Phaenicia, in which the latter expresses her 
 
 A ladder is placed against the wall outside the entrance. 
 TYMBORUS comes down by it, as if he had climbed over the 
 
 wall. 
 
 Here in the garden will I bide, 
 Till the adventure should betide. 
 Which Gerwalt did to me declare. 
 And learn the truth of the affair. 
 
 [Conceals himself in a corner. 
 The moonshine here will plainly shew 
 Whoever in or out may go. 
 
 GERWALT also comes down the ladder, and then JOHN, dis- 
 guised in woman s clothes. Gerwalt leads John by the hand, 
 who makes a little parade to shew himself off, like a woman. 
 
 GERWALT. 
 
 Phaenicia! Ah, my love, my own! 
 Now are we once again alone. 
 And can enjoy our dalliance sweet. 
 
 JOHN. 
 
 Speak not so loud, I do entreat, 
 Lest that my father hear thee too. 
 
 [They walk up and down the garden, and then 
 sit down together. 
 
93 
 
 COMEDY OF THE BEAUTIFUL PHAENICIA. 
 
 94 
 
 TYMBOR DER GRAF 
 O ho vnd ist das gleichwol wahr 
 Uas hett ich nicht glaubt mufs ich jehen 
 Hett ichs nicht ghort vnd zum theil gsehen 
 Nun pack dich hin zum Teuffel wegk 
 Du leichtfertiger loser schandfleck 
 Ich meint du werst in dein geberten 
 Die aller ziichtigst auff der Erden 
 So bistu ein loser hurnsack 
 x An liechten galgen dich wegk pack 
 Ich will gehn Lionito sagen 
 Jhr die Heiirat wider abzuschlagen 
 
 \_Er ist gar zornig vnd geht ab, 
 GERWALT sagt zu Jahnnen 
 So komb wir wollen auch zuhaufs 
 
 JAHN 
 
 Was hab wir hie gerichtet aufs 
 Nichts, dann ich hab je kein Menschen gsehen 
 
 GERWALT 
 Du erfehrst wol, was ist geschehen 
 
 [Sie steigen wider vber die Latter ab. 
 
 [The preparations are now made for the 
 
 Tymborus.] 
 
 MONATUS DER EoELMAN geht ein beut jhn alien die hand 
 sie empfangen jhn gar freundlich 
 
 LlONATUS 
 
 Hertz lieber Vatter es ist mein bitt 
 
 Jhr wolt mirs alles verargen nit 
 
 Ich bring euch ein Bottschaff't zu haufs 
 
 LIONITO DER ALT 
 
 Mein Vetter was ists sagts nur raufs 
 Es soil euch sein ohn alien schaden 
 
 LlONATUS 
 
 Es schicken mich her jhr Genaden 
 
 Vnd kiinden euch die Heiirat ab 
 
 Die ich jhm neulich geworben hab 
 
 Vnd lest euch anzeigen dabey 
 
 Eur Tochter nicht frum von Ehrn sey 
 
 Drumb woll seim stand nicht gebiirn 
 
 Ein solche dim zu Kirchen zufiihrn 
 
 Was er jhr geschenckt das mag sie bhalten 
 
 PHANICIA geht herfiir 
 Ach dafs sein ewig Gott mufs walten 
 Wer hat das zeigt dem Grafen an 
 Das ich hett wider Ehr gethan 
 Der thut mir grofs gwalt vnd vnrecht 
 All Vppigkeit hab ich verschmecht 
 Auch mir mein tag nie fiir genommen 
 Das mir jetzt von euch ist furkommen 
 
 TYMBORUS. 
 
 ho! And is it really true! 
 
 1 never had believed it no, 
 Had I not heard and seen it so. 
 Oh, may the devil take thee now! 
 
 A loose and shameless wanton thou! 
 Oh! when I thought upon thy worth, 
 'Twas as the chastest maid on earth. 
 But thou'rt a wanton whore, I see. 
 So get thee to the gallow's tree! 
 To Lionito I'll explain, 
 The marriage must be off again. 
 
 [Exit very angry. 
 GERWALT, to John. 
 Come let us homewards wend our way. 
 
 JOHN. 
 
 But what have we done here, I pray? 
 Nothing, for people I've seen none. 
 
 GERWALT. 
 
 Oh, you'll soon learn what we have done. 
 [They climb over the wall again by means of the ladder. 
 
 wedding, but are interrupted by a message from 
 
 Enter LIONATUS THE NOBLEMAN. He offers the hand to all 
 the others. They receive him in a very friendly manner. 
 
 LlONATUS. 
 
 My Lord, I have to you a suit, 
 That you 'no blame to me impute, 
 About a message that I bear. 
 
 LIONITO. 
 
 What is it, cousin? Quick, declare; 
 You shall not suffer, never fear. 
 
 LlONATUS. 
 
 The Count hath pleased to send me here, 
 To say that now his mind is changed 
 About the marriage just arranged, 
 And add, your daughter, shame upon her, 
 Hath altogether lost her honour. 
 With such a wench his rank allows 
 No interchange of marriage-bows. 
 His presents though she may retain. 
 
 PHAENICIA, advancing. 
 To think that God doth o'er us reign! 
 Who to the Count has me accused 
 Of ever having been abused? 
 He wrongs me, has misjudged me quite, 
 I've scorned whate'er seems loose or light, 
 And never planned in all my days 
 Such things as to my charge he lays. 
 
95 
 
 COMEDY OF THE BEAUTIFUL PHAENICIA. 
 
 96 
 
 Das ruff ich Gott zu zeigen an 
 
 Das heifs eysen auch tragen kan 
 
 Zu bewehrung meiner vnschult 
 
 Ach Gott solt ich dann deine hult 
 
 In vnehrlicher lieb verlirn 
 
 Mich Bose begirt lassen verfiihrn 
 
 Das sey jmmermehr weit von mir 
 
 O Herr Gott ich befelch mich dir 
 
 Vor angst mufs ich mein geist auff geben 
 
 [Sie singt darnider, sie halten sie, 
 
 LIONITO 
 
 Ach sol mein Tochter kommen vmbs leben 
 Ehe sie jhr vnschult thut purgirn 
 So will ichs nach jhrem todt atifsfiihrn 
 Dann ich weifs das jhr vnrecht gschicht 
 
 LIONATUS 
 
 Herr Vatter habt mirs friibel nicht 
 Ich kan meins theils davon nit sagen 
 Wers also hat in Grafen tragen 
 Doch kan mans noch wol werden innen 
 
 [Er geht ab 
 VERACUNDIA 
 
 Philis in meinen Kestlein drinnen 
 Hab ich ein kostliches Aquavit 
 Vnd bringt auch ander labung mit 
 
 Zu Phdnicia sagt sie 
 Hertz liebe Tochter lafs dich erweichen 
 Lebstu noch, so gib mir ein zeichen 
 
 LIONITO 
 
 Was sol sie geben sie ist schon todt 
 Jhr woll gnaden der liebe Gott 
 Sie lest von sich fallen alle glieder 
 
 [PMllis kombt mit dem wasser vnd labung, man 
 streicht sie an, 
 
 VERACUNDIA 
 
 Jhr krefft kommen ein wenig wider 
 Sie hat jetzund ein Athem gholt 
 
 LIONITO 
 
 Ich bitt sie bait abtragen wolt 
 Kombpt sie wider zu jhrer Krafft 
 Soil der sach schon raht werden gschafft 
 
 Sie gehn mit jhr vmb, auff die letzt sagt PHANICIA 
 Ach Gott, ach wie ist mir geschehen 
 Wie so vil schones ding hab ich gesehen 
 Das ich gwiefs mercken mufs dabey 
 Das ich im Himel gwcsen sey 
 Ach fiihret mich ein wenig ab 
 Dann mein kraff ich verlorn hab 
 
 [Die Weibs Personen fiirn sie ab, 
 
 I call on God to shew to you, 
 
 That I can bear hot iron too, 
 
 My innocence to certify. 
 
 Oh God! and is it like that I 
 
 Would lose thy grace in love impure. 
 
 Let foul desires me allure? 
 
 Such things be ever far from me! 
 
 O God, I place my trust in thee. 
 
 For anguish I must yield my breath. 
 
 [She sinks down, the others support her. 
 
 LIONITO. 
 
 Ah! should it prove my daughter's death, 
 Before her innocence is clear, 
 I'll make it afterwards appear; 
 For I am sure she injured is. 
 LIONATUS. 
 
 Cousin, take it not amiss. 
 
 1 cannot, for my part, declare, 
 Who told the Count of the affair. 
 Perhaps though we the source may trace. 
 
 [Exit. 
 
 VERACUNDIA. 
 
 You'll find within the house a case 
 Of precious cordials, Phillis dear; 
 And also bring refreshments here. 
 Turning to Phaenida: 
 
 daughter dear, if thou dost live, 
 
 1 beg of thee some token give! 
 
 LIOXITO. 
 
 What should she give? She is quite dead. 
 May God shed blessings on her head! 
 You see her members lifeless sink. 
 
 [Phillis returns with water and refreshments. They 
 endeavour to restore her. 
 
 VERACUNDIA. 
 
 Her strength is coming back, I think, 
 For she just now has fetched a sigh. 
 
 LIONITO. 
 
 Bear her away immediately. 
 And when she has again come to, 
 We'll think what course we should pursue. 
 
 They walk about with her, at last PHAENICIA says: 
 Oh God! Oh what does it all mean? 
 How have I so much beauty seen, 
 That I must certainly believe, 
 'Twas Heaven did my soul receive? 
 Oh, lead me hence some rest to seek, 
 For still I feel extremely weak. 
 
 [The women lead her away. 
 
97 
 
 COMEDY OF THE BEAUTIFUL PHAENICIA. 
 
 98 
 
 LlONITO 
 
 Auff das es ein weil bleib dabey 
 
 Das Phanicia gestorben sey 
 
 So wollen wirs in kleidern beklagen 
 
 Ein toden Sarg gen Kirchen tragen 
 
 Denselben an jhrer statt begraben 
 
 Villeicht mocht der Graf ein reuhen haben 
 
 Was er hat an jhr begangen 
 
 Vnd mocht ein bessern bericht empfangen 
 
 Das sie die schand nicht hab gethan 
 
 Sich wider vmb sie nemen an 
 
 Dann ich weifs das jhr vnrecht gschicht 
 
 So lests auch Gott geschehen nicht 
 
 Das die Wahrheit verdrucket werd 
 
 Villeicht sich dann der Graf vmbkebrt 
 
 Vnd seiner Braut auffs neu begert, 
 
 [Abgang. 
 
 LIONITO. 
 
 In order that it may be said 
 Phaenicia is already dead, 
 We will funereal garments wear, 
 To church an empty coffin bear, 
 And bury it without a corse. 
 Perhaps the Count may feel remorse, 
 That he hath done her such great wrong, 
 The truth discover too ere long, 
 That she ne'er merited disgrace, 
 And then restore her to her place. 
 That she's been wronged, I surely know, 
 Nor will God leave the matter so, 
 That truth at last should be suppressed. 
 Perhaps the Count then will not rest, 
 Till of his bride again possessed. 
 
 [Exeunt 
 
 ACT V. 
 
 [Servants in mourning bring in a coffin upon which is written: To the Memory of the innocent, 
 noble and virtuous Phaenicia of the Lionitos. Exeunt. Enter John, reads the inscription on the coffin, is 
 surprised at Phaenicia's death, remembers having played Phaenicia in the garden, and goes to his master 
 to bring him the news of her death. 
 
 The Count now appears, and soon afterwards Gerando, both in mourning, and lament the death 
 of the beautiful Phaenicia. Gerando expresses his great sorrow that he has been the cause of her 
 death. The Count asks the meaning of these remarks. Gerando begs him to follow him to the church, 
 where he will then confess every thing. They both withdraw, but soon appear again, and the scene 
 in the church is left to the spectator's imagination. Thfe agony of remorse completely overcomes the 
 Count, and he is about to take his own life. Gerando however prevents him, throws his sword at his 
 feet, kneels down before him, confesses the treachery which Gerwalt had practised against the Count, 
 and begs the latter to take vengeance on himself. The Count is touched by this honest confession, 
 and forgives the great wrong that has been done him on condition that he will beg for pardon of the 
 parents and their deceased daughter. They then kneel at the coffin in prayer, rise, and clasp each 
 others' hands. John, who had been sent after Gerwalt, now returns with the intelligence that he had 
 decamped. The Count vows revenge, and then goes with Gerando to seek Phaenicia's parents. 
 
 Enter Lionito and Veracundia. The former informs his wife of the great grief of Tymborus 
 for Phaenicia.] 
 
 Es geht GRAF TYMBOR ein, mit GERANDO DEM RITTER, 
 
 tragen alle beede leidt. 
 
 LIONITO DER ALT EDELMAN empfengt sie, desgleichen 
 auch geben sie alien die Jiend, 
 
 TYMBOR 
 
 Herr Schwehr mir ist leid eur vnmuth 
 Der mich nicht wenig krencken thut 
 Als ob der wer selbst eigen mein 
 
 Enter COUNT TYMBORUS and GERANDO THE KNIGHT, both 
 
 in mourning. LIONITO, THE OLD NOBLEMAN, receives them. 
 
 They all shake hands. 
 
 TYMBORUS. 
 
 Father, your sorrow grieves me sore. 
 Indeed, it could not grieve me more, 
 Had I alone to bear the same. 
 
 7 
 
99 
 
 COMEDY OF THE BEAUTIFUL PHAENICIA. 
 
 100 
 
 LlONITO 
 
 Wehe denen die dran schultig sein 
 
 Das ich bin vmb mein liebs Kind kommen 
 
 Jedoch weil sie Gott hat genommen 
 
 Zu jhm aufs diesem armen leben 
 
 So kan ers auch wol wider geben 
 
 Wenn es ist sein Gottlicher will 
 
 TYMBOR fellt zu fufs 
 Ach Gott ich bin dran schultig vil 
 Wolt Gott das ichs kond widerbringen 
 
 GERANDO fellt auch zu fufs, 
 Ich bin die grost vrsach der dingen 
 Die seind erfolgt aufs bosem raht 
 Aber ich bitt durch Gott vmb gnad 
 Vnd wollt jhrs nicht verzeihen mir 
 So stosset in mich mein Rappir 
 Als ich es wol verschultet hab 
 
 TYMBOR 
 
 Ach Gott, die grost vrsach ich hab 
 Das ich die Heurat hab auff kundt 
 Ich hab began gen ein grose siindt 
 Die mir nicht wol kan werden vergeben 
 Dann ich bracht sie damit vmbs leben 
 Ach Herr Schwehr wenn es sein kan 
 So nembt mich wider zu gnaden an 
 Ich weifs wol das ich hab vnrecht 
 Vnd eur Tochter vnschultig gschmecht 
 Vnd das ich hab geglaubt zu bait 
 Ich ergieb mich in euren gwalt 
 Schafft mit mir was euch selbst gefelt 
 
 LIONITO 
 
 Gnediger Herr vnd Strenger belt 
 Eur Gnaden haben glaubt zugeschwind 
 Vnd mich gebracht vmb mein frombs Kindt 
 Das ich in Tugent hab erzogen 
 Das hab ich offt hertzlich erwogen 
 Vnd bringet mir auch grosen schmertzen 
 
 TYMBOR 
 
 Ich trag die grost pein vnd schmertzen 
 Erstlich das ich hab glaubt so gern 
 Vnd das ich jhr nun mufs entpern 
 Aber was soil ich armer than 
 Niemand dann Gott mir helffen kan 
 Vnd meinen schmertzen mir abladen 
 Ich bitt Herr Vatter thut mich begnaden 
 Last mich gleichwol euren Sohn sein 
 Ich will die zeit des lebens mein 
 Euch in keinem punct wider streben 
 
 LlONITO. 
 
 Woe, woe to those who are to blame 
 That I my own dear child should lose! 
 But as God to himself did choose 
 To take her from this" life of pain, 
 He can too give her back again, 
 If it should be his holy will. 
 
 TYMBORUS, falling at his feet. 
 Ah God! In this have I done ill! 
 Oh that I could her life restore! 
 
 GERANDO, also falling at his feet. 
 For this I am to blame far more, 
 As the result of counsels base. 
 But in God's name I sue for grace! 
 And should it be refused by you, 
 Then with my rapier run me through, , 
 As I deserve most thoroughly. 
 
 TYMBORUS. 
 
 Ah God! the chiefest cause was I! 
 That I the marriage did decline, 
 I must confess great sin was mine, 
 Which you indeed can ne'er forgive; 
 For otherwise she still might live. 
 
 father, if it still might be, 
 Your favour shew again to me! 
 
 1 know indeed the wrong I wrought her, 
 That I ill used your blameless daughter, 
 Believed on evidence too slender. 
 Myself I therefore now surrender: 
 
 Do with me what seems good to you. 
 
 LlONITO. 
 
 My gracious Lord, it is most true, 
 Your Grace too lightly has believed, 
 And of my daughter me bereaved, 
 Whom I in virtue's paths had led. 
 This often to my heart I've said; 
 Great pain too has it given me. 
 
 TYMBORUS. 
 
 Mine is the greatest misery: 
 First that I have so soon believed, 
 And now that I'm of her bereaved. 
 But what can I, most wretched, do? 
 'Tis God alone can help me through, 
 Relieve me of my present pain. 
 Q father, take me back again 
 To favour! treat me as thy son! 
 And while my course of life doth run, 
 I will in nought oppose thy will. 
 
COMEDY OF THE BEAUTIFUL PHAENICIA. 
 
 102 
 
 LlONITO 
 
 Eur Gnaden sey es als vergeben 
 So fern mir eur Gnad saget zu 
 Wenn sich die verheiirathen thu 
 Das sie Heiirathen mit raeim Raht 
 Ich hoff zu Gott, es gescheh ohn schad 
 Dann ich jhr nichts bofs rahten will 
 
 TYMBOR 
 
 Defs erbietten ist vil zu vil 
 Ich hets euch nicht dorffen anmuten 
 Darumb so nemb ichs auff in guten 
 Vnd glob euch das an Eydsstat an 
 Ohn eur wissen nichts mehr zu than 
 Bey den alten find man gut raht 
 
 GERANDO 
 
 So bitt ich gleicher weifs vmb gnad 
 Ob ich schon thoricht gbandelt hab 
 So bitt ichs eur Lieb wider ab 
 Wie auch Phanicia ich hab than 
 
 LIONITO 
 
 Es ist leider geschehen schon 
 Doch ist es mir ein groser schad 
 Das jhr so eim Narrischen raht 
 So vnbesunnen habt nachgsetzt 
 Mich vnd mein gantzes gschlecht verletzt 
 Jhr solts auch bey mir nicht endgelten 
 Jedoch thut nichts mehr davon melten 
 Wie jhr mein Tochter habt vmbbracht 
 Das mir mein leid nicht werd neu gmacht 
 Kombt rein vnd Est mit mir zunacht 
 
 [Sie gehn alle ab. 
 
 LIONITO. \ 
 
 Your Grace has my forgiveness; still, 
 Only in case it's understood, 
 That when to marry you think good, 
 You'll marry as I may advise. 
 God grant no harm may thence arise, 
 For my advice shall not mislead. 
 
 TYMBORUS. 
 
 The offer's generous indeed ! 
 To your forgiveness I'd no claim, 
 So gratefully accept the same. 
 In place of oath, I promise you, 
 Without your knowledge nought to do; 
 The aged ever are discreet. 
 
 GERANDO. 
 
 I too forgiveness would entreat. 
 Although I acted foolishly, 
 I pray your love to pardon me, 
 As I Phaenicia too implore. 
 
 LIONITO. 
 
 Alas! it can't be undone more. 
 But great the loss to me, that you 
 Such foolish counsel did pursue, 
 So thoughtlessly have injured me 
 Alas! and all my family! 
 I from all vengeance shall abstain; 
 But do not speak of it again, 
 How 'twas that you my daughter slew, 
 Lest that my grief break out ,anew- 
 I go to supper. Pray cdme;tfiQi v , 
 
 , {Exeunt. 
 
 ACT VI. 
 
 [Enter John and his master Gerando. John informs the latter, that he does not wish to serve 
 him any longer. Lionito then explains to his wife, that he only wished to carry out his plan respect- 
 ing the union of Phaenicia with the Count. They are joined by the Count and Gerando.] 
 
 LIONITO 
 
 Jhr lieben Herrn gebt euch zufrieden 
 Vergest der alt geschehen Dingen 
 Die man je nicht kan wieder bringen 
 Doch solche schwermuth abzuladen 
 So west ich erstlich eur Gnaden 
 Ein aufs piindig schone Jungfrauen 
 Vnd eur Gnad soil mir das vertrauen 
 
 LIONITO. 
 
 My Lords, I pray ye, be content! 
 Forget the things of long ago! 
 You cannot bring them back, you know. 
 Your Grace's spirits though to raise, 
 I know a maid whose beauty's praise 
 Must rank her fairest of the fair. 
 Your Grace may also trust me there, 
 7* 
 
103 
 
 COMEDY OF THE BEAUTIFUL PHAENICIA. 
 
 104 
 
 Sie ist Edel doch nicht gar reich 
 
 In dem der Phanicien gleich 
 
 Auoh ist sie, wol so schon als sie 
 
 Vnd ist kein Maler gewesen nie 
 
 Der sie gleicher abmahlen kond 
 
 Ja wenn sie lebendig selbst da stiindt 
 
 Kunt man finden kein vnderscheid 
 
 Defs gleich in zucht vnd hoflichkeit 
 
 Ist sie gleich der Phanicia 
 
 Vnd wiird genand Lucilia 
 
 Wolt ich eur Gnad zum Gemahl geben 
 
 TYMBOR 
 
 Wie wol ich hab begert zu leben 
 Einig hinfurter ohn ein Weib 
 Jedoch ich auch bestendig bleib 
 In dem was ich eur Lieb verhiefs 
 Das ich derselben wolt folgen gewiefs 
 Das will ich halten weil ich thu leben 
 Vnd wenn jhr mir ein Weib wolt geben 
 So felt sie mir zuhabn nit schwer 
 Wenns nur eines Baurn Tochter wer 
 Wenn michs eur Lieb kan lassen sehen 
 
 LIONITO 
 
 Eur Gnad kumb mit mir es soil gschehen 
 Doch hab ich sie nicht in meim haufs 
 Sonder auff meinen Schlosse draufs 
 Dahin woll wir zu Gast vns laden 
 Ich hoff es soil vns sein ohn schaden 
 
 [Sie gehn alle ab. 
 
 Though poor, she is of noble race, 
 
 May by Phaenicia take her place; 
 
 And beautiful indeed as she. 
 
 No painter too, whoe'er he be, 
 
 Could make a likeness to compare. 
 
 And were my daughter standing there 
 
 Alive, no difference you'd see. 
 
 In manners and in courtesy 
 
 She is just like Phaenicia, 
 
 Her name though is Lucilia 
 
 Her would I give your Grace as wife. 
 
 TYMBORUS. 
 
 Although I wished to pass my life 
 Henceforth as single and unwed, 
 Yet I adhere to what I said, 
 When I your Lordship gave my word, 
 My choice to you should be referred. 
 I'll keep this promise while I live; 
 And if to me a wife you'd give, 
 I'll make no difficulty there, 
 Though she a peasant's daughter were. 
 Might I perhaps the lady see? 
 
 LIONITO. 
 
 With pleasure, if you'll come with me. 
 We cannot here the lady meet, 
 Because she's at my country seat. 
 We will as guests ourselves invite, 
 And then I hope 'twill all come right. 
 
 [Exeunt omnes. 
 
 [A short iCQriyprsation ensues between Phaenicia and Belleflura. The scene must be imagined 
 as taking. .place, at the palace, whither Lionito had ordered his daughter to be brought. The sound of 
 the trumpets is- heaird,- Which announce the arrival of Lionito and the two suitors. The ladies with- 
 draw. The persons thus announced now enter. Lionito bids them welcome to his palace.] 
 
 LIONITO 
 
 Gnediger Herr ist euch zu Sinn 
 Wie ich vor mit euch redet drinn 
 Das jhr die Jungfrau haben wolt 
 Jr sie zu sehen kriegen solt 
 
 TYMBOR 
 
 Was ich vor einmal hab geredt 
 Das beger ich zu halten stet 
 Das sollen mir eur Lieb zutrauen 
 
 LIONITO sagt zu Gerando. 
 Vnd jhr solt auch ein Jungfrau schauen 
 
 LIONITO. 
 
 Do you, my Lord, still recollect, 
 How we agreed to the effect, 
 That you should take the maid to be 
 Your wife, and that you her should see? 
 
 TYMBORUS. 
 
 Whatever I may once decide, 
 By that I always will abide; 
 I beg, dear Sir, place trust in me. 
 
 LIONITO, to Gerando. 
 And you shall too a maiden see 
 
105 
 
 COMEDY OF THE BEAUTIFUL PHAENICIA. 
 
 106 
 
 Die euch auch mocht werden zu theil 
 Jedoch bitt ich each keine fell 
 Warumb das aber thut geschehen 
 Das werd jhr noch wol horn vnd sehen 
 Ich meins mit euch alln beeden gut 
 
 GERANDO 
 
 Was eur Lieb will ist, dasselb thut, 
 Dann wir beede eur Diener seia 
 
 LIONITO 
 Kammer Frau heist die Jungfrau rein 
 
 Sie Trincken, in diesen kompt PHANICIA vnd BELLEFLTJRA 
 
 vnd geht jhn die Kammer Frau nach, gar schon geputzt, 
 
 in groser Zucht vnnd Demut, geben erstlich den Frembden 
 
 Herren, darnach auch jhr en Eltern die Hand, nemen 
 
 als dann die Collation, tragens vmb, vnd schencken ein, 
 
 Tymbor sicht die Phdnicia an, filhrt Gerando auff die 
 
 seiten.' 
 
 (TYMBOR) 
 
 Ach Gerando nun glaub ich frey 
 Das der Phanicien Seele sey 
 Leibhafftig in das Mensch gefahrn 
 Sie kan gleich eben wie sie gebarn 
 Sie kan jhr sitten vnd, gepreng 
 Hat auch jhr alter vnd jhr leng 
 Das ich jhr gar nicht feind sein kan 
 
 GERANDO 
 
 Ach weh, ach Gott was hab ich than 
 All mein hertzleid wird mir verneut 
 Das ich sie hab so vervntreut 
 Defs mufs ich in mein hertz mich schemen 
 
 TYMBOR 
 
 Ey solt ich dises Mensch nicht nemen 
 Ich nembs, wenn ich schon Keiser wehr 
 
 GERANDO 
 
 Ach Gott erst wird mein leid mir schwer 
 Doch weil hie seind der Jungfrau zwu 
 Villeicht ghort mir die ander zu 
 
 [Sie gehn wider mit groser Eeverentz zu den an- 
 dern Gdsten, 
 
 LIONITO sagt zu Phdnicia. 
 Lucilia ist dir zu muth 
 Mein gnedign Herrn den Grafn zu nemen 
 
 Who wishes to be yours, but still 
 I only mean, if 'tis your will. 
 But how this is, shall soon appear, 
 That presently you'll see and hear. 
 For what I do is kindly meant. 
 
 GERANDO. 
 
 Whate'er you do, we are content; 
 As servants to your will we bow. 
 
 LIONITO. 
 Woman, call in your mistress now. 
 
 They drink. In the mean time enter PHAENICIA and BELLE- 
 FLURA, followed by the waiting-woman. They are hand- 
 somely attired, bear themselves with great modesty and de- 
 corum, first offer their hands to the strangers, and then to 
 their parents. After this they hand round the refreshments, 
 and pour out the wine. Tymbor looks at Phaenicia, and 
 then leads Gerando aside. 
 
 TYMBORUS. 
 
 Gerando, I must freely own, 
 I think Phaenicia's soul alone 
 Can animate that maiden's frame. 
 For all her gestures are the same; 
 She has her style and manners quite, 
 Her age she has, and also height; 
 That she my liking too hath won. 
 
 GERANDO. 
 
 Alas! Oh God, what have I done! 
 Now all my grief breaks out anew 
 That I such treach'rous acts could do! 
 To my heart's core I feel my shame. 
 
 TYMBORUS. 
 
 Aye, shall I not the maiden claim? 
 I'd take her, though a crown I wore! 
 
 GERANDO. 
 
 I ne'er felt all my grief before! 
 But as two maidens here I see, 
 Perhaps the other falls to me. 
 
 [They return to the other guests, making low 
 obeisance. 
 
 LIONITO, to Phaenicia: 
 Lucilia, do you feel inclined 
 My gracious Lord, the Count, to take? 
 
107 
 
 COMEDY OF THE BEAUTIFUL PHAENICIA. 
 
 108 
 
 PHANICIA neigt sich gegen dem Vatter vnd dem 
 
 Grafen, 
 
 Wenn sich jr Gnaden mein nit wol schemen 
 Vnd das nicht halten fiir ein Tatel 
 Dieweil ich allein bin vom Adel 
 Nicht hohs herkommen wie sein Gnad 
 
 Zu Lionito. 
 
 Vnd eur Lieb befind das im Rath 
 So folg ich ear Lieb allezeit 
 
 TYMBOR 
 
 Ach diser Red zufriden seit 
 Die Tugent Edel machen kan 
 Das Weib kriegt den stand durch den Mann 
 Wie er ist, also ist auch sie 
 Dieweil er lebet je vnd je 
 Seit jhr schon nur Edel geborn 
 Seit jhr doch heut zur Gra'fin worn 
 Dann euch will ich vnd keine mehr 
 
 LIONITO gibt sie zusammen, 
 So geb ich euch zu Gottes Ehr 
 Beide Ehelichen zusammen 
 Gott geb euch gliick, 
 
 TYMBOR vnd sein Bruder sagen 
 Amen, Amen. 
 
 [Er zeicht ein Sing von der handt vnd ein Ketten 
 von halfs henckt jhrs an, steckt jhr den Eing 
 an, vnd trucket sie, helt sie bey der hand. 
 
 PHANICIA 
 
 Ach Edler Gemahl saget mir 
 Ward vormals auch verheiirat jhr 
 Ehe vnd wann eur Gnad mich namb 
 
 TYMBOR schlegt an sein Brust 
 Ach schrecklicher red mir nie fiir kam 
 Ach diese frag bringt mir grofs schmertzen 
 Vnd gehet mir so tieff zum hertzen 
 Das sie mich gleich gar will vmbbringen 
 Thut mich ein Mann zu weinen zwingen 
 O Phanicia was hab ich thon 
 Ich wolt ich wer gestorben schon 
 Fur dich, wie schweb ich in vnmuth 
 
 PHANICIA 
 
 Gnediger Herr habt mirs zu gut 
 Ich hab in alien guten gfragt 
 
 PHAENICIA bows to her father, and then turns to the 
 
 Count. 
 
 If you should no objection make, 
 My Lord, or hold it cause of shame, 
 I only bear a noble name, 
 Not so illustrious as your Grace, 
 
 To Lionito: 
 
 You find it too, my sire, in place, 
 I'll follow you for evermore. 
 
 TYMBORUS. 
 
 No more of this, I do implore. 
 Virtue a noble's rank affords; 
 The wife's rank's settled by her lord's. 
 For she who bears a noble's name, 
 Must, while he lives, be just the same. 
 If only noble, as you say, 
 A countess you become to-day; 
 I'll have no other all my life. 
 
 LIONITO, joining their hands. 
 I join ye thus as man and wife 
 Together, to God's honour, then. 
 God grant you happiness! 
 
 TYMBORUS and GERANDO. 
 Amen! 
 
 [He takes a ring from his hand and a chain from 
 his neck, hangs the chain upon her, and putt 
 the ring on her finger. He embraces her, and 
 holds her by the hand. 
 
 PHAENICIA. 
 
 Ah, noble husband, tell me now, 
 Have you been bound by marriage vow 
 Before your Grace hath taken me? 
 
 TYMBORUS, beating his breast. 
 A sadder, question could not be. 
 Your words occasion me great pain, 
 And pierce me to the heart again. 
 Strike at my life, and strike so deep, 
 That I, a man indeed, must weep. 
 What have I done, my sainted bride! 
 Would that I had already died 
 For thee! What misery is this! 
 
 PHAENICIA. 
 
 My Lord, pray, take it not amiss! 
 My question was but meant in love. 
 
COMEDY OF THE BEAUTIFUL PHAENICIA. 
 
 110 
 
 TYMBOR 
 
 Ach das sey Gott im Himel klagt 
 Mein voriges Lieb thut todt liegen 
 Fur die ich in die Holl wehr gstiegen 
 Wie auch Orpheus hat gethan 
 Solt ich all verdambt Seel bestahn 
 Wie Hercules, vnd sie erquicken 
 Wolt ich mich alsbalt dar zu schicken 
 Aber es kan doch je nicht sein 
 Defs ist desto groser mein pein 
 Die kein Mensch auff Erd kan ermessen 
 
 LIONITO 
 
 Ey schweigt thut diser klag vergessen 
 Lang gnug ich euch auffzogen han 
 Secht eur vertraute doch recht an 
 Wie wenn sie eur Phanicia wehr 
 
 TYMBOR sicht sie an 
 Auif der Welt sehe ichs nimmermehr 
 Werd jhrs aber, wers mir dest lieber 
 Vnd ich wolt als erleyden drtiber 
 Vnd mein halbe Grafschafft drumb geben 
 
 LIONITO 
 
 Hie steht sie, vnd thut warhafft leben 
 Wiewol wir meinten sie wer todt 
 Hat sie doch wider erquicket Gott 
 Welcher gewifslich haben wolt 
 Das sie eur Gemahl werdeu solt 
 Die hab ich euch an die hand geben 
 
 TYMBOR sicht sie an, verwundert sich 
 Ach Phanicia thustu noch leben 
 So solst mir desto lieber sein 
 
 [Er fellt jhr vmb den halfs 
 
 Ach Phanicia die allerliebste mein 
 Nun sey Gott gelobt vnd geehrt 
 Der mir dich auch hat wider bschert 
 Du bist mein auffenthalt vnd freud 
 
 PHANICIA 
 
 Der sey globt vnd gebenedeyt 
 Der vns nach soldi grosen Triibsal 
 Hat gnediglich gholffen ein mal 
 Der geb vns Segen, Heil vnd gliick. 
 
 TYMBORUS. 
 
 My plaint was meant for God above! 
 My former bride, now dead and cold, 
 For her, as Orpheus did of old, 
 To hell I'd go, though there to see 
 All the damned souls in misery, 
 As Hercules, and her awake 
 To life : would straight the journey take. 
 But that can never be, I know; 
 And all the greater is my woe. 
 How great indeed, can none conceive. 
 
 LIONITO. 
 
 Hush, hush, from henceforth cease to grieve. 
 My jest has long enough been tried; 
 I pray look closer at your bride. 
 What, should it your Phaenicia be? 
 
 TYMBORUS, looking at her. 
 O ne'er shall I that maiden see! 
 But were it she, how glad were I! 
 I'd suffer all most cheerfully, 
 And half my earldom would I give. 
 
 LIONITO. 
 
 Here stands she. and doth really live. 
 Though God we thought the maid had ta'en, 
 Yet hath he quickened her again ; 
 And it mos.t surely was his will, 
 That she should be your consort still; 
 'Twas she whom I your Grace would give. 
 
 TYMBORUS, looking at Tier in astonishment. 
 Phaenicia, dost thou really live? 
 Thus art thou dearer than before! 
 
 [Embracing her. 
 
 Phaenicia, loved for evermore, 
 Praise be to God, and honour too, 
 Through whom again, I'm blessed in you! 
 You are my joy, my hope, my stay! 
 
 PHAENICIA. 
 
 Praise be to him alone, alway, 
 Who after such great grief and pain, 
 Hath helped us graciously again. 
 O may he grant us happiness ! 
 
 [ Gerando now receives Belleflura as his bride, and Lionito announces that the double nuptials, 
 to which Peter, King of Arragon, is to be invited, will be solemnized on the following day. The 
 
Ill 
 
 COMDEY OF THE BEAUTIFUL PHAENICIA. 
 
 112 
 
 piece now concludes with a moral song of 
 virtues of the Maiden are celebrated. The 
 and the last.] 
 
 i. 
 
 Ihr zarten Jungfraun hort mir zu 
 
 Von aller Jungfrau Spiegel, 
 
 Vnd merckt was ich euch singen thu 
 
 Von der zucht wahren Spiegel, 
 
 Gottes forcht wist 
 
 Der anfang ist 
 
 Vnd weg zu der "Weifsheite, 
 
 Wer den Weg geht 
 
 Gar wol besteht, ja wol besteht, 
 
 Vnd liebt auch Gott allzeite. 
 
 2. 
 
 Dann wer Gott fiircht, der liebt auch jhn 
 Vnd belt ob seinen worten, 
 Vnd wandelt fleissiglich darinn, 
 Helt die an alien orten, 
 Das vierdt Gebott 
 Hat geben Gott, 
 Das man sol Eltern ehren, 
 Wer dasselb thut 
 Der hat es gut, ja hat es gut, 
 Gott wird jhn vil bescheren. 
 
 11. 
 
 Schliefslich so ist mein fleissig bitt 
 An all zarten Jungfrauen, 
 Jr wolt es doch vergessen nit 
 In den Spiegel offt schauen, 
 Der weiset gleich 
 Was fehlet euch, 
 Thut eure Mangel kehren, 
 Wenn jhr das thut 
 So habt jhrs gut, so habt jhrs gut, 
 Kompt hie vnd dort zu Ehren. 
 
 ENDE. 
 
 eleven verses, called 'The Maiden's Mirror,' in which the 
 following are three of the eleven verses, viz. the two first 
 
 Ye tender virgins, list to me, 
 
 What is the virgin's mirror; 
 
 And mark what I shall sing to ye, 
 
 Of chastity's true mirror. 
 
 God's fear, I wist, 
 
 The first thing is't, 
 
 And way to Wisdom's door; 
 
 Who that way go 
 
 Shall stand, ye know, stand firm, ye know, 
 
 And love God evermore. 
 
 2. 
 
 For who fears God, he loves him too, 
 Doth make his word his care, 
 His way therein with zeal pursue, 
 And keep it everywhere. 
 Commandment named 
 The fourth, proclaimed 
 By God, is, parents honour, 
 What maid doth so 
 
 Doth thrive, ye know, yes thrive, ye know, 
 God showers his blessings on her. 
 
 11. 
 
 To end my song, one prayer I raise 
 To ah 1 ye virgins soft, 
 That ye will not forget to gaze 
 Into the mirror oft. 
 It makes appear 
 Your failings clear, 
 Your faults will drive away too, 
 If ye do so, 
 
 Ye'll thrive, ye know, ye'll thrive, ye know, 
 To honours come some day too. 
 
 THE END. 
 
ACTED IN GERMANY, ABOUT THE YEAR 1600, BY ENGLISH PLAYERS. 
 
The TRAGEDY OF JULIUS AND HYPPOLITA forms part of the first volume of "Englische Comedien vnd f 
 Tragedien" 1620, 12mo, reprinted 1624, 12mo. In the edition of 1620, from which the present impression has been 
 taken, it occupies folio Kk, 7 verso to folio N n, 4 recto. It is entitled: 
 
 vn. 
 
 Tragaedia. 
 Don Julio tmfo Hyppolita. 
 
 (TRAGEDY OF JULIUS AND HYPPOLITA.) 
 
TRAG^DIA 
 VON JULIO VND HYPPOLITA. 
 
 PersoncB. 
 
 FURST. 
 
 HYPPOLITA Filrstliches Frawlein. 
 
 ROMULUS 
 
 JULIUS 
 
 GROBIANUS PICKELHERING oder Julij Diener. 
 
 ROMULI DIENER. 
 
 zweene Romer. 
 
 ACTUS PRIMUS. 
 
 Jetzt kompt der FURST, ROMULUS, JULIUS vnd HYPPOLITA 
 
 heraufs, der Furst steigt hinauf, Julius stehet gar melan- 
 
 cholisch auff der Seiten. 
 
 FURST. 
 
 Jbjdeler Romer, ein Monat habt jhr nun gewartet, 
 nach detn jhr mich angesprochen , dafs ich euch meine 
 Tochter zum Gemahl geben solt. Sagt mir nun liebt 
 jhr sie von Hertzen? 
 
 ROMULUS. 
 Von Grund meines Hertzen thue ich sie lieben. 
 
 FURST. 
 Liebe Tochter sag an, hastu Romulum lieb? 
 
 HYPPOLITA. 
 
 Ja hertzlieber Vater vnnd dafern es ewer Will, hab 
 ich jhn vor mein Gemahl aufserkoren. 
 
 FURST. 
 
 So babe ich genug, als wunsche ich euch hierzu 
 ein langes Leben, vnnd gebe euch meine junge Toch- 
 ter, mein einige Hoffnung vnd Trost auff Erden. 
 
 ROMULUS. 
 
 Gnadiger Herr dieses schone Frawlein ewer ge- 
 liebte Tochter, thue ich hoher achten, denn Silber vnd 
 alles Goldt, vnd thu mich vor dieses Kleinodt hochlich 
 bedancken. 
 
 [Hat sie bey der Handt. 
 
 Persons represented: 
 
 THE PRINCE. 
 
 HYPPOLITA, the princess. 
 
 ROMULUS 
 
 JULIUS 
 
 GROBIANUS PICKELHERING (the Clown), servant to Julius. 
 
 SERVANT to Romulus. 
 
 two Romans. 
 
 ACT I. . 
 
 Enter the PRINCE, ROMULUS, JULIUS, and HYPPOLITA. 
 
 The Prince comes forward. Julius stands a little apart 
 
 from the others, very melancholy. 
 
 PRINCE. 
 
 JN oble Roman , you have now waited one month, 
 since you urged your suit for my dear daughter's hand. 
 Tell me now truly, do you love her with all your heart? 
 
 ROMULUS. 
 I love her from the bottom of my heart. 
 
 PRINCE. 
 Dear daughter, say, dost thou love Romulus? 
 
 HYPPOLITA. 
 
 Yes, dear father, and an it be your will I have 
 chosen him for my husband. 
 
 PRINCE. 
 
 Enough, enough. I wish you a long life, and give 
 you my young daughter, my only hope and comfort upon 
 earth. 
 
 ROMULUS. 
 
 My lord, I esteem this beautiful lady, your be- 
 loved daughter, more highly than silver and gold, and 
 render you my hearty thanks for this your Jewel. 
 
 [Holds her by the hand. 
 
119 
 
 TRAGEDY OF JULIUS AND HYPPOLITA. 
 
 120 
 
 FURST. 
 
 Wann gefelt euch dann Hochzeit zu halten. 
 
 ROMULUS. 
 
 O Gnadiger Herr, lieber heut denn morgen, aber 
 es wil mir erstlich gebiihren, dafs ich nach Rom ziehe, 
 vnd es meinen Eltern ansagen, dann wann sie gar 
 nichts von meiner Heyrath wissen solten, wiirde es jnen 
 vbel gefallen, hoffe in kurtzer Zeit wieder allhier zu- 
 seyn. Derhalben begehre ich von ewer Gnaden, vnnd 
 von meiner hertz allerliebsten Vrlaub. 
 
 FURST. 
 
 Edler Romer, kan diese Reise keinen Anstandt ha- 
 ben, bifs nach Vollendung der Hochzeit. Ich bitte be- 
 dencket euch, sehet zu dz jhr verreist, Hochzeit haltet. 
 
 ROMULUS. 
 
 Gnadiger Herr, solches hab ich zuvor bey mir be- 
 dacht, aber es kan nicht sein, denn sein Eltern mufs 
 man hierin nicht gantz vnd gar hinden setzen. Bitte 
 derwegen vmb Vrlaub. 
 
 FURST. 
 
 Mufs es denn so seyn, so gebe ich meinen Willen 
 drein, hoff jhr werdet euch nicht lassen auffhalten. 
 
 HYPPOLITA. 
 
 Ach mein hertz allerliebster, kans miiglich seyn, 
 so verharret, warumb wollet jhr doch so vnbarmhertzig 
 seyn, vnd von mir ziehen. 
 
 ROMULUS. 
 
 Mein getrewes Lieb, wie Vngern ich von euch 
 scheide, kont jhr nicht gleuben, aber es kan nicht an- 
 ders seyn, dennoch habt dieses zum Troste, meinen 
 getrewen Freund vnd Bruder Julium, wil ich euch be- 
 fehlen, dafs er euch in meiner Absentz mit lieblichen 
 discursen ergetze vnd also die Zeit verkurtzere. Da 
 steht er, wir wollen zu jhm gehen. Getrewester Freundt 
 vnd Bruder Juli wie so melancholisch. 
 
 JULIUS. 
 
 Getrewer vnd liebster Bruder, ich bin nicht melan- 
 cholisch. 
 
 ROMULUS. 
 
 O Bruder sag mir die Vrsach deiner Betrubniifs, 
 du woltest dich hart halten, aber kontest nicbt, kan 
 ichs mit meinem Blut wenden, wil ichs nicht lassen. 
 
 JULIUS. 
 
 Die Warheit zu sagen liebster Bruder, so machet 
 mich deine Reise betriibt, denn du weist wie sehr ich dich 
 liebe, ja mein leben vor dich hin zugeben, ich gering 
 achtete. O unmiiglich solt ich nicht trawrig seyn. 
 
 ROMULUS. 
 Es ist war. Von Jugend auff seyn wir vns getrew 
 
 PRINCE. 
 
 When is it then your pleasure to celebrate your 
 nuptials ? 
 
 ROMULUS. 
 
 My lord, I should prefer to-day to to-morrow. But 
 it is my duty first to go to Rome to announce my in- 
 tended marriage to my parents, lest, if they hear nothing 
 of it, they should take offence. I trust shortly to be here 
 again, and therefore I beg your Grace and my best be- 
 loved, to grant me leave to go. 
 
 PRINCE. 
 
 Noble Roman, cannot this journey be postponed till 
 after the solemnization of the marriage. Pray bethink you, 
 and celebrate your nuptials, ere you undertake this journey. 
 
 ROMULUS. 
 
 My lord, I have considered the thing well; but it 
 cannot be, for in such a matter we must not quite ne- 
 glect our parents. I pray you therefore, grant me leave 
 to go. 
 
 PRINCE. 
 
 Since it must be so, I give my consent. But do not 
 suffer yourself to be detained. 
 
 HYPPOLITA. 
 
 Sweet my love, an it be possible, remain ; why will 
 ye be so unmerciful as to go from me? 
 
 ROMULUS. 
 
 Mine own dear love, you know not how loath I am 
 to go from you; but it must be so. And take comfort 
 for I commit you to the loving care of my faithful 
 friend and brother Julius, who in my absence will de- 
 light you with pleasant speech and thus while the hours 
 away. There he stands, let's go to him. Most faithful 
 friend and brother Julius, why so melancholy? 
 
 JULIUS. 
 Gentle and beloved brother, I am not melancholy. 
 
 ROMULUS. 
 
 O brother, disclose to me the cause of thy sadness! 
 thou would'st fain shut it up within thyself, but canst 
 not. I would shed my blood to turn it from thee. 
 
 JULIUS. 
 
 In truth, dear brother, thy journey makes me sad. 
 Thou know'st what love I bear thee, and that I ac- 
 count my life as naught to serve thee. O how can I be 
 otherwise than sad? 
 
 ROMULUS. 
 'Tis true. From childhood have we been faithful 
 
121 
 
 TRAGEDY OF JULIUS AND HYPPOLITA. 
 
 122 
 
 igewesen, aber liebster Bruder, wormit sol ich solches 
 i recompensiren, sage hierin abe den Weiblichen Hertze, 
 'vnnd betriibe dich nicht meines hinweg reifsens, denn 
 es kan nicht anders seyn, darumb mein getrewer Freundt, 
 >vnd Bruder, befehle ich dir mein schon Hyppolitam 
 i mein allerliebste, ich bitte tractire sie mir freundlich in 
 imeiner absentia. Vnd schone Hyppolita betriibet euch 
 nicht, denn ich hoffe in gar kurtzen, ewer hell Christall 
 Augen wieder anzuschawen mit Mercurii Fliigeln wil 
 ich eilen wieder zu euch zu kommen, darzu so bald 
 ich zu Rom angelange, wil ich euch mit Schrifften vi- 
 'Sitiren. 
 
 FfJRST 
 
 Last vns jetzt hinein gehen, vnd Juli kompt mit 
 ivns, dafs wir Romulo das Geleit geben. 
 
 [Sie gehen hinein Julius betriibt. 
 
 JULIUS. 
 Wie Vngern, sehe ich dich von hinnen ziehen: 
 
 [Felt auff die Knie. 
 
 O ich wolte dafs du nimmer widerkemest, alsdenn wer 
 ich der gliickseligste. Mensch, vnd mach mir schon etc. ' 
 
 ROMULUS. Kompt wieder. 
 
 Warumb folgestu nicht lieber Bruder? Was bedeu- 
 tet, dafs du auff den Knieen sitzet? 
 
 JULIUS. 
 
 Hertzlieber Bruder ich ruffe die Gotter an, dafs 
 sie dir wollen favorabiles seyn, vnd in kurtzen wieder 
 ianhero verfugen. 
 
 ROMULUS. 
 
 O du bist mir ein getrewer Freundt, deines glei- 
 chen an Trewheit, hab ich noch nie in der Welt fun- 
 <den. Derhalben befehle ich dir noch eines, ergetze 
 imein allerliebste, in meiner absentia mit lieblichen dis- 
 cursen vnnd tractire sie mir wol, denn ich weifs du 
 jbist mir der getreweste, darumb ich sie auch nur dir 
 allein befehle. 
 
 JULIUS. 
 
 O mich getrew. [Fellet auff die Knie.] Ich schwere 
 y der Sonnen, Monden vnd Sternen etc. 
 
 ROMULUS. 
 
 Stehe auff getrewester Freundt vnd Bruder, kein 
 Eydt begehre ich von dir zu haben, meynestu dafs ich 
 dir ohne das nicht gleuben thue. Nun ade, ade, mein 
 gelrcwer Freundt, wie Vngern ich von dir scheide, 
 kanstu nicht gleuben, Ade ade, je lenger hie je lenger 
 dort. 
 
 [Gehet hinein. 
 
 to each other. But, gentle brother, how can I recompense 
 thee? Here say adieu to thy woman's heart, and grieve 
 not for my journey, for so it must be. Wherefore, my 
 faithful friend and brother, I do commend to thee my 
 fair Hyppolita, my sweet love, and beg thee to entreat . 
 her kindly in my absence. And fair Hyppolita, do not 
 afflict yourself, for I trust ere long, again to behold your 
 clear crystal eyes. I'll hasten back to you on the wings 
 of Mercury, and as soon as I have arrived in Rome I 
 will visit you with letters. 
 
 -> 
 
 PRINCE. I ' 
 
 Now let us go in, and Julius comes witftsufi^hat J 
 we may see Romulus on his way. 
 
 [Exeunt the Prince, Romulus and Hyppolita. Julius is sad. ' 
 
 JULIUS. 
 How loath am I to see thee depart! 
 
 [Falls on his knees. 
 
 O that thou never would'st return! Then should I 
 be happiest of mortals, and even now I make me etc. ' 
 
 Re-enter ROMULUS. 
 
 Wherefore didst thou not follow us, dear brother? 
 What means this kneeling? 
 
 JULIUS. 
 
 Gentle brother, I am calling upon the gods to be 
 favourable to thee, and to bring thee soon back again. 
 
 ROMULUS. 
 
 O thou art a true friend to me. Thy like for faith- 
 fulness have I nowhere found in all the world. Where- 
 fore once more I pray thee, delight my love in my ab- 
 sence with sweet discourses, and entreat her well for 
 the love thou bear'st me. And for as much as I know 
 thou art of all the most faithful to me, I commend her 
 to thee alone. 
 
 JULIUS. 
 
 O me, faithful! [Falls on his knees.] I swear by the 
 sun, moon, and stars etc. 
 
 ROMULUS. 
 
 Rise up, most faithful friend and brother! I crave 
 no oath of thee; think'st thou I cannot trust thee with- 
 out one? Now farewell, thou canst not know how 
 loath I am to part from thee. Adieu, adieu, the longer 
 here, the longer there. 
 
 [Exit. 
 
 1 These unfinished passages, which occur frequently not only in this, but in all the other pieces of the collection of "Englische 
 Comedien vnd Tragedien" prove that the texts have been hastily got up for the press and that the writers themselves could not have 
 had any share in the publication. 
 
123 
 
 TRAGEDY OF JULIUS AND HYPPOLITA. 
 
 124 
 
 JULIUS. 
 
 Ziehe dafs du mogst den Halfs brechen, vnd nicht 
 wieder kommen. Jetzt mufs ich auff Prakticken den- 
 cken, Romule Romule getrewer Freundt bistu wol, aber 
 jetzt mufs ich dir vntrewe Brtiderschafft beweisen. O 
 schon Hyppolita was kan dein schon Gestalt, nicht zu 
 wegen bringen, O was solte Liebes Brunst nicht aufs- 
 richten. O Hyppolita du Wunder unter alien Weibes- 
 personen, du must mein seyn, oder ich mufs nicht 
 leben, nun mufs ich gedencken wie ichs wolle anfahen, 
 man sagt, practica est multiplex, nun ich mufs auch 
 eins darvon versuche. 
 
 [Gehet db. 
 
 ACTUS SECUNDUS. 
 
 JULIO. 
 
 Juli bedencke dich nun wol, was du bey Romulo 
 thust. Hie habe ich Brieffe von Rom bekommen, die 
 sol ich der schon Hyppolita seiner allerliebsten vber- 
 geben, aber es kan nicht seyn, dieselbigen mufs ich 
 vnterschlagen, vnd an dessen Statt habe ich andere ge- 
 schrieben. Bedencke dich'nun wol Juli es ist ein R6- 
 mer den du betreugst, sie suchen Rache vber ihre Feinde, 
 vnd triumphiren stets vber alle ander, in der gantzen 
 Welt. Aber wenn du auch der streitbahrste Romer 
 werest, wolte vnnd konte ich nicht vnterlassen, dir jetzt 
 vntrew zu werden , mein Vorhaben mufs ich nun fort- 
 setzen, denn was thut Liebe, nicht vmb dero willen, 
 ich jetzt mein Leben in die eufserste Gefahr setze, 
 wolan es mufs so seyn. Holla mein Diener Grobiane 
 kom heraufs. 
 
 GROBIANUS kompt heraufs, der Herr pfeiffet. Stehet still. 
 
 GROBIAXUS. 
 
 Mein Herr mufs ja meynen, dafs er einen Hundt 
 vor sich habe. 
 
 [Julius pfeiffet noch einmal. 
 GROBIANUS. 
 Pfeiff du jmmer bin, ich bin dein Hundt nicht. 
 
 JULIUS. 
 
 Jung hastu nicht gehoret, dafs ich dich geruffen, 
 wornach siehestu dann? 
 
 GROBIANUS. 
 
 Nein Gnadiger Herr, ich hab kein ruffen gehort, 
 sondern pfeiffen, vnd gemeinet jhr Gn. hetten den Hundt 
 zu sich gepfiflfen. 
 
 JULIUS. 
 Kom hier Grobiane vnd observire mein Worter 
 
 JULIUS. 
 
 Ay, go, and so that thou break thy neck and 
 never return. Now must I contrive my plan. Romu- 
 lus, Romulus! a faithful friend art thou to me, 'tis 
 true; but now must I prove to thee what faithless 
 brotherhood is. O! lovely Hyppolita, what cannot thy 
 fair form effect. O! what cannot love accomplish. O! 
 Hyppolita, thou wonder amongst women, thou must be 
 mine, else I cannot live. Now I must bethink me how 
 to set about it. Men say 'practica est multiplex'; now 
 'tis for me to try one. 
 
 [Exit. 
 
 ACT H. 
 
 JULIUS. 
 
 Julius, consider well how thou dost act by Romu- 
 lus. Here have I letters to deliver to fair Hyppolita, 
 his sweet love ; but it must not be, I must keep them 
 back, and in their stead I have writ others. Pause and 
 weigh well, Julius 'tis to a Roman thou play'st the 
 knave, and they seek vengeance on their foes and tri- 
 umph over all others in the world. Ay, an wert thou 
 the most contentious of all Romans, I would not, couh 
 not refrain from being faithless to thee in this matter 
 I must fulfil my purpose now; for what will not love 
 do, for whose sweet sake I place my life in jeopardy 
 Well, it must be so. Ho! my servant Grobianus, ho! 
 
 Enter GROBIANUS, his master whistles. He stands still. 
 
 GROBIANUS. 
 
 May -be my master thinks he has a dog befor 
 him. 
 
 [Julius whistles again. 
 GROBIANUS. 
 Whistle away, I am not thy dog. 
 
 JULIUS. 
 
 Boy, hast thou not heard me call? Wherefore dost 
 thou stand so? 
 
 GROBIANUS. 
 
 My lord. I heard no calling, but whistling, and 
 thought your worship was whistling to his dog. 
 
 ^^. 
 
 JULIUS. 
 Come hither, knave, and mark ye well my words. 
 
125 
 
 TRAGEDY OF JULIUS AND HYPPOLITA. 
 
 126 
 
 wol, diese Brieffe soltu tragen zu der schonen Hyppo- 
 lita, dich anthun, gleich einen Postboten vnd zu jr sa- 
 gen, dafs dich Romulus von Rom zu jhr gesant, mit 
 diesen Brieffen. Sieh hie hastu Geldt, verrichte es trew- 
 lich hernach soltu mehr von meinen Handen empfangen. 
 
 GROBIANUS. 
 
 Gnadiger Herr, was solte ich vmbs Geldt nicht 
 aufsrichten? Wenn ich konte Geldt darfiir bekommen, 
 so wolt ich meine Mutter eine Hur vnd meinen Vater 
 einen Schelm heissen, ewern Befehl wil ich trewlich 
 aufsrichten. 
 
 JULIUS. 
 
 So mache dich bald fertig, vnd iibergieb jhr die 
 Brieife. 
 
 GROBIANUS. 
 Es sol geschehen. 
 
 [Gehet weg. 
 
 JULIUS. 
 
 Also hoffe ich die schone Hyppolitam vor mein 
 eigen Gemahl zubekommen, Juli fast ein Hertz, ja ein 
 eyssern Hertz, denn ein holies hastu angefangen, das- 
 selbe mustu aufsfiihren. 
 
 Stehet allein in tieffen Gedancken. Kompt heraufs der 
 FURST. HYPPOLITA ist betriibet, geht sitzen. 
 
 FURST. 
 
 Es ist vmb das Weibesvolck ein seltzam Manier, 
 vornemlich gar wunderlich, wenn sie verliebet seynd, 
 denn schreyen, heulen, vnd weinen, ist jhr taglich 
 Speise, so jhr liebster nicht bey jhnen ist. Wie zum 
 Krankheit Tochter bistu so narrisch? wirdt doch dein 
 iRpmulus wieder kommen, warumb betrubstu dich dann. 
 
 HYPPOLITA. 
 
 O Vater ich habe Vrsache zu weinen, weil ich nicht 
 weifs, ob mein liebster ist gsundt nach Rom kommen 
 denn die Zeit ist nun verflossen, in der er gelobet vo 
 der zuschreiben. Da sehe ich Jul. in tieffen gedancken 
 stehen, liebr Vater wollen wir nicht zu jhm gehen, vnnd 
 fragen ob er nichts von Rom bekommen, 
 
 [Gehen zu jhm. 
 FURST TOCHTER. 
 Einen guten Morgen Juli. 
 JULIUS. 
 Ich sage jhr Gn. auch schonen Frawlein hochlich 
 
 FURST. 
 
 Juli wisset jr nicht was jhm zu than sey, denn 
 meine Tochter gar verzweifeln wil, weil jhr liebster ein 
 (wenig von jhr gewesen? 
 
 JULIUS. 
 Gnadiger Herr, darfiir wird man bey keinen 
 
 Bear these letters to fair Hyppolita, dress thee as a 
 postboy, and say that Romulus charged thee with these 
 letters from Rome. Here is money, perform thy errand 
 faithfully, and by and by my hands shall be more liberal. 
 
 GROBIANUS. 
 
 My lord, what would I not do for money! An I 
 could get money for't, I'd throw whore at my mother 
 and call my father rogue. A trusty messenger I'll prove 
 to do your bidding. 
 
 'Tis well 
 letters. 
 
 JULIUS. 
 prepare thee quickly, and go deliver the 
 
 GROBIANUS. 
 
 On the instant. 
 
 [Exit. 
 
 JULIUS. 
 
 So may I hope to possess fair Hyppolita as my 
 own wife. Julius, take heart, ay an iron heart. Thou 
 play'st a high game and must not faint in the midst 
 of it. 
 
 [Stands apart in deep thought. 
 Enter the PRINCE. HYPPOLITA is sad and sits down. 
 
 PRINCE. 
 
 How strange are women's ways, how passing strange! 
 When they are in love, crying, weeping, roaring is their 
 food, an their sweetheart is not with them. Daughter, thy 
 folly will cause thee to fall sick, thy Romulus will surely 
 come to thee again; wherefore then grievest thou? 
 
 HYPPOLITA. 
 
 O father, I have cause to weep, for I know not 
 whether my sweet love hath reached Rome in safety, as 
 the time is past in which he swore to write from thence. 
 There I see Julius standing in deep thought. Dear father, 
 let's go to him, and learn whether he has received aught 
 from Rome. 
 
 [They approach Julius. 
 HYPPOLITA. 
 A good morning, Julius. 
 
 JULIUS. 
 Have thanks your worship, and you too, fair lady. 
 
 PRINCE. 
 
 Julius, can you not advise me? My daughter is 
 quite desperate because her love hath left her for a short 
 time. 
 
 JULIUS. 
 My lord, no doctor hath a remedy for that, for 
 
127 
 
 TRAGEDY OF JULIUS AND HYPPOLITA. 
 
 128 
 
 Doctore einig Mittel finden, denn es vns Menschen von 
 Natur angebohren, vnd wircket solches die inbriinstige 
 Liebe. 
 
 HYPPOLITA. 
 
 Guter Freundt habt jhr nicht Schreiben von Rom 
 bekommen. 
 
 JULIUS. 
 Nein schones Frawlein gar keine. 
 
 HYPPOLITA. 
 
 O die Zeit ist gleich schon verflossen. in der er 
 mir bey seiner getrew Lieb geschworen zuschreiben. 
 
 JULIUS. 
 
 Schones Frawlein traget gar keinen zweifel, ich 
 weifs vnd kenne sein Hertz, dafs was er zusaget, ge- 
 wifslich belt, vnd kan seyn dafs der Bote, welchen er 
 gesand, nicbt eile. 
 
 Kompt GROBIAN. 
 
 GROBIANUS. 
 Gluck vnd all Heil schones Frawlein. 
 
 HYPPOLITA. 
 
 Ich dancke dir Bote von Hertzen, O sage mir bald 
 kompstu nicht von Rom. 
 
 GROBIANUS. 
 
 Ihr habt es errathen von Rom kom ich, vnd bin 
 von Romulo zu euch gesandt. 
 
 HYPPOLITA. 
 
 O gliickselige Stunde, O gluckseliger Bote, zeig 
 mir bald den Brieff von Romulo meinen Hertzaller- 
 liebsten. 
 
 GROBIANUS. 
 
 Verziehet ein wenig, ihr musset erstlich den Boten 
 sein penunse geben. 
 
 HYPPOLITA. 
 
 Sieh da hastu, thu bald den Brieff her, wornach 
 ich ein grofs verlangen gehabt. 
 
 GROBLINUS. 
 
 Da seyn die Brieffe, so mir mein Herr Romulus 
 gegeben. 
 
 [Sie kilsset den Brie/. 
 HYPPOLITA. 
 
 O sey mir willkommen. Hier seyn noch zwey 
 Brieffe. einer an Julium, der ander an euch hertzlieber 
 Vater. 
 
 FURST. 
 
 An vns auch Tochter? das ist sehr gut. Weine 
 nun auch Tochter, ich weifs wol , dafs der gute Romu- 
 lus zuschreiben nicht vnterlassen wurde. 
 
 [Lesen, sie verwundern sich sdmptlich, kratzen sich 
 bey den Haaren. 
 
 we mortals are born with it, and ardent love ef- 
 fects it. 
 
 HYPPOLITA. 
 
 Good friend, have you received no writing from 
 Rome? 
 
 JULIUS. 
 Fair lady, none whatever. 
 
 HYPPOLITA. 
 
 the time is already past, in which he swore by 
 his true love to write to me. 
 
 JULIUS. 
 
 Fair lady, do not torment yourself with doubts, for 
 full well I know his heart, that what he has surely pro- 
 mised he will as surely hold. It may be that the mes- 
 senger whom he has despatched tarries on the way. 
 
 Enter GROBIANUS. 
 
 GROBIANUS. 
 
 All happiness and peace to you, fair lady! 
 HYPPOLITA. 
 
 1 thank thee, messenger, most heartily! O tell me 
 quick, dost thou come from Rome? 
 
 GROBIANUS. 
 
 You have hit it; from Rome I come, and am sent 
 to you by Romulus. 
 
 HYPPOLITA. 
 
 O blessed hour! O blessed messenger! show me 
 quick the letter from Romulus, my heart's treasure! 
 
 GROBLVNUS. 
 
 Wait a little. First you must remember the mes- 
 senger. 
 
 HYPPOLITA. 
 
 Take this; produce the letter speedily for which 
 I have so yearned. 
 
 GROBIANUS. 
 
 There be the letters, as delivered to me by my 
 master Romulus. 
 
 [She kisses the letter. 
 HYPPOLITA. 
 
 Welcome, o welcome! here are two other letters, 
 one to Julius, and one to you, dear father. 
 
 PRINCE. 
 
 For us too, daughter? that is well. very well. 
 Weep now too, daughter. I knew that good Romulus 
 would not fail to write. 
 
 [They read, are one and all astonished, and scratch 
 their heads. 
 
129 
 
 TRAGEDY OF JULIUS AND HYPPOLITA. 
 
 130 
 
 HYPPOL-ITA. 
 
 O weh O weh Eva im Paradiese, wie schandlich 
 wtirdestu betrogen? 
 
 FURST. 
 
 Stadt Troja, durch list wordestu gewonnen. 
 
 [Sie lesen noch besser. 
 JULIUS. 
 
 O du betrieglichster Mensch vnter alien Mannsper- 
 sonen, du Eckel vnd Schandfleck vnter alien, wie hastu 
 dieses konnen vber dein Hertz bringen. 
 HYPPOLITA. 
 
 O Angst, Todes Angst, grosser schmertzen hab 
 ich niemaln auff Erden empfunden. O verfluchet seystu 
 Romule, verflucht sey die Stunde, worin ich dich zum 
 ersten ansichtig worden. O warumb haben die Gotter 
 eucb Mannsbilder ordiniret vnd erschaffen, dafs jhr vnsere 
 arme Jungfrawliche Hertzen so peinigen vn angstigen 
 miisset. O jhr Poeten warumb schreibet jhr die Wei- 
 bespersonen seyn wanckelmiitig? O nein jhr thut vns 
 vnrecht, jhr Mannespersonen seyd voller Wanckelmii- 
 tigkeit, die vngetrewesten, vnbarmhertzigsten Creaturen 
 auff Erden , jhr seyd gleich wie der Wind wehet. O 
 verfluchter vntrewer Romule, ist dafs die trewe Liebe, 
 so du mir zugesagt vnd geschworen, hey jhr vnsterbli- 
 chen Gotter, verkurtzet mif doch mein Leben, auff dafs 
 mein Hertzleidt ein ende nehme. 
 FURST. 
 
 Liebe Tochter, stell dich zu frieden, denn dein 
 Wehklagen dir nichts nutzen wird. Pfui du verfluchter 
 Romule, wie bistu so voller Vntrew worden? 
 JULIUS. 
 
 Ja wol voller Vntrew vnd Schande, schad ists, 
 dafs er ein Romer gebohren. Pfui du verfluchter vn- 
 trewer Mensche, nun sol dir all dein Freundschafft ab- 
 gesaget seyn, dargegen aber wil ich dich mit Hafs vnd 
 Feindschafft verfolgen thun, weil du so vntrew vnd vn- 
 barmhertzig an der jenigen thust, welche jhr Leben vor 
 dich hette geben, dir sol alle Freundschafft auffgesagt 
 seyn, vnd gleub gewifs, dafs ich solches rechnen wil, 
 darumb schone Princessin seyd nicht betriibet, denn ich 
 alles solches rechnen wil. Erfrewet euch vnter dessen, 
 dafs jhr solch ein vngetrewen Menschen nicht seyd theil- 
 hafftig worden. 
 
 FURST. 
 
 Lieber Juli, sagt vns was euch doch der verriitbe- 
 rische Bosewicht geschrieben. 
 JULIUS. 
 
 Gnadiger Herr, es ist einerley Meynung, aufsge^ 
 nommen hier hat er vnter geschrieben. Grufse mir den 
 alten Narren, Hyppolitae Vater den alien Scheisser, 
 
 HYPPOLITA. 
 
 Alas! alas! Eve in Paradise how shamefully wert 
 thou deceived! 
 
 PRINCE. 
 O! Troy thou wert taken by stratagem. 
 
 [They read on. 
 JULIUS. 
 
 O thou most deceitful amongst men, thou abomi- 
 nation and disgrace, how couldst thou find it in thy 
 heart ! 
 
 HYPPOLITA. 
 
 O anguish! O mortal anguish! never have I ex- 
 perienced such sore pain on earth. 0! cursed be thou 
 Romulus, cursed be the hour when first I set my eyes 
 on thee! O wherefore have the Gods made and created 
 you men to wring with anguish our poor virgin hearts! 
 O, ye poets! wherefore do you write that women are 
 fickle! O no! you do us wrong, you men, 'tis you who 
 are full of fickleness, the most perfidious, the most un- 
 merciful creatures on earth, who change with every wind. 
 O accursed, o false Romulus, is that the constant love 
 you promised and swore to me? Ho! ye immortal gods 
 shorten my days, that the troubles of my heart may 
 cease! 
 
 PRINCE. 
 
 Dear daughter, be calm, for thy lamentations can 
 avail thee nothing. Fie, thou accursed Romulus! How 
 couldst thou be so false? 
 
 JULIUS. 
 
 Ay, full of perfidy and shame! Pity is it that he 
 is born a Roman. Fie, thou accursed treacherous man! 
 Henceforth do I renounce thy friendship, nay more, I 
 will pursue thee with my hate and enmity, that thou 
 hast acted so perfidiously, so mercilessly towards her, 
 who would have given her life -for thine. All friendship 
 be henceforth withdrawn from thee, and, trust me, I will 
 call him to account. Therefore, fair Princess, grieve 'no 
 more, for I will surely call him to account for this. 
 Meanwhile rejoice that you have not become the consort 
 of so vile a man. 
 
 PRINCE. 
 
 Dear Julius, pray tell us what this treacherous vil- 
 lain has writ to you. 
 
 JULIUS. 
 
 My lord, it is all to the same effect, save the post- 
 script here: 'greet that old fool, that simpleton, Hyppo- 
 lita's father of whom I have made a laughing-stock. You 
 
 9 
 
131 
 
 TRAGEDY OF JULIUS AND HYPPOLITA. 
 
 132 
 
 mit dera ich ja wol den Narren getrieben. Sie meynen 
 last es was sachte angehen, hem, hem, hem, meynen 
 sachte. , 
 
 FURST. 
 
 Hem, was der Teuffel schilt er mich vor einen 
 alten Narren vnd Scheisser, der Teuffel danck dirs. 
 Aber was schreibt der lose Kerl mehr? 
 
 JULIUS. 
 Da lese es Jhr Gn. selber. 
 
 [lAst, schiittelt den Kopff. 
 FURST. 
 
 Aber wie zum Element sol ich dieses verstehen? 
 So meynen lafs es was sachte etc. 
 
 JULIUS. 
 
 Ich kans nicht errathen, ich wil aber wol glauben, 
 dafs Jhr Gn. solches wird vor ein gewonliche Rede 
 gehabt haben. 
 
 FURST. 
 
 Ja es ist recht nun befinde ich mich. Wenn der 
 lose Kerl bey meiner Tochter zu sitzen, vnd sie zu 
 hertzen pflegte, hatte ich vor eine gewonheit also zu 
 redent. Nun spottet er vnser noch zu vnsern Schaden. 
 Ist difs das Deo gratias vor alle Wolthat? Der Teuffel 
 mufs mir ja den losen Kerl zu erst zugefiihret haben. 
 Nun sehe ich wenn er sich so freundlich vnd demiitig 
 gegen mir gestellet, hat er den Geek mit mir getrieben, 
 hole der Teuffel solche Gaste, ich begehre dein nicht. 
 
 GROBIANUS. 
 
 Schones Frawlein, was vor Antwort sol ich Ro- 
 mulo bringen. 
 
 HYPPOLITA. 
 [Eeisset den Brie/ entzwey , vnd wirfft jhn auff 
 
 die Erden. 
 Also, also bring ich dieses zur Antwort. 
 
 FURST. 
 
 [Eeisset seinen auch entzwey. 
 Vnd also bring ich von mir Antwort. 
 
 GROBIANUS. 
 
 Gnadiger Herr was vor Antwort sol ich von Jhr 
 Gn. haben. 
 
 JULIUS. 
 
 Bescheidt haben? O sag den Grewel vnd Vnzier 
 vnter alien Mannespersonen , den verfluchten vntrewen 
 Romulo, dafs ich sein argster Feind seyn wil, zu vnser 
 beyder Tagen ihn solches nimmer zuvergessen, vnd so 
 vnd so 
 
 [reist entzwey. 
 wil ich jhn antworten. 
 
 think I should go to work gently, hm. hm, hm, gently 
 I say'. 
 
 PRINCE. 
 
 Hm! Why the devil does he call me an old fool 
 and a simpleton? the devil thank him for it! But 
 what more does the varlet write? 
 
 JULIUS. 
 Perhaps you had better read it yourself. 
 
 [He reads, and shakes his head. 
 
 PRINCE. 
 
 But how, by all the elements, am I to understand 
 this? Think I should go to work gently, etc. 
 
 JULIUS. 
 
 I cannot guess, but should be inclined to think that 
 perchance my lord has been accustomed to employ this 
 manner of speech. 
 
 PRINCE. 
 
 Ay, ay, now I understand it. When the varlet used 
 to sit by my daughter and embrace her, it was my 
 custom so to speak; and now he scoffs at us to our 
 hurt! Is this the Deo gratias for all our benefits? It 
 must have been the devil himself that sent the rascal to 
 us. Now I know that while he was pretending such 
 kindness and humility, he was only making a fool o 
 me. Devil take such guests, I'll none of them. 
 
 GROBIANUS. 
 Fair lady, what answer shall I take to Romulus? 
 
 HYPPOLITA. 
 
 [Tears the letter and throws it on the grouna 
 
 That, that is my answer. 
 
 PRINCE. 
 
 That is my answer too. 
 
 [Tears his also. 
 
 GROBIANUS. 
 My lord, what answer from your lordship? 
 
 JULIUS. 
 
 What answer? O tell this monster, this abomination 
 of men, this accursed perfidious Romulus, that I am hi 
 bitterest enemy, and never to the end of my life wil 
 forget it, and so and so 
 
 [tearing the letter 
 do I answer him. 
 
133 
 
 TRAGEDY OF JULIUS AND HYPPOLITA. 
 
 134 
 
 GROBIANUS. 
 
 Ich wils wol glauben, dafs Jhr Gn. sein iirgester 
 Feind ist vnd bleiben wird. Also ade von hinnen ich 
 mich mache. 
 
 [Geht weg. 
 JULIUS. 
 
 Schones Frawlein , achtet jhr wol wirdig vmb des 
 verfluchten vntrewen Romuli wegen betrubt zu seyn. 
 
 HYPPOLITA. 
 
 Ja ich bin betrubet, vnd das betrubste Weibesbild 
 auff der Welt. 
 
 JULIUS. 
 
 Ich bitte verbannet jhn aufs ewern Sinn vnd Ge- 
 dancken, so seyd jhr mit Froligkeit wider ernewert. 
 
 FURST. 
 
 Solches ist auch mein Rath, Hebe Tochter, dafs du 
 jhn gar aufs deinen Hertzen verbannest, vnd nimmer 
 an jhn gedenckest, sonsten wird das winseln, wehklagen 
 kein Ende haben, lasset vns hinein kehren, vnd nicht 
 mehr an jhn gedencken, denn ich habe Vrsache, solche 
 Schmach aber werde ich mein Tage nicht vergessen. 
 
 ACTUS TERTIUS. 
 
 JULIUS. 
 Holla, holla Diener Grobiane kom heraufs. 
 
 GROBIANUS. 
 
 Hie bin ich gnadiger Herr. 
 JULIUS. 
 
 Hor Diener, dir ich am meisten vertrawe, wie du 
 auch selbst weist, dafs ich dir vertrawt, welches ich 
 sonst leichtlich keinen gethan hette, fahr also fort, es 
 sol dein Schade nimmer seyn. 
 
 GROBIANUS. 
 
 Gnadiger Herr, ich bin bereit Jhr Gn. in alien zu 
 folgen vnd zu gehorsamen, auch die Sachen also zu- 
 verrichten, dafs es Jhr Gn. nicht besser begehren sol. 
 
 JULIUS. 
 
 Du bist mein getrewester Diener, darumb ich dich 
 auch allein zu meinen geheimen Sachen brauch. Nim 
 hin diesen Brieff, trag jhn alsobald zur schonen Hyppo- 
 lita, vermelde jhr darneben mein freundlichen Grufs 
 vnd Dienste, sag vnd machs jhr grofs vor, wie hefftig 
 ich in jhr verliebet, wie jammerlich ich mich gebehre, 
 dafs ich weder esse noch trincke, auch keirie Ruhe 
 haben kan, sondern stets seufftze: In Summa mache 
 
 GROBLANUS. 
 
 I fully believe, my lord, that you are, and will re- 
 main, his bitterest foe. Farewell, I hie me hence. 
 
 [Exit. 
 
 JULIUS. 
 
 Fair lady, do you hold it worth your while to be 
 sad for that accursed false Romulus? 
 
 HYPPOLITA. 
 Ay, I am sad, and the saddest woman on earth^- 
 
 JULIUS. 
 
 Pray banish him from your thoughts and heart, 
 and let joy restore you. 
 
 PRINCE. 
 
 Such is my counsel too, dear daughter. Banish him 
 quite out of thy heart and never think of him more; 
 else will there be no end of tears and lamentations. 
 Let us go in and never mention him again, for indeed 
 I have reason. But never to the end of my life shall 1 
 forget such outrage and dishonour. 
 
 ACT III. 
 
 JULIUS. 
 What ho! Grobianus come here! 
 
 GROBIANUS. 
 Here I am, my lord. 
 
 JULIUS. 
 
 Listen, knave. In thee have I placed most confi- 
 dence. Thou knowest I have trusted thee, a thing I do 
 but rarely; go on as thou hast begun, thou shalt never 
 rue it. 
 
 GROBIANUS. 
 
 My lord, I am ready to follow and obey your lord- 
 ship and to manage everything so, that your Lordship 
 shall not wish to have it better. 
 
 JULIUS. 
 
 Thou art my trusty knave, therefore I use thee in 
 my secret matters. Here, take this letter, bear it with- 
 out delay to fair Hyppolita, convey to her my sweet 
 greeting and humble service, unfold to her in many 
 words how sick I am for love, how pitiably I bear my- 
 self, that I can neither eat nor drink nor rest, but am 
 always sighing. In fine, make the devil big and ten 
 times bigger than he is. I promise thee, knave, thy suit 
 
 9* 
 
135 
 
 TRAGEDY OF JULIUS AND HYPPOLITA. 
 
 136 
 
 den Teuffel grofs vnd zehenmal mehr, denn es 1st, fur- 
 war Diener wirstu etwas mit deinen procuriren erhalten, 
 Goldt, Silber, vnd grofs Gnad sol dein recompension 
 seyn, mach dich nun auff, zur Stunde, vnd brauch ja 
 wol deine Zunge. 
 
 GROBIANUS. 
 
 Gnadiger Herr, Jhr Gn. gleuben mir, dafs ich mit 
 hochstem Fleifs die Sache wil anbringen. 
 
 [Nimpt den Brieff, gehen hinein. 
 HYPPOLITA. 
 
 Weil Trew vnd Glaube ist worden klein, werd ich 
 nun bleiben gar allein. In Betriibnifs Jammer vnd 
 Elend wil ich nun mein gantzes Leben zubringen, stets 
 seufftzen vnd Thranen mussen meine Speise seyn. So 
 bald des Tages Liecht anbricht, werde ich eingedenck 
 seyn wie ein Mensch voller Vntrew stetigs pflag zu 
 mir zu kommen. All getrew Lieb thu ich verfluchen. 
 Mit Standthafftigkeit hab ich getrewe Lieb zu halten 
 mir angelegen seyn lassen, aber es ist mir vbel belohnet 
 worden, was mag von mir haben wollen, der so eilends 
 zu mir kompt. 
 
 [Kompt Grobianus. 
 
 Mich deucht ich nie ein grewlichern Kerl gese- 
 hen hab. 
 
 GROBIANUS. 
 
 Schones Frawlein, meines jetzigen Handwercks ich 
 ein Briefftrager bin, hie hab ich einen an Jhr Gn. mit 
 demutiger Bitte, denselben zu vberlesen. Mein Herr 
 Julius lest Jhr Gn. zu 1000. malen griissen, von welchen 
 ich auch diesen Brieff habe. 
 
 HYPPOLITA. 
 
 O das tausendtmal griissen thonet noch stets vor 
 meinen Ohren. Es kompt mir aber dieses gar seltzam 
 vor vom Julio, sintemal ich zuvor nur eins von jhm 
 zu empfahen pflag. Hie steht: Schonest auff Erden, 
 die inbriinstig grosse Liebe, so ich zu euch trage zwin- 
 get mich nunmehro mit aller Macht euch solches zu 
 offenbaren. Weil ich aber also in ewren Stricken ge- 
 fangen liege, habe ich nimmer keine Ruhe, all Witz 
 vnd Verstandt thut mir schier vergehen. Ich kan mit 
 Warheit wol klagen, dafs ich der vngluckseligste Mensch 
 auff Erden sey. Werde ich aber von diesen Banden 
 auffgeloset, schatz ich mich vor den Gluckseligsten. 
 Darumb schonest Hyppolita, die jhr mein Leben in 
 ewren Handen, vnd gefangen habt, beweist mir Liebe, 
 weil ich gegen euch mit solcher inbriinstigen liebe vmb- 
 geben, weil es Venus vnd Cupido in jhren choro also 
 beschlossen. O reist abe die Bande, thut mich nicht 
 langer krancken, sondern gluckselig machen. Dieser 
 Brieff ist vergeblich geschrieben. Liebe, Liebe, ich bin 
 
 shall bring thee recompense in gold, silver and great 
 favour. Be gone this instant, and use thy tongue well. 
 
 GROBIANUS. 
 
 My lord, your lordship may rely on me to speed 
 your cause with all diligence. 
 
 [He takes the letter. Exeunt. 
 HYPPOLITA. 
 
 Since faith and trust are gone, I'll spend my virgin 
 days alone. In sadness, wretchedness, and misery, must 
 I pass my whole life; sighs and tears must be my daily 
 food. As soon as day dawns, I shall remember how a 
 man, false and perfidious, used to come to me. I'll 
 execrate all true love. It has been my heart's desire to 
 love with constancy, but my love has met with but a 
 poor return. What can this man want of me, who is 
 coming in such haste. 
 
 [Enter GroUanus. 
 
 Methinks I have never seen a more detestable 
 fellow. 
 
 GROBIANUS. 
 
 By trade, fair lady, I'm a letter -bearer, and bear 
 one for you, which I humbly entreat you to peruse. 
 My master Julius sends a thousand greetings to you, 
 lady, and this letter. 
 
 HYPPOLITA. 
 
 O how the thousand greetings still resound in mine 
 ears! Yet still, from Julius metbinks 'tis strange, see- 
 ing one greeting was his wont before. Thus he writes : 
 'Fairest on earth, the great and fiery love 1 bear you 
 compels me now with irresistible power to reveal it to 
 you. My wits and understanding are clean gone, and 
 I know no rest, because I am a captive to your charms. 
 I can with truth complain that I am the most wretched 
 man on earth. But were I once liberated from these 
 bonds, I were the happiest. Wherefore, fairest Hyppolita, 
 who doth hold my life in her hands, show me a little 
 love, seeing that I bear you such great and fiery love, 
 and that Venus and Cupid have decreed it in their choir. 
 
 burst these bonds, afflict me no longer, but make 
 me happy.' This letter is writ in vain. Love, love, 
 
 1 have had my fill of thee! I have loved enough, and 
 thereby the matter is at rest for ever. Shall I love again? 
 Nevermore! Ye false men, ye are born but to make 
 fools of us women, with your whining words. Hear 
 
137 
 
 TRAGEDY OF JULIUS AND HYPPOLITA. 
 
 138 
 
 deiner satt, genug habe ich geliebet, vnd darbey sol es 
 gantzlich beschlossen seyn. Solt ich nun wiederumb 
 lieben ? Nimmermehr : Jhr betrieglichen Mannespersonen 
 seyd nur gebohren, mit klaglichen Worten die Jung- 
 frawen ins Narrenseil zu fuhren. Hore Diener sage 
 deinem Herrn, dafs ich den Brieff empfangen, Antwort 
 darauff, achte ich vnnotig. 
 
 GROBIANUS. 
 
 Schones Frawlein, dofern ich kein andere Antwort 
 von Jhr Gn. erlange, so hengt er sich vor alien Ele- 
 ment auff, dann schones Frawlein, jhr, konnet nicht 
 glauben, wie voller Pfeilen er geschossen. Fiirwar er 
 klaget sehr vmb E. Gn. sie sey dessen allein ein Vr- 
 sache, ich verleih ein gut Wort vor meinen Herrn, denn 
 er mich sehr darumb gebeten, ich sol es hoher vor Jhr 
 Gn. anbringen, als es jmmer ist, er isset vnd trincket 
 i nicht, er hat auch keine Ruhe, so hefftig ist er gegen 
 Jhr Gn. verliebet, vnd wenn er noch schlafft, seufftzet 
 er, redet im Schlaffe: Hyppolita,:, darumb gnadiges 
 IFrawlein, Jhr Gn. machen ein grofs Vnruh, dafern sie 
 dieses nicht wendet. 
 
 HYPPOLITA. 
 
 Meinethalben kan er wol zu frieden seyn, mache 
 dich nur von hinnen, vnd bringe deinen Herrn zur 
 Antwort, dafs ich den Brieff empfangen. 
 
 GROBIANUS. 
 
 So werde ich meinem Herrn ein vnangenehmer 
 
 IBote seyn, Botenlohn, Goldt, Silber vnd grofs Gnade, 
 
 t welches mir mein Herr zugesagt, werde ich nun miissig 
 
 k gehen. Damit ich dennoch etwas darvor habe , bitte 
 
 ic\i Jhr Gn. mir ein Zehrpfennig mitzutheilen. 
 
 HYPPOLITA. 
 
 Begehrestu nur das? Sieh da hastu einen Ducaten, 
 damit mache dich von hinnen. 
 
 [Nimpt. 
 GROBIANUS. 
 
 Hochlich Jhr Gn. ich dancken thu, allerschonest, 
 allertugendtreichstes Frawlein, dessen lobwirdig Nahme 
 i erschallet in alle Welt, die Warheit auch zu sagen, jhr 
 I Gn. ist die Allerschonest auff Erden , ich hette es nie 
 p glauben wollen, wenn ichs nicht gesehen. An Schon- 
 theit thu ich Jhr Gn. vergleichen der Gottin Veneri. 
 An Tugenden der Gottin Dianae. Ich kan nicht Worter 
 i finden zu preisen, wie wol billich. 
 HYPPOLITA. 
 
 Nach solchen Lob ich auch wenig fragen thu, hette 
 <ich dir keinen Ducaten geben, so were ich auch nicht 
 ;in dein Lob gerathen, mach dich alsobald aufs meiner 
 'praesentz, weil ich deiner nicht langer allhie begehre. 
 
 [Gehen Jtinein. 
 
 me, knave, tell thy master I have received his letter, 
 further answer is unnecessary. 
 
 GROBIANUS. 
 
 Fair lady, if so be I get no other answer from 
 your ladyship, he'll go hang himself in face of all the 
 elements, for, sweet lady, you cannot imagine how full 
 of darts he is. In sooth he suffers much ; and you lady 
 are the sole cause. I would put in a good word for my 
 master, because he entreated me to do so, and tell to you, 
 gracious lady, how he can neither eat nor drink nor yet 
 find rest, so violently is he in love with your ladyship, 
 and when he sleeps he sighs, and exclaims, ' Hyppolita ! ' 
 Wherefore, gracious lady, you will cause him much dis- 
 quietude, if so be you are not minded to avert it. 
 
 HYPPOLITA. 
 
 He may be happy for aught it concerns me. Be 
 gone, and take this answer to your master I have re- 
 ceived his letter. 
 
 GROBIANUS. 
 
 Thus I shall be an unwelcome messenger to my 
 master, and I must lack the recompense, the gold, the 
 silver, and the great favour, my master promised me. 
 But that I may have somewhat for my pains, I beg a 
 bounty of you, gracious lady. 
 
 HYPPOLITA. 
 
 Desirest thou naught but that? Hold, take this du- 
 cat and be gone with thee. 
 
 [He takes it. 
 GROBIANUS. 
 
 I give you my best thanks, most virtuous and most 
 beauteous lady, whose matchless name resounds through- 
 out the world. To speak the simple truth, your ladyship 
 is the most beautiful lady on earth. I could never have 
 believed it, had I not seen it. In beauty I compare you 
 Madam to the goddess Venus, in virtue to the goddess 
 Diana. I have no words to praise you as 'tis meet. 
 
 HYPPOLITA. 
 
 I care but little for such praise; had I given no 
 ducat I had received no praise ; wherefore begone from 
 my presence, as I have no longer any need of you. 
 
 {Exeunt. 
 
139 
 
 TRAGEDY OF JULIUS AND HYPPOLITA. 
 
 140 
 
 Kompt der FURST vnd JULIUS. 
 
 FURST. 
 
 Juli sender guter Freund, wol hab ich euch obser- 
 viret vnd angehoret bitten vmb meiner Tochter Hyppo- 
 litam. Es 1st euch nun bewust, wie Romulus sich mit 
 jhr verbunden vnd verlobet, vnd wie das vntrewe 
 Mensch sie verlassen, was Schimpff vnd Spott mir, so 
 wol meiner Tochter dardurch kommen. Derhalben ich 
 nichts liebers sehe, dafs sie nur in diesem Gewasch 
 inoge vermahlet werden. Ich euch zu jhr wol tuchtig 
 erkenne, darumb gebe ich meinen "Willen darein, dafs 
 sie euch moge vermahlet werden, dennoch in meinen 
 Willen es nicht allein, sondern auch in jhren stehet, 
 darumb ist mein Rath, dafs jhr sie selber anredet, vnd 
 ewer Liebe jhr an praesentiret. 
 JULIUS. 
 
 Wie hoch ich erfrewet kan Jhr Gn. nicht glauben, 
 ich bitte Jhr Gn. vnterthanig, dafs er sie zu sich wolle 
 kommen lassen, auch Jhr Gn. wolle helffen sie darzu 
 bereden. 
 
 FURST. 
 
 Gar wol, ich hoff es sol alles gut werden. Holla 
 Hyppolita kom eilends zu mir. 
 
 [Kompt. 
 HYPPOLITA. 
 Gnadiger Herr Vater. 
 
 FURST. 
 
 Liebe Tochter, dieser junge Cavallier Julius mit 
 dir etwas zu reden hat, hor jhn wol zu, vnd thue jhn 
 guten Bescheidt geben. 
 
 HYPPOLITA. 
 
 Gnadiger Herr Vater, guten Bescheidt jhr jhn wol 
 geben konnet, mich deucht ich sein Anbringen zuvor 
 wissen soil. 
 
 FURST. 
 Zuvor wissen, so mustu ein Prophetin seyn. 
 
 JULIUS. 
 
 Schonest Creatur, so du jemaln den Erdboden be- 
 treten, die inbrunstig lieb, so ich zu euch trage, zwin- 
 get mich mit Macht es euch zuoffenbaren. Seynd mich 
 der bliride Cupido geschossen, bin ich ein ander Mensch 
 worden, da ich war zuvor frolich, bin ich nun trawrig, 
 vnd nach dem ich noch nicht occasion habe gehabt mit 
 euch allein Gesprach zuhalten , vnd mein Anliegen zu 
 offenbaren, bin ich stets in Betriibnifs gewesen. Weil 
 ich denn jetzt so gar in ewer Macht vnd Gewalt, so 
 komme ich demutig bittend, O Vrsache habe ich zu 
 bitten, Jhr Lieb wol mir dieses wenden, vnd von der 
 Last erledigen, O schones Frawlein meiner Hoffnung 
 nicht mehr ich wiinschen wolt. denn dafs Jhr Lieb in 
 
 Enter the PRINCE and JULIUS. 
 
 PRINCE. 
 
 Julius, my rare good friend, I have observed you * 
 closely and heard your suit for my daughter Hyppolita. 
 It is known to you how Romulus was bound and be- 
 trothed to her, and how the perfidious wretch aban- 
 doned her, and with what infamy and ridicule he co- 
 vered both me and my daughter. For this reason I de- 
 sire nothing better, than that she should be married, 
 and get clear of all this gossip. And as I acknowledge 
 you to be quite worthy of her, I give my consent to 
 the marriage. Nevertheless, as the matter does not lie 
 in my will alone, but also in hers, my counsel is, tha* 
 you address yourself to her and disclose your love. 
 
 JULIUS. 
 
 Your grace cannot conceive how rejoiced I am to 
 hear it. I humbly entreat your grace to call her hither, 
 that so your grace may lend your powers of persua- 
 sion. 
 
 PRINCE. 
 
 I hope thy suit will prosper. Ho! Hyppolita, come ! 
 here directly! 
 
 Enter HYPPOLITA. 
 My gracious lord and father. 
 
 PRINCE. 
 
 Dear daughter, this young cavalier Julius hath 
 somewhat to say to thee; listen to him and give him a 
 favourable answer. 
 
 HYPPOLITA. 
 
 My gracious lord and father, you may give answer 
 for me. Methinks his petition is foreknown to me. 
 
 PRINCE. 
 
 Foreknown! then must thou be a prophetess. 
 JULIUS. 
 
 Most fair and lovely creature that ever trod the 
 earth, the fervid love I bear you compels me with ir- 
 resistible power to disclose it to you. Since blind Cupid 
 has shot at me I am become another man; whereas 
 formerly I was joyous, I am now sad, and since I lacked 
 opportunity to hold discourse with you alone, to lay my 
 petition before you, I have been in constant sorrow. As 
 then I am so wholly in your might and power, I come 
 to yo,u with a humble entreaty. Oh I have cause to pray 
 that your love may avert this from me, and relieve me 
 of my burden. O lovely lady of my hope, I could wish 
 nothing better than that you might look into my heart 
 as through a window, and behold its temper, and know 
 
141 
 
 TRAGF:DY OF JULIUS AND HYPPOLITA. 
 
 142 
 
 nic'iu Hertz gleich durch ein Fenster sehen konte, wie 
 cs jetzt beschafFen, wie es- im Fewr lieget vnd brennet, 
 O konte ich wiinschen, das zugleich auff mein Hertz 
 geschrieben stunde, wie es mit jhn beschaffen, getrewen 
 Liebhaber wiirde man mich nennen, darumb schonest 
 mein tausendt vnd aufserwehlten Schatz mein hertz- 
 allerliebste nehmet dieses zu Hertzen, machet mich 
 gliickselig, erzeiget mir recompension, vnd beweiset mir 
 liebe. 
 
 HYPPOLITA. 
 
 Lieben vnd liebhaben ist nicht zu reden, solt ich 
 noch lieben? O nein, denn lieben ist gewifs betriiben, 
 es liebe mich einer getrewlich oder nicht', so thue ich 
 doch alles in den Wind schlagen. Freund Juli warumb 
 bittet jhr, vmb solches welches jhr zuvor wisset, dafs 
 es nicht seyn kan, es ist euch bewust, wie ich geliebet, 
 vnnd wie ich bezahlet, derhalben schwere ich im Tern- 
 pel, vor der Gottin Diana allein zu dienen, darbey auch 
 ein keusches, reines vnd Jungfrawliches leben zu fuhren. 
 Zwar Juli euch ich nicht verachten thue, denn jhr mei- 
 ner wol wirdig, aber dieses kan nicht seyn, vnnd alle 
 ewer lieb, die jhr bey euch traget, were mein Rath, 
 dafs jhr es gar in der Lufft vertreibet, last abe, last 
 abe von lieben, jhr liebet vmbsonst vnd vergebens, vnd 
 machet euch nur zum Narren. 
 
 JULIUS. 
 
 Zum Narren, zum Narren, ich wils fiirwar wol 
 gleuben schonst Hyppolita, E. L. beweiset mir jetzund 
 die groste Vnbarmhertzigkeit. Jetzt wird eines verra- 
 therlichen Mannes Vbelthat alien Mannspersonen zuge- 
 rechnet, allerschonest Hyppolita, Jhr L. bedencke dieses, 
 dafs bei Romulo vngetrew vnd falsche liebe war, in 
 mir aber ist getrewe, standthafftige vnd inbriinstige liebe. 
 Ad spectator. 
 
 O nicht inbriinstige liebe, warumb ward ich mei- 
 nem Getrewesten auff Erden vngetrew? O schones 
 Friiwlein, seyd nicht so gar vnbarmhertzig, last erwei- 
 chen ewr hart vnd kaltstalern Hertz, O loset auif den 
 der so schwer in ewer Gewalt gefangen lieget, bewei- 
 set mir liebe, sonst komme ich in hochste Noth vnd 
 Jammer. 
 
 HYPPOLITA. 
 
 Fiirwar Juli ich bedencke solches, wie Romulus 
 ein vngetrewe liebe, vnd jhr ein getrewe liebe fiihret. 
 Ich weifs mich noch zuentsinnen, dafs Romulus eben 
 wie jhr sein getrew mir vorzusagen wuste. Nein, nein, 
 ich begehre mit keinen getrewen Hertzen vmbzugehen, 
 last ab : , : fiiget euch zu einer andern Madon mit ewern 
 .getrewen Hertzen, es ist vergebens, ja gar vergebens. 
 
 how it is consumed with a burning fire. O could you 
 read what is written on my heart, you- would call me a 
 true lover. Therefore, most fair, most exquisite and 
 rarest treasure, my best beloved, take this to thy heart; 
 make me blessed, and return my love! 
 
 HYPPOLITA. 
 
 It is easy to prate of love and loving can 1 still 
 love? O no, for to love were but to bring sorrow. 
 Whether I am loved faithfully or no, I cast love to the 
 winds. Friend Julius, wherefore do you wish for that, 
 which you know* before I cannot give. You are not igno- 
 rant how I have loved, how I have been repaid. There- 
 fore, in the temple, before the goddess Diana I swear 
 to serve no one but her, and to lead a chaste, pure 
 and virgin life. 'Tis true, Julius, I despise you not, 
 and you are worthy of me; but this cannot be. Be ad- 
 vised, scatter to the winds all the love you bear within 
 you. Cease, cease from loving, you love in vain, you 
 love hopelessly, and only play the fool. 
 
 JULIUS. 
 
 Ha! Play the fool, play the fool, fair Hyppolita, 
 in sooth I fear it! Dear lady, how cruel do you show 
 yourself in this! You impute one false man's misdeed to 
 all men. Fairest and most beautiful Hyppolita, weigh 
 this: though Romulus' love was false and treacherous, 
 mine is faithful, constant and most fervent love. 
 
 Ad spectatores. 
 
 O not fervent love, wherefore was I false to the 
 truest on earth? O sweet lady, be not so very un- 
 merciful, suffer your hard and flinty heart to be sof- 
 tened! O liberate him who lies so heavily fettered by 
 your power, and show me some love, else I perish in 
 deepest wretchedness and woe! 
 
 HYPPOLITA. 
 
 In truth Julius I do believe that Romulus bore me 
 a false love, and you a true. I well remember, that 
 Romulus, like yourself could discourse fluently of love. 
 No, no, I desire to ensnare no faithful heart, desist: 
 get you to another Madonna with your faithful heart; it 
 is in vain, altogether in vain. 
 
143 
 
 TRAGEDY OF JULIUS AND HYPPOLITA. 
 
 144 
 
 JULIUS. 
 
 O Vnbannhertzigkeit bistu doch eben so machtig, 
 wie der Donner vnter den Himmel, gleich eine Don- 
 nerkeil schlegstu jetzt durch mein junges Hertz, vnd 
 thust es noch hafftiger vorsehren vnd verderben, O 
 warumb lieb ich, du grimmiger Todt, warumb wilstu 
 meiner nicht begehren, ich vngliickseeligster Mensch. 
 Mein Vorhaben gehet den Krebsgang. 
 
 Ad spectatores. 
 
 Was ist mir nun geliistet, mein Vntrew, so ich an 
 meinen getrewesten Freunde auff Erden, der sein Leben 
 vor mich gelassen, vollnbracht. Juli Juli. Worein hastu 
 dich gefiihret? 
 
 [Steht betrubt. 
 
 FURST. 
 
 Juli warumb so betrubt? Sagt mir vnnd was jhr 
 guts erhalten bey meiner Tochter? 
 JULIUS. 
 
 Gnadiger Herr, die Vrsach meines Betriibniifs ist 
 diese, dais ich nichts erhalten mag, jhr Gn. Tochter 
 wil gar nichts horen, von der trewen Lieb, die ich zu 
 jhr trage, sie gedenck dafs die Vntrew Romuli, so tieff 
 in jhren Hertzen stecke, auff dafs auch jemaln ein man 
 so gliickseelig seyn sol, jhrer theilhafftig zu werden. 
 Denn sie auch bey der Gottin Diana geschworen, Jhre 
 Tag in Jungfrawlichen Leben zu vollnbringen. O wann 
 nun jhr Gn. mein procurator seyn wolten, so gebe ich 
 mich ein wenig zufrieden. 
 
 FURST. 
 
 Wolan gebt euch zufrieden, ich wil mein Fleifs 
 thun, dafs sie euch liebe. Hyppolita. Liebste vnd eigne 
 Tochter, du weist wie ich dich von'Jugend auff hefftig 
 geliebet, gleich einen Vater mag gebuhren. Nun bistu 
 zu deinen Jahren kommen, derowegen mir dich zuver- 
 sehen gebuhren wil, alfs habe ich diesen jungen Printz 
 Julio dich jhm zu eigen zugesaget, drumb lafs dirs ge- 
 fallen, weil er dein an gebiirth Tugenden vnd Reich- 
 thumb wol wirdig ist. 
 
 HYPPOLITA. 
 
 Liebster Herr vnd Vater mein, Julius der junge 
 Printz, ist meiner liebe wol wirdig, aber jhr liebde 
 bedenck zuvor die grosse Vntrew, so Romulus an mir 
 bewiesen, welches mir so sehr eingetrieben , dafs ich 
 mirs gantzlich vorgenommen, mich nimmermehr zuver- 
 heyrahten. 
 
 FURST. 
 
 Liebe vnd einige Tochter du thust gar weit jrren, 
 die vberfliissigen Gedancken thun dir deinen verstandt 
 gar benehmen, bedencke dieses hinwieder Romulus ist 
 mit falscher vnd vntrewer Liebe dir gewogen gewesen, 
 
 JULIUS. 
 
 O cruelty, thou art as mighty as the thunder from 
 heaven! like a thunderbolt dost thou fall now into my 
 young heart, searing and withering it up! O wherefore 
 do I love, thou grim fierce death, wherefore dost thou 
 not desire me, most miserable of men ! My design goes 
 backwards. 
 
 Ad spectatores. 
 
 What boots the perfidy I've practised on my most 
 faithful friend on earth, who would have given his life 
 for mine. Julius, Julius, what hast thou brought thy- 
 self to! 
 
 [Stands melancholy. 
 PRINCE. 
 
 Julius, wherefore so sad? Tell me, what favours 
 from my daughter? 
 
 JULIUS. 
 
 My lord, the cause of my sadness is this, that I 
 have had none. Your daughter will listen to naught of 
 the true love I bear to her. She fancies that the faith- 
 less Romulus so holds her heart, that another can never 
 be blessed by possessing her. Moreover she has sworn 
 by the goddess Diana to spend her days in virginity. O ! 
 if your grace would sue for me, I could be somewhat 
 more at ease. 
 
 PRINCE. 
 
 Well now, compose yourself, I will do my utmost 
 for that she may love you. Hyppolita, my dear and 
 only daughter, thou know'st how fervently I've loved 
 thee from thy youth as a father may. Now hast thou 
 come to that age, when it is fitting that I should endow 
 thee; for which purppse I have promised thee to this 
 young Prince Julius. Be content therefore, seeing he 
 is equal to thee in birth, virtues, and riches. 
 
 HYPPOLITA. 
 
 Dearest sir and father mine, Julius, the young 
 Prince, is well worthy of my love; but consider first 
 the great unfaithfulness, which Romulus has practised 
 towards me, and which has struck so deep, that I have 
 quite determined never to wed. 
 
 PRINCE. 
 
 Dear and only daughter, thou goest far astray; thy 
 too luxuriant fancies deprive thee of thy wits. Weigh 
 this again. Romulus with his false and treacherous love 
 was dear to thee ; but this Julius, as 1 do well observe, 
 
145 
 
 TRAGEDY OF JULIUS AND HYPPOLITA. 
 
 146 
 
 dieser Julius aber liebet dich von Hertzen, wie ich von 
 alien Vmbstanden mercken kan, also dafs ich fast mein 
 Tage keinen Menschen gehoret, d' hoher were verliebet 
 gewesen, fiirwar Tochter du magst gar kein Vnter- 
 scheidt zwischen guten vn bosen, du bist mein einig 
 Erbe des Fiirstenthumbs , vnd soltestu nicht vermahlet 
 werden, so wiirden wir die frolichsten Tage erlebet 
 haben, vnd das landt wiirde dardurch in frembde pos- 
 session gerahten, nicht also liebe Tochter, thue dem- 
 selben, der falsch vnd vntrew mit dir gehandelt, nicht 
 die liebe an, dafs du soltest besitzen bleiben. Wirstu 
 mich lieben, so wirstu mir auch folgen. 
 
 JULIUS. 
 
 O schone Hyppolita was ist auff der Welt, da man 
 wahre liebe kan an den Tag geben, vnd mehr in War- 
 heit bekrafftigen , denn durch einen Eydt, welchen ich 
 denn jetzt auff meinen Knieen ablege, vor jhr liebten. 
 So thue ich nun schweren vor alien vnsterblichen Got- 
 tern, dafs die Liebe, so ich schones Frawlein zu euch 
 trage, vnverfalschet sey, sondern getrew, standthafftig, 
 ja dafs sich mein Hertz nimmer zur Ruhe geben wird, 
 ich bin denn zuvor ewer Liebte theilhafftig worden, die 
 brennend vnd trewe Liebe lest nimmer nach, sie macht 
 offt den trawrigsten Menschen, auch oift den frolichsten 
 von derer beyden eins, ich werde ersettiget werden. 
 O schonest Frawlein, wen ich nicht mit recompensiren 
 bezahlet werde, so mufs ich ohn Zweifel sterben, wenn 
 denn ein solches geschehe, man sprechen mochte, dafs 
 jhr, an meinem Tode ein Vrsach, vnd dessen hernach 
 kleiner Ehre hettet. Vnd fiirwar ich gleub, wenn E. L. 
 ein solches bedachten, das Gewissen sich betriiben 
 wiirde, dafs sie ein solch Vnbarmhertzigkeit an mir ge- 
 than hette, vnd zu sich selbsten sprechen werde, O weh 
 O weh, was grosses vbel ich begangen, dafs ich mich 
 nicht vber Julium den getrewesten Liebhaber erbarmet 
 habe? O weh mir jmmer, dafs ich jhn so jammerlich 
 mit meiner Vnbarmhertzigkeit getodt habe : Solch Weh- 
 klagen vnnd Gedancken weren doch alle verlohren, vnd 
 weren nur Vrsache die Vnruhe zuvermehren. Vnd da- 
 mit E. L. nicht zu solchen komme, lafs sie doch jhr 
 steinern Hertz erweichen, vnd mich Gnade empfangen, 
 ehe denn ich den Todt leide. 
 FURST. 
 
 Liebste Tochter, du hast ja nun genugsam ange- 
 horet, mit was inbriinstiger liebe dieser junge Printz 
 Julius kegen dir vmbgeben, drumb lafs doch abe von 
 deinen Vorsatz, vnd dafern du mich jemaln geehret, so 
 lafs dir Julium gefallen, vnd gib jhn dein Hertz, gleich 
 wie er dir gethan hat. 
 
 loves thee in his heart, so that, as I can perceive from 
 all the circumstances, I have hardly ever known a man 
 more deeply in love than he. In sooth, daughter, thou 
 mak'st no difference between good and bad; thou art 
 the sole heir of my princedom and shouldst thou not 
 wed, our happiest days would be at an end, and my 
 lands would fall into stranger's hands. Wherefore do 
 not, dear daughter, -do not remain unwed for love to 
 one who has repaid thee with falsehood and perfidy. 
 If thou dost love me, do my will. 
 
 JULIUS. 
 
 O fair and lovely Hyppolita, what else is there in 
 the world to prove and confirm true love more than a 
 solemn oath, which here upon my knees I swear before 
 you, dear lady. Before the immortal Gods I swear, the 
 love I bear you, fair lady, is no feigned love, but true and 
 constant, nay that my heart will never know peace till 
 it becomes a sharer in your love. True and fiery love 
 never ceases, it often makes the saddest men, and often 
 too the gayest, and one of these I must surely be. O 
 fairest lady, if you do not reward me, doubtless I must 
 die; and should this happen, they will say you are the 
 cause of my death, and you will reap little honour by it. 
 And verily, I do believe, my lady, if you will consider 
 this, your conscience would be sad and sore at such 
 hideous cruelty, and would thus discourse: Alas! alas! 
 how great a sin have I committed, in not taking pity 
 on Julius, the most true and faithful of lovers. Woe is 
 me, that I have murdered him miserably with my hideous 
 cruelty! Such bitter thoughts and regrets would be all 
 in vain, and would only add to your remorse. That you 
 be not, my lady, reduced to such sad state, pray suffer 
 your hard heart to be softened, and show me grace, ere 
 I endure this death! 
 
 PRINCE. 
 
 Dearest daughter, thou hast surely listened to the 
 fill to this fiery tale of love from Prince Julius. Where- 
 fore desist from thy resolve, and if ever thou hast ho- 
 noured me, admit Julius to thy favour, and bestow on 
 him thy heart as he has his on thee. 
 
 10 
 
147 
 
 TRAGEDY OF JULIUS AND HYPPOLITA. 
 
 148 
 
 HYPPOLITA. 
 
 Hertzliebster Vater, well es dann ewer hertzlicher 
 Wille, das ich mit Julio sol vermahlet werden, vnd er 
 mir getrewe liebe zugeschworen , ich auch nichts mehr 
 von jhn fordern kan, so lafs ich es mir alles wolge- 
 fallen, vnd nach ewren Willen zu leben, bin ich pflicht- 
 schuldig. 
 
 FURST. 
 
 Hertzliebe Tochter, du thust mich jetzt hochlich 
 erfrewen. 
 
 JULTOS. 
 
 Aber mich 1000 mal mehr, gliickseelig sey die 
 Stunde, in welcher mir die lieblichen Worter zu Ohren 
 kommen. 
 
 FURST. 
 
 Wolan Juli. Hie empfanget mein Tochter, lebet 
 lang mit jhr in Friede vnd Frewde. 
 
 JULIUS. 
 
 Die Gotter all in gemein seynd jetzt gepreiset dafs 
 sie mich diesen Tag erleben lassen. Vnd Gnadiger 
 Fiirst demiitig thue ich mich bedancken, dafs mir jhr 
 Gn. gewirdiget vnd seine einig Tochter geben, was in 
 Menschlichen Krafften stehet zuwieder gelten, mit liebe, 
 Frewde, vnd wie es jmmer seyn moge, daran jhr Gn. 
 Frewde vnd Trost an vns haben moge, sol nur mein 
 stetes nachtrachten seyn. 
 
 FURST. 
 
 Ich zweifel nicht, jhr werdet mir ein Trost in mei- 
 nem Alter seyn, aber hiervon darnach weiter, jetzt last 
 vns hienein kehren, vnd bedencken wie ehest das Bey- 
 lager in alien Frewden moge gehalten werden. 
 
 ACTUS QUARTUS. 
 
 ROMULUS. 
 
 O lieber Gott was hab ich gehoret, dafs mein vn- 
 getrewer Gesell Julius, mir meine hertz allerliebste Braut 
 entfreyet, nun ich komme vnd gedencke mit jhr meine 
 Frewde zu haben, so ist es durch Falschheit vnd Be- 
 trug alles vorgebauet. O kein Wort kan ich bald vor 
 schrecken mehr reden. O du vngetrewer verrahterli- 
 cher Bosewicht, verflucht seystu, vnd deiner Seelen 
 musse nimmer Rath werden 
 
 Zum Diener. 
 
 Aber du mein getrewer Freundt, ich bitte sag nie- 
 mand ein Wort darvon, dafs du mich hie gesehen best. 
 
 HYPPOLITA. 
 
 Dearly beloved father, as it is your hearty will that 
 I should wed Julius, and he has sworn to love me truly, 
 I can demand no more and must submit, as it is my 
 bounden duty to obey your will. 
 
 PRINCE. 
 Beloved daughter, now dost thou rejoice me much. 
 
 JULIUS. 
 
 And me a thousand times more; blessed be the 
 hour, that brought the sweet words to my ear! 
 
 PRINCE. 
 
 Well Julius, here receive my daughter, live long 
 with her in .peace and happiness. 
 
 JULIUS. 
 
 Be all the gods together praised for this dayl And, 
 gracious Prince, be humbly thanked that you have held 
 me worthy of your only daughter I Whatever is in mortal 
 power, to recompense with love, and joy, whatever may 
 yield your grace comfort and delight in us, shall be my 
 sole and constant aim. 
 
 PRINCE. 
 
 Doubtless you will prove a comfort to me in my 
 old age. But more of this anon. Now let us go in and 
 confer on the festivities which shall soon be held in 
 great joy and mirth. 
 
 ACT IV. 
 
 ROMULUS. 
 
 O Heavens, what have I heard! that my perfidious 
 fellow Julius hath robbed me of my sweet bride and 
 wedded her, now that I am come expecting to find my 
 joy in her! All, all is lost through his perfidy and false- 
 hood. I scarce can utter a word for horror. O thou per- 
 fidious, treacherous villain, my curses light upon thee, 
 and may thy soul never know peace! 
 
 To the servant: 
 But thou, my faithful friend, say no word to any- 
 body that thou hast seen me here. 
 
149 
 
 TRAGEDY OF JULIUS AND HYPPOLITA. 
 
 150 
 
 DlENER. 
 
 Gnadiger Herr, ich wil es also machen, vnd keinen 
 Menschen ein einiges Wort von ewer Wiederkunfft 
 sagen. 
 
 [Der Diener gehet weg , aber Romulus gehet in 
 grossen Betriibnufs, vnd findet mitler Weile 
 denfalschen Brieff, welchen des Fiirsten Toch- 
 ter vor Vnwillen in zwey Stuck zerrissen. 
 
 ROMULUS. 
 
 Allhie finde ich einen Brieff. Mich diinckt ich sol 
 die Handt kennen. Wunder:,: Siehe dafs ist meines 
 vngetrewen Bruders Julii Handtschrifft, hier stehet also 
 geschrieben. 
 
 \_Liest den Brieff. 
 
 Schones Frawlein jhr sollet wissen, dafs jhr mir 
 nicht zu Theil werdet werden, denn ich mich schon 
 allhier zu Rom mit einer vermahlen lassen, die da viel 
 schoner vnd reicher ist, .denn jhr seyd. 
 
 [Lest den Brie/ fallen, vnd spricht. 
 
 O weh der verrahterlichen That, was ist diese Welt? 
 Nichts anders denn eine Grundsuppen, aller Betriege- 
 rey, O mag doch niemals solch betrugliche That ge- 
 schehen seyn. O lenger nunmehr zu leben were, mir 
 Helles Qual. O das doch nur der bleiche Todt mochte 
 vber mein Hertz triumphiren. Aber lafs mich vor Recht 
 bedencken. Wer wolt sich alfsdenn an meinen Feindt 
 rechen? Nein nein, meine Handt sol noch heute in dei- 
 nen Blute baden. Rache vnd resors mufs ich vber dich 
 schreyen, ja nimmermehr soltu jhres stoltzen leibes theil- 
 hafftig werden, denn wenn du auff den Abend am aller 
 frolichsten seyn wirst, wil ich dir im Tantze jammer- 
 lich dein leben nehmen, damit du hinfuro niemand mehr 
 betriiben miigest, wie du eben jetzo mir gethan hast. 
 Aber sieh da kompt der vngliickseelig vngetrew Mensch, 
 in grosser Pracht vnd Herrligkeit triumphirende aufs 
 der Kirchen, ich weifs was ich thun wil, ich wil mich 
 bald bey Seits machen, mich mit einen Diener verwan- 
 deln, dir helffen den Brauttantz tantzen. Aber solch 
 ein Tragsedien wil ich mit dir agiren, dafs du kein Tag 
 kein Mensch mehr betriegen, betriiben sollest. 
 
 JULIUS. 
 
 [Kompt mit der Braut aufs der Kirchen. Romu- 
 lus stehet von feme vnd siehet zu, gehet dar- 
 nach weg, vnd vermummet sich, man fang et 
 an zu tantzen. Julius spricht zu Hyppolita. 
 Saget mir doch mein tausent Schatz, wie gefallen 
 euch die Musicanten vnd Comsedianten so gestriges Ta- 
 ges die Tragaediam agirten. 
 
 SERVANT. 
 
 My lord, I'll do your bidding, and not say a word 
 of your return to any one. 
 
 [Exit servant. Romulus paces up and down in 
 great dejection, and meanwhile finds the false 
 letter which the Prince's daughter in her rage 
 had torn in two pieces. 
 
 ROMULUS. 
 
 Here I find a letter. Methinks I ought to know this 
 hand. O wonder see, it is my perfidious brother Julius' 
 handwriting! It runs thus: 
 
 [Reads the letter. 
 
 Fair lady, 1 hereby make known to you, that you 
 can never be mine, for I am already wedded here at 
 Rome to one much fairer and richer than yourself. 
 
 [Drops the letter and speaks: 
 
 O woe to the treacherous deed! What is this world? 
 Naught but the dregs of infamy and lies. O that such 
 an infamous deed had never been ! O now to live longer 
 were a torment of hell. O would that pale death might 
 triumph o'er my heart! But let me think of justice, for 
 who would then revenge me on my foes? Nay, nay, 
 this very day my hand shall bathe in thy blood. Revenge 
 and to the rescue will I shout out after thee. Nay, 
 nevermore is her proud body destined for thy arms; for 
 in the evening when thy mirth is greatest, I'll take thy 
 life miserably in the dance, that henceforth thou mayest 
 nevermore deceive, as thou at present hast done by me. 
 But see, there comes the false wretched man out of the 
 church triumphantly in great state and splendour. I know 
 what I will do : I will retire, disguise myself as a servant, 
 and help thee dance the bridal dance, but such a tragedy 
 I will act with thee, that never shalt thou deceive and 
 sadden any one more. 
 
 JULIUS. 
 
 [Enters with his bride from the church. Romulus 
 stands at a distance looking on, goes away 
 after a time and disguises himself. They begin 
 to dance. Julius speaks to Hyppolita: 
 Pray, tell me, my rare treasure, how did you like 
 the musicians and comedians that acted the tragedy 
 yesterday? 
 
 10* 
 
151 
 
 TRAGEDY OF JULIUS AND HYPPOLITA. 
 
 152 
 
 HYPPOLITA. 
 
 Schones Lieb die Musicanten gefallen mir nicht vbel, 
 die Comoedianten aber gefielen mir aufs dermassen wol, 
 denn ein jeglicher agirte seine Person wol vnd prachtig. 
 
 FURST. 
 
 Sieh da sieh da, was macht jhr beyde, lieber last 
 vns nun lustig vnd frolich, diese Hochzeit verbringen, 
 junger Printz wie stehet jhr so stille, wollet jhr mit 
 ewrer Braut nicht zu tantze. 
 
 JULIUS. 
 
 Gnadiger Herr vnnd Vater, jetzt wollen wir zu 
 tantzen anfahen, holla jhr Musicanten seyd lustig vnd 
 last euch horen. 
 
 '[Jetzt fdnget man an zutantzen, da der volln- 
 bracht kompt Romulus sampt ander vermummet, 
 vnd prcesentiret sieh vor einen Mittdntzer, wie 
 jJin Julius siehet spricht er. 
 
 Sieh sieh wer ist der, es mag wol keine geringe 
 Person vnd vns zu ehren anhero kommen seyn. Geht 
 zu jhm, willkommen willkommen, mein Freundt, wollet 
 jhr vns zu Ehren ein Tantzlein mit vollnbringen? 
 
 {Eomulus schweiget still, wil nicht reden, machet 
 tieffe JReverentz. 
 
 DlENER. 
 
 Gnadigster Printz, ich vernehme es wird ein Stu- 
 dent von Padua seyn, so also vermummet E. F. G. 
 Beylager hat wollen condecoriren helffen, denn diesel- 
 ben solches wol in Gebrauch zu haben pflegen. 
 
 JULIUS. 
 
 Nun so thue ich mich kegen euch, jhr seyd wer jhr 
 wollet gnadig bedancken, vnd thue euch meine aller- 
 liebste hiemit ein Frantzosisch Tantzlein zu vollnbrin- 
 gen, vbergeben. 
 
 ROMULUS acceptiret sie, machet hohe Eeverentz so wol 
 kegen dem Breutgam, als Braut, wie er aufsgetantzet, 
 prcesentiret er sie den Breutgam wieder, vnd spricht zu 
 Julio. 
 
 Gnadigster Printz, E. F. G. wolle nun mit seiner 
 liebsten Princessin, auch ein Tantzlein verrichten E. F. G. 
 lasse jhr doch wie es dero nicht zu wieder, den Tra- 
 gaedien Tantz auffmachen. 
 
 JULIUS. 
 
 Warurnb dafs mein Freundt? Warumb nicht ein 
 andern lustigen Tantz. 
 
 DIENER. 
 
 O gnediger Fiirst vnd Herr es ist ein prave Tantz, 
 gehet sehr schon vnd lieblich, vnd gezimet wol solchen 
 Personen, als E. F. G. zu tantzen. 
 
 HYPPOLITA. 
 
 Dear love, the musicians were not amiss; but the 
 comedians pleased me mightily, for each acted his part 
 splendidly. 
 
 PRINCE. 
 
 What, what, ho! what are you two about? Come, 
 let us be mirthful at this wedding. Young Prince, how 
 is it you're so still? Lead your bride out to the dance! 
 
 JULIUS. 
 
 My gracious lord and father, we will now begin. 
 Ho! musicians, strike up, give us a merry measure. 
 
 [The dancing begins. When it is finished, Eomulus 
 and 'others enter masked; he presents himself 
 to a partner, Julius remarks him and speaks: 
 
 Ha ! see, who is he ? It is most surely no low per- 
 son, who comes hither to do us honour. Let us go to 
 him. Welcome, welcome, my friend! we pray you, do 
 us the honour of joining in the dance! 
 
 {Eomulus remains silent, he will not speak, bows 
 low. 
 
 SERVANT. 
 
 Most gracious prince, I have learned that this mask 
 may be a student from Padua, come to grace your 
 princely festivities, as is their custom. 
 
 JULIUS. 
 
 Be ye who ye may, I thank you graciously for 
 your presence and give you my sweetheart as partner 
 in a French dance. 
 
 ROMULUS accepts her, bows profoundly to the bridegroom 
 
 as also to the bride. The dance finished, he presents her 
 
 to the bridegroom and speaks to Julius: 
 
 Most gracious prince, I pray your grace to try a 
 dance with your sweet princess, the tragedy dance, if 
 your grace has no dislike to it. 
 
 JULIUS. 
 
 Wherefore that, my friend? Why not some other 
 merry dance? 
 
 SERVANT. 
 
 My gracious lord and prince, it is a brave dance, 
 goes very sweetly and beautifully, and it becometh well 
 such persons as your grace, to dance it. 
 
153 
 
 TRAGEDY OF JULIUS AND HYPPOLITA. 
 
 154 
 
 JULIUS. 
 
 So machet auff jhr Musicanten, machet auff den 
 Tragsedien Tantz. 
 
 [Die Musicanten machen auff, Julius tantzet mit 
 der Brant, vnter dessen giebt sich Romulus 
 zuerkennen, zeucht die Kappen ab, vnd mit 
 blossen Dolch spricht er zu Julio. 
 
 ROMULUS. 
 
 Sieh du vntrewer verrahterlicher Mensch kennestu 
 mich noch wol. Siehe hie diese Tragaediam hastu ge- 
 tantzet. 
 
 [Ersticht jhn mit den Dolchen vnd wirfftjhn her- 
 nach auff die, Erden, der Fiirst vnd seine 
 Tochter erzitternfur schrecken, Romulus spricht 
 zu jhr. 
 
 Vnd du vntreweste Creatur, warumb bistu mir so 
 vntrew worden, ist die recompens meiner getrewen be- 
 ! standigen Liebe? O Hyppolita, Hyppolita, ist deine 
 Liebe so gering kegen mir gewesen, vnd hast dich von 
 mir deinen getrewen Liebhaber zu dem Schandtfleck 
 aller Manspersonen, den vngetrewen Julio gewandt. 
 
 HYPPOLITA. 
 [Ist noch in der Meynung, dz Romulus die Brieffe 
 
 geschrieben. 
 
 O weh, O weh, wie angst ist meinen jungen be- 
 triibten Her<<zen, O weh, O weh, sol dann nun vmb 
 meinet willen vngestrafft, ein solcher Mordt geschehen, 
 Nein nein das mufs nicht seyn, sondern hiemit .wil ichs 
 biissen. 
 
 [Nimpt den Dolch von der Erden auff, vnd ersticht 
 sich. 
 
 FURST. 
 
 O du Morder, eines schrecklichen Todes mustu 
 sterben. 
 
 ROMULUS. 
 
 Ja frewlich, ja ja das wil ich auch thun, aber dafs 
 ich den Schaum vnd Vnflat, aller bosen Menschen, den 
 vngetrewen Verrahter erstochen, habe ich grosse Vr- 
 sach, vnd wenn ichs nicht gethan, wo It ich es noch 
 thun. Von grosser Qual vnnd Hellen Angst meines 
 Hertzens, kan mein Mundt kein Wort mehr reden. 
 Dennoch solt jhr wissen, dafs ich die Brieffe nicht ge- 
 schrieben, sondern dieser verfluchte vntrewe Mensch, 
 hat es aufs lauter Falschheit Vntrew vnd Abgunst in 
 meinen Namen verfertiget, vnd diese jammerliche Tra- 
 gsedien angerichtet. Aber diese Princessin, die arme 
 Creatur hat sich erbarmlich, vnd vnschuldig vmb jhr 
 i Leben gebracht. Nun nun wil ich jhr in der Vnschuldt 
 vnnd Tode, gleicher Gesellschafft leisten. O Fortuna, 
 
 JULIUS. 
 
 Ho! musicians, strike up then, strike up the tra- 
 gedy dance. 
 
 [The musicians strike up, Julius dances with his 
 bride, meanwhile Romulus discovers himself, 
 draws off Ms cap and speaks to Julius with 
 a naked dagger in his hand. 
 
 ROMULUS. 
 
 Look, perfidious treacherous wretch, dost thou re- 
 cognize me? See here this is the tragedy thou hast 
 danced. 
 
 [He stabs him with the dagger and then throws 
 him to the ground. The prince and his daugh- 
 ter tremble with terror. Romulus speaks to her: 
 
 And thou, most faithless creature, wherefore wert 
 thou false to me ? Is that the recompense of my true and 
 constant love? O Hyppolita, Hyppolita I was then thy 
 love for me so slight that thou could'st turn from me, 
 thy true and faithful lover, to that plaguespot amongst 
 mankind, that false Julius? 
 
 HYPPOLITA. 
 [Still believing that Romulus had written the letters. 
 
 Woe, woe is me! What anguish for my sad young 
 heart! alack and well-a-day, shall such a foul murder, 
 committed for my sake, pass unrevenged? Nay, nay, 
 that must not be, thus shall I expiate it. 
 
 [Raises the dagger from the ground and stabs her- 
 self. 
 
 PRINCE. 
 O thou murderer! thou must die a dreadful death. 
 
 ROMULUS. 
 
 Ay verily, ay, ay, I will do that too, but for stabb- 
 ing that false traitor, that scum and dregs of mankind, 
 I had great cause; and were't not done I'd do it still. 
 The torments and anguish of the hell within me prevent 
 my utterance. Nevertheless be it known to you, that it 
 was not I who wrote the letters, but this false accursed 
 man, out of falsehood, perfidy, and spite, devised them in 
 my name and brought about this miserable tragedy. But 
 this princess, poor creature, has miserably and innocently 
 taken away her own life. Well, I will bear her company 
 in innocence and death alike. O Fortuna, Fortuna, see- 
 ing thou hast so sorely deprived us of thy favours, I 
 will sacrifice myself in defiance of thee and the whole 
 world. Ho ! take example by me ye deceitful hearts, ho ! 
 
155 
 
 TRAGEDY OF JULIUS AND HYPPOLITA. 
 
 156 
 
 Fortuna, diewil du vns deine Gaben so sehr entzogen, 
 wil ich dir vnnd der gantzen Welt zu Trotz mein 
 Leben dahin opffern, buy nempt ein Exempel jbr be- 
 triiglichen Hertzen, buy nempt ein Exempel jhr ge- 
 trewen Hertzen, nempt ein Exempel jbr Liebhaber, 
 nehmt ein Exempel jhr Liebhaberin, vertrawet keinem 
 als ewern eigen Hertzen. Ade ade. 
 
 [Ersticht sich. 
 FURST. 
 
 Ach web vnnd vber web, dafs ich solch elend ja 
 erbarmliche Tragaedien, babe mit meinen betrubten Au^ 
 gen ansehen miissen. Nun nun schwere ich bey alien 
 Gottern, dafs ich die Tage meines Lebens in keines 
 Menscben Angesicht hinfuro mehr kommen wil, son- 
 dern wil alfsbald in einen finstern vnnd wilden Waldt 
 gehen, vnnd ein Einsiedels Leben fiihren, mit meinen 
 Fingern wil ich eine Hole in die Erden graben, vnnd 
 darin mein stetiges Lager haben. Neun Stunden lang 
 wil ich mein Andlitz taglich zur Erden legen, vnnd 
 vmb meiner Tochter todt schreyen vnnd weinen, die 
 Wurtzeln sollen meine Speise, vnnd dafs Brunnwasser 
 mein Getranck seyn, ich wil nicht auffhoren mit schreyen 
 vnnd jammerlichen Wehklagen, bifs der grimmig Todt 
 sein gifftig Pfeil durch mein zermalmtes vnnd betriibtes 
 Hertz schiessen wird. Nun ade Ade du bose Welt, 
 ein einsam Leben mir jetzt gefelt. Ich gehe jetzt bin 
 mein Strassen thue dich gantzlich verlassen, Ade Ade. 
 
 FINIS. 
 
 take example by me ye faithful hearts, take example 
 ye lovers, take example ye fair ladies, trust to no heart 
 but to your own. Farewell, farewell. 
 
 [Stabs himself. 
 
 PRINCE. 
 
 Ah! woe and thrice woe, that my sad eyes have 
 beheld such pitiful distressful tragedies! Now, now I 
 swear by all the gods, that henceforth I will no longer 
 live in the sight of man, but go into a dark savage 
 wood and lead a hermit's life, with my fingers will I dig 
 a hole in the earth, and there will I make my nightly 
 couch. Every day will I lie for nine hours with my face 
 to the earth, and cry and weep for my daughter's death. 
 Roots shall be my food, and water from the well my 
 drink. I will not cease my cries and pitiable lamenta- 
 tions, till grim death has shot his poisoned arrow into 
 my bruised, afflicted heart. Now farewell, farewell thou 
 wicked world, a solitary life is now my sole desire. I 
 go from hence and quit for ever thy frequented paths. 
 Adieu, adieu! 
 
 THE END. 
 
TRAGEDY OF TITUS ANDRONICUS 
 
 ACTED IN GERMANY, ABOUT THE YEAR 1600, BY ENGLISH PLAYERS. 
 
The TRAGEDY OF TITUS ANDRONICUS forms part of the first volume of "Englische Comedien vnd Trage- 
 dien", 1620, 12mo, reprinted in 1624, 12mo. Republished by LUDEWIG TIECK, in Deutsches Theater, Band I, 
 Berlin 1817, in-8vo, pag. 367407. 
 
 In the present impression the first edition of 1620 has been strictly followed. In the latter the play 
 occupies folio Nn, 4 verso to folio Ss, 4 recto, and is entitled: 
 
 VIII. 
 
 ine feljr klfiglidje Tragsedia tion 
 
 Tito Andronico tw& tor j)0flferti0en 
 
 ^tatjferin, fcarinnen bencknwrMge 
 
 actiones jttbffm&en. 
 
 (A MOST LAMENTABLE TRAGEDY OF TITUS ANDRONICUS AND THE HAUGHTY EMPRESS, WHEREIN ARE FOUND 
 
 MEMORABLE EVENTS.) 
 
TRAG^DIA 
 VON TITO ANDRONICO. 
 
 Person <B. 
 
 VESPASIANUS. 
 
 ROMISCHE KAYSEB. 
 
 TITUS ANDRONICDS. 
 
 ANDRONICA. 
 
 ^ETIOPISSA Konigin aufs Mohrenland. Kftyserin. 
 
 MORIAN. 
 
 HELICATES Konigin aufs Mohren, erster Sohn. 
 SAPHONUS Konigin aufs Mohren, ander Sohn. 
 ANDRONIC.S: GEMAHL. 
 VICTORIADES. 
 
 BOTE. 
 
 WEISE WACHTER. 
 
 ACTUS PRIMUS. 
 
 1 Jetzt kompt her aufs Vespasianus vnd hat die Edmische 
 'Krone in der Hand. Titus Andronicus hat ein Lorbeer 
 'Krantz auff seinem Hdupte, ouch kompt der Keyser, aber 
 :damalen war er noch nicht Romischer Keyser. Audi die 
 ^Konigin aufs Morenlandt, welche schb'n vnd weifs, sampt 
 jhren zween Sohnen; vnd der Morian, welcher schwartz 
 vnd geringe Gewandt vber seine prechtige Kleider gezogen, 
 vnd welcher der Kb'niginnen Diener, vnd heimlich mit jhr 
 'buhlet. Diese mere aber hat Titus Andronicus gefangen 
 genommen. Auch ist da die Andronica. 
 
 VESPASIANUS. 
 
 Jhr edelen Romer wisset euch zu entsinnen, wie 
 dafs vnser Kayserthumb jetzt leer vnd verstorben ist, 
 ; derhalben wil sich gebiihren, dafs man bey Zeite darzu 
 sehe, dafs ein Kayser wiederumb erwelet werde, damit 
 sman die grosse Vneinigkeit vnd Zanck des gemeinen 
 'Mannes mtige zuvor kommen. Weil ich dann nun kei- 
 men andern wiiste, dem es solte zuerkandt werden, als 
 diesem Titum Andronicum, weil er jetzt der vornembste 
 vnd neheste darzu ist, auch niemandt in dieser Stadt 
 vRom, der sich besser vmb sie verdienet, mit blutigen 
 gefehrlichen Kriegeswesen, als er, vnd auch ein jeglich 
 
 TRAGEDY 
 OF TITUS ANDRONICUS. 
 
 Persons represented: 
 
 VESPASIAN. 
 
 THE ROMAN EMPEROR. 
 
 TITUS ANDRONICUS. / 
 
 ANDRONICA. 4.^" 
 
 ^ETIOPISSA, Queen of Ethiopia, Empress. 
 
 MORIAN. 
 
 HELICATES, eldest son of JStiopissa. 
 
 SAPHONUS, second son of ^Etiopissa. 
 
 CONSORT OF ANDRONICA. 
 
 VICTORIADES. : *>- U- ^ 
 
 MESSENGER. 
 
 WHITE GUARDS. 
 
 ACT I. 
 
 Enter Vespasian with the Boman Crown in his hand; 
 Titus Andronicus with a laurel- crown on his head; the 
 Emperor of Some that was to be. The Queen of Ethio- 
 pia, lovely and of fair complexion, together with her two 
 sons; Morian, the Queens attendant and pafamour, with 
 a plain black mantle over his handsome dress. The four 
 last are captives of Titus Andronicus. Andronica. 
 
 VESPASIAN. 
 
 JNoble Romans, it is well known to you, how 
 that our Empire is now vacant and demised, wherefore 
 it is meet to look to it in time that an Emperor is 
 elected, that we may ward off discord and strife in the 
 commonalty. And as 1 know no other fitting candi- 
 date than this Titus Andronicus, in as much as he is 
 the most exalted and the best entitled; and as there is 
 no man in this city of Rome whose deserts to her in 
 bloody and perilous battles were greater than his; and 
 as every body loudly says that the Roman crown is 
 due to him by right, so let us all wish him joy, place 
 
 11 
 
TRAGEDY OF TITUS ANDRONICUS. 
 
 164 
 
 Mann schreyet, dafs jhm von Rechtes wegen die R6- 
 mische Krone gebiihret zutragen. So last vns sa'mpt- 
 lich jhn darzu Gliick wiinschen, die Krone auff sein 
 Ha'upt setzen, vnd jhn allezeit fiir vnsern gnadigsten 
 Keyser halten vnd ehren. 
 
 KEYSER. 
 
 Was? solte nun Titus Andronicus die Krone fiir 
 mich auff sein Ha'upt setzen, nein, nimmermehr mufs 
 das geschehen, dann ich der neheste bin, vnd sie mir 
 von Rechteswegen gebiihret zutragen. Derhalben jhr 
 Romer bedencket euch wol vnd weifslich was jhr thut, 
 damit in dieser edelen Stadt Rom sich kein Auffruhr 
 vnter vns errege, vnd sie nicht in Noth vnd Gefahr 
 komme. 
 
 TITUS ANDRONICUS. 
 
 Ihr Romer solt wissen, dafs mir doch nichtes vmb 
 dieses Keyserthumb zu thunde ist, dann ich nun ein 
 alter betagter Mann, vnd die Zeit meines Lebens in 
 steten vnd gefahrlichsten Kriegen mich habe gebrauchen 
 lassen. Ob nun wol alle Stimmen auff mich gehen, vnd 
 ein jeglich Mann mir das Keyserthumb zueignet. So 
 sollet jhr dennoch sehen, dafs ich vmb Friedes willen 
 gerne einem andern vbergeben wil, dafs durch concor- 
 diam vnd Eintracht zwischen dem Keyser vnd dem 
 Rathe, auch dem gemeinem Manne ist Rom das Ha'upt 
 der gantzen Welt geworden, solte denn nun in der 
 Mawren an despennation vnd Zweytracht sich erheben, 
 so wu'rde es mussen zu grunde gehen. Derhalben wil 
 ich die Hoffart an die Seite werffen, vnd mich vielmehr 
 der Demuth befleissigen : So kompt jetzt alle heran, 
 vnd lasset vns den Keyser kronen, wiinschet jhm alle 
 mit lauter Stimme Gliick vnd Heil. 
 
 [Titus Andronicus setzet jhm die Krone auff sein 
 Hdupt, vnd sag en alle mit lauter Stimme: 
 
 Langes Leben, viel Gliick vnd Heil, wiinsche ich 
 dem vnuberwindlichsten vnd Grofsma'chtigsten Romi- 
 schen Keyser. 
 
 KEYSER. 
 
 Nun meine liebe Getrewen, weil jhr mich dann 
 fiir eweren Keyser erwehlet, vnnd haltet, so verpflichte 
 ich mich auch widerumb euch mit sonderlichen Frey- 
 heiten zu privilegiren, Leib vnd Blut mit euch, fiir vnser 
 Vaterlandt, wagen, vnd allzeit mit trewen meynen. Vnd 
 Titus Andronicus die jhr mir dieses Keyserthumb gerne 
 vnd willig vmb der gemeinen Nutz vnd Friedes willen, 
 vbergeben, bin ich sonderlich mit grosse liebe vnd Trewe 
 gewogen, begehre derhalben ewre schone Tochter An- 
 dronica fur meine Keyserin, vnd sol heute, wie eine 
 Keyserin gekronet, vnd mir vermahlet werden, so jhr 
 ein Gefallen dran habet. 
 
 the crown on his head, and consider and honour him 
 as our most gracious Emperor. 
 
 EMPEROR. 
 
 What! shall Titus Andronicus place the crown on 
 his head instead of me? No, that shall never happen, 
 for 1 am the next heir and it belongs to me by right. 
 Therefore Romans, consider well and wisely what it is 
 ye do, that there may be no insurrection in our noble 
 city which might place it in great peril. 
 
 TITUS ANDRONICUS. 
 
 Romans! you shall know, that I care nought for 
 Imperial rule, for I am now far advanced in years, and 
 have been engaged all the days of my life in long and 
 perilous wars. Although all voices are for me, and 
 everybody bestows the Imperial title upon me, you shall 
 see, that for the sake of peace I will make way for 
 him; for it is by concord and unison between the Em- 
 peror, the Senate, and the commonalty, that Rome has 
 become the head of the whole world. Should dissension 
 now arise within her walls, it would infallibly work her 
 ruin. Therefore I will now give up all pride, and will 
 practise humility: So come and let us crown the Em- 
 peror, let us salute him with uplifted voices. 
 
 [He places the crown on the Emperor's head, and 
 
 all cry: 
 
 Long lifjp and great happiness to the invincible and 
 most powerful Roman Emperor! 
 
 EMPEROR. 
 
 Well then beloved citizens, as you elect and con- 
 sider me your Emperor, I bind myself in return to grant 
 you privileges and special liberties, to stake with you 
 my life and blood for our beloved country, and ever to 
 act in good faith. And to you Andronicus, who for 
 the common weal and the sake of peace willingly gave 
 up the Imperial crown to me, I am beholden in love 
 and fidelity, and therefore solicit your fair daughter 
 Andronica as my Empress, and she shall be crowned 
 to-day and be wedded to me, an it please you. 
 
 
165 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 166 
 
 TITUS ANDRON: 
 
 Grofsmachtigster vnd vniiberwindlichster Keyser, 
 i ich lafs mir solches sonderlich wol gefallen, dafs er 
 i meine hertzliebe Tochter Andronicam zur Keyserin be- 
 
 gehret, damit desto mehr Friede vnd Freundschafft vnter 
 ' vns losiren, so vbergebe ich euch hiermit meine Tochter, 
 
 vnd wunsche euch beyde ein friedsames, langes vnd 
 ; gliickseliges leben. 
 
 [Vbergibt jhm seine Tochter, der Keyser nimpt 
 sie ley der Hand. 
 
 KEYSER. 
 
 In grossen Ehren vnd Wiirden sol sie von mir ge- 
 i halten werden, aber ich bitte, saget mir, was seyn das 
 i fur welche, die da hinter euch stehen. 
 
 TITUS ANDRONICUS. 
 
 Grofsmachtigst Keyser, dieses Weibesbild ist die 
 Konigin aufs Morenlandt, die zweene seyn jhre Sohne, 
 der Schwartze aber ist jhr Diener, welche ich alle ge- 
 fanglich mit mir aufs ^Etiopia mithero gebracht. 
 
 KEYSER. 
 
 Sie thun mir sonderlich wolgefallen, fiirnemblich 
 das Weibliche Creatur, vnd wolte wiinschen, dafs sie 
 meine mochten seyn. 
 
 TITUS ANDRONICUS. 
 
 Grofsmachtigst Keyser, so sie Ewer May : gefallen, 
 wil ich sie jhm wol verehret haben. 
 
 [Nimpt die Konigin, vnd fiihrt siefilr den Keyser. 
 Also Konigin aufs Mohrenlandt, spreche ich euch 
 jetzt von mir frey vnd lofs, vnd schencke euch hie mei- 
 nem gnadigen Herrn Keysern. 
 
 ^ 
 KONIGIN AUSS MOHRENLANDT. 
 
 Grofs vnd machtig Keyser von Rom, ich bin jetzt 
 sampt meinem Sohne vnd Diener E. May: Gefangene, 
 vbergeben vnd offeriren vns selbst Ewer May: fur seine 
 geringste Diener, er mache es mit vns was sein Wille ist. 
 KEYSER. 
 
 Schone Konigin aufs Morenlandt, ich bin euch gun- 
 stig, vnd in grossen Gnaden sampt den ewrigen gewo- 
 gen: Derhalben seyd nicht melancholisch vnd betriibet, 
 sondern fasset ein frolich Gemiithe, denn zu grossen 
 Dingen wil ich euch erheben, vnd solt bey ewrem vo- 
 rigen Stande gleich einer Hochgebornen Koniginnen ge- 
 i halten werden. 
 
 Allergnadigster vnd Grofsmachtigster Keyser, fur 
 idiese grosse Gnade, thue ich mich gegen E. May: in 
 Vnterthanigkeit bedancken. 
 
 TITUS ANDRONICUS. 
 
 Most mighty and invincible Emperor I am right 
 well pleased that you solicit my most beloved daughter 
 for your Empress, that there may reign more peace 
 and friendship between us. I hereby give you my 
 daughter, and wish you both a peaceful long and happy 
 life. 
 
 [Presents him his daughter, 
 her hand. 
 
 The Emperor takes 
 
 EMPEROR. 
 
 She shall be held by me in high respect and ho- 
 nour. But pray tell me who are those who stand behind 
 you? 
 
 TITUS ANDRONICUS. 
 
 High and mighty Emperor, this woman is Queen 
 of Ethiopia, those two are her sons, the black man is 
 her attendant, all of whom I brought away with me 
 as captives from Ethiopia. 
 
 EMPEROR. 
 
 They please me right well, and the woman in par- 
 ticular. I could wish they were mine. 
 
 TITUS ANDRONICUS. 
 
 High and mighty Emperor, an they please your 
 Majesty, accept them as presents from me. 
 
 [Presenting the Queen to the Emperor. 
 And thus Queen of Ethiopia do I release you, and 
 present you to my gracious Lord and Emperor. 
 
 High and mighty Emperor of Rome, I am now 
 together with my sons and servants your Majesty's cap- 
 tives. We surrender and offer ourselves to your Majesty, 
 as your most humble servants; dispose of us at will. 
 EMPEROR. 
 
 Beautiful Queen of Ethiopia, I am favourably dis- 
 posed to you and yours. Therefore grieve and repine 
 not, but be of good cheer; for I will raise you to high 
 position, and you shall be maintained in your former sta- 
 tion as a high born Queen. 
 
 Most gracious and high and mighty Emperor, I 
 thank your Majesty most humbly for this great favour. 
 
 11* 
 
167 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 168 
 
 KEYSER. 
 
 Nun die Zeit ist verflossen, so last vns jetzt nur 
 samptlich hinein kehren. 
 
 [Gehen hinein, der Morian bleibet. 
 MORIAN. 
 
 Lafs mich auch nu diese alte Lumpen ablegen, weil 
 ich sehe, dafs meine heimliche Bulinne Gunst vnd Gnad 
 beym Keyser hat. 
 
 [Ziehet den alien Rock abe. 
 
 Denn ich hoffe sie wird noch vielmehr grosser 
 Gnad vnd gratia bey jhm erlangen, vnd mit jhrem 
 schmeichel vnd liebkosen zu wege bringen, dafs er sie 
 lieb gewinne, vnd Keyseriri in Rom werde, wenn dann 
 das also kerne, so mache ich den Keyser warlich zum 
 Hanrey, vnd treib vielmehr meine Lust vnd Frewde mit 
 jhr, denn der Keyser. Aber ein jeglicher meynte, ich 
 were nur der Koniginnen Diener, nein warlich, ich bin 
 allzeit jhr heimlicher Buhle gewest, vnd vielmehr bey 
 jhr geschlaffen, denn der Konig aufs Morenlandt jhr 
 Gemahl, dafs er auch zuletzt Vnrath an mir vnd der 
 Koniginnen vermercket, liefs derhalben grosse acht auff 
 mich haben, dafs ich nicht zu jhr kommen kondte, wor- 
 iiber dann die Konigin auff jhrem Gemahl sehr vnge- 
 duldig war, dafs ich nicht, weil er mich so sehre be- 
 wachen liefs, in vierzehen Tagen nicht kundte zu jhr 
 kommen, dann der Keyser kundte jhr nicht halb so 
 wol die Lauten schlagen, denn ich. Nam derhalben 
 veniam, vnd vergab jhme damit in ein Becher Weins, 
 jhren Konig, dafs ich also meinen freyen Pafs wieder 
 zu jhr hette: Ja viele, die meine Bulinne vnd mich nicht 
 gerne da sahen, habe ich heimlich in jhre Schlaffkammer 
 bey Nachte ermordet, tausendt vnd tausendt Schelmerey 
 vnnd Rauberey hab ich vollenbracht, vnd duncket mir 
 gleichwol, dafs ich noch nicht genung Schelmerey ge- 
 than habe, ja der Konig selbst, vnd ein jeglich Mann, 
 hatten eine grosse Furcht fiir mir, wegen meinen grosse 
 Ritterlichen Thaten vnd Kriegesmacht, dann ich allewege 
 in Schlacht Ordnungen, auch gefehrlichen Kriegen vmb 
 mich geschlagen, gleich wie ein grimmiger Lowe, auch 
 nicht wie ein Mensche, sondern wie ein lebendiger 
 Teuffel, dafs ich nun zu letzt durch alle Welt, durch 
 meine grosse, vnmenschliche Mannliche Thaten bin be- 
 kandt worden, vnd mir der Name gegeben, der Blitz 
 vnd Donner aufs Moren Land: Dieses mein Geschrey 
 kam auch zuletzt fiir die Romer, die sich dann mit ge- 
 waltiger Hand auffmacheten, vnd zu vns in ^Etiopia 
 kamen, verhereten vnd verderbeten das Land so graw- 
 sam, wie niemalen mag erhoret seyn. Ich aber machete 
 mich da gegen sie auff, mit meinem Heere, in Mey- 
 nung, sie solten mich nicht viele Wesens machen, vnd 
 
 EMPEROR. 
 
 Time is growing short, so let us now all go in. 
 [Exeunt. Morian remains. 
 
 MORIAN. 
 
 Let me now put off these old rags, as I see that 
 my secret mistress has the good favour of the Em- 
 peror. 
 
 [Takes off the old mantle. 
 
 For I hope, that she will obtain higher favours of 
 him, and so manage him with flattery and caresses, 
 that hjs will become so fond of her, as to make her 
 Empress of Rome. And if that really comes to pass, 
 I vow I will make a cuckold of the Emperor, and 
 will enjoy her more than the Emperor. Everybody 
 thought that I was merely the Queen's servant; no in- 
 deed I have always been her paramour, and slept of- 
 tener with her, than the King of Ethiopia her husband, 
 so that he at last grew suspicious of me and the Queen. 
 He therefore had me watched that I could not come 
 to her, wherefore the Queen became very impatient of 
 her husband and I, having been watched closely, could 
 not see her for a whole fortnight, for the Emperor 
 could not satisfy her half as well as I. She therefore 
 took the liberty to poison him with a cup of wine, 
 so that I had again free access to her. Indeed many 
 who disliked me and my concubine have been killed 
 by me in their sleeping chamber at night. Thousands 
 and thousands of villainies and robberies have I com- 
 mitted, and yet it appears to me that I have not had 
 enough of them. The King himself and everybody feared 
 me much on account of my valorous deeds and my 
 prowess; for in all battles and perilous wars 1 fought 
 like a fierce lion, not like a man but like a furious devil, 
 so that I became renowned all over the world by my 
 great superhuman deeds, and obtained the name: The 
 Lightning and Thunder of Ethiopia. This fame at last 
 also reached the Romans, who thereupon set out upon 
 an armed expedition for Ethiopia, desolating and de- 
 vastating the land with an atrocity such as has not 
 been heard of within the memory of man. So I set 
 out against them with my army, thinking to make short 
 work with them and to drive them back in such a 
 manner that none should return to Rome alive. But 
 when the battle began, I saw how dreadfully old Titus 
 Andronicus met my blows, that he was my superior 
 and ten times more daring than I. Nor have I seen 
 in all the days of my life more warlike and better 
 tried troops than those Romans. I was quite dismayed 
 at this, for I saw that my battle array was thrown into 
 
169 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 170 
 
 wolte sie also zu riicke treiben, dafs keiner wiedermjib 
 lebendig nach Rom kommen solte. Da sich aber der 
 Streit erhub sahe ich wie grewlich der alte Titus An- 
 dronicus dagegen schlagete, mein Vbermann ward, vnd 
 zehenmal toller denn ich war. Ich auch die Tage mei- 
 nes Lebens kein streitbarer oder versucheter Krieges- 
 volck gesehen, als eben die Romer. Woriiber ich dann 
 gar verschrocken ward, weil ich sahe, dafs meine Ord- 
 nung gar zertrennet ward, vnd die meinen dahin ge- 
 schlagen wurden, gleich wie die Hunde. Nicht lange 
 darnach kam der alte Titus zu mir mit eil rennen, vnd 
 stosset mich mit sein Glene so grawsam von meinem 
 Pferde (welches noch niemalen kein Mensche gethan) 
 
 dafs ich auch von mir selbst nichtes wuste, ob ich le- 
 bendig oder todt war, vnd zerschlugen darnach alle- 
 sampt, das kein einiger mehr darvon kam. Nahmen 
 
 i darnach ein grofs Geldt, sampt mir, die Konigin, vnd 
 
 ijhren Herren Sohnen, vnd brachten nach Rom, jetzt 
 aber wil ich hingehen, vnd horen was weiter wird vor- 
 
 I fallen. 
 
 [Gehet weg. 
 
 ACTUS SECUNDUS. 
 
 Jetzt kompt heraufs der Keyser, Konigin, sampt jhren 
 zweyen Sohnen vnd Morian. 
 
 KEYSER. 
 
 Schone Konigin, zehenmal grosser lust vnd Be- 
 gierden habe ich zu euch dann zu des Titi Andronici 
 Tochter, welche ich jhm wieder gesandt, vnd sagen 
 lassen, dafs sie mir nicht gefelt, auch nicht Keyserin 
 zu Rom wird werden, derhalben sollet jhr nun hinfuhro 
 nicht mehr gefangene Konigin genennet werden, son- 
 dern Keyserin von Rom, so setze ich euch jetzt auff 
 ewer Ha'upt die Crone, vnd sollet meine getrewe Ge- 
 mahlin seyn, denn'Gottin Venus hat mich so sehr gegen 
 euch verwundt, dafs ich auch keine Ruhe habe, ehe dafs 
 ich ewres stoltzen Leibs theilhafftig werde. 
 
 [Setzet jhr die Krone auff. 
 KEYSERIN. 
 
 Grofsmachtig Keyser diese grosse Ehre vnd digni- 
 teten, so mir von Ewer Majestat wieder verehret, bin 
 ich vnwirdig. Ob mich aber auch wol Gottin Venus 
 sehr vnd hefftig gegen Ewer Majestat aufs Blodigkeit 
 nicht diirffen offenbaren. 
 
 KEYSER. 
 
 So last vns nun, meine schone Keyserin, hinein 
 gehen, vnd vnser Zeit in frewden vertreiben. 
 
 \_Nimpt sie bey der Hand, vnd gehen hinein, Morian 
 folget ein, die zween Sohne bleiben. 
 
 disorder, and my men beaten like dogs. Presently old 
 Titus ran up to me and so cruelly threw me from my 
 horse with his lance (which no man ever did to me be- 
 fore) that I did not know whether I were alive or dead. 
 They then cut down every man, that none escaped. 
 Whereupon they took rich treasures, together with me, 
 the Queen and her sons, and brought us to Rome. 
 Now I will go and watch the coming events. 
 
 [Exit. 
 
 ACT II. 
 
 Enter the Emperor, the Queen with her two sons, and 
 Morian. 
 
 EMPEROR. 
 
 Lovely Queen, my love and passion for you is ten 
 times greater than for the daughter of Titus Andronicus, 
 whom 1 have sent back to him with the message that 
 I liked her not; nor is she to become Empress of Rome. 
 Wherefore, from henceforth, you shall not be called a 
 captive Queen, but Empress of Rome. I now place 
 the crown on your head, and you shall be my trusty 
 consort; for Goddess Venus has so possessed me in 
 your favour, that I shall have no rest until I enjoy your 
 stately person. 
 
 [He places the crown on her head. 
 
 EMPRESS. 
 
 Most mighty Emperor, I feel unworthy of the great 
 honor and dignity which your Majesty bestows on me. 
 And although the Goddess Venus has inflamed me with 
 a violent desire for your Majesty, I was too timid to 
 show it. 
 
 EMPEROR. 
 
 So let us then, my beautiful Empress, go in and 
 pass our time in pleasure. 
 
 [He takes her hand. Exeunt. Morian follows, 
 the two sons remain. 
 
171 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 172 
 
 HELICATES. 
 
 Hertzlieber Bruder, last vns nun in Frewde vnd 
 Wonne leben, denn diese vnsere Gefengnifs ist vns 
 nicht zum Schaden vnd Nachtheil, sondern gereichet 
 vielmehr zu grossen Ehren, ich frage hertzlieber Bruder, 
 wo wolte vnsere Fraw Mutter doch zu grosseren vnd 
 hoheren Ehren gekommen seyn, denn allhie, well sie 
 Romische Keyserin worden ist. 
 SAPHONUS. 
 
 Ja hertzlieber Bruder, fur grosser Frewde meines 
 Hertzens kan ich nicht genug driiber jubiliren, denn 
 im Morenlandt weren wir doch nimmermehr so hoch 
 erhoben worden, als hie, von wegen vnser Fraw Mut- 
 ter, vnter diesen edlen Romern, die da vber der gantzen 
 Welt beschreyet seyn, derhalben wolte ich auch wol mit 
 frolich seyn, aber einerley peiniget vnd k'rancket mein 
 Hertz sehr. 
 
 HELICATES. 
 
 Hertzlieber Bruder, solche Betriibnifs des Hertzens 
 mochte ich gerne wissen. 
 
 SAPHONUS. 
 
 O hertzlieber Bruder, du solt wissen, dafs ich gegen 
 die schone Andronica so hefftig sehre mit Liebes Brunst 
 vmbfangen, dafs ich auch nicht weifs was ich bald an- 
 fangen sol. Aber dieses betriibet mich zum meisten, 
 dafs sie schon einen hat mit welchem sie vermahlet 
 worden. 
 
 HELICAT. 
 
 Lieber Bruder an demselben liege ich jetzt auch 
 schwerlich kranck, vnd wil nicht gleuben, dafs du so 
 hefftig gegen sie solt verliebet seyn, als ich, derhalben 
 lafs ab von solchen Gedancken denn ich bin der Elteste, 
 vnd wil jhren Leib theilhafftig werden, derhalben mufs 
 ich auff Mittel vnd Wege dencken, vnd mit vnser Fraw 
 Mutter Diener darumb consuliren, wie man jhrem Ge- 
 mahle sein Leben heimlich nehme. 
 SAPHO : 
 
 Wie Bruder, ob du wol elter bist denn ich, so solt 
 du mir dennoch keinen Abtrag hierinnen thun, ich hoffe 
 habe eben so viele was einem Manne gebuhret dann 
 du, vnd wenn es solte eine Wette gelten, wer sich zum 
 meisten in den Venus Kampff brauchen kondte, weifs 
 ich warlich ich wolte dir abgewinnen. Derhalben lieber 
 Bruder, lafs mir dieses allein, vnd suche dir ein andere, 
 denn von dieser wil ich nimmermehr lassen, vnd sol 
 kein ander darzu kommen, denn nur allein ich. 
 HELICAT. 
 
 du armer Narre, was woltu doch breit einem 
 Weibe zu schaffen geben, nein warlich du bist nicht 
 tuchtig darzu, lafs abe, lafs abe Bruder, sie mufs meine 
 
 HELICATES. 
 
 Dearest brother, let us now live in joy and plea- 
 sure, for this captivity is not to our disadvantage, but 
 rather to our great honour. I ask you, beloved brother, 
 where would our mother come to greater honours than 
 here as she has now become a Roman Empress. 
 
 SAPHONUS. 
 
 Yes, dear brother; my heart is so elated that I 
 cannot sufficiently express my joy; for in the East we 
 should never have been raised so high as here on ac- 
 count of our mother, among these Romans who are so 
 renowned all over the world. Therefore I would also 
 gladly rejoice with you, but one thing pains and tortures 
 my heart. 
 
 HELICATES. 
 
 Dearest brother I would wish to know what ails 
 your heart. 
 
 SAPHONUS. 
 
 O dearest brother, you must know that I am so 
 violently taken with love's desire for this fair Andro- 
 nica, that I know not what to do. But it grieves me 
 most to know that she is already married with an- 
 other. 
 
 HELICATES. 
 
 Dear brother, I deeply suffer from the same illness, 
 and cannot believe that you are so much in love with 
 her as I; therefore give up this idea, for I am the 
 eldest and will possess her body. I must therefore con- 
 sult with my mother's servant, and find means to take 
 away her husband's life. 
 
 SAPHONUS. 
 
 Being my brother, although you are the eldest, you 
 ought not to thwart me. I hope that I have as much 
 of a man in me as you; and if we were to lay a wager 
 as to who would be the better champion of Venus, ] 
 am confident, I should get the victory. Therefore, dear 
 brother, stand not in my way and seek another mistress; 
 for I shall never give this one up, and no other shall 
 possess her but myself. 
 
 HELICATES. 
 
 O you poor fool, how can you think of meddling 
 with women ? No in truth you are not fit for it. Give it 
 up, brother, give it up; she must be mine. You are too 
 
173 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 174 
 
 werden, vnd bist gar geringe darzu, dafs du mir dar- 
 von solt abdringen, oder aber wir werden vns darumb 
 | schlagen, dafs die Hunde das Blut lecken. 
 
 SAPHO. 
 
 Bruder ich sag dafs kein grosser Narr in der Welt 
 ist dann du, dafs ich aber von jhr solte ablassen, vnd 
 du sie haben woltest, sol dir nimmermehr angehen, vnd 
 ist war, dafs sie nur einen haben kan, derhalben so 
 ziehe vom Leder, vnd wollen Ritterlich darumb kempffen, 
 denn ehe sie einen andern fur mir bekommen solte, 
 wil ich viellieber mein Leben darfiir lassen. 
 
 HELICATES. 
 
 Ja Bruder gerne, denn einer von vns beyde mufs 
 weggereumet werden, vnd sage eben so, ehe du sie fur 
 mir solt theilhafftig werden, wil ich mein Leben auch 
 dafiir lassen, derhalben lafs vns an einander gehen, vnd 
 nichts schonen, hawe nun fort. 
 
 [Hawen schon gegen einander) mittler weile kompt 
 der Morian, vnd rennet darzwischen. 
 
 MORIAN. 
 
 Nicht, nicht jhr Herren, was wolt jhr nun zu tau- 
 sendt Teuffel anfahen, wolt jhr zween Bruder euch dann 
 so feindlich einander nach dem Leben setzen, nein das 
 sol kurtzumb nicht geschehen, weil ich noch bey euch 
 bin, vnd gebet euch zu frieden, oder ich schlag auff 
 euch beyde, dafs jhr die Elemente krieget dann jhr 
 wisset, so ich auch anfahe, bin ich erger denn der 
 Teuffel: Aber saget mir, was ist die Vrsache, dafs jhr 
 euch so sehre gehessig seyd. 
 
 HELICATES. 
 
 Mein lieber Morian, jhr sollet wissen, dafs ich hefftig 
 verliebet gegen die Andronica, mein Bruder saget auch 
 dafs er sehre gegen sie verliebet, derhalben haben wir 
 I vns darumb gezancket, ich wil sie haben, vnd er wil 
 sie auch haben, hat mich derhalben den Kampff ange- 
 boten, weil sie nur einen kan haben. 
 
 MORIAN. 
 
 Mufs ich nun nicht lachen, dafs sich jhre zwey 
 vmb eine Jungfrawe schlagen, die bereits einen Mann 
 hat, aber horet mich Saphonus, mich diincket es were 
 besser, dafs jhr ewren Bruder, der da elter ist, die An- 
 dronica allein liesset, vnnd jhr euch eine alleine aufs- 
 suchet, dann es seyn mehr schone Romische Frawen, 
 denn Andronica. 
 
 SAPHONUS. 
 
 Nein mein lieber Morian, das kan nicht seyn, denn 
 
 in die Andronica bin ich gar zu sehr verliebet, vnd wil 
 
 nimmermehr von jhr lassen, derhalben last vns kempffen. 
 
 [Saphonus wil wieder zu jhm an, Morian gehet 
 
 dazwischen. 
 
 unworthy to make me yield, or we shall fight it out 
 that the dogs shall lick our blood. 
 
 SAPHONUS. 
 
 Brother, 1 tell you there is no greater fool in the 
 world than you; you shall never succeed in making me 
 give her up to you. In truth she can only have one 
 of us, therefore unsheath your sword and let us fight 
 for her like true men; for rather than permit her to 
 have another, I will stake my life. 
 
 HELICATES. 
 
 Yes brother, willingly; for one of us must be put 
 out of the way. And I also say, rather than you shall 
 share her with me, I 'will give up my life. Therefore 
 let us have at each other and shew no mercy. Strike! 
 
 [They fight. Morian rushes in and interposes. 
 
 MORIAN. 
 
 Not so, my lords! What the devil are you at? 
 Will two brothers thus beset each other in deadly strife ? 
 No, that shall never be, I vow, as long as I am with 
 you. Peace! or I beat you black and blue. For you 
 know when I once begin I am worse than the devil 
 himself. But tell me the cause of your animosity. 
 
 HELICATES. 
 
 My dear Morian, you must know that I am violently 
 in love with Andronica. My brother says that he also 
 loves her deeply. This is the cause of our quarrel. I 
 wish to have her, and he also wishes to have her, and 
 so he challenged me to combat, because she can only 
 have one of us. 
 
 MORIAN. 
 
 Must I not laugh to think that you would fight for 
 a dame who has a husband already! But listen to me, 
 Saphonus. It seems to me that you had better leave 
 Andronica to your brother who is your elder, and seek 
 one for yourself, as there are other handsome Roman 
 ladies besides Andronica. 
 
 SAPHONUS. 
 
 No, no my dear Morian, this cannot be; for I am 
 too fond of Andronica to give her up. Therefore let 
 us fight. 
 
 . [He makes another attack, Morian interposes. 
 
175 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 176 
 
 MORIAN. 
 
 Nein nicht also, horet mich weiter, was diincket 
 each, dann Helicates verlasset jhr die Andronica, vnd 
 suchet euch ein andere vnd beste in gantz Rom aufs, 
 ich wil euch darzu behulfflich seyn vnd sie verschaffen. 
 
 HELICATES. 
 
 Nein ich kan von sie nicht lassen, denn zu hefftig 
 sehre bin ich in sie verliebet, denvegen wollen wir vns 
 beyde darumb schlagen, vnd nicht auffhoren, bifs einer 
 darvon beliegen bleibet. 
 
 [ Wollen wiederumb zusammen., der Marian stosset 
 sie mit gewalt von einander. 
 
 MORIAN. 
 
 Was dem Teuifel, wollet jhr dann nun gantz vnd 
 gar wiederumb zusammen, ich rathe euch noch einmal, 
 seyd zufrieden, oder ich schlage warlich darzwischen, 
 dz jhr beyde zeter schreyt. Vnd horet mich nun wei- 
 ter, was ich euch sagen wil, vnd seyd jhr dann da 
 nicht mit zu frieden, so weifs ich euch nichts mehr zu 
 thunde. Weil dann nun keiner von sie lassen wil, sol- 
 let jhr derhalben ewer leben nicht nehmen, sondern 
 ich wil euch darzu behulfflich seyn, dafs jhr Gemahl 
 sol vmbs leben kommen, vnd nehmet sie denn alle 
 beyde, vnd brauchet sie genugsam. 
 
 HELICAT. 
 
 Mein lieber Morian, ich bin damit gar wol zufrie- 
 den, seyd vns behulfflich darzu. 
 SAPHON. 
 Ich bin dar auch wol mit content. 
 
 MORIAN. 
 
 So folget mich nun jhr Herren, vnd last vns wei- 
 ter bedencken, wie wir die Sache anfahen sollen. 
 
 ACTUS TERTIUS. 
 
 Jetzt kompt heraufs der Keyser mit der Keyserin, auch 
 Titus Andronicus. 
 
 TITUS ANDRON: 
 
 Orofs vnd machtiger Keyser, ich habe Jhr May: 
 sampt dero vielgeliebten Keyserin, zu ehren eine schone 
 Hirschgejaget auff den morgenden Tag anstellen lassen, 
 vnd bitte Ewer May: auch die schone Kayserin vnter- 
 thanig, sie wollen sich in der Friihe auff der Jaget fin- 
 den lassen, vnnd die Zeit in Frewd vnnd lust vertreiben. 
 
 KAYSER. 
 
 Lieber Titus Andronicus in der Morgens'tunde, wil 
 ich mich mit meiner schonen Kayserin auffmachen. vnd 
 auff der Jaget erscheinen, aber saget mir, werden viele 
 Romer mit reiten. 
 
 MORIAN. 
 
 No, not so ! listen to what I have to suggest. Sup- 
 pose, Helicates, you were to give up Andronica, and 
 seek another lady for your love, the best in Rome; I 
 will assist you in this. 
 
 HELICATES. 
 
 No, I cannot give her up, for I am too deeply in 
 love with her. So let us rather fight for it, and not 
 desist until one of us be killed. 
 
 [They close, Morian separates them. 
 
 MORIAN. 
 
 What, the devil I Are you determined to be at each 
 other's throats then? Once more I advise you to keep 
 the peace, or else I shall join in, till I make you both 
 howl again. And listen further to what I have to say, 
 and if you are not pleased then, I know not what to 
 do. You shall not kill one another for being unwilling 
 to give her up; but I will assist you to kill her hus- 
 band, and then you can take her, and use her at your 
 will. 
 
 HELICATES. 
 
 My dear Morian, I am well pleased with this pro- 
 posal; lend us your assistance. 
 
 SAPHONUS. 
 I am likewise contented. 
 
 MORIAN. 
 
 So follow me, sirs, and let us further consider how 
 to go about the matter. 
 
 ACT HI. 
 
 Enter the Emperor with the Empress, also Titus 
 
 Andronicus. 
 TITUS ANDRONICUS. 
 
 High and mighty Emperor, in honor of your Ma- 
 jesty and your well beloved Empress I have ordered 
 a stag hunt for to-morrow, and most humbly beseech 
 your Majesty and the fair Empress to be present at 
 an early hour and to pass the time in joy and pleasure. 
 
 EMPEROR. 
 
 Beloved Titus I will set out early in the morning 
 with my lovely Empress to be present at the hunt. But 
 tell me shall we be joined by many Romans? 
 
177 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 178 
 
 TITUS. 
 
 Ja .Grofsmachtigster Kayser, zimlich viel werden 
 allda erscheinen, mein Bruder Victoriades Brutinen vnd 
 mein Tochter Androva Gemahl. 
 KAYSER. 
 
 So, es ist gut mein lieber Titus Andronicus, wir 
 wollen vns nun darzu pi-aepariren. 
 
 [Gehen ein. 
 
 Nun ist die Morgenstunde heran gekommen, vnd man jaget 
 
 die Jdgerhorne vnd Trumpeten werden geblasen. 
 
 Titus Andronicus kompt heraufs. 
 
 TITUS ANDRON: 
 
 O wie lieblich vnd freundlich singen jetzt die Vo- 
 gel in den Lufften, ein jeglich suchet jetzt seine Nah- 
 rung, vnd die Jaget ist auch schon angefangen, in 
 Frewde vnd Herrligk^it. Aber mein Hertz ist mir den- 
 noch beangstiget vnd beschweret denn ich diese ver- 
 gangen Nacht, solch ein schrecklichen Traum gehabt, 
 vnd nicht weifs was er mir bedeuten wirdt. Nun mufs 
 ich wiederumb zum Kayser reiten, der personlich bey 
 der Jagt vorhanden. 
 
 [Gehet weg etc. 
 Jetzt kompt hera^lfs Andronica, hat jhr Gemahl bey der 
 Handt, die Kdyserin kompt jhm entgegen, die Jdger blasen. 
 
 ANDRONICA. 
 
 Hertzliebes Gemahl, schoner vnnd lustiger Jaget 
 habe ich mein Tage nicht gesehen. 
 
 GEMAHL. 
 
 Ich auch mein schone Gemahlin kan mit Warheit 
 sagen, dafs ich auff vielen Jagten gewest, aber nimmer- 
 mehr lustiger vnnd frewdiger gesehen. Was aber sehe 
 ich jetzt fur ein Wunder die Kayserin die da gar alleine 
 eilents zu vns spatzieret. 
 
 [Kayserin kompt zu jhnen. 
 KAYSERIN. 
 
 Sieh welch grofs Wunder nimpt mir doch diese 
 Andronica, wie gehestu mit deinem Gemahl so gar allein. 
 Hastu nicht ein tausent Reuter vnnd Fufsvolck hinter 
 dich, die da auff euch warten. 
 
 ANDRONICA. 
 
 Schone Kayserin ich frage euch wieder, wie kompts 
 dafs jhr alleine gehet, vnnd auch nicht ein Hauffen 
 Diener auff euch bestellet haben, Aber ewren Spott den 
 jhr jetzt an vns treibet, thue ich doch weniger denn 
 nichtes achten, von jhne auch leichtlich vertragen. Ver- 
 hoffe auch wann es wiirde von nothen seyn, wolte ich 
 eben so wol ein tausent Reuter vnnd Fufsvolck konnen 
 auffbringen dann jhr. 
 
 KAYSERIN. 
 Andronica dafs du jetzt so frech vnnd mit spitz- 
 
 TITUS ANDRONICUS. 
 
 Yes truly, most high and mighty Emperor, a goodly 
 number will attend; also my brother Victoriades and 
 the husband of my daughter Andronica. 
 
 EMPEROR. 
 
 Very well, my dear Titus Andronicus, we shall hold 
 ourselves ready. 
 
 [Exeunt. 
 
 The morning hour is now arrived, they hunt; blowing of 
 horns and trumpets. 
 
 Enter TITUS ANDRONICUS. 
 
 O how sweetly and pleasantly do the birds sing in 
 the airj each seeking its food; and the hunt has like- 
 wise commenced in joy and splendour. But yet my 
 heart is oppressed and uneasy, for that I had last night 
 a most dreadful dream, and know not what it portends. 
 I must now again join the Emperor who is present 
 at the hunt in person. 
 
 [Exit. 
 
 Enter the husband of Andronica leading her by the hand; the 
 
 Empress advances to meet him; the huntsmen blow their horns. 
 
 ANDRONICA. 
 
 My most beloved husband, a finer and more enter- 
 taining hunt I never saw in all my life. 
 HUSBAND. 
 
 I also my fair wife, can truly say that I have been 
 at many hunts, but never did I see a gayer and merrier 
 one. But what wonder do I see? The Empress is 
 coming hurriedly towards us! 
 
 EMPRESS, coming up. 
 
 How greatly do I feel surprised at this Andronica! 
 How comes it that you and your husband are quite 
 alone? Have you not a thousand followers on horseback 
 and on foot to attend you? 
 
 ANDRONICA. 
 
 My fine Empress, I ask you in return, how comes 
 it that you walk alone and have not a host of servants 
 waiting upon you? But I scorn your railery, and can 
 easily bear it. I hope that I could as easily as your- 
 self raise a thousand followers on horse and foot, if 
 it were necessary. 
 
 EMPRESS. 
 
 Andronica, as you ask me so pertly and insolently 
 
 12 
 
179 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 180 
 
 finnigen Worten wiederumb fragest, warumb ich auch 
 alleine gehe, soltu wissen, dafs es mir also gefelt. Aber 
 ich frage wie kompts doch, dafs du mir so frech vnd 
 trotziglich darffest antworten. Bin ich nicht deine Kay- 
 serin, vnnd solst nicht wissen, wie hoch du mich ehren 
 sol test, gedenck nun aber nicht, dafs ichs also darbey 
 wil bleiben lassen. 
 
 ANDRONICA. 
 
 Ja Kayserin, wie man ins Holtz ruffet, also krie- 
 get man ein Wiederschall, denn wie jhr mich aufs hof- 
 fertigen Gemuth fraget, so antworte ich euch. Ob jhr 
 aber wol Kayserin seyd, wil ich euch drumb nicht vnter 
 den Fiissen liegen, denn bedencket dieses, waret jhr 
 nicht erstlich meines Herren Vater Gefangen, vnnd nun 
 weil jhr Kayserin worden seyd, wisset nicht wie jhr 
 euch fur Hoffart lassen wollet. Derhalben konnet jhr 
 wol jmmer hinfahren in ewer Hoffart, vnd mich bleiben 
 lassen wer ich bin. Ich frage, was hat diese Stadt 
 Rom fiir Nutz von euch vnnd den ewren gehabt, was 
 hat sie aber fiir Nutz von den meinigen, vnd mein 
 Herr Vater, ja warlich wenn der es nicht gethan, vnd 
 mit seinen Ritterlichen Ha'nden erhalten, dafs Kayser- 
 thumb vnnd gantz Rom wiirde vorlangst zu Boden gan- 
 gen seyn, thut ( aber so viele boses an mir, was jhr 
 nicht lassen konnet. 
 
 KAYSERIN. 
 
 O mein Hertz wil mir im Leibe zerspringen, gehe 
 mir aufs meine Augen du verfluchete Creatur, wann 
 ich dann dein Hochmuth nicht straffen konte, so wolte 
 ich mich selbest todten. Sieh ich thu schweren bey 
 alien Gottern, dz ich zuvor nicht essen oder trincken, 
 auch nunmehr mein Ha'upt sanffte legen wil, bifs ich 
 mein Muth sats vnd genugsam an dich gekiilet, vnd 
 mit Frewden vber dir triumphiret. 
 
 [Gehet ein Schritt sex fort, da kommenjhre zween 
 
 Sohne zu jhr, die Andronica redet vnter dessen 
 
 in geheim mit jhr em Gemahl. 
 
 HELICATES. 
 
 Gnadige Fraw Mutter, es nimpt vns grofs Wun- 
 der, dafs jhr so gar allein, vnnd von alien spatzieren 
 gangen. Aber vielmehr thun wir vns verwunderen, 
 warumb jhr so sehre betriibet, vnnd in schwermiitigen 
 Gedancken gehet. 
 
 MUTTER. 
 
 O mein liebe Sohne, offenet ewre Ohren, vnd ob- 
 serviret meine Worter wol, jhr sollet wissen, dafs ich 
 nit weit von hie einem Orte spatzierte, da die Andro- 
 nica sampt jhrem Gemahl ist, welche mich also erfas- 
 set vnd mit spottischen vnnd honischen Worten, wer 
 vber mich bald toll vnd vnsinnig worden, derhalben 
 
 why I am also walking alone, you must know that it is 
 my pleasure to do so. But I ask how comes it that you 
 dare answer me so insolently and defiantly? Am I not 
 your Empress, and do you not know that you ought to 
 treat me respectfully? But do not imagine, that I shall 
 not resent it 
 
 ANDRONICA. 
 
 Well, Empress, it is only a Rowland for an Oliver ; 
 for if you question me haughtily, I answer you in the same 
 manner. Although you are Empress, I will not lie at your 
 feet; for you must consider that you were at first my 
 father's captive, and now that you are Empress, your pride 
 knows no bounds. You may keep up your pride, but 
 let me also be as I am. What is the benefit, I ask you, 
 that this city of Rome has derived from you and your 
 kinsmen, to what she has reaped from mine? Forsooth 
 my father had not preserved her with his chivalrous arms, 
 the Empire and all Rome would have perished long ere 
 this; but you may do me as much harm as you like. 
 
 EMPRESS. 
 
 O my heart will burst! Get out of my sight, you 
 accursed creature! If I could not punish your insolence 
 I would kill myself. I swear by all the Gods that I will 
 neither eat nor drink nor lay me down to rest, until 1 
 have taken my fill of revenge on you, and have tri- 
 umphed over you. 
 
 [She walks a little further and meets her two sons, 
 meanwhile Andronica speaks softly to her hus- 
 band. 
 
 HELICATES. 
 
 My gracious mother, we are much surprised, that 
 you walked away quite alone; but much more are we 
 lost in wonder as to what may be the cause of your 
 grief and melancholy. 
 
 EMPRESS. 
 
 O my dear sons, give ear to my words, and mark 
 them well; you must know, that I was walking not far 
 from here to a spot where I found Andronica and her 
 husband, whereupon she assailed me with jeering anc 
 scornful words in a manner to drive me mad ; therefore 
 come and take signal revenge on her, treat her cruelly 
 
181 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 182 
 
 kompst nur vn rechnet euch machtiglich wieder an sie, 
 vnd gehet erbarmlich mit jr vmb, vn erstecht jr alfs- 
 bald jren Gemahl an d' Seiten, davorn jr mich lieb 
 habet, so jhrs aber nicht thut, so wil ich euch verflu- 
 chen vnnd nicht fiir meine Sohne halten. 
 
 SOHNE. 
 
 Gnadige Fraw Mutter, wir seynd willich euch zu 
 gehorsamen. Kompt nu mit vnd zeiget vns an welchen 
 Orte sie seyn, so wil ich jhm alfsbald sein Leben 
 nehmen. 
 
 MUTTER. 
 
 Nun so folget mir vnd habt keine Erbarmnifs 
 mit sie. 
 
 [Gehen zu jhm. 
 Helicates ziehet sein Schwerdt. 
 
 HELICATES. 
 
 Sich finden wir euch hie, du hast nun gar zu lange 
 gelebet. 
 
 [Ersticht jhn. 
 O mordio mordio. 
 
 ANDRONICA. 
 
 Ach wehe, ach wehe, ist dar denn kein wehe vnd 
 zeter dieser mordtliche Todt. 
 
 [Gehet fiir den todten Cb'rper auff die Erde sitzen. 
 
 KAYSERIN. 
 
 Sieh nun du hoffertiges Weib, wie gefelt dir difs, 
 was diincket dir, hab ich den Eydt nicht gehalten, wel- 
 chen ich geschworen; Ja dieses sol noch gar nichts 
 seyn, sondern so wil ich dich zamen, dafs du mir vnter 
 meinen Fufssolen solt liegen, vnd ich vber deinem Leich- 
 nam trete, dein gantz Geschlechte, mit sampt deinem 
 Vateren vnd Briider wil ich gar aufsrotten, vnnd bey 
 meinem Gnadigsten Herrn Kayser mit List vnd Prac- 
 ticken zu wege bringen, dafs sie alle eines jammerlichen 
 Todes sterben sollen, aber ich bin dir hoffertige Men- 
 sche so spinne feindt, dan mir vnmiiglich ist, lenger 
 lebendig fiir meine Augen zusehen. Derohalben mein 
 lieber Sohn, thue mir jetzt dein Schwerdt, damit wil 
 ich jhr selbst jammerlich jhr Leben nehmen. 
 
 [Wil jhm das Schwerdt nehmen. 
 SAPHO : 
 
 Hertzliebe Fraw Mutter, dasselbige kan ich thuen, 
 derhalben bedenckt euch erstlich recht. 
 ANDRONICA. 
 
 O du aller vnbarmhertzigste Weibesbildt, ist dann 
 kein Fiincklein Erbarmnifs in dir, ja wann mein Herr 
 Vater wissen solte, sie wiirden nicht wissen wie grim- 
 miglich, sie sich wiederumb an euch rechnen, solte, 
 keinen Stein wiirden sie auff dem andern liegen lassen, 
 
 and, if you love me, kill her husband by her side; but 
 if you do it not I will curse you, and henceforth never- 
 more regard you as sons of mine. 
 
 HELICATES and S-APHONUS. 
 
 Gracious mother, We are willing to obey you. Only 
 come with us and show us where they are, and we will 
 forthwith take away his life. 
 
 EMPRESS. 
 Well then follow me, and have no mercy upon 
 
 them. 
 
 [They go up to them. 
 
 HELICATES, drawing his sword. 
 Ah, do we find you here? you have now lived much 
 too long. [Runs him through with his sword. 
 
 (HUSBAND.) 
 O murder, murder! 
 
 ANDRONICA. 
 
 O misery! Is there no one to proclaim this horrible 
 murder! 
 
 [She sits down by the corpse. 
 
 EMPRESS. 
 
 Look you now, you haughty woman. How like you 
 this? What think you, have I not kept my vow? But 
 this is only the merest trifle. I will so tame you that 
 you shall lie under my feet, I will tread on your corpse, 
 I will exterminate your whole kindred with your parents 
 and brothers, and by my cunning and crafty designs will 
 prevail upon the Emperor to let them die a miserable 
 death. But you, proud woman, are so hateful to me, 
 that I can no longer bear to see you alive. Therefore, 
 my dear son, give me your sword, that I may take away 
 her life myself. 
 
 [She wishes to take his sword. 
 
 SAPHONUS. 
 
 Dearest mother, I can do that; therefore first be- 
 think yourself. 
 
 ANDRONICA. 
 
 O you most merciless woman, is there not a spark 
 of compassion in you ! Ah, if my father could but know 
 this, he would think no revenge cruel enough; he would 
 not leave one stone in its place, but would would rip up 
 the very earth on which you stand. Oh, haughty Empress, 
 
 12* 
 
183 
 
 TRAGEDY OF TITUS ANDRONICCS. 
 
 184 
 
 sondern die Erde, worauff jhr stehet gar vmbreissen. 
 O weh du hoffertige Kayserin erbarm dich vber mich, 
 vnd nim mir auch jetzt mein Leben, denn lenger ist 
 mir vnmiiglich, vnnd bringet mir Hellen Angest. 
 
 KAYSERIN. 
 
 Ja ich gleube es wol, wanns dein Vater vnd Bru- 
 der wiisten, die da nicht streiten wie Menschen, son- 
 dern arger wie der Teufel, so solten sie wol bald der- 
 halben gantz Rom mit der Kayserlichen Pallast zu 
 Grunde reissen, vnnd wie die vngestumme Lowen ru- 
 moren, aber demselben mufs ich zuvor kommen, vnd 
 darauff bedacht seyn, dafs sie es nimmermehr zu wis- 
 sen bekommen. Weil ich dann aber hore, dafs dir 
 lenger zu leben Hellen Angest wer, ich auch das argeste 
 nicht erdencken kan, wormit ich dich quele, so wil ich 
 dich noch eine zeitlang leben lassen: Vnd jhr meine 
 liebe Sohne, ich weifs dafs jhr grosse Lust zur Bulerey 
 habet, vnd voll Venus Safft seyd, derhalben vbergebe 
 ich sie euch, gehet mit jhr an den grawsamesten Orten 
 dieses Waldes, vnnd brauchet beyde ewer Lust genug- 
 sam an sie, vnd richtet sie also zu, dafs sie keines 
 Menschen gleich ist, werdet jhr aber ein Erbarmen mit 
 jhr haben, so gedencke dafs mein Zorn weit vber euch 
 ergrimmen, vnd nicht viele gutes bedeuten wirdt. 
 
 SOHN. 
 
 Gnadige fraw Mutter, wir sein ewren Befehl ge- 
 horsam. 
 
 [Gehen zu Andronica, wollen sie auffheben vnd 
 mit jhr davon gehen. 
 
 ANDRONICA. 
 
 O ist das denn keine Hiilffe, O ist da kein Er- 
 barmnifs, ich bitte last mich bleiben, vnd nehmet mir 
 mein Leben. 
 
 KAYSERIN. 
 
 Nein ich wil durchaufs die geringste Erbarmnifs 
 nicht mit dir haben. Nun Sohne nehmet sie alfsbald 
 hinweg fur meinen Augen. 
 
 \_Nehmen sie hinweg, gehen mit jr ins Holtz, alfs- 
 bald kompt der Morian. 
 
 , MORIAN. 
 
 Sieh wunder vnd vber wunder, was zum Teufel 
 bedeutet vns dieses Kayserin, dafs jhr hie so gar im 
 Walde allein gehet, jetzt hat mir der Kayser befohlen 
 euch zu suchen. 
 
 KAYSERIN. 
 
 Mein getrewer Bule, lafs dich nicht wunder neh- 
 men. vnd sey nicht so zornich, denn ich hette lust alleine 
 zu spatzieren, wil aber alfsbald mit dir zum Kayser 
 gehen. Aber mein hertzlieber Bule, wir seyn jetzt gar 
 
 have mercy on me, and take away my life also! for it 
 is impossible for me to live any longer; it would be 
 the torture of hell. 
 
 EMPRESS. 
 
 I believe it indeed, if your father and your brother 
 knew this, they who fight not like men but more fier- 
 cely than devils, they would forthwith pull down all 
 Rome together with the Imperial palace, and would 
 rage like lions; but I must prevent this, and take care 
 that they shall never know it. And as I hear that life 
 is hell's torture to you, and as I cannot now think upon 
 a greater torment for you, I will let you live a little 
 longer. And as I know, my dear sons, that you have 
 a great desire for love's pleasures, I give her up to you. 
 Go with her to the wildest parts of this forest and sa- 
 tisfy your desires fully; and treat her so that she shall 
 no longer resemble a human being; but if you have pity 
 on her, remember that my anger will be roused against 
 you, and portend you little good. 
 
 HELICATES and SAPHONUS. 
 Gracious mother, we will obey your order. 
 
 [They go up to Andronica, attempt to raise her, 
 and carry her off. 
 
 ANDRONICA. 
 
 O is there no help? Is there no pity? I implore 
 you let me remain here, and take away my life! 
 
 EMPRESS. 
 
 No, I will have no pity on you. Well, sons, take 
 her out of my sight. 
 
 [_They carry her off into the forest. Presently 
 enter Morian. 
 
 MORIAN. 
 
 Behold this wonder of all wonders ! What the devil 
 does this signify, Empress, that you are walking alone 
 in the forest? The Emperor ordered me to look for 
 you. 
 
 EMPRESS. 
 
 My faithful lover, be not surprised; neither be so 
 angry, that I had a wish to walk alone. I will now go 
 with you to the Emperor. But, my sweet lover, we are 
 now quite alone in this fine and delightful wood, and I 
 
185 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 186 
 
 alleine in diesem schonen lustigen Waldt, vnd ich ein 
 grofs appetit gekriegen zum Spiele der Gottin Venere, 
 derhalben lafs mir von dir ergetzet werden, vnd mache 
 mir Frewde. 
 
 MORIAN. 
 
 Nein schone Kayserin, ob each jetzt wol die Got- 
 tin Venus gewaltig thut reitzen zu jhren Spiele, so 
 regieret, vnd hat mich doch wiederumb eingenommen 
 Gott Mars. Kan derhalben jetzt nicht seyn, vnd wer- 
 det auff difsmal meinen Leib nicht theilhafftig werden 
 so last vns jetzt gehen zum Kayser, der da lange nach 
 euch gewartet hat: [Gehet hienein. 
 
 ACTUS QUARTUS. 
 
 Jetzt kompt heraufs Titus Andronicus, Vespasianus, 
 Victoriades stehen betriibt. 
 
 TITUS ANDRON: 
 
 O hertzlieber wie sehre ist mir mein Hertz beiing- 
 stiget, drumb dafs der Kayser meine zween Sohne in 
 Gefangnifs eingezogen, weifs aber im geringesten nicht 
 was die Vrsache ist, ich habe an den Kayser geschrie- 
 ben, er wolle mir die Vrsache vermelden, warumb meine 
 Sohne so schleunig seyn gefangen genommen, der mir 
 dann wiederumb geschrieben, dafs meine Sohne der 
 Kayserin gefangen weren, vnd sie groblich wieder jhr 
 mifsgethan, sich mit Calumnien vnd schmehen Worten 
 an sie vergriifen, derhalben miissen sie eines eiligen 
 Todes sterben, solte ich dann mein eigen Fleisch vnd 
 Blut dahin richten sehen, wiirde mir grofs Schmertz 
 vnd Peine bringen: Aber wem sehe ich da zu mir kom- 
 men, der Kayserinnen Morian. 
 
 Jetzt kompt Morian zu Andronicus. 
 
 MORIAN. 
 
 Gluck zu alte Titus Andronicus. Seyd nun guter 
 Dinge vnd frolich, dann gute Botschafft bring ich euch. 
 
 TITUS ANDRON: 
 
 Danck habet Morian, saget an was bringet jhr fur 
 Zeitung. 
 
 MORIAN. 
 
 Jhr solt wissen dafs mich die Kayserin zu euch 
 gesandt, lest euch sagen, daferne jhr ewere Sohne lieb 
 habt, vnnd sie vom Tode erretten wollet, sollet jhr ewre 
 rechte Handt abhawen, vnd sie durch mich vberschik- 
 ken, so sollen sie euch alfsbald wiederumb zugestellet 
 werden. 
 
 TITUS ANDRON: 
 
 O mein lieber Morian, wie frolich Botschafft brin- 
 gestu mir. Ja wenn die Kayserin auch alle beyde 
 
 have a great longing for the pastime of the goddess 
 Venus, so let us disport and enjoy ourselves. 
 
 MORIAN. 
 
 My lovely Empress, if you are under the influence of 
 the goddess Venus, I am ruled and mastered by god 
 Mars. Therefore it cannot be now; but let us go to 
 the Emperor, who has been long waiting for you. 
 
 [Exeunt. 
 
 ACT IV. 
 
 Enter Titus Andronicus, Vespasian, Victoriades 
 
 sorrowfully. 
 TITUS ANDRONICUS. 
 
 my beloved, how oppressed is my heart, that the 
 Emperor has put my two sons into prison! I have not 
 the slightest knowledge of the cause of it, and wrote to 
 ask him to let me know why he so suddenly imprisoned 
 my sons. To this he replied, that my sons were im- 
 prisoned on account of the Empress whom they had 
 grossly insulted and offended with slanderous and scorn- 
 ful words. For this reason they are to be put to death 
 speedily. Were I to see my own flesh and blood exe- 
 cuted it would cause me great pain. But who is ap- 
 proaching yonder? It is Morian, the attendant of the 
 Empress. 
 
 MORIAN, approaches. ' 
 
 I give you joy, old Titus Andronicus ! Be of good 
 cheer, for I bring you a welcome message. 
 
 TITUS ANDRON. 
 Thanks, Morian, say what news you bring. 
 
 MORIAN. 
 
 You must know that the Empress sends me to you 
 to tell you, that if you love your sons and Avish to save 
 them from death, you must cut off your right hand and 
 send it through me. They shall then be sent back to 
 you immediately. 
 
 TITUS ANDRONICUS. 
 
 Oh, my dear Morian, what a joyful message you 
 bring me! Nay even if the Empress desired both my 
 
187 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 188 
 
 Hande begehrete, wolte ich sie gerne abhawen, aber 
 jetzt wil ich meine Handt abhawen, vnd sie dir vber- 
 geben. etc. 
 
 VICTORIADES. 
 
 Hertzlieber ich bitte, last mir meine Handt ab- 
 haweji, denn solt jhr ewer Ritterliche Handt abhawen, 
 were zuerbarmen. 
 
 VESPASIANUS. 
 
 O hertzlieber Vater ich bitte lasset zu, dafs ich 
 meine Handt abhawe, denn es seyn meine hertzliebe 
 Bruder. 
 
 TITUS ANDRON: 
 
 Nein mein hertzlieber Bruder, auch mein lieber, 
 ewre Handt sollet jhr nicht darfiir geben, sondern mir 
 
 wils gebiihren. 
 
 [Fallen fur jfim auff die Knie. 
 
 VICTORIADES. 
 
 Hertzlieber Bruder wir thun einen Fufsfall vnnd 
 bitten zum hochsten, dafs jhr wollet ewre Handt vnbe- 
 schadiget lassen, vnnd dafs ich nur meine Handt abhawe. 
 
 TITUS ANDRON: 
 
 Stehet auff- vnd kniet nicht fur mir, well jhr dann 
 also ernsthafftig drein dringet, mufs ichs wieder meinen 
 willen nachgeben, vertraget euch nun beyde drumb, wer 
 seine Handt verlieren soil. 
 
 VICTORIADES. 
 
 Ja hertzlieber Bruder, wir wollen darumb losen, 
 jetzt aber wollen wir hinein gehen, vnd ein Beil holen, 
 dem es aber trifft, sol alfsbald fur jedermanniglichen 
 seine Handt abhawen. 
 
 [Victoria. Vespasianus gehen hinein. 
 
 TITUS ANDRON: 
 
 Ich wil euch gleichwol nun beyde vexiren, denn 
 vnter dessen jhr loset vnd das Beil holet wil ich meine 
 Handt abhawen. 
 
 [Gehet ein. 
 MORIAN. 
 
 Mufs dann nun das vexieren heissen, so pfleget 
 der Teufel seine Muttel vexieren, aber du alte Titus 
 Andronicus, ob ich wol ein vnharmhertziges Hertz habe, 
 so tawret mir dennoch deiner den die Kayserin vexi- 
 ret dir jetzt deine Handt abe, damit du nicht dermal 
 eins Rom mochtest vmbkehren, wann du aber meynest, 
 wirst deine Sohne bekomnien, so wirstu nur allein die 
 Haupter dafiir zusehen kriegen. 
 
 Jetzt kb'mpt Titus hat seine Handt abgehawen Victoriades, 
 Vespasianus komen auch. 
 
 VESPASIANUS. 
 Gnadiger Herr Vater, ich habe gewunnen, dafs ich 
 
 hands, I would willingly cut them off. But now I will 
 cut off my hand and give it to you. 
 
 VICTORIADES. 
 
 Dearest brother, I implore you let me have mine 
 cut off, for it were a pity indeed to cut off your chival- 
 rous hand. 
 
 VESPASIAN. 
 
 O beloved father, I implore you let me cut off my 
 own hand, as it is for my dear brothers. 
 
 TITUS ANDRONICUS. 
 
 No, my dearest brother, no, dearest son, you shall 
 not give your hands, for that part belongs to myself 
 alone. 
 
 [They kneel down before him. 
 
 VICTORIADES. 
 
 Dearest brother, we implore you on our knees, to 
 preserve your hand unhurt, and to let me cut off mine. 
 
 TITUS ANDRONICUS. 
 
 Rise, and kneel not before me. As you insist upon 
 it so earnestly, I must yield against my will, therefore 
 agree between you, which is to lose his hand. 
 
 VICTORIADES. 
 
 Yes, dear brother, let us cast lots for it. Now let 
 us go fetch an axe, and he on whom the lot falls shall 
 forthwith cut off his own hand instead of the other. 
 [Exeunt Victoriades and Vespasian. 
 
 TITUS ANDRONICUS. 
 
 Nevertheless I only wish to deceive you both; for 
 while you are casting lots and fetching the axe, I will 
 cut off my own hand. 
 
 [Exit. 
 MORIAN. 
 
 If that be called deceit, the devil also deceives his 
 mother; but although I have a pitiless heart, 1 feel for 
 you, old Titus Andronicus, for the Empress tricks you 
 out of your hand that you may not some day overturn 
 Rome; but when you hope to have your sons again, you 
 will only get their heads instead. 
 
 Enter Titus with his hand cut off", also Victoriadex and 
 Vespasian. 
 
 VESPASIAN. 
 Father, 1 have won. I may now O woeful sight! 
 
189 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 190 
 
 : sol jetzt: O wehe O wehe, warumb habt jhr doch ewer 
 Handt abgehawen, dieses ist ja warlich zu erbarmen, 
 hertzlieber Vater. 
 
 TITUS ANDRONICUS. 
 
 Ich bitte sagt nun nichtes mehr davon, denn es ist 
 all geschehen, sehet hie Morian, bringet diese meine 
 Handt der Kayserinnen vnd fuhret alfsbald meine liebe 
 Sohne wiederumb zu mir. 
 
 MORIAN. 
 
 Nun ade, ich werde auch ja etwas davon bringen. 
 [Gehen zusammen hinein. 
 
 Jetzt kompt heraufs Helicates vnd Saphonus, welche zuvor 
 mit der Andronica in den Walde gangen, jhre Wollust 
 mit sie gebrauchet, vnd sie jdmmerlich zugerichtet , beyde 
 Hdnde haben sie jhr abgehawen, vnd die Zunge aufs dem 
 Munde gerissen, haben sie zwischen sich. 
 
 HELICATES. 
 
 Also mufs man es machen, wenn man bey scho- 
 nen Frawen geschlaffen, dafs sie es nicht konnen nach- 
 sagen, die Zungen mufs man jhr aufsschneiden , damit 
 sie es nicht sagen, auch jhre beyde Hande abhawen, 
 dafs sie es auch nicht schreiben, gleich wie es hier mit 
 dieser gemachet, aber was sol man nun weiter mit jhr 
 anfahen, wir miissen sie hie im wilden Walde gehen 
 lassen, dafs sie nur zu letzt doch den wilden Thieren 
 zu Theil werden. So kom lieber Bruder lafs vns gehen. 
 ' Nun ade ade Andronica. 
 
 [Gehen weg. 
 
 Andronica bleibet alleine seufftzen siehet kldglich kegen 
 ' Himmel: Nicht lange darnach kompt jhr Vater Victoriades, 
 vnd siehet sie, da sie jhn aber siehet leu/et sie ins Holtz. 
 
 VICTORIADES. 
 
 Ach wehe, ach wehe, was fur ein grofs Vngliick 
 finde ich hie, die Andronica die da nicht eines Men- 
 schen gleich ist. O verberge dich nicht fur mir. 
 
 [Leufft hinein, holet sie wiederumb heraufs. 
 O du armes Creatur, wer hat dich so erbarmlich 
 vnd vnmenschlich zugerichtet, ach wehe deine Zunge 
 fist dir aufsgerissen , deine beyde Hande sein dir abge- 
 hawen, O wehe dieses mogt einem Stein erbarmen, O 
 kom mit mir, du solt hie nicht bleiben. 
 
 [Gehet hinein. 
 
 'Nun kompt heraufs Titus Andronicus, Vespasianus, als- 
 
 bald kompt der Morian bringet die beyden Hdupter vnd 
 
 die Handt. 
 
 MORIAN. 
 
 Sehet hie alter Titus, ich habe ein Erbarmnifs mit 
 euch, dafs ewre edle vnd streitbare Hand also ist ab- 
 
 Why have you cut off your hand, dearest father? This 
 is a piteous sight! 
 
 TITUS ANDRONICUS. 
 
 I entreat you, say no more about it, for it is al- 
 ready done. Look here, Morian, take this hand t the 
 Empress and bring me back my dear sons quickly. 
 
 MORIAN. 
 
 Well adieu, I will indeed bring back something of 
 them. 
 
 [Exeunt. 
 
 Enter Helicates and Saphonus, who had gone into the 
 
 forest with Andronica upon whom they satisfied their lust. 
 
 Having also barbarously mutilated her, cut off both her 
 
 hands, and torn out her tongue, they now bring them 
 
 with them. 
 
 HELICATES. 
 
 Thus must a man act when he has slept with a hand- 
 some woman, so that she may not divulge it. He must 
 cut off her tongue, that she may not tell it, and cut off 
 both her hands, that she may not write it, as we have 
 done to this one. But what shall we do with her now? 
 We must leave her in this dismal forest, that she may 
 be devoured by wild beasts. Come, dear brother, let 
 us go. Farewell now, Andronica. 
 
 [Exeunt. 
 
 Andronica alone, sighing and looking up weepingly to 
 heaven. Presently enter her uncle Victoriades. He per- 
 ceives her; but on seeing him she runs into the wood. 
 
 VICTORIADES. 
 
 Woe is me! What great misfortune do I find here! 
 Andronica no longer in the resemblance of a human 
 being! hide not yourself from me. 
 
 [He runs out to bring her back. 
 O you poor creature who has so cruelly and foully 
 maimed you? Alas! your tongue is torn out, both your 
 hands are cut off. O this is enough to melt a stone! 
 Come with me; you shall not remain here. 
 
 [Exit. 
 
 Enter Titus Andronicus, Vespasian, and soon after Morian, 
 carrying two heads and hands. 
 
 MORIAN. 
 
 Behold Titus, I feel pity for you, that your noble 
 and chivalrous hand has been cut off thus. The Em- 
 
191 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 192 
 
 gevexiret worden. Hie schicket sie euch die Keyserin 
 wieder, vnd dieses seyn ewre beyde Sohnes Haupter. 
 [Morian leget siefiirjhm. Titus vnd Vespasianus 
 konnen kein Wort mehr fiir Angst reden, ste- 
 hen gleich als todte Menschen. 
 
 Nun ich gehe weiter von hinnen, wirstu aber dieses 
 also darbey bleiben lassen, so wird dich die Keyserin 
 sampt deinem Geschlechte , mit Betriibnifs vnd Verra- 
 therey aufstilgen, vnd euch also weg reumen. 
 
 [Gehen weg. 
 TITUS ANDRON: 
 
 Ach, ach, ach zeter vnd mordio, vber dich Blut- 
 gierige, betriegliche Weibesbild, wor ist wol jemals ein 
 betrieglichers, hoffertigers vnd Blutdiirstigers Weib ge- 
 wesen, denn diese verfluchete Keyserin, selber mag 
 ich mich anspeyen, dafs ich sie habe leben lassen, vnd 
 nicht die Gurgel abgestochen, da sie mein Gefangene 
 war, O du vnbarmhertzigste vnd vndanckbareste Wei- 
 besbild, wie kan doch miiglich seyn, dafs die Sternen 
 am Himmel dir nicht sollen feind seyn, ja die vnver- 
 niinfftigen Creatur werden mit mir weinen vnd betriibet 
 seyn. O jhr himlischen Go'tter werdet solche Vbelthat 
 nicht dulden konnen, ach verleihet mir Witz vnd Ver- 
 standt, dafs ich mo'ge weifslich bedencken, wie ich mich 
 an die hoffertige Keyserin moge doppeltfeltig rechnen. 
 O du. verfluchte Creatur, wie hastu mich doch so be- 
 trieglich vmb meine Hand gebracht. 
 
 [Ximpt die Hand auff von der Erden. 
 
 Ja du edele Hand, wie bistu so bezahlet fiir deine 
 trewe Dienste, O du vndanckbare Rom, diese Hand hat 
 dich offte vnd vielmal von deinen grawsamen Feinden 
 errettet. Ja wann die es nicht gethan, wiirdestu vor- 
 langst zerschleiffet seyn, von keinem Romer wiiste man 
 mehr zu sagen , O wie offte hastu edele Hand gegen 
 tausendt Hande streiten miissen, vnd die gefahrlichsten 
 blutigsten Kriege hastu mit victoria vberwunden, ach 
 meine liebe Sohne, welche Angst vnd Pein bringet es 
 mir, dafs ich ewre Haupter also mufs fur mir liegen 
 sehen, O nimmermehr solt jhr \veg gesetzet werden, ehe 
 ich dann meines Feindes Haupter dabey habe, Ach 
 wehe, ach wehe, Ritterlich vnd Mannlich habet jhr fiir 
 Rom gestritten, auch ein streitbar Hertze von mir ge- 
 erbet, aber du vndanckbare Rom, wie hastu es jhnen 
 bezahlet, O vndanckbare Rom, w r ie eilestu zu nach dei- 
 nem Vngliicke. 
 
 VESPASIANUS. 
 
 O hertzlieber Vater, solche Tyranney vnd Teuffels 
 Vndanckbarkeit ist nicht erhoret, so lang die Welt ge- 
 standen, so ichs aber nicht solte rechnen, were ich 
 nicht werth, dafs ich den Erdboden betreten solte, der- 
 
 press sends them back to you, and here are the heads 
 of your two sons. 
 
 [He puts them down before him. Titus and > 
 Vespasian stand speechless and almost lifeless 
 with horror. 
 
 I am going now, but if you rest (not?) satisfied 
 with this the Empress will exterminate you and your 
 stock by affliction and treachery, and thus put you out 
 of the way. 
 
 [Exit. 
 
 TITUS ANDRONICUS. 
 
 O bloody treacherous woman! Was there ever a 
 more perfidious haughty and bloodthirsty woman than 
 this accursed Empress! O I could spit at myself, that 
 I allowed her to live instead of cutting her throat when 
 she was my captive. O you most pitiless and ungrate- 
 ful woman, how is it possible that the stars in heavens 
 are not your enemies! Even brute creation will weep 
 and wail with me : Ye gods in heaven ! you will not 
 tolerate such iniquity! Oh grant me sense to bethink 
 myself wisely, how to be doubly revenged upon this 
 haughty Empress. Accursed creature, how treacherously 
 have you robbed me of my hand! 
 
 [Takes up the hand. 
 
 Noble hand, how have your faithful services beenj 
 requited! O ungrateful Rome, this hand often saved 
 you from your cruel enemies. Had it not done so, you 
 would ere this have been torn to pieces, there would 
 be no trace of Rome now. How often, noble hand, 
 had you to do battle against a thousand hands ! the most 
 perilous and sanguinary wars have been victoriously 
 fought by you. Ah me, my dear sons, what anguish 
 and pain do I suffer to see your heads before me! O 
 you shall not be put aside, until I also have the heads 
 of my enemies. Alas, alas ! you fought bravely and nobly 
 for Rome, and you had inherited a brave heart from 
 myself. But ungrateful Rome, how have you repaid it! 
 O ungrateful Rome, how quickly do you hasten towards 
 your downfall! 
 
 VESPASIAN. 
 
 O beloved father! such savagery and diabolical in- 
 gratitude has not been heard off since the beginning 
 of the world. But I should not be worthy to tread 
 this earth if I did not avenge it. Therefore I can no 
 
193 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 194 
 
 1 halben kan ich mich nicht lunger enthalten, vnd bitte, 
 3 leget mich an Wehr vnd Waifen, vnd gebet mir in 
 I beyde Hande ein lang streitbares Schwerdt , damit ich 
 
 igehe zum Pallast, vnd alles was mir ankompt, wil ich 
 darnieder hawen, auch nicht streiten wie ein Mensche, 
 sondern wie ein rasender Teuffel, keine Eiserne Thiire 
 sol mir so starck seyn, sondern wil es zermalmen vnd 
 zerbrechen, vnnd wann ich dann den Keyser mit der 
 Keyserinnen habe darnieder geleget, wil ich noch in 
 die vndanckbaren Romer hawen, so lang ich jmmer 
 kan vnd mag, mich auch darnach gerne wil nieder 
 schlagen lassen, dann ich mein Leben nichtes mehr 
 achte. 
 
 TITUS ANDRONICUS. 
 
 Ach nein hertzlieber Sohn, solches ist dir vnmiig- 
 lich, du wiirdest doch nicht lebendig in den Pallast 
 kommen, du bist nun mein einiger hertzlieber Sohn, 
 wir mussen vns nun recht bedencken, wie wir vns an 
 gie rechnen, ob ich aber wol eine Hand, so wil ich 
 dennoch genugsam damit verletzen vnd beschadigen, du 
 aber hertzlieber Sohn must das beste thun. 
 
 Jetzt kompt Victoriades, bringet die Andronica. 
 
 VlCTORIADES. 
 
 O hertzlieber Bruder, das grewlichste spectacul, so 
 
 i jemalen fur ewren Augen kommen, sehet jhr nun. Hie 
 
 ist ewre Tochter Andronica, welche ich also im Walde 
 
 gefunden, jhre Zunge ist jhr aufsgerissen, vnd beyde 
 
 Ha'nde abgehawen. 
 
 [Titus verschrecket sich grawsamlich, zittert vnd 
 bebet, treibet grofs Elende. 
 
 VESPASIANUS. 
 O wehe, o wehe. 
 
 [Fellet in Ohnmacht nieder zur Erden, Victoria- 
 des gehet zu den Hdupten, weinet bitterlich 
 Titus geht auff die Knie sitzen. 
 
 TITUS ANDRON: 
 
 Ach, ach du grosses Vngluck, wie vberfelstu mich 
 so schleunig, auch wunder dafs mein Hertz nicht zu 
 stiicken springet. Ach mordio ach mordio, diese vn- 
 menschliche Vbelthaten, ach wehe, ach wehe, dir Stein 
 thu ichs klagen, vnd ob du mir wol nicht helffen kanst, 
 so gibstu mir dennoch kein Widerwort, vnd liegest stille, 
 hie- wil ich liegen, vnd mit bitterlichen weinen nicht 
 auffhoren, bifs so lang das eine grosse Fluth von mei- 
 nen Thranen von mir fliesset, bey Winterzeiten wil ich 
 den Schnee vnd Frost mit meinen Thranen weg schmelt- 
 zen, Ach wehe, ach wehe, dieser grawsame vnd tyran- 
 nische Rath ist gar zu erbarmlich. 
 
 \_Stehet auff, gehet zur Tochter. 
 Ach du mein hertzliebe Tochter, wer hat dir deine 
 
 longer restrain myself. Pray give me my armour, and 
 put a long and warlike sword in my hands, that I may 
 go to the palace and cut down everything, that comes 
 in my way. I shall not fight like a man, but like a 
 furious devil. No iron door shall be too strong to be 
 forced and shattered; and when 1 have laid low the 
 Emperor and the Empress, I will also "cut down the un- 
 grateful Romans as long as I have strength and will 
 left me, and until I am struck down myself; for I no 
 longer value my life. 
 
 TITUS ANDRONICUS. 
 Oh my dear son, that is impossible; you would not 
 get into the palace alive. You are now my only be- 
 loved son. We must now consider well how we may 
 best revenge ourselves; and although I have only one 
 hand, I will do harm and injury enough with it. But 
 you, dearest son, must do your best. 
 
 Enter Victoriades with Andronica. 
 
 VICTORIADES. 
 
 Oh my beloved brother, behold the most horrible 
 sight that ever met your eyes! Here is your daughter 
 Andronica, whom I found in the forest, her tongue torn 
 out and both her hands cut off. 
 
 [Titus is horror-struck and violently agitated. 
 
 VESPASIAN. 
 woeful, woeful spectacle! 
 
 [He sinks down in a swoon; Victoriades ap- 
 proaches the heads and weeps bitterly. Titus 
 falls on his knees. 
 
 TITUS ANDRONICUS. 
 
 Alas, alas ! how rapidly and suddenly do misfortunes 
 fall upon me! It is wonderful that my heart does not 
 break. Oh murder, murder! These inhuman misdeeds! 
 Ah woe is me ! woe is me ! I tell my sorrows to thee, 
 o stone, and although thou canst not help me, thou 
 answerest not and remainest silent. Here will I lie and 
 not leave off crying until I have flooded the earth with 
 my tears; in winter they shall melt away the snow and 
 frost. Alas, alas ! this cruel and tyrannical Senate is too 
 contemptible. 
 
 [He rises, and goes towards his daughter. 
 Ah my dearly beloved daughter,' who is it that has 
 
 13 
 
195 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 196 
 
 Zunge aufsgerissen, ich kan wol erachten, dafs du dei- 
 ner Keusfinheit beraubet bist, vnd dir derhalben deine 
 Zunge aufsgerissen, damit du den Thater nicht aufssa- 
 gest, dennoch haben sie dir auch deine schneeweisse 
 Hand abhawen, wormit du es nicht Schrifftlich soltest 
 oiFenbaren, ist es so nicht hertzliebe Tochter, Ach wehe, 
 ach wehe, du kanst es nicht sagen. 
 
 [Seu/tzet sehr, wincket mit dem Hdupte. 
 
 Du must ja vielleicht mit dem wincken anzeigen, 
 dafs es also ist. 
 
 [Wincket mit dem Hdupte noch einmal. 
 
 Aber hertzliebe Tochter, allhie seyn deine beyden 
 Briider Haupte, welche die hoifertige Keyserinne hat 
 abhawen lassen. 
 
 [Sie verschricket sich sehr, siehet vnd seufftzet gegen 
 Himmel, gehet zu den Hduptern, vnd kiisset sie. 
 
 VICTORIADES. 
 
 O vber dieses grosse Elende mogen sich die Steine 
 erbarmen, aber was hilffts vns, dafs wir hier stehen vnd 
 weheklagen, last vns nun samptlichen hinein gehen, 
 vnd bedencken, wie wir dieselben, welche sie also zu- 
 gerichtet, erfahren. 
 
 TITUS ANDRON: 
 
 Ja hertzlieber Bruder, es ist der beste Rath, wir 
 wollen hinein gehen, auch keine Ruhe habe,n, bifs wir 
 sie erfahren. 
 
 [Gehen hinein. 
 
 ACTUS QUINTUS. 
 
 ANDRONICUS, ANDRONICA, VICTORIADES. 
 
 TITUS ANDRON: 
 
 Ach wehe, ach -wehe, hertzliebe Tochter, mein altes 
 Hertz wil mir im Leibe zerspringen, dafs ich dich so 
 vnmenschlich fur meinen Augen sehe, wie lieb vnd 
 werth habe ich dich die Tage meines Lebens gehalten, 
 mit wie viel grosser Miihe vnd Sorge habe ich dich 
 aufferzogen, ja wenn ich mit Triumph pflag wiederumb 
 nach Rom zu kommen, vnd mein Leichnam vom Feinde 
 sehr verwundet war, ich auch grawsame schmertze hatte, 
 wenn ich aber dich gegen mir so frolich lauffende kom- 
 men sahe, mit deiner Lauten, mir fiir Frewde zuem- 
 pfahen, vertriebestu du mir damit meine wundliche 
 Schmertzen, auch durch deine liebliche Rede, erfrische- 
 test du offte mein altes Hertze. Aber wormit wiltu 
 
 torn out your tongue? I may well guess that you are 
 robbed of your chastity, and that your tongue has been 
 torn out that you may not betray the evil-doer; but 
 they have also cut off your snow white hand, that you 
 may not reveal it by writing. Is it not so dearest 
 daughter? Alas, alas! you cannot tell me. 
 
 [She sighs and nods. 
 
 You must perhaps tell me with signs that it 
 
 is so. 
 
 [She nods again. 
 
 But dearest daughter, here are the heads of your 
 two brothers, which the Empress has caused to be 
 cut off. 
 
 [She stands appalled, looks up to heaven and 
 sighs, then goes to the heads and kisses them. 
 
 VICTORIADES. 
 
 Oh, this great misery is enough to soften a stone. 
 But what avails our standing and wailing here ? Let us 
 all go in and deliberate how to detect those who thus 
 martyred her. 
 
 TITUS ANDRONICUS. 
 
 Well counselled, dear brother. We will go in, and 
 know no rest until we have found them out. 
 
 [Exeunt. 
 
 ACT V. 
 
 ANDRONICUS, ANDRONICA, VICTORIADES. 
 
 TITUS ANDRONICUS. 
 
 Alas, my most beloved daughter, my old heart al- 
 most breaks to see you in this pitiful state. How dear 
 to my heart have you always been! With how much 
 trouble and care have I brought you up ! When I used 
 to return in triumph to Rome, suffering much pain from 
 the. wounds received from the enemy, and saw you joy- 
 fully hastening to meet me with your lute, you made 
 me forget my pain, and refreshed my old heart with 
 your pretty innocent talk. But wherewith will you now 
 play the lute to gladden me, and wherewith will you 
 speak ? You are robbed of all this. Shame, shame upon 
 the cruelty done to you! Ah, if I only knew who did 
 it who has mutilated you thus inhumanly, I should 
 
197 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 198 
 
 nun die Lauten schlagen, wormit du mich erfrewest, 
 auch wormit wiltu reden, solches alles 1st dir beraubet, 
 Adi. ach, der grawsamen an dir begangenen That, ach 
 wehe wann ich nur wiiste, wer dir es gethan, vnd so 
 vnmenschlich zugerichtet hette, wolte ich mir ein wenig 
 zufrieden geben, aber es ist vnmiiglich, dafs du es kanst 
 offenbaren, sieh da kompt dein Bruder, sage mir, was 
 ist das, welches du bringest? 
 
 [Vespasian: hat ein Korb mit Sand, vnd ein Stecken. 
 
 VESPASIANUS. 
 
 Hertzlieber Vater, ich hab hierinnen Sand, vnd 
 meine hertzliebe Schwester Andronica solte versuchen, 
 .ob sie mit diesem Stecken offenbaren vnd schreiben 
 kondte, welcher sie so erbarmlich zugerichtet. 
 
 TITUS ANDRON. 
 
 O hertzlieber Sohn, wann sie es damit konte an 
 den Tag geben, wolte ich ein wenig ruhe finden, fur 
 mein altes kranckes Hertz. Aber giefs nun den Sand 
 aufs auff die Erden, vnd thue jhr den Stecken. 
 
 [Er giesset den Sand an die Erden Titus Andron: 
 thut der Tochter den Stock zwischen den bey- 
 den Stummelen. 
 
 Sieh da hertzliebe Tochter, vnd schreib damit auffs 
 Sand, dieselben Namen, welche dir deine Zung vnd 
 Hande beraubt. 
 
 [Sie nimpt den Stecken, vnd schreibt damit 
 
 Ach hertzliebe Tochter, nun hab ich genug, da 
 stehet Helicates vnd auch Jagd. O hertzliebe Tochter, 
 ist es nicht also , dafs dich Helicates vnd Saphonus in 
 der nehesten Jagd also zugerichtet. 
 
 [Andronica wincket mit dem Hdupte niederwerts. 
 
 Zeige mir auch hertzliebe Tochter, hat die Keyserin 
 auch schuldt dran. 
 
 [Neiget das Hdupt. 
 
 O verfluchet sey die Jagd, vnd der Tag, worin sie 
 ist gehalten worden, ich meynte die solte in Frewden 
 vollendet werden , vnd ich dadurch desto mehr Gnade 
 beym Keyser erlangen wolte, aber nun sehe ich, dafs 
 mein allergrosseste Vnglucke dadurch entstanden ist. 
 O der schreckliche Trawm , der mir die vorige Nacht 
 fur der Jagd fiirkam, hat mir dieses Vnglucke bedeu- 
 det. Nun kom, derhalben wirstu mussen zu grunde 
 gehen, so horet mir nun zu, hertzlieber Bruder, auch 
 hertzlieber Sohn, vnd observiret meine Worter wol, wir 
 mussen vns nun prsepariren zu einem gefahrlichen blu- 
 
 be somewhat consoled. But it is impossible for you to 
 disclose it. Here comes my brother; tell me what it is 
 you bring? 
 
 [Enter Vespasian with a basket of sand and a 
 staff. 
 
 VESPASIAN. 
 
 Dear father, I have brought sand here, that my 
 sister Andronica may try whether she could not write 
 with this staff and make known the man who hath 
 brought her to this pitiful state. 
 
 TITUS ANDRONICUS. 
 
 O dear son, if she could bring this deed to the light 
 of day I should find some rest for my sick old heart. 
 Spread the sand on the floor and give her the staff. 
 
 [Vespasian spreads the sand on the floor. Titus 
 Andr. puts the staff between her stumps. 
 
 Take this, my dear daughter, and write in the sand 
 the names of those who deprived you of your tongue 
 and hands. 
 
 [She takes the staff and writes. 
 
 Ah dear daughter, now I know enough, I read 
 here Helicates and hunt. Dear daughter, is it not that 
 Helicates and Saphonus have thus misused you during 
 the late hunt? 
 
 [Andronica nods. 
 
 Show me also whether the Empress shares the 
 
 guilt. 
 
 [She nods. 
 
 Oh accursed be the hunt and the day it was held! 
 I hoped it would end in joy, and that I should endear 
 myself still more to the Emperor; but now I see that 
 it has been the cause of my greatest misfortunes. Alas! 
 the awful dream I had in the night before the hunt, 
 betokened this misfortune. Come then, if we are doomed 
 to perish, listen to me, dearest brother, and you too, 
 dearest son, and mark my words well. We must now 
 make preparation for a perilous and bloody war, and 
 enlist a host of soldiers wherewithal to overthrow Rome. 
 We must make such havoc of her as has never been 
 
 13* 
 
199 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 200 
 
 tigen Kriege, vnd eine grosse mange Soldaten werben, 
 damit wir Rom rund vmbkehren, vnd wollen also mit 
 jhn hausiren vnd vmbgehen, wie niemalfs erhoret, auch 
 dafs kein Stein vber den andern sol liegen bleiben, der- 
 halben wollen wir vns hie samptlich verknupffen, vnd 
 zu vnsern Gottern schweren, nicht auffzuhoren mit blu- 
 tigen gefahrlichen Kriegen, bifs das Rom zu grunde ge- 
 rissen, den Keyser vnd die morderliche Keyserin, sampt 
 jhren zween verfluchten Sohnen in vnser Gewalt haben, 
 dafs wir auch nimmermehr mit jhn ein Vertrag wollen 
 machen, auch nicht die geringste Erbarmnifs haben, son- 
 dern dafs wir zum grawsamsten vnd schrecklichsten mit 
 jhnen handlen wollen, auffs argeste es einer erdencken 
 kan. 
 
 VICTORIADES. 
 
 Hertzlieber Bruder, ich thue schweren bey alien 
 himlischen Gottern, dafs ich nicht zu rechnen wil auff- 
 horen, so lang ich lebe, bifs wir die Keyserin sampt 
 jhren Sohnen in vnser Gewalt haben, all mein Gu'ter 
 wil ich verkauffen, vnd dafiir streitbare Manner werben 
 lassen. 
 
 TITUS ANDRONICUS. 
 
 O hertzlieber vnd vertrawter Bruder, wie hoch er- 
 frewet mich, dafs jhr mir so grosse vnd machtige Hiilffe 
 verheisset. Nun wil ich jetzt anfahen zu schweren, nit 
 auffzuhoren zu rechnen, bifs so lange ich lebe, erstlich 
 wil ich schweren bey meiner gewesenen streitbarn Hand, 
 darnach bey meines Sohnes Haupten, darnach vb^r meine 
 Tochter. 
 
 Jetzt gehet Titus Andron : auff die Knie sitzen, vnd fan- 
 gen an ein Klagelied zu spielen, die andern alle gehen 
 vmbher, sitzen da die Hdupter liegen. Titus nimpt seine 
 Hand, helt sie vnd siehet gen Himmel, seufftzet, schweret 
 heimlich, schldget sick fur die Brust, leget nach vollen- 
 dung des Eides die Hand weg, darnach nimpt er das eine 
 Hdupt, darnach auch das ander, schweret bey einem jeg- 
 lichen besondern, zu letzt gehet er zu der Andronicam 
 auch, die da auff die Knie sitzet, schweret bey derselben 
 auch, wie er zuvor bey den andern, darnach stehen sie 
 
 samptlich wieder auff. 
 
 Nun den Eid hab ich abgelegt, vnd geschworen, 
 alle meine Haabe vnd Guter wil ich verkauffen, vnd 
 mein Sohn sol die streitbaresten vnd tapffersten Man- 
 ner daffir werben. Hore hertzlieber Sohn, nim alles 
 grosse Gut aufs meiner Schatzkammer, mach dich damit 
 bald von hinnen, vnd werb ein grosse mange Volckes, 
 so viele du jmmer bekommen kanst. 
 
 VESPASIANUS. 
 Hertzlieber Vater, darzu hab ich ein grofs Be- 
 
 heard of before. Not one stone shall lie upon another. 
 Therefore let us all combine and swear to the Gods, 
 not to stay our bloody warfare until Rome be over- 
 thrown, and until we have the Emperor and the mur- 
 derous Empress with her cursed sons in our power, 
 never to come to terms with them nor have pity on 
 them, but to treat them with the most refined and dread- 
 ful cruelty. 
 
 VICTORIADES. 
 
 Dear brother, I swear by all the Gods in heaven not 
 to stay my vengeance as long as I live until we have 
 the Empress with her sons in our power. I will sell 
 all my property to enlist warlike men. 
 
 TITUS ANDRONICUS. 
 
 O my most beloved and trusty brother, how glad 
 I am that you promise me such great and powerful 
 assistance. I will now swear never to stay my ven- 
 geance as long as I live. Firstly I will swear by the 
 warlike hand that once was mine, then by the heads 
 of my sons, and then by my daughter. 
 
 Titus kneels down and begins to sing a dirge; the others 
 sit down by the heads. Titus takes up his hand, raises 
 it and looks up to heaven, sighs, mutters vows, strikes his 
 breast, and puts down the hand after having sworn. There- 
 upon he takes up the heads and swears by each of them 
 singly; finally he approaches the kneeling Andronica and 
 swears by her as before. This done, they all rise again. 
 
 I have now taken my oath, and vowed to sell all 
 my property, that my son may enlist the most warlike 
 and the bravest men. Hark my son, take all my great 
 wealth from my treasury; depart hence, and enlist as 
 many warriors as you can get. 
 
 VESPASIANUS. 
 Dearest father, I am most anxious to do so, and 
 
201 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 202 
 
 gierde, so thue dennoclr erstlich schweren bey dem Gott 
 i Mars, das ich nicht zu toben vnd wiiten wil auffhoren, 
 bifs so lange der bleiche Todt vber mein Hertz trium- 
 phiret. Nun ade hertz vnd trauter Vater, ich ziehe 
 von hinnen, streitbar Volck zu werben, nicht lange, so 
 sollet jhr horen die Trommeten blasen, vnd dafs ich 
 ein grawsam Volck bringe, die da sollen rauben, bren- 
 nen vnd todten, gleich wie der Gott Mars selbst. Also 
 Ade, ade. 
 
 [Gehet davon. 
 TITUS ANDRON : 
 
 Hertzlieber Sohn, die Gotter wollen dir gunstig 
 seyn, ob ich wol meine Hand verlohren, so hoffe ich 
 doch, mein hertzlieber Sohn wird desto besser streiten, 
 denn ich jhn in. der nehesten Schlacht mit den Moria- 
 nern fechten sahe , gleich wie ein grimmig Tigerthier, 
 ' an dir babe ich noch alle meine Hoffnung, vnd so ich 
 mein altes Leben hieriiber miiste enden, weifs ich, du 
 wirst gleichwol dich an den Feinden machtiglich zu 
 rechnen wissen. Nun aber wil ich dem Keyser ein 
 ewigen Vnfried von mir ansagen lassen. Hollah Bote 
 kom heraufs. 
 
 [Kompt heraufs. 
 BOTE. 
 
 Hie bin ich, gnadiger Herr, habt jhr mir etwas zu 
 befehlen? 
 
 TITUS ANDRON: 
 
 Hore vnd observire meine Worter wol, was ich 
 
 dir sage, du solt hingehen zum Keyser, vnd vbergeben 
 
 i jhm dieses Schwerdt, mit diesen Worten, dafs ich wil 
 
 sein ewiger Feind seyn vnd bleiben, vnd meine grosse- 
 
 ste Kriegesmacht vber jhn aufsgiessen wil, auch nim- 
 
 | mer auffhoren wil, bifs ich jhn sampt der Keyserin, vnd 
 
 j seine zweene Sohne in meiner Macht vnd Gewalt habe, 
 
 I gehe nur hin, vnd verrichte dieses verstandig. 
 
 BOTE. 
 
 Gnadiger Herr, es sol von mir zum besten ver- 
 j richtet werden. 
 
 [Nimpt das Schwerdt. 
 
 TITUS ANDRON: 
 
 Aber hore weiter, wann du dann dieses gesaget 
 hast, so vbergib jhm diesen Brieff, mit dem was drin- 
 nen ist. 
 
 [Nimpt den Brieff. 
 
 Red jhn gar trotziglich an, gleich wie einen Vnfrie- 
 ' des Boten gebiihret. 
 
 BOTE. 
 Wolan gnadiger Herr, ich wil jhm alles vbergeben. 
 
 therefore swear by the God Mars not to check my rage 
 and fury until pale death triumph over my heart. Fare- 
 well now beloved and trusty father, I depart hence to 
 enlist warlike men. Before long you shall hear the trum- 
 pets blow, and know that I am bringing with me a ruth- 
 less host, that shall plunder, burn, and kill, like the 
 God Mars himself. Farewell! 
 
 [Exit. 
 
 TITUS ANDRONICUS. 
 
 May the Gods favour you my son ! I have lost my 
 hand indeed, but I hope that my dear son will fight 
 all the better; for in the last battle with the Moors I 
 saw him fight like a fierce tiger. You are all my hope, 
 and even if I had to end my old days in this attempt, 
 I know that you will take signal revenge on our ene- 
 mies. I will now send a declaration of eternal enmity 
 to the Emperor. Holla messenger, come in! 
 
 Enter MESSENGER. 
 Here I am, my lord, have you any orders for me? 
 
 TITUS ANDRONICUS. 
 
 Hear and mark my words well. Go to the Em- 
 peror and deliver him this sword with the message, that 
 I am and remain his eternal enemy, that I shall let 
 loose all my forces against him, and shall not rest until 
 I have him together with the Empress and her two 
 sons in my power. Go and deliver this rightly. 
 
 MESSENGER. 
 My lord, it shall be done to the best of my power. 
 
 [He takes the sword. 
 
 TITUS ANDRONICUS. 
 
 But hear me further; when you have delivered this 
 message, hand him also this letter and what is enclosed 
 therein. 
 
 [Messenger takes the letter. 
 
 Address him in a defiant tone as befits a messenger 
 of war. 
 
 MESSENGER. 
 Very well my lord, I will deliver it all. 
 
 [Exeunt. 
 
203 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 204 
 
 Gehen hinein. Jetzt kompt heraufs der Keyser vnd 
 die Key serin. 
 
 KAYSER. 
 
 Schone Keyserin, ich mufs mich vber ewre List 
 verwundern, da jhr des Titi Andronici Sohne die Haup- 
 ter liesset weg schlagen, die da groblich wider euch 
 gesiindiget hetten, wie jhr saget, damit wir aber nicht 
 derhalben von jhm angefasset werden, habt jr jm seine 
 rechte Hand abvexiret, wormit er dann die Tage seines 
 Lebens ein grawsam Blut vergossen. 
 
 KEYSERIN. 
 
 Ja gnadiger Herr vnd Keyser, mufs also das Vn- 
 gliicke zu wider kommen, sonsten wann ich die Hand 
 nicht bekommen, weifs ich warlich, er solte den Key- 
 serlichen Pallast damit zu grunde gerissen haben. Nun 
 aber wollen wir seine Macht nicht grofs achten, vnd 
 derselben wol widerstehen, wiewol er gleichwol nicht 
 wird ruhen, vnd mit vns ein Streit anfahen. 
 
 KEYSER. 
 
 Es ist war, schone Keyserin, Titus sol nimmer 
 keine grosse Zeichen mehr thun, dennoch fiirchte ich 
 mich fur seinem Sohne Vespasianum, wie man von jhm 
 saget, dais er dem Vater im streiten sol gleich seyn. 
 
 KEYSERIN. 
 
 Ja gnadiger Herr vnd Keyser, ich mufs bekennen, 
 dafs er in ^Etiopia, da mir sein Vater gefanglich an- 
 nam, also beschreyet wurde, dafs er gleich grawsam 
 dem Vater gestritteu hette, aber gnadiger Herr vnd Key- 
 ser, traget nun fur demselben gar keine Sorge, denn 
 ich da mufs mit List vnd Practicken darzu verdacht 
 seyn, dafs man demselben aufs dem Wege reume. AVas 
 aber mag vns das newes bedeuten, dafs der so eilends 
 zu vns kompt. 
 
 BOTE. 
 
 Du grofsmachtiger Keyser von Rom, ich bin ein 
 Bote an dir gesand von Tito Andronico, derselbe thut 
 ein Schwerdt, welches bedeuten sol ein ewigen Krieg, 
 zwischen dir vnd jhm, vbersenden. Er wil allzeit dein 
 Recher vnd eusserster Feind, vnd wil auch nimmermehr 
 auffhoren, bifs er dich, sampt der Keyserinnen, vnd 
 
 jhren zween Sohnen in seiner Macht vnd Gewalt hat. 
 
 - 
 
 KEYSER. 
 
 Wie nun Bote, du verrichtest deine Botschafft noch 
 trotzig genug. Wil dann nun Titus Andron: einen Blu- 
 tigen Krieg mit mir anfahen, solches hette ich wol nim- 
 mermehr gemeynet. So gib her das Schwerdt. 
 
 [Nimpt es. 
 Vnd sage jhm wieder, weil er ja zu Vnfriede lust, 
 
 Enter the Emperor with the Empress. 
 
 EMPEROR. 
 
 Lovely Empress, I admire the stratagem, by which 
 you had the heads of the sons of Titus Andronicus cut 
 off, for having so grossly offended you as you said ; and 
 by which you prevented him from harming us by tricking 
 him out of his right hand, with which he has caused so 
 much cruel bloodshed all his life tune. 
 
 EMPRESS. 
 
 Yes, my lord and Emperor, it is thus that we must 
 avert misfortune. If I had not got his hand, he would 
 assuredly have destroyed the Imperial palace with it. 
 Now we may despise his power and resist it; though 
 he will not rest before he can wage war against us. 
 
 EMPEROR. 
 
 Indeed, lovely Empress, Titus will never again do 
 great wonders. But I fear his son Vespasian ; they say 
 that he equals his father in battle. 
 
 EMPRESS. 
 
 Yes, my lord and Emperor, I must avow that in 
 Ethiopia, where his father made me his captive, he was 
 reputed to equal his father in fierce bravery. But my 
 lord and Emperor, be not uneasy on his account, for I 
 will devise stratagems to put him out of the way. But 
 what tidings can that man bring, that he comes with 
 such haste? 
 
 MESSENGER. 
 
 High and mighty Emperor, I come as a messenger 
 from Titus Andronicus, who sends you a sword which 
 is to signify eternal war between you and him. He will 
 always wreak revenge upon you, and be your mortal 
 enemy, and will never rest until he has yourself, and 
 the Empress with her two sons in his power. 
 
 EMPEROR. 
 
 Messenger, you deliver your message defiantly 
 enough. That Titus Andronicus means to wage bloody 
 war against me is what I should never have thought. 
 Give me the sword then. 
 
 [He takes it. 
 Tell him, since he is bent upon war, I boldly ac- 
 
205 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 206 
 
 wil ich Feindes genug seyn , vnd dafs ich jetzt seine 
 geringe Macht leichtlich widerstehen wil, vnd nichtes 
 achten thue. 
 
 BOTE. 
 
 O grofsmachtiger Keyser, ein grofs Vngliick ist dir 
 sampt den deinen bereitet, vnd ob er wol seine Hand 
 nicht mehr hat, so wird doch sein streitbarer Sohn desto 
 besser toben, vnd grawsamlicher gegen dir wiiten, wel- 
 che dann jetzt in vielen Konigreichen herumb ziehen, 
 vnd ein grofs vnd machtig streitbares vnd aufserlesenes 
 Volck thut werben. Derhalben weifs ich gewifs es wird 
 nicht lange weren, so wird er den Pallast mit gewalti- 
 ger Hand angreiffen, vnd rund vmb belageren, auch 
 nicht auffhoren, bifs ers rund vmb gekehret, vnd dich 
 sampt den deinen in seine Gewalt hat, hier aber habe 
 ich noch einen Brieff, welchen du verlesen solt. 
 
 [Keyser nimpt den Brieff. 
 
 KEYSER. 
 
 Du vnverschambter Bote, wie darffstu mir so kiihn 
 vnd frech thun anreden, so thue ich schweren bey alle 
 Gotter, fur dein trotzigten Worten solt du nimmermehr 
 von hinnen kommen, vnd wil dich genugsamlich dafur 
 straffen. 
 
 \_Machet den Brieff auff. 
 
 Aber was finde ich hier in diesem Brieffe, ein blos- 
 ses Schermesser, nun nimmermehr sollen mir die Got- 
 ter helffen, sondern ich wil diesen grossen Frevel vnd 
 Trotz rechen. Aber du Bote, solt alfsbald an den Gal- 
 gen gehencket werden. Diener nim jhn alfsbald von 
 hinnen, vnd vberantworte dem Hencker, dafs er jhn von 
 Stunden an weg henge. 
 
 BOTE. 
 
 Gnadiger Herr Kayser, ich hoffe nicht, dafs mir 
 hie wird Gewalt wiederfahren, vnnd den Hencker vber- 
 antwortet werden, dann solches were wieder alien Kriegs- 
 gebruch, ich habe ja nichtes mehr gethan, sondern die 
 Botschafft meines Herrn also aufsgerichtet , wie er sie 
 mir befohlen hat. 
 
 KEYSER. 
 
 Es hilffet nichtes dazu, dein Leben mufs dir ge- 
 nommen werden, horstu nicht Diener nim jhn alfsfort 
 fur meinen Augen weg. etc. 
 
 cept the challenge, that I can now easily resist his 
 weak force, and that I care nought. 
 
 MESSENGER. 
 
 O high and mighty Emperor, a great disaster awaits 
 you and yours; and though he is deprived of his hand, 
 his warlike son, who is now wandering through many 
 kingdoms to collect a large and mighty army, will all 
 the more furiously make you feel his rage. For that 
 I am certain he will ere long attack the palace with a 
 powerful force, and beleaguer it; nor will he desist 
 until he has turned it inside out, and has you and yours 
 in his power; I have also a letter here for your pe- 
 rusal. 
 
 EMPEROR, taking the letter. 
 
 Insolent messenger, how darest thou address me 
 so audaciously and impertinently ! I swear by all the 
 Gods not to let thee depart hence, but to punish thee 
 cruelly for thy insolence. 
 
 [He opens the letter. 
 
 What do I find in this letter! Nothing but a razor? 
 May the Gods never help me if I do not avenge this 
 daring outrage! Come sirrah, you must be hanged pre- 
 sently. Attendants take him hence and deliver him up 
 to the hangman, that he may hang him immediately. 
 
 MESSENGER. 
 
 Gracious Emperor, I hope they will not lay vio- 
 lent hands on me and give me up to the hangman, for 
 that would be contrary to all the usages of war. I have 
 done no more than deliver my lord's message as I 
 was bid. 
 
 EMPEROR. 
 
 That will not avail you; I must have your life. 
 Do you not hear, attendant? Take him instantly out 
 of my sight. 
 
207 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 208 
 
 ACTUS SEXTUS. 
 
 Jetzt kompt heraufs die weise Muhme, hat tin junges 
 
 Schwartzes Kindt im Arm, welches der Morian mit der 
 
 Kdyserinnen gezeuget. 
 
 WEISE MUTTER. 
 
 Ich suche jetzt allenthalben den Morian, welchem 
 ich dieses Kindt sol vberantworten , dafs ers sol heim- 
 lich weg bringen, dann diese Nacht hat es die Kayserin 
 zur Welt gebohren, vns es mit dem Morian welcher 
 jhre heimliche Bule gezeuget, jetzt aber kan ich jhn an 
 keinem Orte finden, weifs nicht wo ich mit dem Kinde 
 hin soil. Aber dar kommen der Kiiyserinnen Sohne, 
 die hievon nichtes wissen sollen, ach wehe, ich weifs 
 nicht was ich nun machen soil. 
 HELICATES. 
 
 Last mich sehen weifs Mutter, was du allda bey 
 dir tragest, hertzlieber Bruder kom vnd siehe dieses 
 grofs Wunder, ein junger schwartzer Teufel ist hie ver- 
 handen. 
 
 SAPHONUS. 
 
 Ich kan mir nicht genugsam druber verwunderen, 
 aber horstu weise Mutter, die Warheit soltu vns' be- 
 kennen, so feme du wilt lebendig von hie gehen, wer 
 das Kindes Mutter ist, vnd bey welcher vnser Morian 
 geschlaffen, denn ich sehe dafs er der Vater ist. 
 
 WEISE MUTTER. 
 
 Gnadiger Herr, ich wolt es euch wol offenbahren, 
 wanns jhr wolt in geheim vnd still bey euch behalten, 
 denn es ist keiner der darvon weifs denn ich, vnd wann 
 es dieselbe erfiihre, dafs es were von mir aufsgekom- 
 men, wiirde ich eines elenden Todes sterben mussen. 
 
 SAPHONUS. 
 
 Nein weise Mutter nimmermehr sol es von vns 
 aufskommen, sondern wollens stille bey vns behalten. 
 bekenne vnd sage vns nun die Warheit. So du vns 
 aber etwas vorbringest, vnd wir hernach in der War- 
 heit anders erfahren, so soltu nichts gewissers von vns 
 zuerwarten haben, denn einen grawsamen Todt. 
 
 WEISE MUTTER. 
 
 Nun so wil ich euch die Warheit sagen, jhr sollet 
 wissen, dafs der schwartze Morian welcher ewer Fraw 
 Mutter heimlicher Bule, hat dieses Kindt von jhme ge- 
 zeuget, vnd weil sie dann nun sahe, dafs das Kindt 
 schwartz war. verschrack sie sich sehre vnnd befahl 
 mir alfsbald, das ich heimlich solte zum Morian gehen, 
 
 ACT VI. 
 
 Enter the midwife with a black child in her arms, which 
 has been begotten of the Empress by the Moor. 
 
 MIDWIFE. 
 
 I am now looking everywhere for Morian to whom 
 I am to deliver this child, that he may secretly put it 
 out of the way. The Empress brought it into the 
 world last night; it is the progeny of Morian her pa- 
 ramour. But I cannot find him anywhere, nor do I 
 know whither to go with the child. But here come the 
 Empress's sons who are not to know anything about 
 it. Oh dear, I know not what to do! 
 
 HELICATES. 
 
 Let me see, midwife, what you are carrying there. 
 Sweet brother, come and look at this great wonder; 
 here is a young black devil. 
 
 SAPHONUS. 
 
 I am quite amazed at it! but hark ye, midwife, 
 as you love your life, confess the truth. Who is the 
 mother of this child that slept with Morian, since I see 
 that he is the father? 
 
 MIDWIFE. 
 
 My lord, I will readily tell it you if you will keepj 
 it secret, for there is nobody knows about it but my- 
 self; and if she happened to hear that I had divulged 
 it, I should have to die a miserable death. 
 
 SAPHONUS. 
 
 Not so. It shall never be known through us; we 
 will keep it secret. Confess now, and tell us the truth. 
 But if you tell us anything that turns out to be untrue, 
 you may rely upon it, that a cruel death awaits you at 
 our hands. 
 
 MIDWIFE. 
 
 Well then I will tell you the truth. Know then 
 that this child has been begotten by Morian, who is the 
 secret lover of your mother. But when she saw that 
 the child was quite black she was frightened, and or- 
 dered me to go secretly to Morian and to take this 
 child to him, that he may have it secretly brought up, 
 
209 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 210 
 
 vnd jhme dieses Kindt bringen, dafs ers heimlich solte 
 lassen aufferziehen , damit kein Mensche davon etwas 
 l[ erfahren mochte, nun aber etwas suche ich vnd kan 
 jhn nirgents finden. 
 
 [Sie stehen, sein vber jhrer Rede gar erschrocken. 
 
 SAPHONUS. 
 
 Ach wehe diese grosse Schande, verfluchet sey der 
 ehrvergessen Bosewicht, der Morian der vns vnsere 
 Mutter zu Schanden gebracht bat, woruber wir dann 
 [ein ewig Spott vnd Hon davon haben miissen, aber 
 hertzlieber Bruder, lafs vns den ehrvergessen Schelm 
 nicht lenger leiden noch dulden, sondern in der ersten 
 vnser Ansicbtigkeit , wollen wir jhme jammerlich er- 
 schlagen. 
 
 HELICATES. 
 
 O hertzlieber Bruder, mein Hertz ist mir betriibet. 
 Das ich nicht weifs, was ich anfahen soil, drumb dafs 
 ; vns der morderliche vnd ehrvergessen Schelm, in solche 
 grosse Schande gebracht, wer derhalben wol werth, dafs 
 man jhme in heissen Oele sieden liesse. Aber was 
 woUen wir mit dem vbergeben Schelme anfahen, denn 
 wiirden wir zu streiten mit jhm anfahen, so wurden 
 wir doch nicht lebendig von seinen Handen entrinnen 
 konnen. 
 
 SAPHONUS. 
 
 So weifs ich doch warlich nicht, was man anfahen 
 . sol, bleibet dz Kindt lebendig, so kompts doch entlich 
 aufs, vnd wir kommen dadurch zu Schanden, derhal- 
 ben, so thue es mir jetzt her, das ichs alfsbald vmb- 
 bringe. 
 
 Nimpt das Kindt von jhr, ziehet das Schwerdt aufs, ml 
 
 es vmbbringen, vnter dessen kompt der Morian siehet dz 
 
 er das Kindt wil vmbbringen, leuffet eilents zu jhm, reisset 
 
 jhm es aufs den Handen. 
 
 MORIAN. 
 
 Nicht, nicht lafs bleiben, vnd bring es mir nicht 
 vmbs Leben, denn ich mercke es ist mein Kindt, oder 
 ich schlage dich zwischen die Ohren, dafs du nimmer 
 vonn hinnen kompst. 
 
 SAPHONUS. 
 
 O du ehrvorgessen Schelm, wie hastu vns sampt 
 vnser Mutter in solche grosse Schande gebracht, wie 
 hastu durffen so kuhne seyn, mit meiner Mutter die 
 Wollust zupflegen, hastu nicht gedacht, dafs du dein 
 Leben drumb verlieren miissest. 
 MORIAN. 
 
 Wo nun jhr Herren, seyd nur halb so zurnich, 
 dann es ist vnnohtig, wollet jhr aber zurnich auff mich 
 
 so that nobody should know anything about it. I am 
 now looking for him, but cannot find him anywhere. 
 
 [They stand in dismay at her words. 
 
 SAPHONUS. 
 
 Oh what a burning shame! A curse upon this in- 
 famous knave Morian, who has dishonoured our mother 
 and brought us into ridicule and contempt ! Sweet bro- 
 ther, let us no longer tolerate this miscreant, but put 
 him to a miserable death as soon as we set eyes upon 
 him. 
 
 HELICATES. 
 
 O sweet brother, my heart is sore oppressed. I 
 know not what to do. As for this bloodthirsty and in- 
 famous villain, who has so greatly dishonoured us, he 
 deserves to be boiled in hot oil. But what are we to 
 do with the villain? If we were to quarrel with him, 
 we should not escape with our lives. 
 
 SAPHONUS. 
 
 I know not indeed what to do. If this child re- 
 mains alive, the matter will be known and we shall be 
 disgraced. Therefore give it me here, that I may kill 
 it at once. 
 
 He takes the child, draws his sword, and is on the point 
 
 of killing it; meanwhile Morian comes in, and on seeing 
 
 that the other is going to kill the child, rushes up and 
 
 snatches it out of his hand. 
 
 MORIAN. 
 
 Leave that child alone and don't kill it, for I per- 
 ceive it is mine, or else I will knock you on the head 
 so that you will never again stir from this place. 
 
 SAPHONUS. 
 
 you villainous scoundrel, how have you disho- 
 noured us and our mother! How dared you satisfy your 
 lust with her? Did you not fear to atone for it with 
 your life? 
 
 MORIAN. 
 
 How now Sirs! why are you so incensed against 
 me? There is no occasion for it. But if you will fall 
 
 14 
 
211 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 212 
 
 sein, so sollet jhr wissen, dafs jhr euch einen argen 
 Teufel auff den Halfs ladet, vnnd den Gottern thun 
 dancken, dafs jhr mir wiederumb zu Freunde habet, 
 das ich aber mit ewer Mutter Bulerey getrieben, vnd 
 sie diesen Sohne von mir gezeuget, frage ich erstlich, 
 ob ich nit jhr Diener gewesen, vnd alles was sie hat 
 von mir haben wollen, ich alles pflichtschuldig zuver- 
 richten mir gebiihren wolte. So sollet jhr wissen: dafs 
 sie mich zur Bulerey getrieben vnd gezwungen, weil 
 jhr ewern Vater die Lauten nicht so wol hat schlagen 
 konnen, auch dieser jetzige Kayser als ich. Derhalben 
 jhr Herren gebet euch zufrieden, vnd seyn mit mir con- 
 tent, denn ich bin ewer Stieffvater, vnd dieser mein 
 Sohn ist ewer Stieffbruder, wie kompts dann dafs jhr 
 wollet auff ewren Vater vnnd Bruder zornich seyn. 
 
 SAPHONUS. 
 
 O du ehrvorgessen Schelm, magst des Teufels Va- 
 ter seyn vnd nicht vnser, ich rate, der die trotzigen 
 Worter jnne hielte, oder es wird dir vbel bekommen, 
 es ist genug, dafs du vns bereits in solche Schmach 
 vnd Schande gebracht. 
 
 MORIAN. 
 
 Was jhr Herren wollet jhr noch ziirniger seyn, ich 
 thue schweren bey alle Gotter, werdet jhr mir nicht 
 bald aufs meinen Augen gehen, ich, wil kegen euch 
 beyde schlagen, dafs man darnach die Stucken sol zu- 
 sammen raffen vnnd suchen. 
 
 [Morian fdnget an zu reden mit der weise Mutter, 
 sie schiltteln jhre Kopffe, seyn zornich vnd ge- 
 hen davon. 
 
 Aber hore du weise Mutter, wie ist es mit der 
 Kayserinnen, ist sie auch frolich Mutter worden, vnnd 
 wor wiltu mit dem Kinde hingehen. 
 
 WEISE MUTTER. 
 
 Ja Gnadiger Herr, sie ist noch wol vnd frisch auff, 
 vnd eine froliche Mutter worden, sie hat mir aber be- 
 fohlen, das ich euch suchen solte, vnd das Kindt vber- 
 antworten, auch dabey vermelden , dafs jhrs solt heim- 
 lich auff den Berg Thaurin tragen, da ewr Vater woh- 
 net, vnd es jhm zu aufferziehen geben, vnnd dafs es 
 ja nimmer aufskeme, dafs es von der Kayserinnen ge- 
 bohren were. 
 
 MORIAN. 
 
 Es ist gut, ich wils also machen aber hor mich 
 weiter vnd sage, weifs auch ein einich Mensche vmb 
 dieses Kindt, dafs es der Kayserinnen zugehoret, vnd 
 erzehle mir auch, was fur welche seyn dabey gewest, 
 da das Kindlein von der Mutter empfangen ist. 
 
 out with me I wish you to know, that you will have 
 the devil to pay, and will thank the Gods if 1 make 
 friends with you again. That I should have had con- 
 nexion with your mother, and begotten this son, what 
 of that? I ask you first, have I not been her attendant, 
 and was it not my bounden duty to do all she desired ? 
 You shall know that it was she who tempted and com- 
 pelled me to commit adultery, for neither your father 
 nor the present Emperor could satisfy her so well as I. 
 Therefore, Sirs, moderate yourselves and be not dis- 
 pleased with me, for I am your step-father, and this 
 son of mine is your half-brother. How can you be angry 
 with your father and brother? 
 
 SAPHONUS. 
 
 O you villainous scoundrel, you may be the devil's 
 father, not ours. I advise you to check your imperti- 
 nence lest you come to grief. It is enough that you 
 have dishonoured us. 
 
 MORIAN. 
 
 Why Sirs, persist in your ill-temper? I vow by all 
 the Gods that if you do not get out of my sight, I will 
 cut you into a thousand pieces. 
 
 [He talks to the midwife; the brothers shake their 
 heads and go away. 
 
 But hark, midwife! How is the Empress? Was she 
 glad to become a mother, and where art thou taking 
 the child to? 
 
 MIDWIFE. 
 
 Yes my lord, she is right well again and a happy 
 mother, but she ordered me to find you and to deliver 
 the child to you. She also bids me tell you to take the 
 child secretly to Mount Thaurin where your father re- 
 sides, that he may bring it up. Nor does she wish it 
 to be known as the son of the Empress. 
 
 MORIAN. 
 
 Very well, it shall be done. But tell me further, 
 does any body else know this child belongs to the 
 Empress? tell me also what people were present at 
 the child's birth? 
 
213 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 214 
 
 WEISE MUTTER. 
 
 Gnadiger Herr es weifs kein lebendiger Mensche 
 i davon, dafs es der Kayserin zugehoret, dann mir allein, 
 i ich vnd der Kayserinnen Sohne, welche da ich suchete, 
 sie mir entkegen kommen, fragten vnd peinigten mich 
 ; alle, das ich miiste die Warheit bekennen, wenn es recht 
 zugehorete, sonsten hetten sie mich getodtet. Da aber 
 das Kindt entfangen wurdt, sollet jhr wissen das keiner 
 bey der Kayserinnen war dann ich allein. 
 
 MORIAN. 
 
 Es erfrewet mich aber zwar zehenmal mehr, das 
 keiner dabey gewesen, dann nur alleine du, aber der- 
 halben mustu hie dein Leben verlieren. 
 
 [Ziehet das Schwerdt aufs, ersticht sie. 
 
 WEISE MUTTER. 
 O wehe, O wehe. 
 
 [Felt todt zur Erden. 
 
 MORIAN. 
 
 Sich so liege nun da, ich weifs es wird nun von 
 dir nicht aufskommen, denn mit deinem Tode bin ich 
 derhalben versichert, wann dar aber weren mehr ge- 
 west, die drumb gewust, solten sie fur meinen Ha'nden 
 sterben, es weifs ja nun niemandt, denn der Kayserin- 
 nen Sohne, verhoffe auch die werden wol still schwei- 
 gen, vnd jhre eigen Mutter Schande nicht offenbahren, 
 sondern sie vielemehr helffen bemandelen. 
 
 [Stehet still, siehet seinen Sohn dafs Kindt wel- 
 ches er in dem Arme trdget schlaffen. 
 
 Du aber mein hertzlieber vnd newgebohrner Sohn, 
 wolten dich deine Briider vmbbringen, Nein das miisten 
 sie nicht anfahen, oder sie wiirden mit sterben miissen, 
 du hast eine Gestalt an dir gleich wie ich, aufsgenom- 
 men eine spitze Nase vnd Kin gleich wie die Mutter 
 hat, aber man pfleget zusagen, dar sitzet der Teufel 
 ein, du bist gleich nun Fleisch von meinem Fleische 
 vnd Beine von meinem Beine, ich mufs nun aber dazu 
 bedacht seyn, wie ich dich aufferziehe, dafs du dermal 
 eins gleich deinem Vater kanst nachthun, Hundemilch 
 Kase vnd Wasser sol deine Nahrung seyn, bifs so lange 
 du gehen kanst, so wil ich dich in alien Sachen vben, 
 damit du solst hart lernen, vnd dermal eins ritterlich 
 streiten vnd kempffen, auch Harnisch fiir deinen Han- 
 den entzwey reissen , gleich wie ich. In aller Schel- 
 merey vnd Morderey wil ich dich abrichten, damit du 
 keinen Teufel achtest, vnd bey grossen vnd hohen 
 Weibsbildern ein solch gratia vnnd Gnade erlangest, 
 gleich wie ich, dz sie sich auch entlich selbst fiir dir 
 
 MIDWIFE. 
 
 My lord, there is not a living soul knows that it 
 belongs to the Empress, except myself, and the Em- 
 press's sons who met me as I was looking for you, and 
 extorted the truth from me as to whom it belonged; 
 had I not told them, they would have killed me. But 
 when the child came into the world, nobody was with 
 the Empress but myself. 
 
 MORIAN. * 
 
 I am indeed all the better pleased that nobody but 
 yourself was present, but on that account you must 
 now die. 
 
 [He draws his swords and kills her. 
 
 MIDWIFE. 
 
 O me! 
 
 [She falls down dead. 
 
 MORIAN. 
 
 So now you are down, and I know the matter 
 will not get abroad through you, for your death is my 
 security; had there been other persons who knew it, 
 they should have died by my hands. Now no one knows 
 it, for the Empress's sons will keep the secret I hope, 
 and not proclaim their mother's shame, but rather help 
 to cloak it. 
 
 [He pauses, and looks at the sleeping child in his 
 
 arms. 
 
 My sweet and new-born son, thy brothers wished 
 to kill thee. No, they must not attempt that, or they 
 would have to die also. Thou hast looks like mine 
 own except a sharp nose and chin like thy mother; 
 but they say that therein lurks the devil. Thou art 
 indeed flesh of my flesh and bone of my bone; I 
 must now consider how to bring thee up, that thou may 
 one day emulate thy father. Cheese of dog's milk with 
 water shall be thy food, till thou canst walk. I will 
 put thee to all kinds of exercises, that thou mayst be- 
 come hardy, and learn how to fight bravely and to tear 
 up a coat of mail with thy hands like myself. I will || 
 tutor thee in villainies and bloody deeds of all kinds, ! 
 that thou needst not care for any devil, and, like my- 
 self, shalt obtain such favours of great and high-born 
 ladies as will even make them fear thee. I will now 
 take my child to my father, who is just such another 
 black devil as myself and lives on Mount Thaurin, 
 that he may bring it up, and say that it is his own, 
 
 14* 
 
215 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 216 
 
 furchten miissen. Nun so gehe von hinnen, vnd dieses 
 mein Kindt wil ich bringen zu meinem Vater, der dann 
 auch solch ein schwartzer Teufel ist dann ich, vnd auff 
 dem Berge Thaurin wohnet, dafs ers mir sol aufferzie- 
 hen, vnnd sagen dafs es sein eigen ist, damit keiner 
 erfahre wem es zugehoret, die Kayserin mag nun auff 
 ein frisches dencken auffs folgende Jahr. 
 
 ACTUS SEPTIMUS. 
 
 Jetzt werden die Heertrommel geschlagen, vnd die Trom- 
 peten blasen auff, vnd ist die Zeit, dafs Vespasianus sein 
 Kriegesheer welches er geworben kegen Rome bringet, hat 
 grawsam gewiltet, alle State so den Rb'mern zugehoret, 
 rund vmb gekehret. Kompt heraufs. 
 
 VESPASIANUS. 
 
 Mit einen grossen tapperen vnd aufserlesenen ver- 
 suchten Kriegesvolcke bin ich jetzund kegen Rome kom- 
 men, sechtzig tausent Rauter hab ich in vollem Kiirifs, 
 vnd hundert tausent man zu Fufs, damit ich jetzt durch 
 gantz Italiam gezogen, vnd alle State worein wir ge- 
 kommen gar zerschleiffet, dafs kein Stein mehr auff den 
 andern lieget, auch gantz Italien haben wir so ver- 
 schrocken, dafs sie allenthalben herumb lauffen, gleich 
 wie die Feldtfliichtigen vnnd nirgents Hiilffe haben, ein 
 grawsam vnd vnzehlig Volck haben wir bereits dahin 
 geschlachtet, dafs ach vnd wehe schreyet man allent- 
 halben wo wir kommen, aber solches ist noch gar nichts 
 zu achten, sondern nun sol es noch erstlich 10. mal graw- 
 samer angehen, auch thue ich nochmalen bey alle Got- 
 ter schweren, nimmermehr mit meinem Kriegsheere ab- 
 zuziehen, bifs ich den Kayser, die hoffertige Kayserin 
 sampt jhren zween Sohnen in meiner Gewalt habe, 
 aber was sehe ich jetzt fur ein Wunder zu mir kommen. 
 
 Jetzt kompt ein Soldat, hat den Morian sampt dem 
 Kinde gefangen, 
 
 SOLDAT. 
 
 Gnadiger Fiirst vnd Herr, ich thue E. F. G. diesen 
 Morian welchen ich fur dem Berge Thaurin gefangen, 
 in Vnterthanigkeit fur seinen Gefangnen vbergeben. 
 
 VESPASIANUS. 
 
 Du mein lieber vnnd getrewer Soldate vber diesen 
 Gefangen bin ich hoch erfrewet, denn es ist einer von 
 vnsern eussersten Feinden der Kayserinnen Diener, wel- 
 chen ich gar wol kenne, horstu schwartzer Teufel ein 
 
 so that no one may know to whom it belongs; the 
 Empress may now turn her thoughts to a fresh one 
 next year. 
 
 ACT VII. 
 
 Beat of drums and flourish of trumpets. Vespasian ap- 
 proaches Rome with his army, having made great havoc, 
 and desolated all the cities of the Romans. 
 
 VESPASIAN. 
 
 With a large and brave army of picked and ex- 
 perienced troops do I now march against Rome. I have 
 sixty thousand horsemen in full armour and a hundred 
 thousand men on foot; I have marched through the 
 length and breadth of Italy, and have razed all the cities 
 through which we passed, that not one stone lies upon 
 another. I have struck such terror into all Italy, that 
 the people wander about in all directions like deserters, 
 and know not where to look for help. We cruelly have 
 massacred such a number of people, that we hear cries 
 of anguish everywhere on our march. But this is nothing, 
 tenfold more cruel work shall now begin; and I once 
 more swear to all the Gods not to withdraw with my 
 army until I have the Emperor, and the haughty Em- 
 press with her two sons in my power. But what wonder 
 do I see here! 
 
 Enter a soldier with Morian and the child as captives. 
 
 SOLDIER. 
 
 My prince and general, I humbly deliver up to 
 your Highness this Morian, whom I made prisoner of 
 war on Mount Thaurin. 
 
 
 
 VESPASIAN. 
 
 My dear and faithful soldier, I am highly rejoiced 
 at this prisoner, for he is one of our greatest ene- 
 mies; he is the Empress's servant whom I well know. 
 Hark ye, black devil, you are a welcome guest to me! 
 
217 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 218 
 
 angenehmer Gast bistu mir, aber sag mir was woltu 
 
 auff dem Berge Thaurin machen, vnd was ist das fiir 
 
 ein schwartzer Teufel, dem du in deinem Arme tragest. 
 
 MORIAN. 
 
 Hat mich darni niemalen ein einiger Kerl so schandt- 
 lofs gefangen genommen, weil ich gelebet, dann dieser. 
 Ich mag wol sagen dafs jhr vnd ewer Anhang die Teu- 
 fel selber seyn mit streiten vnd kempffen. Ich bin so 
 toll vnd rasendlich dafs ich nicht weifs was ich anfa- 
 hen soil, ich mag mich selbest verfluchen, ewer Gefang- 
 ner bin ich jetzt, wollet jhr mir mein Leben schencken 
 vnnd Gnade beweisen, so wil ich ewre Ohren erfiillen 
 mit grofs Wunder vnd Admiration, was die Kayserin 
 mit jhren zween Sohnen an ewre Schwester Andronica 
 gethan, auch wie ewre Bruder sein vmbs Leben kom- 
 men, auch so wil ich euch trewlich dienen, vnd wieder 
 den Kayser streiten helifen, wollet jhr aber mir nicht 
 Gnade beweisen, so wil ich euch im geringesten nichts 
 offenbahren, denn hie bin ich, vnd habe mich all vber- 
 geben, kan nun eins Todts sterben. 
 VESPASIA: 
 
 Ob du schon gefangen, bistu dennoch trotzich ge- 
 nug, erzehle mir aber alle Sachen vnd sage mir die 
 Warheit, wer, an welchem Orte, vnd zu welcher Zeit, 
 vnd vmb welcher Vrsache meine Schwester Andronica 
 jhre Hande vnd Zunge so jammerlich beraubet. Auch 
 wie meine Bruder sein gefangen genommen, vnnd vmb 
 welche Vrsache sie seyn dem Tode vberantwortet wor- 
 den, wann ich dann nun dasselbige angehoret soltu dein 
 | Leben behalten. 
 
 MORIAN. 
 
 So eroffnet nun ewre Ohren, vnd horet mir wol 
 zu. Jhr sollet wissen dafs ich der Kayserinnen allezeit 
 heimlicher Bule gewest, aber so wol wie sie noch K6- 
 nigin in Mohrenlandt war, wie auch hie vnd weil sie 
 dann allzeit ein hoffertiges vnd vberaufs hoffertiges Ge- 
 miihte gehabt, dafs sie auch keinen neben sich hat lei- 
 den wollen, vnnd weil sie dann sahe, dafs jhr vnd die 
 ewren in solchem grossen vnd hohen Ruhm waret, auch 
 so machtig vnd reich, dafs jhr dem Kayser gleich waret, 
 konte sie solches in jhrem hoffertigem Gemuhte nicht 
 dulden noch leiden, sondern hat euch je vnd allewege 
 auffs eusserste, verfolget, es weren aber auch der Kay- 
 serinnen Sohne beyde kegen ewre Schwester Andronica 
 mit Liebe entbrant, hielten mich derwegen dazu, dafs 
 ich jrem Gemahl solte auff den Dienst warten vnnd 
 vmbbringen, dafs sie darnach jhre Wollust mit sie trei- 
 ben konten, ich aber wartete mit allem Fleifs auff jhn, 
 dafs ich jhn wolte vmbbringen, hatte aber niemalen Ge- 
 legenheit dazu, konte jhn auch nicht antreffen vmbzu- 
 
 But what was your business on Mount Thaurin, and 
 who is the black devil you carry in your arms? 
 
 MORIAN. 
 
 Never in all my life did a fellow singlehanded, so 
 ignominiously make me his prisoner as he did. I make 
 bold to say that you and your party are the veriest 
 devils for fighting. I am so madly enraged, that I know 
 not what to do. I could curse myself. I am now your 
 prisoner, and if you will give me quarter and spare my 
 life, I will fill your ears with wonder and amazement at 
 what the Empress and her sons have done to your sister 
 Andronica, and in what manner your brothers have lost 
 their lives. I will also serve you faithfully against the 
 Emperor; but if you will not give me_quarter, I will 
 not disclose anything, since having once surrendered I 
 can only die once. 
 
 VESPASIAN. 
 
 You assume a defiant tone for a prisoner, at ay- -^ 
 rate. But tell me all the circumstances and the real 
 truth, as to who was the perpetrator, the whereabouts, 
 at what time and for what cause my sister Andronica 
 lost her hands and tongue so pitifully; also the way my 
 brothers were imprisoned, and the cause for which they 
 were deprived of their lives. When I have learnt all 
 this, you shall be allowed to live. 
 
 MORIAN. 
 
 Then open your ears and mark me well. You must 
 know that I always was the paramour of the Empress, 
 both when she was still Queen of Ethiopia, and here. 
 But being of so overweening a disposition that she could 
 not bear a rival, and seeing that you and your family 
 stood in such high renown, and that you were so power- 
 ful and rich as to be the Emperor's equal, she could 
 not endure this in the pride of her heart, but seized every 
 opportunity to persecute you to the utmost. But the Em- 
 press's sons fell violently in love with your sister An- 
 dronica, and desired me to watch and to kill her hus- 
 band, that they might afterwards gratify their lust with 
 her. So I watched him anxiously with intent to kill 
 him, but never had an opportunity of doing so. Now 
 at the time when your father Titus Andronicus had the 
 great stag-hunt, at which the Emperor, the Empress 
 with her two sons, and likewise your sister with her 
 husband were present, it happened that the Empress 
 was walking alone in the forest to look for me. She 
 
219 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 220 
 
 bringen. Da nun aber die Zeit war, dafs ewer Vater 
 Titus Andronicus die grosse Hirschjagt hielt, worauff 
 dann war der Kayser die Kayserin sampt jhren zween 
 Sohnen auch ewre Schwester Andronica sampt jhrem 
 Gemahl, begibt sich dafs die Kayserin nach mich gar 
 alleine im Walde suchet, die Wollust mit jhr zutreiben, 
 konte mich aber nicht finden, kompt aber an die An- 
 dronica vnd jhren Gemahl, die da beyde alleine seyn, 
 redet sie mit gar hoffertigen Worten an, die Andronica 
 giebt jhr nicht viele nach, sondern antwortet jhr tro- 
 tziglich, Woriiber dann die Kayserin aufs bofshafftigen 
 Gemiihte von hinnen rennet, vorschweret sich so hoch, 
 dafs sie noch essen oder trincken wil, ehe dann sie 
 jhren Muth an jhr gekiihlet, so kommen jhr vngefahr 
 jhre Sohne entkegen, dieselben vermahnet sie dafs sie 
 sich sollen an der Andronica rechnen, vnnd jhren Ge- 
 mahl an der Seiten erstechen, oder sie wil sie nicht 
 fur jhre Sohne achten, sie aber seyn willig gehen mit 
 jhr an den Ort da Andronica ist, da erstechen sie jhren 
 Gemahl an der Seiten, darnach befehlet sie jhnen, dafs 
 sie die Andronica nehmen sollen, vnd brauchen jhre 
 Wollust beyde an sie, vnnd solten sie darnach also zu- 
 richten, dafs sie keines Menschen gleich were, also neh- 
 men sie sie weg, hawen jhr darnach beyde Hande abe, 
 reissen sie jhr die Zunge aufs, so hette nun die Kay- 
 serin weiter im Sinne, ewer gantze Geschlechte aufs- 
 zurotten, liefs derhalben ewren zween Bruderen, durch 
 mich vnnd durch Angebung meines Rechtes gefangen 
 nehmen, vmb gar nichtiger Vrsachen willen, vnnd liefs 
 sie also enthauptgen. Damit sie sich aber kiinfftiglich 
 von ewrem Vater keines Vngliicks zugewarten hette, 
 liefs sie jhin sagen, dafs seine Sohne groblich wieder 
 jhr gesundiget hetten, vnnd mussen derhalben sterben. 
 So er sie aber lieb hette, solte er seine Handt fur sie 
 geben, alfsdann solten sie jhm lebendig wieder zuge- 
 stellet werden, vexiret jhn also dazu seine streitbahre 
 Handt abe, schicket sie jhm wieder mit den Hauptern, 
 also habt jhr jetzt nun den gantzen Handel von mir 
 erstanden, auch sollet jhr zu letzte wissen, dafs die 
 Kayserin dieses Kindt vonn mir gezeuget, welches ich 
 wolte auff den Berg Thaurin bringen. 
 
 VESPASIANUS. 
 
 Ja mit wunder vnd vber wunder sein mir jetzt 
 meine Ohren vber deine Worter erfiillet, O wehe nim- 
 mer werde dir wol du hoffertige Kayserin, mit sampt 
 deinem Sohne, nun so bin ich dennoch so viele froli- 
 cher, weil ich nun alles weifs, wie es zugangen, wor- 
 nach ich mich wieder richten kan, denn in alien sols 
 dir so wieder vnd zehen mal arger gehen. Aber ich 
 habe es jetzt auch nicht nohtig, dafs ich dir dasselbige 
 
 could not find me but met Andronica and her husband, 
 who were there alone. She addressed them in haughty 
 terms; Andronica was not behindhand with her, but 
 replied sharply. Hereupon the Empress runs off, solemnly 
 vowing not to eat or drink until she had taken revenge. 
 It so happened that just at that moment she met her 
 sons. She immediately called on them to revenge her 
 on Andronica by stabbing her hushand at her side, de- 
 claring that if they did not, she would not own them as 
 her sons. They complied, went with her to the spot 
 where Andronica was, and stabbed her husband at her 
 side. She then ordered them to take Andronica with 
 them and violate her, and afterwards mutilate her in 
 such a manner, that she should no longer resemble a 
 human being. They accordingly carried her off, cut off 
 both her hands, and tore out her tongue. The Empress 
 further resolved to exterminate your whole family, and 
 so upon my advice she caused your two brothers to be 
 imprisoned upon some trivial pretence and to be be- 
 headed. But in order to secure herself against being 
 harmed by your father she sent him word, to say that 
 his sons had outrageously offended her, and that they 
 must die on that account. But if he loved them, he was 
 to give up his hand for them after which they should be 
 returned to him alive. In this manner she tricked him 
 out of his warlike hand, and sent it back together with 
 the heads. You have now got out of me the whole affair, 
 and shall know in conclusion that the Empress has been 
 delivered of this child, which was begotten by me, and 
 which I was going to take to Mount Thaurin. 
 
 VESPASIAN. 
 
 Indeed your words fill my ears with wonder and 
 amazement! O! haughty Empress, I shall never par- 
 don you and your sons. But I am now much more re- 
 signed since I know how it all came about. I know 
 now how to act, for you shall pay for this tenfold 
 over. Nor am I bound to keep my promise to you, 
 since the accursed Empress, who had demanded my 
 old father's warlike hand, promising to restore his sons 
 
221 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 222 
 
 halte, welches ich verheissen, sintemal die verfluchte 
 Kiiyserin von meinem alten Herr Vater seine streitbare 
 Handt abfodert, verheifs jhm darvor seine Herren Sohne 
 lebendig, aber es ward nicht gehalten, derhalben Morian 
 mustu sterben ohne alle Gnade vnd Barmhertzigkeit. 
 Diener nimb jhn von hinnen. Vberantwort jhn also- 
 bald dem Hencker, dafs er jhn alfsbald erhencke mit 
 seinen Kindern. 
 
 MORIAN. 
 
 Wo nun dem Teufel, sol ich dann nun hangen, 
 dafs wird mir vbel vnd vngewonet ankommen, ist dann 
 gar keine Barmhertzigkeit, ich bitte schencket mir jnein 
 Leben. 
 
 TESPASIANUS. 
 
 Nein dein Leben sol dir nicht geschencket seyn, 
 vnd nicht die geringeste Gnade haben, derhalben nimb 
 jhn von hinnen, dafs er alfsbald wird erhencket, vnd 
 das Kind mit jhm. 
 
 MORIAN. 
 
 Wo nun, harre ein wenig, sol ich Hangelbeeren 
 fressen, kom ich heute noch zeitig genug, kan es dann 
 nicht anders seyn, dafs ich sterben mufs, so bin ich 
 willig, weil ichs gar wol vnd vorlangst verdienet. Aber 
 ich bitte euch, erbarmet euch meines Kindes, vnd last 
 es nicht mit mir sterben, denn es hat noch nichtes bo- 
 ses gethan, lasset es aber zur Kriegesriistung auffer- 
 ziehen, so weifs ich fiirwar, es sol ein tapffer vnd streit- 
 barer Heldt werden. 
 
 VESPASIANUS. 
 
 Deines Kindes wil ich mich erbarmen, vnd es zu 
 streiten vnd kempffen aufferziehen lassen, aber du mache 
 dich bald von hinnen. 
 
 [Gehet fort. 
 MORIAN. 
 
 Hette ich doch all mein Tage, nicht gedacht, dafs 
 ich noch solte auffs letzte erhencket werden, nun so 
 gehe fort vnd erhencke mich geschwinde weg, ehe ich 
 noch mehr dran gedencke. 
 
 [Gehen weg. 
 
 Jetzt kompt der Kdyser heraufs. 
 
 KAYSER. 
 
 Solch grofs Blutvergiessen vnd gefahrlicher Krieg 
 mag nicht erhoret seyn, auch dafs Rom in solche grosse 
 Angst vnd Gefahr gestanden, denn nun so hefftig der 
 Vespasianus der Stadt zusetzet, so grawsam hat er die 
 vmbliegende Sta'dte verderbet, dafs es mag zu erbar- 
 men seyn , 4. Feldschlachten haben wir mit jhm gehal- 
 ten, aber er hat sie vns alle abgewonnen, vnd ein graw- 
 sam mange Volcks dahin geschlachtet, streitet auch so 
 
 alive, did not keep her promise. Therefore Morian you 
 must now die without mercy. Attendant, lead him away. 
 Deliver him up to the hangman immediately, that he 
 may hang him together with his child. 
 
 MORIAN. 
 
 If the devil will have it that I am to be hanged, 
 I don't think it will agree with me, for I am not used 
 to it. Is there no mercy? Pray spare my life. 
 
 VESPASIAN. 
 
 No, I shall neither spare your life nor have the least 
 mercy on you. Therefore take him away to be hanged 
 immediately together with his child. 
 
 MORIAN. 
 
 Just tarry a little, if I must eat gallows pears the 
 day is long enough for it. So if perforce I must die, 
 I am ready, for I have deserved it well long ago. But 
 pray have pity on my child take not away its life also, 
 for it is still quite innocent! Only let him be brought up 
 as a warrior and I am certain that he will become a 
 brave and warlike hero. 
 
 VESPASIAN. 
 
 I will have pity on your child and bring him up 
 as a warrior, but as for you, take yourself off instantly. 
 
 [Exit. 
 
 MORIAN. 
 
 Indeed, I should never have thought, that I was 
 destined to be hanged. Well then come away and hang 
 me quickly before I have time to think about it. 
 
 [Exeunt. 
 
 Enter EMPEROR. 
 
 Such dreadful bloodshed, so dangerous a war are 
 things unheard of till now. Never has Rome been in 
 such trouble and peril before! But the great hardships 
 which Vespasian inflicts upon Rome are quite equalled 
 by his cruel devastation of the surrounding cities. It is 
 piteous, piteous! Four battles have we fought against 
 him and lost. He has slaughtered such numbers, and he 
 fights so fiercely that nobody dares to come near him 
 
 
223 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 224 
 
 grawsam, dafs keiner darff in der Schlacht an jhm na- 
 hen, sondern fliehen alle fur jhm. Mein Keyserlichen 
 Pallast hat er gestriges Tages mir zu trotze voller Flen- 
 ten geschlossen, ja alle meine Kriegsleute seyn schon 
 zaghafftig, diirfFen sich nicht zu jhm hinaufs nahen, sa- 
 gen, dafs sie nun in die tagliche Erfahrung kommen, 
 dafs alle welche zum Feinde hinaufs ziehen, gewifs nicht 
 wieder kommen, woruber denn nun mein Hertz so be- 
 angstiget, dafs ich nicht weifs, was ich anfahen sol, 
 denn meine Macht wird von Tage zu Tage kleiner, vnd 
 der Feind nimpt jmmer noch machtiger zu, derhalben 
 wir seiner Macht nicht mehr konnen oder werden Wi- 
 derstand thun, wo man jhm nicht mit List oder Betrug 
 einen Schaden thut, vnd meine Keyserinne, die sich 
 jetzt mit jhren Sohnen vermumschantzet, jhn nicht be- 
 trieget, jetzt aber ist sie hingangen, die Gotter wollen 
 jhn darzu favorales seyn, vnd Gnade verleihen, ich wil 
 hinein gehen, vnd erwarte stets mit grossen Begierden, 
 was sie werden aufsrichten vnd zu wege bringen konnen. 
 
 Gehet hinein, die Keyserin kompt heraufs, sampt jhren 
 zween Sohnen, haben sich vermumschantzet. 
 
 KAYSERIN. 
 
 Hertzliebe Sohne, jetzt kennet vns niemandt, denn 
 wir vns gnug vermumschantzet, hort mir aber, was ewer 
 Thun allda beym Tito Andronico seyn sol, jhr sollet 
 nun genawe achtung haben, was er fur listige Krieges 
 Practicken sich wider den Keyser fiirnimpt, dafs wir 
 vns alfsbald zu wissen thun, damit wir vns dafiir zu 
 hiiten wissen, so jhr werdet sehen, dafs sein toben vnd 
 wuten sol la'nger wehren, vnd dieses grawsam Blutver- 
 giessen an die vnserigen nicht auffhoret, so sehet zu, 
 dafs jhr jhn, sampt seinen streitbaren Sohn Vespasia- 
 num heimlich ermordet, also wird dann dieser gefehrlich 
 Krieg ein Ende gewinnen, folget mir nun nach, wir 
 wollen gleich zu seinen Pallast gehen. 
 
 [Gehen hin zu dem Pallast, ruffet den alien Titum. 
 Holla, holla guter Freund Titus Andronicus, kom 
 ein wenig zu mir herunter. 
 
 [Titus siehet von oben hinunter. 
 TITUS ANDRON: 
 
 Was seyd jhr fur welche, dafs jhr so vber mich 
 ruffet? 
 
 KEYSERIN. 
 
 Alter Titus Andronicus, wir sind deine guten Freunde, 
 vnd die Gotter haben mich mit diesen zu dir gesand, 
 dafs ich dir diese beyde sol vbergeben, denn sie von 
 den Gottern geordiniret, in dem Krieges Wesen mit 
 gutem Rathe behulfflich zuseyn, damit man seinen Fein- 
 den in kurtzen vberwindet. 
 
 in battle, but all fly from him. He invested my Imperial 
 palace yesterday in defiance of me, nay all my soldiers 
 begin to flinch; they venture not to sally forth to engage 
 him. They say it is their daily experience, that all 
 who march out to meet the enemy are sure never to 
 return. My heart is so oppressed that I know not 
 what to do, for my forces are daily reduced, and those 
 of the enemy are on the increase. We shall not be 
 able to oppose them unless we ruin him by cunning 
 and treachery, and unless he is deceived by my Em- 
 press who is now disguising herself with her sons. She 
 is now gone; may the Gods favour her! I will go in 
 and anxiously await the result. 
 
 [Exit 
 
 Enter the Empress with her two sons, all in disguise. 
 
 EMPRESS. 
 
 My sweet sons, nobody will know us now in this 
 perfect disguise; but now listen to me. This shall be 
 your business with Titus Andronicus. You shall closely 
 watch the cunning strategems of war which he plans 
 against the Emperor, that we may give information to 
 each other and be on our guard. And if you see that 
 he goes on devastating the land and ruthlessly shed- 
 ding our blood, then contrive to assassinate him and 
 his warlike son Vespasian and thus put an end to this 
 desolating war. Follow me now to his palace imme- 
 diately. 
 
 [They go to the palace, and she calls old Titus. 
 Holla! my good friend Titus Andronicus, just come 
 down for a minute. 
 
 TITUS ANDRONICUS, looking down. 
 Who calls me there? 
 
 EMPRESS. 
 
 Old Titus Andronicus, we are your good friends, 
 and the Gods have sent me to you with these men, that 
 I may deliver them both to you. They are appointed by 
 the Gods to assist in the war by their good advice, so 
 that we may soon conquer the enemy. 
 
TRAGEDY OF TITUS ANDRONICUS. 
 
 226 
 
 TITUS ANDRON. 
 
 O dieselben sollen mir gar angeneme seyn, vnd in 
 grossen Ehren von mir gehalten werden, aber jetzt kom 
 ich zu euch hinunter, mit Frewden zu empfahen. 
 
 [Gehet hinunter. 
 KAYSERIN. 
 
 Nun mein Lieber, ich habe jhn euch an praesenti- 
 ret, vnnd gehabt euch wol, ich gehe von hinnen. 
 
 Gehet weg, nun kompt Titus Andronicus herausser. 
 
 TITUS ANDRON: 
 Sagt mir, wo ist der Dritte geblieben? 
 
 HELICATES. 
 
 Sie ist wiederumb von hinnen gangen, da sie vns 
 jhn an praesentiret hat. 
 
 TITUS ANDRON: 
 
 Ja warlich jhr sollet mir solche willkommene Gaste 
 seyn, wie ich nimmermehr gehabt, Holla Soldaten, kom- 
 met eilends herausser. 
 
 [Kommen jhrer zween herausser. 
 Kompt hie, vnd haltet mir diese beyde steiff vnd 
 feste. Nun jhr ehrvergessene vnd morderliche Schelme, 
 meynt jhr dafs ich so gar von sinnen kommen bin, dafs 
 ich euch nicht kennen solte. 
 
 \_Ziehet jhn die Kappe vom Angesichte. 
 Seyd jhr nicht der Keyserinnen Sohne, vnd meynet 
 mich verratherlich vmb mein Leben zu bringen. Aber 
 jetzt habe ich, woran ich mich rechnen kan, bringt mir 
 da alfsbald ewer ein, ein scharffes Scheermesser vnd 
 ein Schlacht Tuch herausser. Ja jetzt hab ich ein heim- 
 lichen Rath bey mir erdacht, worin ich alle meine 
 Feinde fangen wil, vnd meinen Muth wiederumb genug- 
 sam an sie kiihlen. 
 
 Jetzt kompt einer, bringet jhm ein scharffes Scheermesser 
 vnd Schlacht Tuch, er macht das Tuch vmb, gleich als 
 
 wenn er schlachten will. 
 
 Gehe auch geschwinde hin, vnd hole ein Gefafs. 
 
 [Gehet hin. 
 
 Vnd du kom mit demselben Morder, den du hast, 
 hieher vnd halte jhm seine Gurgel heriiber, dafs ich 
 sie kan abschneiden. 
 
 [Bringt Gefafs. 
 
 Vnd kom du hie mit deinem Gefafs, halt es jhme 
 vnter die Gurgel, vnd fange alles Blut darein. 
 
 Der elteste Bruder wird erstlich heriiber gehalten, er wil 
 reden, aber sie halten jhm das Maul zu. 
 Titus schneidet jhm die Gurgel halb abe. 
 
 Das Blut rennet in das Gefafs, legen jhn da das Blut 
 aufsgerennet, todt an die Erden. 
 
 TITUS ANDRONICUS. 
 
 O they shall be most welcome, and held by me in 
 great honour. I will come down directly, and give them 
 a joyful reception. 
 
 [Goes down. 
 EMPRESS. 
 
 My sweet sons, now I have introduced you to him, 
 farewell I depart, 
 
 [Exit. 
 
 Enter TITUS ANDRONICUS. 
 Tell me, where is the third person gone? 
 
 HELICATES. 
 
 She went away, as soon .as she had introduced us 
 to you. 
 
 TITUS ANDRONICUS. 
 
 Yes indeed, you shall be such welcome guests to 
 me as I have never had before. Holla soldiers ! come 
 here quick! 
 
 {Enter two soldiers. 
 
 Come here and hold these two fellows fast. Now 
 you infamous murderous villains I do you think that I 
 have so entirely lost my senses not to know you? 
 
 [He unmasks them. 
 
 Are you not the sons of the Empress, and do you 
 not treacherously seek my life? But now I can take 
 my revenge. Bring me, one of you a sharp razor and 
 a butcher's apron. I have devised a snare wherein I 
 will catch all my enemies to satiate my revenge on 
 them. 
 
 [A sharp razor and an apron are brought. He 
 puts on the apron, and makes preparations to 
 slaughter them. 
 Now go and fetch a basin quickly. 
 
 [Exit soldier. 
 
 And you come hither with the murderer you watch, 
 and hold his throat that I may cut it. 
 
 [A basin is brought. 
 
 And you come here with the basin and hold it 
 under his throat to gather all the blood. 
 
 [The eldest brother is first held down, he wishes 
 to speak, but they stop his mouth. Titus half 
 cuts his throat. The Hood runs into the basin. 
 After it is all run out, they lay him down 
 dead on the floor. 
 
 15 
 
227 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 228 
 
 Nun kom du ander auch heran. 
 
 Helt jhn eben so die Gurgel heruber. Er weigert sich 
 he/tig zum Tode, wil reden, aber sie halten jhm das 
 
 Maul zu. 
 
 Titus schneidet jhm in die Gurgel, das Slut wird auffge- 
 fangen, darnach todt an die Erden gelegt. 
 
 Nun habe ich jhnen die Gurgel beyde halb abge- 
 schnitten, was ich aber nun geschlachtet, daruber wil 
 ich selber Koch seyn, die Haupter wil ich gar klein 
 zuhacken, vnd sie in Pasteten backen, worauff ich denn 
 den Keyser sampt jhrer Mutter zu gaste bitten wil, vnd 
 alfsbald ein Friedes Boten nach dem Keyser schicken, 
 jhr aber nempt alfsbald die Corper, vnd bringet sie mir 
 in die Kiichen. 
 
 [Gehet hinein. 
 Bringen die Corper weg. 
 
 ACTUS OCTAVUS. 
 
 Jetzt kompt heraufs der Keyser, auch die Key serin. 
 
 KAYSER. 
 
 Schone Keyserin, ich bitte erzehlet mir, waren dem 
 Tito Andronico ewer Sohne auch lieb, die jhr jhm an- 
 prsesentiretet, gleich als wen sie jhm Gotter schicketen. 
 
 KEYSERIN. 
 
 Gnadiger Herr vnd Keyser, der alte Titus war 
 sehr froh driiber, kam alfsbald zu jhnen herunter, vnter 
 dessen gieng ich wieder weg, verhoff meine Sohne wer- 
 den in grossen Ehren bey jhm erhalten werden, vnd 
 alles was sie jhm rathen, wird er folgen, aber da kompt 
 jetzt ein Bote, was mag der vns gutes bringen? 
 
 Der Bote geht fiirm Keyser. 
 
 BOTE. 
 
 Gliick, Heil vnd alle Wolfahrt warten aufF E. Kays : 
 May: Grofsmachtigster vnd vnuberwindlichster Keyser 
 von Rom, ich bin ein Bote, vnd gesand von meinem 
 gnadigen Herrn Tito Andronico zu Ewer Keyserlichen 
 May: lest ewer May: durch mich vermelden Fried vnd 
 Einigkeit, vnd dafs er nimmermehr keine Wehr noch 
 Waffen wider Ewer May: fuhren wil sondern ein ewig 
 Verbundnifs vnd Friede mit E. May: machen, last vns 
 darneben bitten, E. May: wolln mit seine schone Key- 
 serin zu jhm auff ein Pancket kommen, dafs also desto 
 mehr Friede vnd Einigkeit mochte gemacht werden. 
 
 Now come here too, you other. 
 
 [Holds his throat in the same way. He resists 
 violently and wishes to speak, but they stop his 
 mouth. Titus cuts his throat, the blood is col- 
 lected, after which they lay him down dead. 
 
 I have now cut their throats, and what I have 
 slaughtered I will cook myself. I will hash up these 
 heads and bake them in pasties; then I will invite the 
 Emperor and their mother. The messenger of peace 
 shall be sent off at once to the Emperor. But you 
 make haste, take these dead bodies and carry them into 
 the kitchen. 
 
 [Exeunt with the dead bodies. 
 
 ACT VIII. 
 
 Enter the Emperor and the Empress. 
 
 EMPEROR. 
 
 My lovely Empress, pray tell me whether Titus 
 Andronicus was pleased with your sons whom you in- 
 troduced as being sent to him by the Gods. 
 
 EMPRESS. 
 
 My lord and Emperor, old Titus was highly pleased, 
 and came down immediately. Meanwhile I came away, 
 hoping that my sons will be held in great honour by 
 him, and that he will follow their advice in everything. 
 But here comes a messenger, what good tidings may 
 he bring us? 
 
 MESSENGER. 
 
 All hail to your Imperial Majesty, high and mighty 
 and invincible Emperor of Rome. I am a messenger sent 
 by my noble lord Titus Andronicus to your Imperial Ma- 
 jesty. He bids me offer you peace and amity, he will 
 never again wage war against your Majesty but wishes to 
 enter into an eternal bond and alliance with your Ma- 
 jesty. I am further to entreat that your may be pleased 
 to come with your lovely Empress to a banquet, so 
 that peace and unity may be all the better esta- 
 blished. 
 
229 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 230 
 
 KAYSER. 
 
 Diese deine angetragene Botschafft, machet mir 
 grosse Frewde vnd Wonne meines Hertzens, dafs well 
 der alte Titus Andronicus Friede vnd Einigkeit mit mir 
 machen wil, sage jhm aber wiederumb von mir, dafs 
 ich mich druber sehre erfrewet, vnd alfsbald Personlich 
 bey jhm mit meiner Keyserin erscheinen wil. 
 
 BOTE. 
 
 Grofsmachtiger Keyser, ich wil diese Relation weifs- 
 lich verrichten. 
 
 [Gehet weg. 
 KEYSERIN. 
 
 Dieses ist wol gewifs, gnadiger Herr vnd Keyser, 
 dafs meine zween Sohne zu diesem Friede geredet, wel- 
 chen denn der alte Titus folge geleistet. 
 
 KAYSER. 
 
 Haben sie mir dieses zu wegen gebracht, so ver- 
 heifs ich jhnen warlich dafur, dafs sie derhalben von 
 mir zu hohen Dingen sollen befordert werden. Aber 
 schone Keyserin, wir wollen nicht langer seumen, son- 
 dern vns alfsbald zu dem Tito Andronico verfugen. 
 
 G eli en hinein zu Titum, sie fang en an zu spielen, vnter 
 dessen wird die Taffel zugerichtet, vnd die Pasteten auff- 
 getragen. Nicht lang darnach kompt Titus Andronicus 
 heraufs, hat das Tuch, so mit Blut besprenget, noch vmb, 
 vnd ein Messer in der Hand, der Keyser vnd die Key- 
 serin gehen hinter jhm, dar folget die Andronica vnd 
 Vespasianus vnd Victoriades. 
 
 TITUS ANDRON: 
 
 Grofsmachtiger Keyser vnd schone Keyserin ich 
 thue mich hochlich bedancken, dafs jhr auff meine Bitte 
 erschienen seyd. Ich bitte aber Ewer Majestat wolle 
 sich mit seiner Keyserinne setzen, vnd dieses mein ge- 
 ringe tractament vorlieb auff vnd annehmen. 
 
 KAYSER. 
 
 Guter Freund Titus Andronicus, hochlich bin ich 
 drob erfrewet, dafs dieser blutiger gefahrlicher Krieg 
 ein ende genommen, vnd wir zu Fried vnd Eintracht 
 seyn gerathen. 
 
 {Gehet oben an die Taffel sitzen, die Keyserin 
 
 bey jhm. 
 Aber sagt mir, warumb gehet jhr mit der Schurtzen ? 
 
 [Victoriades gehet sitzen. 
 TITUS ANDRON: 
 
 Grofsmachtiger Keyser, ich bin selber Koch ge- 
 worden, vnd die Pasteten fiir E. May: zugerichtet. 
 
 KAYSER. 
 
 Nun es ist alles gut, ich bitte Titus, kompt mit 
 ewrem Sohne bey vns sitzen. 
 
 EMPEROR. 
 
 Your message, that old Titus Andronicus wishes to 
 make peace with me, rejoices and delights my heart. 
 Tell him therefore on my part, that I am highly pleased, 
 and that I will immediately come in person with my 
 Empress. 
 
 MESSENGER. 
 
 High and mighty Emperor, I will duly deliver this 
 message. 
 
 [Exit. 
 EMPRESS. 
 
 It is quite certain, my lord and Emperor, that my 
 sons have brought about this tender of peace from old 
 Titus. 
 
 EMPEROR. 
 
 If so be that they have brought this about, I pro- 
 mise them high promotion. So lovely Empress, let us 
 not tarry longer, but betake ourselves forthwith to old 
 Titus Andronicus. 
 
 They go to Titus; hautboys sound, while the table is being 
 dressed and the pies served. Presently enter Titus An- 
 dronicus still wearing the blood-stained apron, and with 
 a knife in his hand. The Emperor and Empress follow 
 him, then Andronica, Vespasian and Victoriades. 
 
 TITUS ANDRONICUS. 
 
 Mighty Emperor and lovely Empress, 1 most hum- 
 bly thank you for responding to my invitation. I pray 
 your Majesty and the Empress to be seated and kindly 
 to partake of my humble repast. 
 
 EMPEROR. 
 
 My good friend Titus Andronicus, I am highly re- 
 joiced that this bloody and desolating war is come to 
 an end, and that we are joined in peace and amity. 
 
 [He sits down at the upper end of the table; the 
 
 Empress sits at his side. 
 But tell me, why wear you this apron? 
 
 [Victoriades sits down* 
 TITUS ANDRONICUS. 
 
 Mighty Emperor, I have become cook myself, and 
 have made pasties for your Majesty. 
 
 EMPEROR. 
 
 I am right pleased, but pray Titus, come with your 
 son and sit at our side. 
 
 15* 
 
231 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 232 
 
 TITUS ANDRON: 
 
 Nein grofsmachtiger Keyser, ich werde jetzt nicht 
 sitzen gehen, sondern wil E. May: dienen, du aber hertz- 
 lieber Sohn Vespasianus, gehe sitzen, vnd leiste dem 
 Keyser Freundschafft. 
 
 VESPASIANUS. 
 
 Ja hertzlieber Vater, ewerm Befehl bin ich jeder- 
 zeit willig nachzukommen. 
 
 [Gehet sitzen. 
 KAYSERIN. 
 
 Lieber Titus Andronicus, ich bitte lasset ewre Toch- 
 ter Andronica auch sitzen. 
 
 TITUS. 
 
 Nein schone Keyserin, dafs kan nicht seyn, sie mufs 
 fur euch stehen vnd dienen. Ich bitte aber E. May: 
 wollen essen vnd frolich seyn. 
 
 Gehet hin zu den Pasteten, schneidet dem Keyser, auch 
 
 der Keyserin davon fur, Vespasianus aber isset nichts, der 
 
 alte Titos gehet fiirm Tische betriibet spatzieren. 
 
 KAYSERIN. 
 
 Warlich die Tage meines Lebens hab ich nicht bes- 
 sers von Pasteten gegessen, alfs jetzt, kan aber nicht 
 wissen, worvon es moge zugerichtet seyn, oder was 
 dasselbige ist, so drein gebacket. 
 
 TITUS ANDRON: 
 
 O schone Keyserin, ich bitte, esset besser davon, 
 weil er euch so wol thut schmecken, worvon er aber 
 gemachet, wil ich der Keyserinnen darnach erzehlen. 
 
 Schneidet noch ein Stucklein davon, legts der 
 Keyserinnen fur. 
 
 KAYSERIN. 
 
 Aber mein lieber Titus Andronicus, saget warumb 
 seyd jhr so melancholisch, vnd esset nit. 
 
 TITUS ANDRON: 
 
 O schone Keyserin, esset jhr nun wol davon, ich 
 aber bin voll grosser Betrubnifs, ja der Betriibste in 
 der gantzen Welt, dafs ich auch nicht weifs, was ich 
 vor Angst sol thun oder anfahen. 
 
 KAYSERIN. 
 
 Aber ich bitte euch, saget mir warumb seyd jhr 
 so betrubet, vnd was hat euch betrubt gemacht? 
 
 Titus geht fur die Andronica. 
 
 TITUS ANDRON: 
 
 Keyserin, durch dieses elende Mensche, meine hertz- 
 liebe Tochter, bin ich so vnmenschlich sehre betrubet. 
 Nun aber ist mir langer vnmuglich, dich also elendig- 
 
 TITUS ANDRONICUS. 
 
 My gracious Emperor, I will not sit down now, 
 but will wait upon you, but you my dear son Vespa- 
 sian, go and bear the Emperor company. 
 
 VESPASIAN. 
 
 Yes my beloved father, I am ever ready to obey 
 your orders. 
 
 [He sits down. 
 EMPRESS. 
 
 My dear Titus Andronicus, pray bid your daughter 
 sit also. 
 
 TITUS ANDRONICUS. 
 
 No my lovely Empress, that cannot be; she must 
 stand and wait upon you. But I entreat your Majesty 
 to eat and be cheerful. 
 
 [He goes up to the pies, carves them, and places 
 portions of them before the Emperor and the 
 Empress. Vespasian eats nothing; Titus walks 
 sorrowfully up and down. 
 
 EMPRESS. 
 
 I have never eaten a better pie than this in all my 
 life, but I cannot imagine what they are made of. 
 
 TITUS ANDRONICUS. 
 O my lovely Empress, pray take some more as 
 you relish it so much; and I will tell my Empress after- 
 wards what they were made of. 
 
 [He cuts off another piece, and places it before her. 
 
 EMPRESS. 
 
 But my dear Titus Andronicus, tell me why you 
 are so melancholy, and why you do not eat. 
 
 TITUS ANDRONICUS. 
 
 O my lovely Empress, please you eat heartily 
 
 As to myself I am filled with grief, indeed the most 
 
 afflicted man in the world, and know not what to do 
 
 in my affliction. 
 
 EMPRESS. 
 
 But pray tell me why are you so sorrowful, ant 
 what has caused you this grief? 
 
 TITUS ANDRONICUS, going up to Andronica. 
 
 My Empress, it is on account of this unhappy 
 damsel, my beloved daughter, that I am so deeply af- 
 flicted. But it is no longer possible for me to see you so 
 
233 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 234 
 
 lich fur meinen Augen zusehen, vnd fur Vngedult wil 
 mir mein Hertz im Leibe zerplatzen, sieh da nimb das 
 zu dir. 
 
 [Stosset jhr das Messer durchs Hertz, sie felt 
 todtlich nieder zu der Erden. 
 
 KAYSER. 
 
 Ach ach Titus Andronicus, seyd jhr auch noch bey 
 Sinnen, wie kompts, dafs jhr ewer eigen Fleisch vnd 
 Blut ermordet, ach wehe dieses erbarmliche Wesen. 
 
 TITUS ANDRON. 
 
 Ja Keyser, die grosseste Pein vnd Hellen Angest 
 meines Hertzen, hab ich durch jhr empfangen, aber 
 hore mich recht zu, deine verfluchte vnd hoffertige Key- 
 serin ist eine Vrsache, denn sie meine armselige Toch- 
 ter durch jhre Sohne, die Hande hat abhawen lassen, 
 auch die Zunge aufsgerissen. Wisse aber nun du ver- 
 fluchte Keyserin, dafs du jetzt mit grosser Anmuth von 
 deines Sohnes Hauptern gegessen hast, welche ich drin- 
 nen gebacket. 
 
 [Keyserin zittert vnd bebet, verschrecket sich graw- 
 
 samlich. 
 
 Nun aber soltu also keinen Menschen mehr betrii- 
 ben, wie du mich gethan, nim also dieses dafiir. 
 
 [Springet mit dem Messer zu jhr, ersticht sie an 
 des Keysers Seiten beym Tische. 
 
 O mordio wehe. 
 
 [Felt todt zur Erden. 
 KEYSER. 
 
 O wehe solte ich solche Mordt dulden, das ist mir 
 vnmuglich. 
 
 [Zieht das Schwerdt aufs, ersticht Titum Andron: 
 fiirm Tische, felt todtlich zur Erden, Vespa- 
 sian: springet vber Tisch zum Keyser. 
 
 VESPASIANUS. 
 
 Nun Keyser du must wiederumb sterben, soltu auch 
 tausendt Leiber haben. 
 
 [Ersticht den Kdyser, felt todt zur Erden. 
 
 VICTORIADES. 
 
 Ach wehe, ach wehe, difs erbarmliche vnd klag- 
 liche Wesen, wehe nimmermehr werde ich mich kon- 
 nen zu frieden geben. Nun Vespasian: das Keyser- 
 thumb gehoret euch jetzt zu, setzet die Krone auff ewer 
 Ha'upt, vn regierts mit frieden. 
 
 VESPASIANUS. 
 
 O gnadiger Herr Vetter, was sol ich das Keyser- 
 thumb regieren, mein Hertz wil mir im Leibe zersprin- 
 gen wegen dieser Tragsedi, welche nimmermehr mag 
 
 unhappy before mine eyes, and my heart is breaking 
 for anguish. Here take this. 
 
 [He stabs her, she falls down dead. 
 
 EMPEROR. 
 
 O Titus Andronicus, are you in your senses? how 
 comes it that you murder your own flesh and blood? 
 O poor hapless creature? 
 
 TITUS ANDRONICUS. 
 
 Ay, Emperor, my heart has been wrung with pain 
 and anguish on her account; but hear the rest. Your 
 accursed and haughty Empress is the cause of this, for 
 it is she who made her sons cut off the hands and 
 tongue of my unfortunate daughter. But know ye now, 
 you accursed Empress, that you have just regaled your- 
 self upon the heads of your sons which I had baked 
 in this pie. 
 
 [The Empress trembles with horror and dismay. 
 
 But you shall no longer afflict any man, as you 
 have done me. Take this in return. 
 
 [He rushes upon her with the knife, and stabs 
 her by the side of the Emperor at table. 
 
 (EMPRESS.) 
 Help! Murder! 
 
 [She dies. 
 EMPEROR. 
 
 O horrible! Shall I suffer such murder? no, im- 
 possible ! 
 
 [He draws his sword and pierces Titus Andro- 
 nicus, who falls down dead. Vespasian leaps 
 over the table to the Emperor. 
 
 VESPASIAN. 
 
 Emperor, now must you die in your turn, and though 
 you had a thousand lives. 
 
 [He stabs the Emperor. 
 
 VICTORIADES. 
 
 O woeful, woeful ! most harrowing sight. Ah, I shall 
 never be happy again. Now Vespasian the Empire be- 
 longs to you; place the crown on your head, and rule 
 in peace. 
 
 VESPASIAN. 
 
 O my beloved uncle! how can I rule the Empire, 
 when my heart is ready to break at this tragedy, more 
 pitiful than has ever been heard of before? I know 
 
235 
 
 TRAGEDY OF TITUS ANDRONICUS. 
 
 236 
 
 klaglicher erhoret, ich weifs fur grofs Betriibnifs nicht 
 was ich sol anfahen, fiihrt jhr nun die Keyserliche Crone 
 auff ewrem Haupte, dann jhr seyd der neheste darzu. 
 
 VICTORIADES. 
 
 O nein ich begehre sie nimmermehr zufuhren, jhr 
 aber seyd ein rechter Erbe dazu, vnd seyd wegen ewer 
 tapifer Thaten beschreyet worden vber die gantze Welt, 
 das ewers gleichen nirgends ist. So wisset jhr, dafs 
 das Keyserthumb viel Anfechtung vnd Feinde hat, auch 
 sehr hoch von nothen hat einen streitbaren Regenten, 
 derhalben weigert euch nit, vnd empfahet das Keyser- 
 thumb, vnd machet darnach allenthalben widerumb Fried, 
 vnd regieret es mit Einigkeit vn Frewde. 
 
 VESPASIAN : 
 
 So last vns nun hinein gehen, dafs ich die Krone 
 fur jedermanniglich empfahe, aber nimmermehr werd 
 ich konnen frolich sein. 
 
 FINIS. 
 
 not what to do in my great sorrow. Place you the 
 Imperial crown on your head, for your claim is the 
 nearest. 
 
 VICTORIADES. 
 
 O no! I will never wear it. You are the lawful 
 heir, and are so renowned for your brave deeds all over 
 the world, that you have not your equal. Know then 
 that the Empire has many troubles and enemies, and 
 wants a warlike ruler. Therefore resist not, but accept 
 the Empire. Bring about a general peace, and rule in 
 joy and harmony. 
 
 VESPASIAN. 
 
 So let us then go in, that I may receive the crown 
 in the name of the people; but I shall never be happy 
 again. 
 
 THE END. 
 
TRAGEDY OF FRATRICIDE PUNISHED 
 
 OR 
 
 PRINCE HAMLET OF DENMARK 
 
 ACTED IN GERMANY, ABOUT THE YEAR 1603, BY ENGLISH PLAYERS. 
 
The TRAGEDY or PRINCE HAMLET has been preserved to us only by a late and modernised copy of a 
 much older manuscript. That copy, bearing the date, "Pretz, den 27. Oktober 1710", has once been in the pos- 
 session of CONRAD EKHOF, the celebrated actor and manager of the Theatre of Gotha, (born at Hamburg, Aug. 
 12, 1720 died at Gotha June 16, 1778) after whose death some extracts of it were published in the "Theater- 
 Kalender auf das Jahr 1779" Gotha 24mo, pag. 47 to 60, by the care of its editor, H. A. O. REICHARD, who in 
 1781 gave the full text of the play in his Periodical, "Olla Potrida", Berlin, 8vo, Part H of 1781, pag. 18 to 68. 
 It is entitled: 
 
 TEAGOEDIA. 
 
 beftrafte S3mbermorb 
 
 ober: 
 
 amtet aits >amtemart. 
 
 (TRAGEDY. FRATRICIDE PUNISHED, OR PRINCE HAMLET OF DENMARK.) 
 In the present impression the German text has been given as it stands in the "Olla Potrida". 
 
TRAGCEDIA 
 
 VON 
 
 PRINZ HAMLET AUS DlNNEMARK. 
 
 Personen. 
 
 1. Im Prologe. 
 
 NACHT in einer gestirnten Maschine. 
 ALECTO. 
 THISIPHONE. 
 MAGERA. 
 
 2. In der Tragoedie. 
 
 GEIST des alten Konigs von Dannemark. 
 ERICO, Bruder des Konigs. 
 HAMLET, Prinz des ermordeten Konigs. 
 SIGRIE, die Konigin, Hamlets Mutter. 
 HORATIO, ein hoher Freund des Prinzen. 
 CORAMBUS, Koniglicher Hofmarschall. 
 LEONHARDUS, dessen Sohn. 
 OPHELIA, dessen Tochter. 
 PHANTASMO, Hofnarr. 
 FRANCISCO, Offizier der Wache. 
 JENS, ein Bauer. 
 
 CARL, der Principal von den Comodianten. 
 CORPORAL von der Wache. 
 ZWEI REDENDE BANDITEN. 
 ZWEI SCHILDWACHEN. 
 TRABANTEN, 
 
 HOFDIENER, 
 
 ZWEI COMODIANTEN, 
 
 Stumme. 
 
 PROLOGUS. 
 
 DIE NACHT von oben. 
 _Lch bin die dunkle Nacht, die alles schlafend macht, 
 Ich bin des Morpheus Weib, der Laster Zeitvertreib, 
 Ich bin der Diebe Schutz, und der Verliebten Trutz, 
 Ich bin die dunkle Nacht, und hab in meiner Macht, 
 Die Bosheit auszuiiben, die Menschen zu betriiben, 
 Mem Mantel decket zu der Huren Schand' und Ruh', 
 Eh' Phobus noch wird prangen, will ich ein Spiel anfangen ; 
 Ihr Kinder meiner Brust, ihr Tochter meiner Lust, 
 Ihr Furien, auf, auf, hervor und last euch sehen, 
 Kommt, horet fleifsig zu, was kurzens soil geschehen. 
 
 TRAGEDY 
 
 OF 
 
 PRINCE HAMLET OF DENMARK. 
 
 Persons represented: 
 
 1. In the Prologue. 
 
 NIGHT, in a car, covered with stars. 
 ALECTO. 
 
 THISIPHONE. 
 Kawnu. 
 
 2. In the Tragedy. 
 
 GHOST of the old King of Denmark. 
 EEICO, brother to the King. 
 
 HAMLET. Prince, son of the murdered King. 
 
 SIGRIE, the Queen, Hamlet's mother. 
 
 HORATIO, the Prince's friend, of high rank. 
 
 CORAMBUS, Lord Chamberlain. 
 
 LEONARDUS, his son. 
 
 OPHELIA, his daughter. 
 
 PHANTASMO, the clown. 
 
 FRANCISCO, Officer of the guard. 
 
 JENS, a peasant. 
 
 CHARLES, the principal of the comedians. 
 
 A CORPORAL of the guard. 
 
 Two RUFFIANS. 
 
 Two SOLDIERS. 
 
 LIFE-GUARDS \ 
 
 SERVANTS > Mute persons. 
 
 TWO COMEDIANS ) 
 
 PROLOGUE. 
 
 NIGHT, from above. 
 
 JL am the sable Night, all feel in sleep my might. 
 Of Morpheus I'm the wife, in vicious pleasures rife; 
 I'm guardian of the thief, I bring to love relief, 
 I am the sable Night, who have it in my might 
 All wickedness to do, and cause mankind to rue. 
 Concealed my veil shall keep the harlot's shame and sleep. 
 Ere Phoebus lights the sky, I have a game to try. 
 Ye children of my breast, daughters of lust confessed, 
 Ye furies, up, arise, come forth and shew your face, 
 Come listen all to me what shortly shall take place. 
 
 16 
 
243 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 244 
 
 ALECTO. 
 
 Was sagt die dunkle Nacht, die Konigin der Stille, 
 Was giebt sie Neues an, was ist ihr Lust und Wille? 
 
 MAGERA. 
 
 Aus Acherons finstrer Hohle komm ich Magera her, 
 Von dir, du Unglucksfrau, zu horen dein Begehr. 
 
 THISIPHONE. 
 
 Und ich Thisiphone, was hast du vor, sag an, 
 Du schwarze Hecate, ob ich dir dienen kann? 
 
 NACHT. 
 
 Hort an, ihr Furien alle drey, hort an, ihr Kinder 
 der Finsternifs und Gebarerin alles Ungliicks, hort an 
 eure mit Mohnhaupter gekronte Konigin der Nacht, eine 
 Gebietherin der Diebe und Rauber, eine Freundin und 
 Klarheit der Mordbrenner, eine Liebhaberin des ver- 
 stohlnen Gutes, und hochstgeliebte Gottin der Verlieb- 
 ten in Unehren, wie ofte wird mein Laster- Altar durch 
 diese genannte That verehret! Diese Nacht und kunfti- 
 gen Tag mufst ihr mir beystehn, denn es ist der Konig 
 dieses Reich s in Liebe gegen seines Bruders Weib ent- 
 brannt, welchen er um ihrenthalben ermordet, um sie 
 und das Konigreich zu bekommen. Nun ist die Stunde 
 vorhanden, dafs er sein Beylager mit ihr halt, ich will 
 meinen Mantel fiber sie decken, dafs sie beyde ihre Sun- 
 den nicht sehn sollen, derowegen seyd bereit, den Saa- 
 men der Uneinigkeit auszustreuen, mischet Gift unter ihre 
 Eh', und Eifersucht in ihre Herzen. Legt ein Rachfeuer 
 an, lafst die Funken in dem ganzen Reich herumfliegen, 
 verwirret die Blutsfreunde in dem Lasternetz, und macht 
 der Holle eine Freude, damit diejenigen, welche in der 
 Mord-See schwimmen, bald ersaufen; gehet, eilet, und 
 verrichtet meinen Befehl. 
 
 THISIPHONE. 
 
 Ich hore schon genung, und werde bald verrichten 
 Mehr als die dunkle Nacht von ihr selbst kann erdichten. 
 
 MAGERA. 
 
 Der Pluto selbst soil mir so viel im Sinn nicht geben, 
 Als man in kurzer Zeit von mir bald wird erleben. 
 
 ALECTO. 
 
 Ich bias' die Funken an, und mach' das Feuer brennen, 
 Ich will, eh's zweymal tagt, die ganze Lust zertrennen. 
 
 NACHT. 
 So eilt, ich fahre auf, verrichtet euren Lauf. 
 
 [Fdhrt auf. Musik. 
 
 ALECTO. 
 
 What saith the sable Night, the Queen of sleep and rest ? 
 What is her wish and will, what thoughts do move her - 
 
 breast? 
 
 M2EGERA. 
 
 From Acheron's dark pit, Maegera I, appear, 
 
 From thee, ill-omened hag, thy wishes now to hear. 
 
 THISIPHONE. 
 
 And I, Thisiphone, say on what is thy plan, 
 Hecate thou dark one, say, I'll serve thee if 1 can. 
 
 NIGHT. 
 
 Listen ye furies all, listen ye three, offspring of 
 darkness, messengers of hate, listen to your poppy- 
 crowned Queen of Night, protectress of all midnight 
 thieves and robbers, friend and light to the incendiary, 
 lover of stolen property, and much-beloved goddess of 
 all secret and unhallowed love, how often is my altar 
 honoured by this said deed! This night and coming 
 day I pray your help, for the sovereign of this realm 
 burns in lust to his brother's wife, for whose sake he 
 hath murdered him that he may possess her and the 
 kingdom. Now is the hour at hand in which they 
 consummate their nuptials. I shall cover them with 
 my mantle that they see not their sin. Wherefore be 
 ready to sow the seeds of discord, mingle with poison 
 their marriage vows, envenom their hearts with envy. 
 Kindle the fire of revenge, and scatter the sparks 
 throughout the kingdom, lead blindly brother blood into 
 the snare of incest, rejoice the infernal regions with 
 deeds of ruth and rancorous malice ; be gone, speed ye 
 and fulfill my behests. 
 
 THISIPHONE. 
 
 Enough. I've heard enough, I hie me on my way, 
 And shall do more than Night e'en of herself can say. 
 
 Pluto himself, I swear, shall not such things conceive, 
 As soon performed by me, you shortly shall believe. 
 
 ALECTO. 
 
 I'll fan the glowing spark, make fiercer burn the flame, 
 I will, ere day dawns twice, completely spoil the game. 
 
 NIGHT. 
 
 Make haste, for I ascend, quick to your task attend. 
 
 [Ascends. Music. 
 
245 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 246 
 
 ERSTER ACT. 
 
 SCENE I. 
 (Zwei Soldaten.) 
 
 1. SCHILDW. Wer da? 
 
 2. SCHILDW. Gut Freund! 
 
 1. SCHILDW. Was vor Freund? 
 
 2. SCHILDW. Schildwache! 
 
 1. SCHILDW. Oho, Camerad, kommst du, mich ab- 
 zulosen, ich wiinsche, dafs dir die Stunde nicht moge 
 so lang werden, als mir. 
 
 2. SCHILDW. Ey, Camerad, es 1st ja nun so kalt 
 nicht. 
 
 1. SCHILDW. (<0b es gleich kalt ist, so hab ich doch 
 hier einen Hollenschweifs ausgehalten.j 
 
 2. SCHILDW. Wie so zaghaftl das stehet keinen 
 Soldaten an; er mufs weder Freund noch Feind, ja den 
 Teufel selbst nicht furchten. 
 
 1. SCHILDW. Ja wenn er dich einst bey der Car- 
 tause kriegen wird, du wirst das Miserere Domine wohl 
 beten lernen? 
 
 2. SCHILDW. Was ist denn eigentlich deine Furcht? 
 
 1. SCHILDW. Wisse denn, dafs sich ein Gespenst an 
 der Vorderseite des Castels sehen lafst, es hat mich 
 schon wollen zweymal von der Bastey herunterwerfen. 
 
 2. SCHILDW. So 16s' ab, du Narr, ein todter Hund 
 beist nicht mehr; ich werde ja sehen, ob ein Geist, wel- 
 cher weder Fleisch noch Bein hat, mir wird schaden 
 konnen. 
 
 1. SCHTLDW. Siehe nur zu, wenn es dir anders er- 
 scheinen wird, was es vor Handel macht; ich gehe nach 
 der Hauptwache. Adieu. [ab. 
 
 2. SCHILDW. Gehe du nur hin, vielleicht bist du ein 
 Sonntagskind, die sollen alle Gespenster sehen konnen, 
 ich warte meines Dienstes. 
 
 [Es werden inwendig Gesundheiten geblasen. 
 2. SCHILDW. Unser neuer Konig macht sich lustig; 
 sie trinken Gesundheiten. 
 
 SCENE II. 
 GEIST des Konigs tritt neben die Schildwache, und er- 
 
 schrickt ihn. [ab. 
 
 2. SCHILDW. Ach heiliger Anton von Padua stehe 
 
 mir bey; nun sehe ich erstlich, was mein Camerad ge- 
 
 sagt. O Saint Velten, wenn nur erstlich die Hauptrunde 
 
 vorbey ware, ich lief als ein Schelm von der Post weg. 
 
 [Es wird wieder geblasen und gepauckt. 
 2. SCHILDW. Hatte ich doch einen Trunk Wein 
 von des Konigs Tafel, damit ich mein erschrocknes, an- 
 gebranntes Herz begiessen konnte. 
 
 ACT 1. 
 
 SCENE I. 
 Two Soldiers. 
 
 1. SENT. Who's there? 
 
 2. SENT. A friend! 
 
 1. SENT. What friend? 
 
 2. SENT. Sentinel. 
 
 1. SENT. Ho! comrade, you come to relieve me. 
 I wish the hours may not be so long to you as they 
 have been to me. 
 
 2. SENT. Nay, comrade, 'tis not so bitter cold. 
 
 1. SENT. Cold or no, I have had an infernal fright. 
 
 2. SENT. How now so chicken-hearted! that be- 
 seemeth not a soldier; he must fear neither friend nor 
 foe, nay, nor the devil himself. 
 
 1. SENT. Ay, if he once grip you behind he'll teach 
 you to pray Miserere Domine. 
 
 2. SENT. Tell me then, what is it that has fright- 
 ened you? 
 
 1. SENT. Know then that a ghost hath appeared 
 on the platform of the castle; twice it tried to cast me 
 down from the battlements. 
 
 2. SENT. Fool, I'm here to relieve you, a dead dog 
 bites not; I shall soon see whether a ghost which hath 
 neither bones nor sinews will do me any harm. 
 
 1. SENT. Only look out well, what trouble he may 
 give you, if he appears to you; I go to the guard-house. 
 Farewell. [Exit. 
 
 2. SENT. Begone with you; - - perhaps you were 
 born on a Sunday, and can see ghosts. I'll now mount 
 guard. 
 
 [Healths within drunk, with a flourish of trumpets. 
 2. SENT. Our new King takes his rouse right mer- 
 rily; they are drinking healths. 
 
 SCENE II. 
 GHOST of the King approaches the Sentinel and startles 
 
 him. [Exit. 
 
 2. SENT. O! St. Anthony of Padua, defend me! 
 Now I see for the first time what my comrade spoke of. 
 O ! St. Velten, an the first round were over I'd quit my 
 post like a rogue. 
 
 [Another flourish of drums and kettle-drums. 
 2. SENT. ! for a draught of wine from the King's 
 board to bedew my unmanned cowardly heart! 
 
247 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 giebt von hinten der Schildwache eine Ohr- 
 feige, dafs er die Musquete fallen Idfst. [ab. 
 2. SCHILDW. Da spielt der Teufel leibhaftig mit. 
 Ach, ich bin so erschrocken, dafs ich nicht aus der Stelle 
 kommen kann. 
 
 SCENE III. 
 
 HORATIO UND SOLDATEN. 
 2. SCHILDW. Wer da? 
 HORAT. Runde ! 
 2. SCHILDW. Was fur Runde? 
 HORAT. Hauptrunde ! 
 
 2. SCHILDW. Steh Runde! Corporal heraus, Bur- 
 sche ins Gewehr! 
 
 [FRANCISCO und Wache heraus, geben das Wort 
 
 auf der andern Seite. 
 
 HORAT. Schildwacht, gieb wol Achtung auf deinen 
 Posten, der Prinz mochte selbst patrolliren; dafs du ja 
 nicht etwan schlafest, sonst kostet es deinen besten Hals. 
 
 2. SCHILDW. Ach wenn auch die ganze Compagnie 
 hier ware, es wurde keiner schlafen, und man mufs mich 
 ablosen, oder ich laufe davon, und solt ich auch morgen 
 an den hochsten Galgen gehenkt werden. 
 
 HORAT. Was ist denn die Ursach? 
 
 2. SCHILDW. Ach, gnadiger Herr, es la'fst sich alle 
 Viertelstunde ein Geist allhier sehn, welcher mir so viel 
 zusetzt, dafs ich mir einbilden mufs, als sasse ich leben- 
 dig im Fegfeuer. 
 
 FRANCISCO. Eben also hat mir die erste Schildwacht 
 auch erzahlt, welche in der vorigen Stunde abgeloset. 
 
 2. SCHILDW. Ja, ja, verziehet nur ein wenig, es 
 wird nicht lange bleiben. 
 
 [Geist gehet iiber das Theater. 
 
 HORAT. Bey meinem Leben, es ist ein Geist, und 
 sieht recht ahnlich dem letztverstorbenen Konig von Dan- 
 nemark. 
 
 FRANCISCO. Er gebehrdet sich klaglich, und lafst, 
 als ob er was sagen wollte. 
 
 HORAT. Hierunter ist etwas verborgen. 
 
 SCENE IV. 
 HAMLET. 
 
 2. SCHILDW. Wer da? 
 HAMLET. Schweig! 
 2. SCHILDW. Wer da? 
 HAMLET. Schweig ! 
 
 2. SCHILDW. Antwort, oder ich werde dir was an- 
 ders weisen. 
 
 HAMLET. Freund ! 
 
 [GHOST gives the Sentinel a box on the ear from 
 behind, and makes him drop his musket. Exit. 
 2. SENT. The devil himself is in this game. O I'm 
 too sore afraid to move from the spot. 
 
 SCENE III. 
 
 HORATIO AND SOLDIERS. 
 2. SENT. Who's there? 
 HORAT. Watch ! 
 2. SENT. Which? 
 HORAT. First! 
 2. SENT. Stand, watch corporal out! to arms! 
 
 [FRANCISCO and watch come out, give the word 
 from the other side. 
 
 HORAT. Sentinel, look well to your post, mayhap 
 the Prince himself will go the rounds ; look to it ye 
 be not found asleep, it might cost you the best head 
 upon your shoulders. 
 
 2. SENT. Oh! I warrant were the whole company 
 here, not a man amongst them all would sleep at his 
 post; I must be relieved, else I'll run for't at the risk 
 of hanging on the highest gallows to-morrow. 
 
 HORAT. And wherefore? 
 
 2. SENT. I'faith, your worship, a ghost appears here 
 in this place every quarter of an hour, and frightens me 
 so horribly, I'd think I was all alive in purgatory. 
 
 FRANCISCO. The first sentinel, who watched last 
 hour, has just told me the same story. 
 
 2. SENT. Ay, ay, tarry but a little while, it will 
 soon appear again. 
 
 [Ghost stalks across the stage. 
 
 HORAT. Upon my life, it is a ghost, and looks ex- 
 tremely like the late King of Denmark! 
 
 FRANCISCO. To judge by his gestures, he is mise- 
 rable, and seems as if he wished to say something. 
 HORAT. There is some mystery under all this. 
 
 SCENE IV. 
 HAMLET. 
 
 2. SENT. Who's there? 
 HAMLET. Hush! 
 2. SENT. Who's there? 
 HAMLET. Hush ! 
 2. SENT. Answer, or I'll teach thee better man- 
 
 ners. 
 
 HAMLET. A friend! 
 
TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 250 
 
 2. SCHILDW. Was vor Freund? 
 
 HAMLET. Des Reichs Freund. 
 
 FRANCISCO. Bey meinem Leben, es ist der Prinz! 
 
 HORAT. Ihro Durchlaucht, sind Sie es, oder nicht? 
 
 HAMLET. Siehe, Horatio, seyd Ihr es ! Was macht 
 Ihr hier? 
 
 HORAT. Ew. Durchl. aufzuwarten, ich habe die 
 Wachen etwas visitirt, ob auch alle Posten wohl besetzt 
 seyn. 
 
 HAMLET. Ihr thut, als ein ehrlicher Soldat, denn 
 auf Euch ruhet des Konigs und des Reichs Sicherheit. 
 
 HORAT. Ihro Durchlaucht, es tragt sich ein wun- 
 derlicher Casus zu, massen sich allhier alle Viertelstunde 
 ein Geist sehn lafst; er gleicht, meinen Einbildungen 
 nach, recht dem verstorbenen Konig, Dero Herrn Vater. 
 Er thut auf diesem Rundeel der Schildwacht grossen 
 Schaden. 
 
 HAMLET. Das will ich nicht hoffen, denn die See- 
 lien der Frommen ruhen wohl bis zu der Zeit ihrer Er- 
 sneurung. 
 
 HORAT. Es ist nicht anders, Ihro Durchlaucht, ich 
 thabe ihn selbst gesehn. 
 
 FRANCISCO. Mich hat er sehr erschreckt, Ihro 
 I Durchl. 
 
 2. SCHILDW. Und mich hat er eine brave Ohrfeige 
 igegeben. 
 
 HAMLET. Wie ist es an der Zeit? 
 
 FRANCISCO. Es ist recht Mitternacht. 
 
 HAMLET. Eben recht, denn um dieselbe Zeit pfle- 
 gen sich die Geister sehn zu lassen, wenn sie wandeln. 
 [Es wird wieder Gesundheit geblasen. 
 
 HAMLET. Holla! was ist dieses? 
 
 HORAT. Mich dunkt, als wann sie zu Hofe noch 
 lustig Gesundheiten trinken. 
 
 HAMLET. Recht, Horatio! mein Herr Vater und 
 Vetter wird sich mit seinen Adhoerenten noch wacker 
 lustig machen. Ach! Horatio, ich weifs nicht, warum 
 nach meines Herrn Vaters Tod ich allezeit solche Her- 
 zensangst gehabt; dahergegen meine Konigliche Fran 
 Mutter ihn gar bald vergessen, dieser Konig aber ihn 
 noch eher: denn weil ich in Teutschland gewesen, hat 
 er sich geschwinde zum Konig in Dannemark kronen 
 lassen, unter dem Schein des Rechtens aber hat er mir 
 die Krone von Norwegen iiberlassen, und beruft sich 
 auf die Wahl der Stande. 
 
 SCENE V. 
 
 GEIST. 
 
 2. SCHILDW. O wehe, der Geist kommt wieder! 
 HORAT. Sehen nun Ihro Durchlaucht? 
 
 2. SENT. What friend? 
 
 HAMLET. Friend to the kingdom. 
 
 FRANCISCO. By my life, it is the Prince! 
 
 HORAT. Your Highness, is it you or no? 
 
 HAMLET. Ha! Horatio, is it you? What make you 
 here? 
 
 HORAT. Your Highness, I have gone the rounds, 
 to see that all sentries are at their posts. 
 
 HAMLET. You act as an honest soldier, for on you 
 rests the safety of the king and kingdom. 
 
 HORAT. My lord, a strange thing hath happened, 
 in as much as a ghost appears here every quarter of an 
 hour. To my fancy, he is very like your father the 
 late king. He doeth much harm to the sentinels on 
 the rounds. 
 
 HAMLET. I hope not, for the souls of the pious rest 
 quietly till the day of their revival. 
 
 HORAT. But so it is, my lord; I have seen him 
 myself. 
 
 FRANCISCO. He frightened me most horribly, my 
 lord. 
 
 2. SENT. And me he dealt a good box on the ears. 
 
 HAMLET. What hour now? 
 
 FRANCISCO. Midnight hath struck. 
 
 HAMLET. 'Tis well, for it is about this time that the 
 spirits are accustomed to shew themselves when they walk. 
 [Again healths drunk to sound of trumpets. 
 
 HAMLET. Ho! What does this mean? 
 
 HORAT. Methinks that at court they are still very 
 merry with their health-drinking. 
 
 HAMLET. Ay marry, Horatio! my father and uncle 
 keeps wassail still with his friends and followers. Ho- 
 ratio, I know not wherefore since my father's death 
 so strange a boding doth at all times weigh me down ; 
 whereas my royal mother hath so soon forgot him, but 
 this king still sooner; for whilst I was in Germany, he 
 had himself crowned in all haste King of Denmark, 
 and under semblance of right made over to me the 
 crown of Norway appealing to the election of the 
 states. 
 
 SCENE V. 
 GHOST. 
 
 2. SENT. Look! where the spirit comes again! 
 HORAT. Doth your lordship see now? 
 
251 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 252 
 
 FRANCISCO. Ihro Durchlaucht erschrecken nicht! 
 [Der GEIST geht iiber das Theater, und winket 
 
 Hamlet. 
 
 HAMLET. Der Geist winkt mir; Ihr Herren, Sie 
 treten ein wenig an die Seite, Horatio mache dich nicht 
 zu weit, ich will den Geist folgen und sein Begehren 
 vernehmen. [ab. 
 
 HORATIO. Ihr Herren, wir wollen ihm folgen, da- 
 mit ihm kein Leid wiederfahre. [gehen ab. 
 
 [GEIST winket bis aufs halbe Theater, und thut 
 etlichemal das Maul auf. 
 
 HAMLET. Rede, wer du bist, und sage, was du be- 
 gehrest. 
 
 GEIST. Hamlet! 
 
 HAMLET. Herr I 
 
 GEIST. Hamlet! 
 
 HAMLET. Was begehrst du? 
 
 GEIST/*" (jHdre mich, Hamlet, denn die Zeit kommt 
 bald, dafs ich mich wieder an denselben Ort begeben 
 mufs, wo ich hergekommenjjhore, und gieb wohl Ach- 
 tung, was ich dir erzahlen werde. 
 
 HAMLET. Rede, du seeliger Schatten meines K6- 
 niglichen Herrn Vaters. 
 
 GEIST. So hore, mein Sohn Hamlet, was ich dir 
 erzahlen will von deines Vaters unnatiirlichem Tode. 
 
 HAMLET. Was? unnaturlichem Tode? 
 
 GEIST. Ja, unnaturlichem Tode !\Wisse, dafs ich 
 den Gebrauch hatte, welchen mir die Natur angewohnet, 
 dafs ich taglich nach der Mahlzeit zu Mittage in meinem 
 Koniglichen Lustgarten zu gehn pflegte, um allda mich 
 eine Stunde der Ruhe zu bedienen. )Als ich denn eines 
 Tages auch also that, siehe da kommt mein Kronsiich- 
 tiger Bruder zu mir, und hatte einen subtilen Saft von 
 Ebeno genannt bey sich ; dieses Oel oder Saft hat diese 
 Wirkung, dafs, sobald etliche Tropfen von diesen unter 
 das menschliche Gebliit kommen, sie alsobald alle Le- 
 bensadern verstopfen, und ihm das Leben nehmen. 
 Diesen Saft gofs er mir, als ich schlief, in meine Ohren, 
 sobald dasselbe in den Kopf kam, mufste ich augen- 
 blicklich sterben, hernach gab ma^ vor, ich hatte einen 
 starken Schlagflufs bekommen. \Also bin ich meines 
 Reichs, meines Weibes, und meines Lebens von diesem 
 Tyrannen beraubt. / 
 
 HAMLET. 'Gerechter Himmel, wo dieses wahr, so 
 schwor ich dir die Rache. 
 
 GEIST. Ich werde nicht eher ruhen, bis mein un- 
 natiirlicher Tod gerochen ist. [ab. 
 
 HAMLET. Ich schwore, nicht zu ruhen, bis ich mich 
 an diesem Brudermorder gerochen habe. 
 
 FRANCISCO. Pray, my lord, be not afraid. 
 
 [The ghost stalks over the stage and beckons to 
 
 Hamlet. 
 
 HAMLET. The spirit beckons me to go away 
 Gentlemen stand aside. Horatio, do not go too far. I 
 will follow the ghost and learn his will. 
 
 [Exit. 
 
 HORAT. Gentlemen, let's follow him that no mis- 
 chief happen to him. [Exeunt. 
 
 [The ghost beckons Hamlet to the middle of the 
 stage, and opens his jaws several times. 
 
 HAMLET. Speak, who art thou? say, what thou 
 desirest? 
 
 GHOST. Hamlet! 
 
 HAMLET. Sir! 
 
 GHOST. Hamlet! 
 
 HAMLET. What desirest thou? 
 
 GHOST. Mark me, Hamlet, for the time draws near 
 when I must return to whence I came: list, and mark 
 thou well what I shall tell thee. 
 
 HAMLET. Speak, thou departed spirit of my royal 
 father. 
 
 GHOST. Then listen, Hamlet, my son, what I'm 
 about to tell thee of thy father's most unnatural death. 
 
 HAMLET. What? Unnatural death? 
 
 GHOST. Ay, unnatural death. Know that it was 
 my custom, which nature had made habitual to me, to 
 retire every afternoon within my royal orchard, there 
 to enjoy an hour's repose. One day, when doing this 
 as usual, behold my crown-thirsty brother comes to me, 
 bearing with him a phial of the subtle juice of hebenon; 
 this oil or juice hath this effect, that as soon as a few 
 drops of it mix with the blood of man, it immediately 
 stops up the veins, and takes away life. While I slept, 
 he poured this juice into my ear, which entering my 
 head, I could not but die immediately; whereupon it 
 was given out I had died of apoplexy. Thus was I 
 robbed of kingdom, wife, and life by this foul tyrant. 
 
 HAMLET. Just heaven, if this be true, I swear re- 
 venge. 
 
 GHOST. I cannot rest until my most unnatural 
 murder be revenged. [Exit. 
 
 HAMLET. I swe#r I will not rest till this foul mur- 
 der be revenged. 
 
253 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 254 
 
 SCENE VI. 
 HORATIO. HAMLET. FRANCISCO. 
 
 HORAT. Wie stehts mit Ihro Durclilaucht? wie so 
 erschrocken? Haben Sie sich vielleicht alterirt? 
 
 HAMLET. Ach freylich, und zwar iiber die maafsen ! 
 
 HORAT. Haben Ihro Durchlaucht den Geist gesehn ? 
 
 HAMLET. Ja! sicherlich hab ich ihn gesehn, auch 
 mit ihm geredet. 
 
 HORAT. Himmel, dieses wird etwas Sonderliches 
 bedeuten! 
 
 HAMLET. Er hat mir eine greuliche Sache offenbart, 
 darum bitte ich, Ihr Herren, stehet mir bey in einer 
 Sache, welche Rache erfodert. 
 
 HORAT. Meiner Treue sind Sie gewifs versichert, 
 darum offenbaren Sie mir es nur. 
 
 FRANCISCO. Ihro Durchlaucht zweifeln an meiner 
 Hiilfe auch nicht! 
 
 HAMLET. Ihr Herren, ehe und bevor ich Euch sol- 
 ches offenbare, so solt Ihr mir bey Ehre und Treu ei- 
 nen Eid schworen. 
 
 FRANCISCO. Ihro Durchlaucht wissen, dafs ich Sie 
 hochst liebe, ich will auch gern mein Leben darbey 
 aufsetzen, wenn Sie sich riichen wollen. 
 
 HORAT. Sie fordern nur den Eid von uns, wir 
 wollen Sie getreu beystehn. 
 
 HAMLET. So leget Eure Finger auf meinen Degen : 
 Wir schworen. 
 
 HORAT. und FRANCISCO. Wir schworen. 
 
 GEIST \inwendig]. Wir schworen. 
 
 HAMLET. Holla! was ist dieses? Noch einmal, wir 
 schworen. 
 
 HORAT. und FRANCISCO. Wir schworen. 
 
 GEIST. Wir schworen. 
 
 HAMLET. Dieses mufs was Sonderliches bedeuten. 
 Kommt noch einmal, wir wollen auf die andre Seite 
 gehn. Wir schworen. 
 
 HORAT. und FRANCISCO. Wir schworen. 
 
 GEIST. Wir schworen. 
 
 HAMLET. Was ist dieses ? Sollte wohl ein Echo den 
 Wiederschall von unsern Worten wieder zuriickschicken. 
 Kommt wir wollen noch an einen andern Ort gehen. 
 Wir schworen. 
 
 GEIST. Wir schworen. 
 
 HAMLET. O ich hore schon, was dieses ist: es 
 scheinet, dafs der Geist meines Herrn Vaters nicht da- 
 mit zufrieden, dafs ichs offenbaren soil. Ihr Herren, 
 ich bitte, verlafst mich, ich will Euch morgen alles of- 
 fenbaren. 
 
 HORAT. und FRANCISCO. Ihro Durchlaucht leben 
 wohl. [Francisco ab. 
 
 SCENE VI. 
 
 HORATIO. HAMLET. FRANCISCO. 
 HORAT. How is't, my noble lord? How so terror- 
 stricken? Mayhap you've suffered offence? 
 
 HAMLET. Why yes, Horatio, beyond all measure. 
 HORAT. Have you seen the ghost, my lord? 
 HAMLET. Ay, verily I have seen it, and held dis- 
 course with it too. 
 
 HORAT. O Heavens! this bodeth something strange! 
 
 HAMLET. He hath revealed to me a horrible thing; 
 therefore, I pray you, gentlemen, stand by me in a 
 matter that demandeth vengeance. 
 
 HORAT. Most certainly you are assured of my 
 loyalty; only explain, my lord. 
 
 FRANCISCO. Your lordship cannot doubt of my aid 
 in this matter. 
 
 HAMLET. Gentlemen, before I make this matter 
 known to you, you must swear an oath by your loyalty 
 and honour. 
 
 FRANCISCO. Your lordship knows the love I bear 
 you and how willingly I would lend my life if you 
 wish to be revenged. 
 
 HORAT. Ask us then to swear, and we will stand 
 by you loyally and faithfully. 
 
 HAMLET. Then swear by my sword. 
 
 HORAT. and FRANCISCO. We swear. 
 
 GHOST [within]. We swear. 
 
 HAMLET. Ha, ha, what's this! Again, we swear. 
 
 HORAT. and FRANCISCO. We swear. 
 GHOST. We swear. 
 
 HAMLET. O this is wondrous strange! Come, once 
 more; we will shift our ground. We swear. 
 
 HORAT. and FRANCISCO. We swear. 
 
 GHOST. We swear. 
 
 HAMLET. What is this? Can there be an echo here, 
 to give us back our words? Come, gentlemen, we will 
 go to another spot. We swear. 
 
 GHOST. We swear. 
 
 HAMLET. O! now I understand what it is. The 
 spirit of my father is perturbed that I should make this 
 matter known. Good friends, leave me to-morrow 
 I will reveal the whole to you. 
 
 HORAT. and FRANCISCO. My lord, farewell! 
 
 [Exit Francisco. 
 
255 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 256 
 
 HAMLET. Horatio, komm her. 
 
 HORAT. Was verlangen Eure Durchlaucht? 
 
 HAMLET. 1st der andre weg? 
 
 HORAT. Ja, er ist schon weg. 
 
 HAMLET. Ich weifs, Horatio, du bist mir jederzeit 
 getreu gewesen, dir will ichs offenbaren, was mir der 
 Geist gesagt, nemlich dafs mein Vater eines unnatiirli- 
 chen Todes gestorben. Mein Vater, der anjetzo auch 
 mein Yater ist, der hat ihn ermordet. 
 
 HORAT. O Himmel, was hore ich! 
 
 HAMLET. Du weifst, Horatio, dafs mein seeliger Herr 
 Vater die Gewohnheit hatte, dafs er taglich nach der 
 Mittagsmahkeit in seinem Lustgarten sich einer Stunde 
 des Schlafs bediente. Solches dieser Bosewicht wissend, 
 kommt zu meinem Herrn Vater, und im Schlaf giefst 
 er ihm den Saft von Ebeno in das Ohr, dafs er also- 
 bald von diesem starken Gift mufs den Geist aufgeben. 
 Dieses hat der verfluchte Hund darum gethan, die Krone 
 zu erlangen: aber von dieser Stunde an will ich anfan- 
 gen eine simulirte Tollheit, und in derselben Simulation 
 will ich meine Rolle so artig spielen, bis ich Gelegen- 
 heit finde, meines Herrn Vaters Tod zu rachen. 
 
 HORAT. Ist es also, Ihro Durchlaucht, so will ich 
 Sie getreue Hand bieten. 
 
 HAMLET. / Horatio, ich will mich an diesen Kron- 
 siichtigen, an diesen Ehebrecher und Morder also rachen, 
 dafs die Nachwelt der Ewigkeit da von nachsagen soil;) 
 ich will itzund gehn, und ihm verstellterweise aufwar- 
 ten, bis dafs ich Gelegenheit finde, die Rache auszuiiben. 
 
 [Gehen db. 
 SCENE VII. 
 KONIG. KONIGINN. HAMLET. CORAMBUS und Stddt. 
 
 KONIG. ^Obschon unsers Herrn Bruders Tod noch 
 in frischem Gedachtnifs bey jedermann ist, und uns ge- 
 bietet, alle Solennitaten einzustellen, werden wir doch 
 anjetzo genothiget, unsere schwarze Trauerkleider in Car- 
 mosin, Purpur und Scharlach zu verandern, weil nun- 
 mehro meines seeligen Herrn Bruders hinterbliebene 
 Wittwe unsere liebste Gemahlin worden ; darum erzeige 
 sich ein jeder freudig, und mache sich unser Lust theil- 
 haftig. J Ihr aber, Prinz Hamlet, gebet Euch zufrieden; 
 sehet hier Eure Frau Mutter, wie traurig und betrubt 
 dafs sie ist iiber Eure Melancholie. Auch haben wir 
 vernommen, dafs Ihr gesonnen seyd, wieder nach "Wit- 
 tenberg zu reisen, thut solches nicht Eurer Mutter we- 
 gen ; bleibt hier, denn wir Euch lieben und gerne sehen, 
 wollten also nicht gerne, dafs Euch einiger Schade wie- 
 derfahren sollte, bleibt bey uns am Hofe, oder wo ja 
 nicht, so konnt Ihr Euch nach Norwegen in Euer K6- 
 nigreich begeben. 
 
 HAMLET. Come hither, Horatio. 
 
 HORAT. My lord, what is your will? 
 
 HAMLET. Is the other away? 
 
 HORAT. Ay, he is away. 
 
 HAMLET. I know, Horatio, thou hast at all times 
 been faithful to me, wherefore to thee will I reveal what 
 the ghost hath told me, namely, that my father died an 
 unnatural death. My father, he who is now my father, 
 hath murdered him. 
 
 HORAT. O heavens! what do I hear! 
 
 HAMLET. Thou know'st, Horatio, that my late father 
 was accustomed to sleep an hour every day after dinner 
 within his orchard. Knowing this, the villain comes to 
 my father and pours the juice of hebenon into his ear 
 while he is asleep ; and thereupon, affected by this strong 
 poison, he immediately yields up the ghost. And this 
 the accursed dog hath done to win the crown: but from 
 this hour I will put on the semblance of madness, and 
 play my part so prettily, that surely I shall find occasion 
 to revenge my father's death. 
 
 HORAT. My lord, if the matter stands thus, I offer 
 you the hand of faithful fellowship. 
 
 HAMLET. Horatio, I swear so to revenge myself 
 on this envious thief, this adulterer, this murderer, that 
 posterity shall speak of it to all eternity; now I go, 
 and with dissembling art will wait upon him till I find 
 an opportunity to take revenge. 
 
 [Exeunt. 
 SCENE VII. 
 
 KING, QUEEN, HAMLET, CORAMBUS, and Attendants. 
 
 KING. Though yet of our dear brother's death the 
 memory is green to all and it befitteth us to suspend 
 all joyous demonstrations, yet from this time 'tis meet 
 we change our suits of solemn black to crimson, purple, 
 and scarlet, seeing my sometime late brother's widow has 
 now become our dearest spouse. Wherefore I pray you, 
 let each one show a joyous countenance and share our 
 mirth. But you, Prince Hamlet, content ye; see here 
 your mother, how sad and full of grief she is that ye 
 are melancholy. Likewise we have learned your intent 
 to go back to Wittenberg. We do beseech you remain 
 here for the sake of your mother. Stay with us, for we 
 love you and like to see you, and should not like any 
 harm to overtake you. Stay with us at court, or if not, 
 betake yourself to Norway, to your kingdom. 
 
257 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 258 
 
 KONIGIN. Vielgeliebter Sbhn Prinz Hamlet, es nimmt 
 uns grofs Wunder, dafs Ihr Euch habt vorgenommen, 
 von hier zu reisen, und Euch nacher Wittenberg zu be- 
 geben. Nun wisset Ihr ja wohl, dafs Euer Koniglicher 
 Herr Vater unlangst Todes verblichen, weswegen uns 
 grofse Traurigkeit und Melancholie zu Herzen gestofsen, 
 und wenn Ihr solltet von uns reisen, wiirde sich dieselbe 
 ein grofses vermehren ; darum, liebster Sohn, bleibt hier : 
 alle Freude und Lust, so Euch beliebt, sollt Ihr ohne 
 Weigerung geniefsen. 
 
 HAMLET. Ihrem Befehl will ich von Herzen gern ge- 
 horsamen, und vor diesesmal hier bleiben und nicht ver- 
 reisen. 
 
 KONIG. Thut solches, liebster Prinz. Aber Coram- 
 bus, wie ist es mit eurem Sohn Leonhardo, ist er schon 
 hinweg nacher Frankreich verreiset. 
 
 CORAMB. Ja, gnadiger Herr und Konig, er ist schon 
 weg. 
 
 KONIG. 1st es aber mit eurem Consens geschehen ? 
 
 CORAMB. vJa, mit Ober-Consens, mit Mittel-Con- 
 sens und mit Unter-Consens. ) O, Ihro Majestat, er hat 
 einen fiber die maafsen herrlichen, treflichen, prachtigen 
 Consens von mir bekommen. 
 
 KONIG. Weilen er mit eurem Consens verreiset, so 
 mag es ihm wohlgehen, und die Gotter wollen ihm ge- 
 sund wieder anhero helfen. Wir aber sind gesonnen, 
 ein Carisell anzustellen, damit unserer liebsten Gemah- 
 lin die Traurigkeit vergehe. Ihr aber, Prinz Hamlet, 
 sollet Euch auch nebst andern hohen Personen lustig 
 erzeigen, vor diesesmal aber wollen wir der Lustig- 
 keit ein Ende machen, weil der Tag sich nahet, die 
 schwarze Nacht zu vertreiben. Sie aber, wertheste Ge- 
 mahlin, werd ich nach Ihrem Schlafgemach begleiten. 
 Kommt, lafst uns Hand in Hand, und Arm um Arm 
 
 einschliefsen, 
 Lafst uns das siifse Pfand der Lieb und Huh geniefsen. 
 
 ZWEYTER ACT. 
 
 SCENE I. 
 K6NIG. KONIGIN. 
 
 KONIG. Liebste Gemahlin, wie kommt es, dafs Ihr 
 so traurig seyd, Sie entdecke doch die Ursache Ihrer Be- 
 triibnisse, Sie ist ja unsere Konigin, wir lieben Sie, und 
 alles, was das ganze Reich vermag, ist Ihr eigen, wor- 
 uber hat Sie sich denn zu betriiben? 
 
 K6NIGIN. Mein Konig, ich habe grofse Betrubnisse 
 uber die Melancholie meines Sohnes Hamlets, welcher 
 mein einziger Prinz ist, und dieses schmerzt mich. 
 
 QUEEN. My much loved son, Prince Hamlet, it 
 greatly doth astonish us to learn your intent to leave 
 us and to go to Wittenberg. You know full well your 
 royal father died a short time ago, which causeth us 
 great sadness and heaviness of heart, and should you 
 go from us, it would increase the same; for which 
 reason, dear son, stay with us: you shall enjoy your 
 fill of pleasure at our court without restraint, an it so 
 pleaseth you. 
 
 HAMLET. I shall obey you with all my heart, Ma- 
 dam, I will not go, but will remain here. 
 
 KING. Do so, dear Prince! Say, Corambus, how 
 is it with your son Leonardo. Is he already gone to 
 France? 
 
 CORAMB. Ay, my gracious lord and king, he is. 
 
 KING. But had he your consent, Corambus? 
 
 CORAMB. Ay marry, your majesty, he got a top 
 consent, a bottom consent, and a middle consent ! I'faith 
 he got a rare, a wonderful, a most excellent consent 
 from me. 
 
 KING. As he has your consent, I hope he may 
 prosper, and that the gods may speed him hither again 
 in peace and safety. Now for ourself, it is our will to 
 hold a carousal, that an end may be put to our dear 
 spouse's grief. And you, Prince Hamlet, and other noble 
 persons of our court, shew yourselves mirthful; but for 
 this present we shall break up our festivities, for the 
 day is approaching to put black night to flight. You, 
 my dearest consort, shall I follow to your bed-chamber. 
 Come, let us hand in hand and arm in arm entwine, 
 Ourselves to the sweet joys of love and rest resign. 
 
 ACT II. 
 
 SCENE I. 
 KING. QUEEN. 
 
 KING. Dearest consort, whence comes it that you 
 are so sad? Pray tell me the cause of your melancholy! 
 You are our Queen; we love you, and all we have is 
 yours, even to the whole of our Kingdom. What is it 
 then that troubles you? 
 
 QUEEN. My gracious lord and master, I am greatly 
 troubled at the melancholy of my son Hamlet, who is 
 my only prince; it is this that grieves me. 
 
 17 
 
259 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 260 
 
 KONIG. Wie ? ist er melancholisch ? Wir wollen alle 
 vornehme Doctores und Aerzte in unserm ganzen Ko- 
 nigreich zusammen verschreiben , damit ihm geholfen 
 werde. 
 
 SCENE II. 
 CORAMBUS zu diesen. 
 
 CORAMBUS. Neue Zeutung, gnadiger Herr und Konig! 
 
 KONIG. Was ist denn Neues vorhanden? 
 
 CORAMB. ^ Prinz Hamlet ist toll, ja so toll, als der 
 griechische Tolleran jemals gewesen.^ 
 
 KONIG. Und warum ist er toll? 
 
 CORAMB. Darum, dafs er seinen Verstand verloren. 
 
 KONIG. Wo hat er denn seinen Verstand verloren ? 
 
 CORAMB. Das weifs ich nicht, das mag derjenige 
 wissen, welcher ihn gefunden hat. 
 
 SCENE III. 
 OPHELIA. 
 
 OPHELIA. Ach, Herr Vater, beschirmet mich! 
 
 CORAMB. Was ist es denn, mein Kind? 
 
 OPHELIA. Ach, Herr Vater, Prinz Hamlet plagt 
 mich, ich kann keinen Frieden fur ihn haben! 
 
 CORAMB. Stelle dich zufrieden, Hebe Tochter: aber 
 er hat dich ja sonsten nichts gethan. nun weifs ich 
 schon, warum Prinz Hamlet toll ist; er ist gewifs in 
 meine Tochter verliebt? 
 
 KONIG. Hat denn die Liebe eine solche Kraft, einen 
 Menschen toll zu machen? 
 
 CORAMB. Gnadiger Herr und Konig, freylich ist sie 
 kraftig genug, einen Menschen toll zu machen. Denn 
 ich gedenke noch, da ich noch Jung war, wie mich die 
 Liebe plagte, ja sie hat mich so toll gemacht, als einen 
 Marzhaasen, anjetzo aber acht ich sie nicht mehr: Ich 
 sitze lieber bey dem Ofen, und zahle meine rothe Pfen- 
 nige, und trinke Ihro Majestat Gesundheit. 
 
 KONIG. Kann man aber seine Raserey und Tollheit 
 nicht selbst in Augenschein nehmen? 
 
 CORAMB. Ja, Ihro Majestat, wir wollen nur ein we- 
 nig an die Seite treten, und meine Tochter soil ihm das 
 Kleinod, welches er ihr verehrt hat, zeigen, so konnen 
 Ihro Majestat seine Tollheit sehn. 
 
 KONIG. Liebste Gemahlin, Sie lasse sich belieben, 
 in Ihr Gemach zu gehn, wir wollen unterdessen seine 
 Tollheit in Augenschein nehmen. [verstecken sich. 
 
 SCENE IV. 
 
 HAMLET und OPHELIA. 
 
 OPHELIA. Eure Durchlaucht nehmen doch das Kleinod 
 wieder, welches Sie mir geschenket. 
 
 KING. What! is he melancholy? Then will we gather 
 together all the learned doctors and physicians through- 
 out our whole Kingdom, that they may bring him aid. 
 
 SCENE II. 
 CORAMBUS, to the above. 
 
 CORAMB. News, news! my gracious lord and king! 
 
 KING. What news, Corambus? 
 
 CORAMB. Prince Hamlet is mad, aye, as mad as ever 
 the Greek madman was. 
 
 KING. And wherefore is he mad? 
 
 CORAMB. Because he hath lost his wits. 
 
 KING. Where hath he lost his wits? 
 
 CORAMB. That I know not, mayhap he knows who 
 hath found them. 
 
 SCENE III. 
 OPHELIA. 
 
 OPHELIA. Alas! my father protect me. 
 
 CORAMB. How now Ophelia, what aileth thee? 
 
 OPHELIA. Alas! my father, Prince Hamlet doth 
 plague me; I can have no peace for him. 
 
 CORAMB. Never mind it, my dear daughter. But 
 tell me, he hath not done anything else to you? O! 
 now I know why Prince Hamlet is mad : he is certainly 
 in love with my daughter. 
 
 KING. Hath love then so much potency that it 
 depriveth a man of his wits. 
 
 CORAMB. My gracious master and king, most as- 
 suredly is love potent enough to deprive a man of his 
 wits. I remember when I myself was young, how love 
 plagued me, nay, but it made me mad as a march 
 hare. But now, I care for it no longer. I prefer to sit 
 by the fire, to count my bright new coins, and drink 
 your Majesty's health. 
 
 KING. May we not ourselves be a witness to his 
 distempered fancies? 
 
 CORAMB. Yes, your Majesty. We will stand a little 
 on one side, and my daughter shall shew him the jewel 
 which he has given her. Then will your Majesty be able 
 to see his madness. 
 
 KING. Dearest wife, we beseech you, go to your 
 chamber. Meanwhile we will be a witness of his mad- 
 ness. [Hide themselves. 
 
 SCENE IV. 
 
 HAMLET. OPHELIA. 
 
 OPHELIA. I pray your Highness to take back the 
 jewel which you gave me. 
 
261 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 262 
 
 HAMLET. Was, Madchen, willst du gem einen Mann 
 haben? Gehe weg von mir doch, komm her. Hore, 
 Madchen, ihr Jungfern, ihr that nichts anders, als die 
 junge Gesellen verfuhren, cure Schonheit kauft ihr bey 
 den Apothekern und Kramern : horet, ich will euch eine 
 Historic 'erzahlen. Es war ein Kavalier in Anion, der 
 verliebte sich in eine Dame, welche anzusehen war wie 
 die Gottin Venus, wie sie nun sollten zusammen zu 
 Bette gehen, ging die Braut vor, und fing an, sich aus- 
 zuziehen, nahm erstlich das eine Auge aus, welches kiinst- 
 licherweise war eingesetzt, hernach die Vorderzahne, 
 welche von Elfenbein auch so kiinstlich waren einge- 
 macht, dafs mans nicht sehn konnte, hernach wusch sie 
 sich, da ging die Schminke, womit sie sich angestrichen 
 hatte, auch fort. Der Brautigam kam endlich, gedachte 
 seine Braut zu umfangen, wie er sie aber ansichtig ward, 
 erschrak er, und gedachte, es ware ein Gespenst. Also 
 betriigt ihr die Junggesellen, darum horet mich auch. 
 Aber warte, Maflchen doch, gehe nur fort nach dem 
 Kloster, aber nicht nach einem Kloster, wo zwey Paar 
 Pantoffeln vor dem Bette stehen. [ab. 
 
 CORAMB. 1st er nicht perfect und veritabel toll, 
 gnadiger Herr und Konig. 
 
 K5NIG. Corambus, verlafs uns, wenn wir werden 
 euch vonnothen haben, wollen wir euch schon rufen 
 lassen. [Corambus ab,] Wir haben des Prinzen Tollheit 
 und Raserey mit grofser Verwunderung gesehn, uns dflnkt 
 aber, dafs es keine rechte Tollheit, sondern vielmehr eine 
 simulirte Tollheit sey; wir mussen verschaffen, dafs er 
 an die Seite oder gar urns Leben gebracht werde, es 
 mochte sonst was Uebels daraus entstehen. [ab. 
 
 SCENE V. 
 HAMLET. HORATIO. 
 
 HAMLET. Mein werther Freund, Horatio, durch diese 
 angenommene Tollheit hoffe ich Gelegenheit zu bekom- 
 men, meines Vaters Tod zu rachen. Ihr wifst aber, mein 
 Vater ist allezeit mit vielen Trabanten umgeben, darum 
 so es etwa mir mifslingen mochte, und ihr etwa meinen 
 Leichnam findet, so lafst ihn doch ehrlich zu der Erden 
 bestatigen, denn die erste Gelegenheit, die ich finde, 
 werde ich mich an ihm wagen. 
 
 HORAT. Ich bitte Ihro Durchlaucht, Sie wollen 
 solches nicht thun, vielleicht hat Sie der Geist betrogen. 
 
 HAMLET. O nein, seine Worte waren allzuwohl aus- 
 gesprochen, ich kann ihm wohl Glauben geben. Was 
 aber bringt der alte Narr Neues? 
 SCENE VI. 
 CORAMBUS. 
 
 CORAMB. Neue Zeitung, gnadiger Herr ! Die Como- 
 dianten sind angekommen. 
 
 HAMLET. What, maiden! dost thou want a husband? 
 Get thee from me nay, pr'ythee come back. List girl, 
 you maidens do make nothing but fools of us bachelors, 
 you buy your beauty of the apothecaries and pedlers; 
 listen while I tell thee a tale. There lived once a cavalier 
 in Anion, who fell in love with a lady, who, to look 
 at, was like the goddess Venus. Now when they were to 
 go to bed together, the bride went before and began to 
 undress. First she took out one eye, which had been set 
 in a most artificial manner then the front teeth made 
 of ivory, likewise wrought with utmost art, whereupon 
 she washed, and the skillfully laid on paint disappeared 
 also. At length came the bridegroom expecting to em- 
 brace his bride. But as soon as he caught sight of her, 
 he started back, for he thought he saw a ghost. Thus 
 it is ye deceive us bachelors; therefore listen to me. 
 Pr'ythee tarry maiden nay go, go thy ways to a nun- 
 nery, but not to a nunnery where two pair of slippers 
 stand at the bedside. 
 
 [Exit. 
 
 CORAMB. Is he not truly and veritably mad my 
 gracious lord? 
 
 KING. Corambus leave us now. When we have 
 need of you, we'll send for you. [Exit Coramb.] We 
 have heard the Prince's distempered fancies with great 
 wonder and astonishment. It seems to us no real mad- 
 ness, but rather dissembled. We must contrive to get 
 rid of him, or perhaps indeed put him out of the way 
 .altogether, or else some harm may come of it. 
 
 [Exit. 
 SCENE V. 
 y HAMLET. HORATIO. 
 
 HAMLET. Horatio, my good friend, I trust by my 
 dissembled madness to hit upon a fitting time for re- 
 venging my father's death. (You know my father is at 
 all times surrounded with his guards, for which reason 
 my attempt may fail. I Should you perchance find my 
 body, have it honourably buried, for on the first occa- 
 sion which present itself, I shall try my chance with him. 
 
 HORAT. I entreat your lordship to do nothing of 
 the kind. Perchance the ghost hath deceived you. 
 
 HAMLET. No, oh no! the words he uttered were too 
 lucid and distinctly spoken. I believe him, ay, that I 
 do. Ha! what news brings that old fool? 
 SCENE VI. 
 CORAMBUS. 
 
 CORAMB. News, news! my lord! 1 have news to 
 tell you. The actors are come, my lord. 
 
 17* 
 
263 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 264 
 
 HAMLET. Da Marus Russig ein Comodiant war zu 
 Rom, was war da vor eine schone Zeit! 
 
 CORAMB. Ha, ha, ha! Allezeit vexiren mich Ihro 
 Hoheiten. 
 
 HAMLET. O Jeptha, Jeptha, was hast du vor ein 
 schones Tochterlein ! 
 
 CORAMB. Alle Zeiten wollen Ihro Hoheiten, dafs 
 meine Tochter soil herhalten. 
 
 HAMLET. Wohlan, Alter, lafs den Meister von den 
 Comodianten hereinkommen. 
 
 CORAMB. Es soil geschehn. [ab. 
 
 HAMLET. Diese Comodianten kommen eben recht, 
 denn durch ihnen will ich probiren, ob mich der Geist 
 mit Wahrheit berichtet, oder nicht. Ich habe vor diesem 
 eine Tragodie gesehn, dafs ein Bruder den andern im 
 Garten ermordet, diese sollen sie agiren; wird sich der 
 Konig nun entfarben, so hat er gethan, was mir der 
 Geist gesagt hat. 
 
 SCENE VII. 
 
 COMODIANTEN. PRINCIPAL CARL. 
 
 CARL. Ihro Hoheiten wollen die Gotter allezeit mit 
 Seegen, Gliick und Gesundheit beschenken. 
 
 HAMLET. Ich dank euch, mein Freund, was ver- 
 langet ihr? 
 
 CARL. Ihro Hoheiten wollen uns in Gnaden ver- 
 zeihen, wir sind fremde hochteutsche Comodianten, und 
 hatten gewiinscht, das Gliick zu haben, auf Ihro Ma- 
 jestat des Konigs Beylager zu agiren, allein das Gliick 
 hat uns den Riicken, der contraire Wind aber das Ge- 
 sichte zugekehret, ersuchen also an Ihro Hoheiten, ob 
 wir nicht noch eine Historic vorstellen konnten, damit 
 wir unsere weite Reise nicht gar umsonst mochten ge- 
 than haben. 
 
 HAMLET. Seyd ihr nicht vor wenig Jahren zu Wit- 
 tenberg auf der Universitat gewesen, mich diinckt, ich 
 habe euch da sehn agiren. 
 
 CARL. Ja, Ihro Hoheiten, wir sind von denselben 
 Comodianten. 
 
 HAMLET. Habt ihr dieselbe Compagnie noch ganz 
 bey euch. 
 
 CARL. Wir sind zwar nicht so stark, weilen etliche 
 Studenten in Hamburg Condition genommen, doch seynd 
 wir zu vielen lustigen Comodien und Tragodien stark 
 genug. 
 
 HAMLET. Konnt ihr uns nun wohl diese Nacht eine 
 Comodie prasentiren? 
 
 CARL. Ja, Ihro Hoheiten, wir sind stark und exer- 
 cirt genug. 
 
 HAMLET. When Marius Roscius was an actor at 
 Rome, what fine times those were! 
 
 CORAMB. Ha, ha, ha, how you always do laugh at 
 me, my lord! 
 
 HAMLET. O! Jephthah, Jephthah! what a fair 
 daughter hast thou! 
 
 CORAMB. Why, my lord, you are still harping on 
 my daughter. 
 
 HAMLET. Well, well, old graybeard, let the master 
 of the actors come in. 
 
 CORAMB. I will, my lord. [Exit. 
 
 HAMLET. These actors come in the nick of time, 
 for through them I shall prove whether the ghost's story 
 is true or no. I have once seen a tragedy wherein one 
 brother murders the other in the garden"; this shall they 
 act. And if the king turn pale, then has he done what 
 the ghost has told me. 
 
 SCENE VII. 
 
 ACTORS. CHARLES, THE PRINCIPAL. 
 
 CHARLES. May the gods bestow on your Highness 
 peace, happiness, and health! 
 
 HAMLET. I thank you, my friend. What brings 
 you hither? 
 
 CHARLES. Pardon, your Highness, but we are strange 
 High-German actors, and were ambitious of the honour 
 of acting at his Majesty's wedding. But Fortune turned 
 her back on us, and contrary winds their face towards 
 us. We therefore beseech your Highness to allow us to 
 act a -story, that our long journey be not all in vain. 
 
 HAMLET. Were you not some years ago at the 
 University at Wittenberg? It seems to me I have seen 
 you act before. 
 
 CHARLES. Yes, your Highness, we are the self same 
 actors. 
 
 HAMLET. Have you the whole of the same company 
 still? 
 
 CHARLES. We are not quite so numerous, because 
 some students took engagements in Hamburg. Never- 
 theless we are numerous enough for many merry co- 
 medies and tragedies. 
 
 HAMLET. Could you give us a play to-night? 
 
 CHARLES. Yes, your Highness, we are numerous 
 enough, and well practised. 
 
265 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 266 
 
 HAMLET. Habt ihr noch alle drey Weibspersonen 
 bey euch, sie agirten sehr wohl? 
 
 CARL. Nein, nur zwey, die eine ist mit ihrem Mann 
 an den Sachsischen Hof geblieben. 
 
 HAMLET. Wie ihr zu Wittenberg waret, so agirtet 
 ihr dazumal gute Comodien. Allein, ihr hattet etliche 
 Bursche bey euch, die hatten gute Kleider an, aber 
 schwarze Hemden, etliche hatten Stiefeln an, aber keine 
 Sporen. 
 
 CARL. Ihro Hoheiten, man kann oft nicht alles 
 haben, vielleicht haben sie gedacht, sie diirfen nicht 
 reiten. 
 
 HAMLET. Doch ist es besser, wenn alles accurat ist: 
 doch horet noch mehr, und bitte zu verzeihen, ihr horet 
 oft nicht gleich, was die Zuschauer urtheilen, denn da 
 waren auch etliche, die hatten seidne Strumpfe und weisse 
 Schuh an, aber auf dem Haupte hatten sie schwarze 
 Hiite, die waren voll Federn, unten bald so voll als 
 oben, die Plomaschen waren, ich glaube, sie musten an- 
 statt der Schlafmutzen damit in den Betten gelegen 
 haben, das steht so schlimm, und ist leicht zu andern. 
 Auch konnt ihr wohl etlichen davon sagen, wenn sie 
 eine konigliche oder fiirstliche Person agiren, dafs sie doch 
 nicht so sehr gucken, wenn sie ein Compliment gegen 
 eine Dame machen, auch nicht so viel spanische Pfauen- 
 tritte und solche Fechtermienen, denn ein Potentat lacht 
 dariiber, fein naturell ist das beste: der einen Konig 
 agiret, mufs sich einbilden, dafs er in dem Spiel ein 
 Konig sey, und ein Bauer auch wie ein Bauer. 
 
 CARL. Ihro Hoheit, ich nehme mit unterthaniger 
 Ehrerbietung diese Correction an, und werden uns kiinf- 
 tig besser gewohnen. 
 
 HAMLET. Ich bin ein grofser Liebhaber eurer Ex- 
 ercitien, und meine es nicht iibel, denn man kan in ei- 
 nem Spiegel seine Flecken sehen: Horet mir nun, ihr 
 agirtet dazumahlen eine Materie in Wittenberg von dem 
 Konig Pir Pir es pirt sich so. 
 
 CARL. Ach es wird vielleicht von dem grossen 
 Konig Pyrro seyn? 
 
 HAMLET. Mich diinkt es, doch weifs ich es eigent- 
 lich nicht. 
 
 CARL. Wenn Ihro Hoheit nur noch etliche Personen 
 nennen, oder etwas von dem Inhalt melden wollten. 
 
 HAMLET. Es war so, dafs ein Bruder den andern 
 im Garten ermordet. 
 
 CARL. So wird es doch diese Materie seyn. Giefst 
 des Konigs Bruder nicht dem Konige einen Gift in 
 das Ohr? 
 
 HAMLET. Recht, recht, eben dieselbe ist es; konnt 
 ihr wohl sie diesen Abend noch prasentiren? 
 
 HAMLET. Have you still the three actresses with 
 you? They used to play well. 
 
 CHARLES. No, only two, the one stayed behind with 
 her husband at the court of Saxony. 
 
 HAMLET. You acted good comedies in Wittenberg 
 at that time. But you had some fellows in your com- 
 pany, who had good clothes, but black shirts, others, 
 who had boots but no spurs. 
 
 CHARLES. Your Highness, it is often hard to procure 
 everything; perchance they thought they might not ride. 
 
 HAMLET. Still it is better to have everything cor- 
 rect. But listen to another thing or two, and excuse 
 me, for you do not often hear directly what judgments 
 the spectators pass on you. There were also a few who 
 wore silk stockings and white shoes, but had on their 
 heads black hats full of feathers, nearly as many below 
 as on the top ; and for my part, I think they must have 
 gone to bed in them instead nightcaps. Now that does 
 not look well, and may easily be reformed. Moreover 
 you may tell some of them, that when they have to act 
 a royal or a princely personage, they should not make 
 such eyes whenever they pay a lady a compliment. 
 Neither should they strut, nor take on such braggart 
 airs; a potentate laughs at such things. Natural ease 
 and elegance is the best. He who plays a king must 
 in the play fancy himself a king; and he who plays a 
 peasant, must fancy himself a peasant. 
 
 CHARLES. Your Highness, I accept your Higness' 
 reproof with the deepest respect and will endeavour to 
 do better in future. 
 
 HAMLET. I am a great lover of your art, and mean 
 you well, for it is in a mirror that one can best see 
 one's blemishes. I remember you once acted a piece in 
 Wittenberg about a King Pyr, Pyr Pyr something. 
 
 CHARLES. Ah, it was perhaps about the great king 
 Pyrrhus? 
 
 HAMLET. Methinks it was, but I am not quite 
 sure. 
 
 CHARLES. Perhaps your Highness would name some 
 persons in it, or give me some idea of the matter. 
 
 HAMLET. Let me see one brother murdered 
 the other in the garden. 
 
 CHARLES. Ay, ay, I'll swear 'tis the same. Did not 
 the king's brother pour poison into the king's ear? 
 
 HAMLET. True, true, the self same story; could you 
 play that piece to-night? 
 
267 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 268 
 
 CARL. O ja, das konnen wir leicht machen, derm 
 es kommen wenig Personen dazu. 
 
 HAMLET. So gehet bin, machet das Theater fertig 
 in dem grofsen Saal; was euch an Beholzung mangel t, 
 konnt ihr von dem Schlofsbaumeister fordern ; steht euch 
 etwas aus der Rustkammer an, oder habt ihr nicht Klei- 
 der genug, so meldet euch bey den Quatrober oder In- 
 tendanten an, wir wollen, dafs euch alles soil gefolgt 
 werden. 
 
 CARL. Ich bedanke mich in Unterthanigkeit gegen 
 Eure Hoheiten fur diese hohe Gnade, wir wollen zum 
 Anfang eilen. Sie leben wohl. [ab. 
 
 HAMLET. Diese Comodianten kommen mir itzo sehr 
 wohl zu Passe. Horatio, gieb wohl acht auf den K6- 
 nig: wo er sich entfarbt oder alterirt, so hat er gewifs 
 die That verrichtet, denn die Comodianten treffen oft 
 mit ihren erdichteten Dingen den Zweck der Wahrheit. 
 Hore, ich will dir eine artige Historic erzahlen: In 
 Teutschland hat sich zu Strafsburg ein artiger Casus 
 zugetragen, indem ein Weib ihren Mann mit einen 
 Schuhpfriemen durchs Herze ermordet, hernach hat sie 
 mit ihrem Hurenbuhler den Mann unter die Thiirschwelle 
 begraben, solches ist neun ganzer Jahr verborgen ge- 
 blieben, bis endlich Comodianten allda zukamen, und 
 von dergleichen Dingen eine Tragodie agirten ; das Weib, 
 welches mit ihrem Mann auch in dem Spiel war, fangt 
 uberlaut (weil ihr das Gewissen geruhret wurde) an zu 
 rufen, und schreyt: o weh, das trift mich, denn also 
 hab ich auch meinen unschuldigen Ehemann urns Leben 
 gebracht. Sie raufte ihre Haare, lief aus dem Schau- 
 spiel nach dem Richter, bekannte freywillig ihren Mord, 
 und als solches wahrhaft befunden, wurde sie in grofser 
 Reue ihrer Siinden von denen Geistlichen getrostet, und 
 in wahrer Bufse iibergab sie ihren Leib den Scharfrich- 
 ter, den Himmel aber befahl sie ihre Seele. Ach, 
 wo mein Vater und Vetter auch in sich gehen mochte, 
 wo er diese Sache begangen hat! Komm, Horatio, wir 
 wollen gehen, und den Konig aufwarten ; ich bitte dich 
 aber, observire alle Dinge genau, denn ich werde simu- 
 liren. 
 
 HORAT. (Jhro Durchlaucht, ich werde meinen Augen 
 eine scharfe Aufsicht anbefehlen.^) [gehen ab. 
 
 SCENE VIII. 
 
 KONIG. KONIGIN. HAMLET. HORATIO. CORAMBUS. 
 
 OPHELIA. Staat. 
 
 KONIG. Meine wertheste Gemahlin, nun hoffe ich, 
 dafs Sie Ihre Traurigkeit wird verbannen, und der Freude 
 den Wohnplatz einraumen, es soil vor der Abendtafel 
 
 CHARLES. Oh yes, my lord, we can manage that ea- 
 sily enough, for there are but few personages in the play. 
 
 HAMLET. Now go get ready, hasten to prepare the 
 stage in the great hall: whatever wood you may require, 
 you can get from the castellan; if you want anything 
 from the armoury or if you have not dresses enough, 
 make known your wants to the master of the robes or 
 the steward ; we wish you should be provided with every- 
 thing. 
 
 CHARLES. We thank your Highness most humbly for 
 your favour, and will hasten to get ready. Farewell. 
 
 [Exit 
 
 HAMLET. These actors come most opportunely. Ho- 
 ratio, pr'ythee watch the king; if he grow pale or alter 
 favour, then oh! most surely hath he done the deed, for 
 play actors with their feigned fables oft hit the truth. 
 Give ear, I'll tell thee a pretty tale. In Germany, at 
 Strasburg, there was once a pretty case. A wife mur- 
 dered her husband by piercing him to the heart with an 
 awl. Afterwards she buried the man under the thresh- 
 old, she and her paramour. This deed remained hid full 
 nine years, till at last it chanced that some actors came 
 that way, and played a tragedy of like import; the woman 
 who was likewise present at the play with her husband, 
 began to cry aloud (her conscience being touched) alas ! 
 alas ! you hit at me for in such manner did I murder my 
 innocent husband. She tore her hair, ran straight way 
 to the judge, freely confessed the murder which being 
 proved true, in deep repentance for her sins she received 
 the holy unction from the priest, gave her body to the 
 executioner, and recommended her soul to God. Oh 
 that my uncle-father would thus honestly take it to heart 
 an he be the doer of this crime ! Come Horatio, let us 
 go and wait upon the King; but pray note all things 
 exactly, for I must play a part. 
 
 HORAT. Well my lord, I shall impose on my eyes 
 the duty of keeping a sharp look-out. [Exeunt. 
 
 SCENE VIII. 
 
 KING. QUEEN. HAMLET. HORATIO. CORAMBUS. 
 
 OPHELIA. Retinue. 
 
 KING. Our best beloved spouse, now do we hope 
 that you will banish your sadness, and make it give place 
 to joy; before our evening's repast, there is to be a 
 
269 
 
 TRAGEDY OF PIIINCE HAMLET OF DENMARK. 
 
 270 
 
 Ihr von den Teutschen eine Komodie und nach der Tafel 
 : von unsern Landskindern ein Ballet gehalten werden. 
 
 KONIGIN. Ich will solche Lust gar gerne sehn, ich 
 glaube schwerlich, dafs sich mein Herz wird zufrieden 
 geben, denn ich weifs nicht, was vor ein bevorstehendes 
 Unglfick unser Gemiith verunruhiget. 
 
 KONIG. Sie gebe sich doch zufrieden. Prinz Ham- 
 let, wir haben vernommen, dafs Comodianten sind an- 
 hero kommen, welche uns noch diesen Abend eine Como- 
 die prasentiren wollen: sagt uns, verhalt sich das also? 
 HAMLET. Ja, Herr Vater, sie haben bey mir ange- 
 halten, ich habe es ihnen auch permittirt. Ich hoffe, 
 Ihro Majestat werden es auch zufrieden seyn. 
 
 KONIG. Was ist es vor eine Materie, es ist ja wohl 
 nicht etwa was Widerwartiges oder was Unhofliches? 
 
 HAMLET. Es ist eine gute Materie; uns, die wir 
 gutes Gewissen haben, denen gehet es nichts an. 
 
 KONIG. Wo sind sie? lafst sie nur bald anfangen, 
 denn wir wollen zusehen, was die Teutschen thun 
 konnen. 
 
 HAMLET. Herr Marschall, sehet zu, ob die Como- 
 dianten fertig, saget, dafs sie anfangen. 
 
 CORAMB. Ihr Herren Comodianten, wo seyd ihr? 
 Fort, ihr sollt geschwinde anfangen. Holla, sie kommen 
 schon ! 
 
 [Hier kommt die Comodie: Der Konig mit seiner 
 Gemahlin. Er will sich schlafen leg en: die 
 Konigin bittet, er soil es nicht thun, er legt 
 sich doch nieder , die Konigin nimmt ihren 
 Abschied mit einem Kufs, und geht ab. Des 
 Konigs Bruder kommt mit einem Gldschen, 
 giefst ihm was ins Ohr, und geht ab. 
 
 HAMLET. Das ist der Konig Pyrrus, der geht nach 
 den Garten schlafen. Die Konigin bittet ihn, er soil es 
 nicht thun, er aber legt sich doch. Das arme Weibchen 
 geht weg: sehet, da kommt des Konigs Bruder, wel- 
 cher das Gift von Ebeno hat, giefset ihm ins Ohr, 
 welches sobald das menschliche Gebliithe empfangt, des- 
 sen Leib alsobald ertodtet. 
 
 KONIG. Fackeln, Windlichter her, die Comodie ge- 
 fallt uns nicht! 
 
 CORAMB. Pagen, Lakeyen, brennt die Fackeln an, 
 der Konig will abgehn: Geschwinde, brennet an, die 
 Comodianten haben einen stumpf gemacht. 
 
 [Konig, Konigin, Corambus und Staat gehen ab. 
 
 HAMLET. Fackeln her, die Comodie gefallt uns nicht 
 Nun, siehst du, dafs mich der Geist nicht betrogen hat! 
 Comodianten! gehet nur von hier mit diesem Beschlufs, 
 
 comedy, played by German actors, and after the same, 
 a ballet given by our own people. 
 
 QUEEN. Most gladly shall I behold such merry- 
 making; still, I hardly believe that my heart will be at 
 peace, for gloomy forebodings of mischief, I know not 
 what, disturb my soul. 
 
 KING. Pray, do not be uneasy. Prince Hamlet, 
 we are informed that actors have arrived here, and will 
 perform a comedy to-night. Tell me, is it so? 
 
 HAMLET. Ay, my father it is so. They preferred 
 a request to me to that intent, and I have given them 
 permission. I hope your Majesty has no objection. 
 
 KING. What is the argument? There's no offence 
 in it? 
 
 HAMLET. It is a good argument. We that have a 
 good conscience, it touches us not. 
 
 KING. Why do they tarry? Let them begin, we 
 would fain see what the Germans can do. 
 
 HAMLET. Marshall, go bid the actors make haste; 
 tell them to begin. 
 
 CORAMB. Holla! you actors, where are you? Quick, 
 you are to begin directly. Ah! here they come. 
 
 [The dumb show enters: The King with his spouse. 
 He is going to lie to sleep; the Queen entreats 
 him not to do so. He lies down all the same. 
 The Queen kisses him, and takes her leave. 
 The King's brother comes with a phial and 
 pours something into his ear. Exit. 
 
 HAMLET. That is King Pyrrhus who goes to sleep 
 in the garden. The Queen entreats him not to do so, 
 but he does not harken to her. The poor wife goes 
 away: behold! there comes the King's brother bearing 
 the poisonous juice of hebenon which he pours into the 
 King's ear, and which as soon as it mixes with the blood 
 of man, immediately destroys life. 
 
 KING. Ho! torches, lanterns! the comedy offends 
 us! 
 
 CORAMB. Pages, lackeys, light the torches! It is 
 the King's will to depart : quick here with the torches ! 
 The actors have made a botch of it. 
 
 [Exeunt King, Queen, Corambus and retinue. 
 
 HAMLET. Ho ! torches, the comedy offends us. 
 Now didst perceive, good Horatio, the spirit hath not 
 deceived me! Actors, go and understand this, that al- 
 
271 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 272 
 
 ob ihr zwar die Materie nicht zum Ende gespielt, und 
 es dem Konig nicht behaget, so hat es uns doch wohl- 
 gefallen, Horatio soil euch meinetwegen contentiren. 
 
 CARL. Wir bedanken uns, und bitten um einen 
 Reisepafs. 
 
 HAMLET. Den sollt ihr haben. [Comodianten ab.] 
 Nun darf ich die Rache kiihnlich fortsetzen. (^Sahet ihr, 
 wie sich der Konig entfarbte, da er das Spiel sahe? 
 [ HORAT. Ja, Ihro Durchlaucht, die That ist gewifs. 
 
 HAMLET. Eben also meinen Vater getodtet, wie ihr 
 in diesem Schauspiel gesehnJ Aber ich will ihm den Lohh 
 fur seine bose That geben. 
 
 SCENE IX. 
 
 CORAMBUS. 
 
 CORAMBUS. Die Comodianten werden eine schlechte 
 Belohnung bekommen, denn ihre Action hat den Konig 
 sehr mifsfallen. 
 
 HAMLET. Was sagst du, Alter, werden sie eine 
 schlechte Belohnung empfangen? und ob sie schon fibel 
 von dem Konig belohnt werden, so werden sie doch von 
 dem Himmel desto besser belohnet werden. 
 
 CORAMB. Ihro Hoheit, kommen denn die Como- 
 dianten auch in den Himmel? 
 
 HAMLET. Was meynest du, alter Narr, dafs sie 
 nicht auch allda werden ihren Platz finden, darum gehet 
 hin und tractiret mir diese Leute wohl. 
 
 CORAMB. Ja ja, ich will sie tractiren, wie sie es 
 verdienen. 
 
 HAMLET. Tractiret sie wohl, sag ich, denn es ge- 
 schiehet kein grofser Lob, als durch Comodianten, denn 
 dieselben reisen weit in die Welt: geschiehet ihnen an 
 einem Orte etwas Gutes, so wissen sie es an einem an- 
 dern Orte nicht genug zu ruhmen, denn ihr Theatrum 
 ist wie eine kleine Welt, darinnen sie fast alles, was in 
 der grofsen Welt geschieht, reprasentiren. Sie erneuern 
 die alten, vergessenen Geschichten, und stellen uns gute 
 und bose Exempel vor; sie breiten aus die Gerechtigkeit 
 und lobliche Regierung der Fursten, sie strafen die La- 
 ster und erheben die Tugenden, sie ruhmen die From- 
 men, und weisen, wie die Tyranney gestraft wird : dar- 
 um sollt ihr sie wohl belohnen. 
 
 CORAMB. Nun, sie sollen schon ihren Lohn haben, 
 weil es solche Leute sind. Ihro Hoheiten leben wohl! 
 
 [ab. 
 
 HAMLET. Komm, Horatio, ich gehe, und von dieser 
 Stund an will ich darnach trachten, wo ich den Konig 
 allein finde, ihm das Leben zu nehmen, wie er meinem 
 Vater gethan hat. 
 
 though you have not played the piece out, and it has 
 not pleased the King, it has pleased us all the same. 
 Horatio shall bring you your reward. 
 
 CHARLES. We thank your honour and beg for a 
 pass-port. 
 
 HAMLET. You shall have one. [Exeunt Actors.] Now 
 may I go boldly on to vengeance. Did you perceive 
 how the king blenched, when he saw the play? 
 
 HORAT. Yes, your Highness; the thing is certain. 
 
 HAMLET. My poor father murdered, just as we have 
 seen in this play ! But I will reward him for this wicked 
 deed. 
 
 SCENE IX. 
 
 CORAMBUS. 
 
 CORAMB. The actors, I fear, will get a sorry re- 
 compense, for their play hath sore displeased the King. 
 
 HAMLET. What say you, old man, a sorry recom- 
 pense? And if they are but ill-rewarded by the King, 
 they will be all the better rewarded by Heaven. 
 
 CORAMB. My lord, do comedians then get into 
 heaven? 
 
 HAMLET. Think' st thou, old fool, they'll not find a 
 corner there? Wherefore get you gone and see them 
 well bestowed. 
 
 CORAMB. My lord, I will use them according to 
 their deserts. 
 
 HAMLET. Use them well, I say, for there is no 
 greater praise to be gained than through actors, for they 
 travel far and wide in the world. If they are treated 
 well at one place, they don't know how to praise it 
 enough at the next; for their stage is a little world, in 
 which they represent all that takes place in the big 
 world. They revive the old forgotten stories, and pre- 
 sent to us good and bad examples; they publish abroad 
 justice, and the praiseworthy government of princes, 
 they punish the vices, and exalt the virtues, they extol 
 the good, and show the reward of tyranny wherefore 
 entreat them well. 
 
 CORAMB. Well, they shall have their reward, as 
 they are such great folk. Good bye, my Lord. 
 
 [Exit. 
 
 HAMLET. Come Horatio, I am going, and from this 
 hour all my thoughts are bent on finding the King alone, 
 that I may take his life, as he has taken my father's. 
 
273 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 274 
 
 HORAT. Ihro Durchlaucht sehen sich aber wohl vor, 
 dafs Sie nicht auch zu Schaden kommen. 
 
 Vers. 
 HAMLET. Ich soil, ich mufs, ich will mich an den 
 
 . Morder rachen, 
 
 Kann ich mit List nichts thun, will ich mit Macht 
 durchbrechen ! 
 
 DRITTER ACT. 
 
 SCENE I. 
 KONIG. 
 
 Hier prasentirt sich im Tempel ein Altar. 
 KONIG [allein\. Nunmehro beginnet mein Gewissen 
 aufzuwachen, der Stachel der Betriigerey beginnet mich 
 hart zu stechen, es ist Zeit, dafs ich mich zur Bekehrung 
 wende, und dem Himmel mein gethanes Unrecht be- 
 kenne. Ich fiirchte, dafs meine Missethat so grofs ist, 
 dafs sie mir nicht wird konnen vergeben werden, doch 
 will ich die Gotter inbriinstig bitten, dafs sie mir meine 
 schwere Sunden vergeben wollen. 
 
 [Konig kniet vor dem Altar. 
 
 SCENE II. 
 
 HAMLET mit blofsem Degen. 
 
 HAMLET. So lange bin ich den verfluchten Hund 
 nachgegangen, bis ich ihn einmal angetroffen, nun ist es 
 Zeit, weil er allein ist, ich will ihn in seiner grosten 
 Andacht urns Leben bringen. [will ihn durchstechen.] 
 Doch nein, ich will ihn erstlich sein Gebet thun lassen. 
 Aber ach! wenn ich mich bedenke, meinen Vater hat er 
 nicht so viel Zeit gelassen, dafs er erstlich ein Gebet hatte 
 thun konnen, sondern hat ihn vielleicht in seinen Sunden 
 schlafend nach der Hollen geschickt, darum will ich ihn 
 auch an denselbigen Ort nachsenden. [will ihn von hinten 
 wieder durchstofsen.~\ Doch, halt ein, Hamlet I Warum 
 willst du seine Sunden auf dich laden ? Ich will ihm sein 
 Gebet thun lassen, und vor diesesmal von hier gehen, 
 und das Leben schenken. Zur andern Zeit aber will 
 ich schon meine Rache ausuben. [ab. 
 
 KONIG. Mein Gewissen ist etwas erleichtert, aber 
 der nagende Hund liegt noch unter meinem Herzen. 
 Nun will ich hingehen, und mit Fasten und Allmosen, 
 wie auch durch inbriinstiges Gebet, dem Hochsten ver- 
 sohnen. Ach verfluchte Ehrsucht, wozu hast du mich 
 gebracht ! [ab. 
 
 HORAT. My lord, be prudent, lest you should come 
 
 to harm. 
 
 Verse. 
 
 HAMLET. I shall, I must, I will revenge this bloody 
 
 deed, 
 
 If cunning fail, come force, thon'lt help me in 
 my need! 
 
 ACT III. 
 
 SCENE I. 
 
 JRN1A. 
 
 KING. 
 
 A church and altar. 
 
 KING [alone]. Now does my conscience begin to 
 awaken, the sting of my gross deceit begins to prick 
 me. 'Tis time I bethink me of repentance, and confess 
 to Heaven the wrong I have done. I fear my guilt is 
 so great, that it can never be forgiven. But I will pray 
 fervently to the gods, that they will pardon my great 
 sins. 
 
 [Kneels before the altar. 
 
 SCENE II. 
 
 HAMLET, with a drawn sword. 
 
 HAMLET. So long have I dodged the accursed dog, 
 till at last I have found him. Now it is time as he is 
 alone. I will take his life while he is praying [he is 
 about to stab him]. But no, I will first let him finish 
 his prayer. Ha! when I think of it, he did not leave 
 my father so much time as to say a prayer first, but 
 sent him to hell in his sleep, perhaps in his sins ; where- 
 fore, I'll send him to the same place too [again about 
 to stab him from behind]. Nay, hold Hamlet! Why 
 should'st thou take his sins upon thee? I will let him 
 end his prayer, and escape this time, and will give him 
 his life. But 1 will find another time to wreak my ven- 
 geance. 
 
 [Exit. 
 
 KING. My conscience is somewhat lightened, but 
 still the insatiate dog gnaws at my heart. Now will I 
 go and make my peace with heaven by fasting, alms, 
 and fervent prayer. Ah cursed ambition ! To what hast 
 thou brought me. 
 
 [Exit. 
 ' 18 
 
275 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 276 
 
 SCENE III. 
 KONIGIN. CORAMBUS. 
 
 KONIGIN. Corambus, saget doch, wie 1st es mit 
 unsern Sohn, Prinz Hamlet, beschaffen, lafst seine Toll- 
 heit in etwas ab, und will seine Raserey kein Ende 
 nehmen? 
 
 CORAMB. Ach nein, Ihro Majestat, er ist eben noch 
 so toll, als er vorhin gewesen. 
 
 SCENE IV. 
 HORATIO. 
 
 HORAT. Gnadigste Konigin, Prinz Hamlet ist im 
 Vorgemach, und begehret in geheim Audienz. 
 
 K6NIGIN. Er ist uns sehr lieb, darum lafst ihn 
 alsobald hereintreten. 
 
 HORAT. Es soil geschehen, Ihro Majestat. [ab. 
 KONIGIN. Verberget euch, Corambus, hinter die 
 Tapeten, bis wir euch rufen. 
 
 CORAMB. Ja ja, ich werde mich ein wenig verstecken. 
 
 [versteckt sich. 
 
 SCENE V. 
 HAMLET. 
 
 HAMLET. Frau Mutter, habt Hir Euren ersten Ge- 
 mal wohl gekannt? 
 
 KONIGIN. Ach, erinnert mich nicht mehr meiner 
 vorigen Traurigkeit, ich kann mich der Thranen nicht 
 enthalten, wenn ich an denselben gedenke. 
 
 HAMLET. Weint ihr? ach, lasts nur bleiben, es sind 
 doch lauter Crocodillsthranen. Aber sehet, dort in je- 
 ner Gallerie hangt das Conterfait Eures ersten Ehege- 
 mals, und da hangt das Conterfait des itzigen: was 
 diinkt Euch wohl, welches ist doch der ansehnlichste 
 unter ihnen? Ist der erste nicht ein majestatischer Herr? 
 
 KONIGIN. Ja freylich ist es wahr. 
 
 HAMLET. Wie habt Ihr ihn denn sobald vergessen 
 konnen? Pfui! schamet Euch, Ihr habt fast auf einen 
 Tag Begrabnifs und Beylager gehalten. Aber still, sind 
 auch alle Thuren vest verschlossen? 
 
 KONIGIN. Warum fraget Ihr das? 
 
 [Corambus hustet Mnter der Tapete. 
 
 HAMLET. Wer ist es, der uns belauert? 
 
 [sticht ihm nieder. 
 
 CORAMB. O weh, Prinz, was thut Ihr! Ich sterbe. 
 
 O Himmel, mein Sohn, was thut Ihr? 
 Es ist Corambus, der Hofmarschall. 
 
 SCENE III. 
 QUEEN. CORAMBUS. 
 
 QUEEN. Corambus say, how is it with my son, 
 Prince Hamlet? Does his madness abate at all, or will 
 his ravings never come to an end? 
 
 CORAMB. Ah no, your Majesty, he is just as mad 
 as ever he was. 
 
 SCENE IV. 
 HORATIO. 
 
 HORAT. Most gracious Queen, Prince Hamlet is in 
 the antechamber, and desires a private audience. 
 
 QUEEN. He is most welcome, admit him imme- 
 diately. 
 
 HORAT. It shall be done, your Majesty. [Exit. 
 
 QUEEN. Conceal yourself behind the arras, Coram- 
 bus, till we call you. 
 
 CORAMB. Ay, ay, your Majesty, I will hide my- 
 iself. [He hides himself. 
 
 SCENE V. 
 HAMLET. 
 
 HAMLET. Mother, did you perchance know your 
 first husband? 
 
 QUEEN. O! recall not my former sadness. I can- 
 not restrain my tears when I think of him. 
 
 HAMLET. You weep? Pr'ythee weep not, they are 
 but crocodile's tears. But look, in that gallery hangs the 
 counterfeit resemblance of your first husband, and there 
 hangs the counterfeit of your present husband. What 
 think ye now, which hath more dignity and presence? 
 Does not the first bear him with majestic grace! 
 
 QUEEN. Nay but he doth, 'tis true. 
 
 HAMLET. How then could you forget him so soon? 
 Out upon you! Shame! You celebrated your nuptials 
 almost on the same day with his funeral! But hush! 
 are all the doors locked? 
 
 QUEEN. Why do you ask? 
 
 [Coramb. coughs behind the arras. 
 
 HAMLET. Ha! ha! What eaves-dropper have we 
 here? [Stabs him. 
 
 CORAMB. O! Prince, what have you done! I am 
 slain ! 
 
 QUEEN. O Heavens! My son, what have you done? 
 It is Corambus, the chamberlain! 
 
277 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 278 
 
 SCENE VI. 
 
 GEIST geht iiber das Theater. [geblitzet.] 
 HAMLET. (Ach werther Schatten meines Vaters, 
 stehe still! Ach! ach! was ist dein Begehren? forderst 
 du RachePjdieselbe will ich schon zu rechter Zeit ausiiben. 
 KSNIGIN. Was macht Ihr, und mit wem redet Ihr ? 
 
 HAMLET. Sehet Ihr nicht den Geist Eures seeligen 
 Ehegemals? Sehet, er winket, als wollte er mit Euch 
 1 a-eden. 
 
 K6NIGIN. Wie?, ich sehe ja nichts. 
 
 HAMLET. Ich glaube es wohl, dafs Ihr nichts sehet, 
 denn Ihr seyd nicht mehr wiirdig, seine Gestalt zu se- 
 hen. Pfui, schamj Euch, ich mag kein Wort mehr mit 
 Euch rede'n. [ab. 
 
 KSNIGIN [alleine]. Ach Himmel, wie hat doch die 
 Melancholie diesen Prinzen so viele Raserey zugebracht! 
 Ach, mein einziger Prinz hat seinen Verstand ganz ver- 
 loren! Ach, ach, ich bin viel Schuld daran! Hatte ich 
 meinen Schwager, meines vorigen Gemahls Bruder, nicht 
 zu der Ehe genommen, so hatte ich meinem (Sohn) nicht 
 die Krone Dannemark aus der Hand gespielt. Was ist 
 aber bey geschehenen Dingen zu thun? nichts, es mufs 
 nun so bleiben. Hatte mir der Pabst solche Ehe nicht 
 erlaubt: so ware es auch nimmer geschehen. Ich will 
 hingehen, und mich aufs hochste bemuhen, wie ich mei- 
 nen Sohn wieder zu seinem vorigen Verstand und Ge- 
 sundheit helfen kann. [ab. 
 
 SCENE VII. 
 JENS allein. 
 
 Ich bin nun lange nicht zu Hofe gewesen, und meine 
 Zinsen abgegeben. Ich befurchte, wo ich werde hin- 
 kommen, ich werde miissen ins Loch kriechen. Konnt 
 ich nur einen guten Freund finden, der ein gutes Wort 
 vor mich redete, damit ich nicht abgestraft werde. 
 
 SCENE VIII. 
 PHANTASMO. 
 
 PHANTASMO. Es gehet zu Hofe anjetzo wunderlich 
 zu. Prinz Hamlet ist toll, die Ophelia ist auch toll; 
 in Summa, es geht ganz wunderlich da her, dafs ich 
 auch fast Lust habe, hinwegzulaufen. 
 
 JENS. Potz tausend, da sehe ich meinen guten Freund 
 Phantasmo, ich hatte keinen bessern antreffen konnen, 
 ich mufs ihn bitten, dafs er ein gut Wort vor mich 
 redet. Gliick zu, Herr Phantasmo I 
 
 PHANTASMO. Grofsen Dank! Was ist dein Begeh- 
 ren, Herr Bauer? 
 
 JENS. Ey, mein Herr Phantasmo, ich bin lange 
 
 SCENE VI. 
 GHOST stalks over the stage. [Thunder and lightning.] 
 
 HAMLET. Stay gracious figure of my father, what 
 would'st thou? Dost thou demande revenge? I will exe- 
 cute it at the right time. 
 
 QUEEN. How is't with you? With whom do you 
 speak? 
 
 HAMLET. See you not the spirit of your departed 
 consort? Look, he beckons as if he would speak with 
 you. 
 
 QUEEN. How? I see nothing. 
 
 HAMLET. Well, I believe you do see nothing, for 
 you are no longer wortky to look upon his form. Out 
 upon you, I can no longer hold converse with you. 
 
 [Exit. 
 
 QUEEN [alone]. O God! How has this melancholy 
 brought such madness on the Prince! Alas my only 
 son has entirely lost his wits! And I am much to blame! 
 Had I not wedded my husband's brother, I should not 
 have robbed my son of the crown of Denmark. But 
 what can be done, when things are past? Nothing, they 
 must remain as they are. Had not the pope allowed 
 this marriage, it would never have taken place. I will 
 go and spare no pains to restore my son to his former 
 understanding and health. 
 
 [Exit. 
 
 SCENE VII. 
 JENS, alone. 
 
 It's many a day since I have been at court to pay 
 my taxes. I am afraid, go where I may, I shall be put 
 in gaol. O dear! if I had but one good friend to put 
 in a good word for me that I might get off. 
 
 SCENE VIII. 
 PHANTASMO. 
 
 PHANT. There are odd goings on at court now. 
 Prince Hamlet is mad, Ophelia is mad too, sum total 
 is, that it's very queer here altogether, so that I have a 
 good mind to take myself off. 
 
 JENS. By all that's holy there's my good old friend 
 Phantasmo, the very man I want. I'll beg him to put 
 in a good word for me. Holla! Master Phantasmo! 
 
 PHANT. Thank you mightily! What do you want 
 Master clod-hopper? 
 
 JENS. Ay, good Master Phantasmo 'tis many a 
 
 18* 
 
279 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 280 
 
 nicht zu Hofe gewesen, und bin viel schuldig, darum bitte 
 ich Euch, Ihr wollet doch ein gutes Wort vor mich ein- 
 legen, ich will Euch auch einen guten Kafs spendiren. 
 
 PHANTASMO. Was? meynst du Flegel, dafs ich zu 
 Hofe nichts zu fressen habe? 
 
 SCENE IX. 
 OPHELIA toll. 
 
 Ich laufe und renne, und kann doch mein Schatz- 
 chen nicht antreffen. Er hat mir Boten geschickt, ich 
 soil zu ihm kommen, wir wollen Hochzeit machen, ich 
 habe mich schon angezogen. Aber da ist mein Liebchen ! 
 Siehe bist du da, mein Lammchen, ich habe dich so ge- 
 sucht, ja gesucht hab ich dich. Ach gedenke doch, der 
 Schneider hat mir meinen cartunen Rock ganz verdorben. 
 Siehe, da hast du ein schemes Bliimchen, mein Herz! 
 
 PHANTASMO. der Teufel, wer nur von ihr weg 
 ware; sie meynt, ich bin ihr Liebster. 
 
 OPHELIA. Was sagst du, mein Liebchen ? Wir wol- 
 len mit einander zu Bette gehen, ich will dich ganz 
 reine waschen. 
 
 PHANTASMO. Ja, ja, ich will dich wieder einseifen 
 und auch auswaschen. 
 
 OPHELIA. Hore, mein Liebchen, hast du dein neues 
 Kleid schon angezogen? Ey, das ist schon gemacht, 
 recht auf die neue Mode. 
 
 PHANTASMO. Dafs weifs ich ohnedem wohl 
 
 OPHELIA. O potz tausend, was hatte ich bald ver- 
 gessen ! Der Konig hat mich zu Gaste gebeten, ich mufs 
 geschwinde laufen. Siehe da, mein Kiitschchen, mein 
 Kutschchen ! [ab. 
 
 PHANTASMO. O Hecate, du Konigin der Hexen, wie 
 bin ich so froh, dafs diefs tolle Ding weg ist; ware sie 
 langer geblieben, ich ware mit toll worden. Ich mufs 
 nur gehen, eh' das narrische Ding wiederkommen wird. 
 
 JENS. Ach barmherziger Herr Phantasmo ! Ich bitte 
 meiner nicht zu vergessen. 
 
 PHANTASMO. Nun, komm nur mit, Bruder Hunds- 
 fott; ich will sehn, dafs ich dir bey dem Ober-Einneh- 
 mer zurechte helfe. [gehen ab. 
 
 SCENE X. 
 KONIG. HAMLET. HORATIO. ZWEY DIENER. 
 
 KONIG. Wo ist Corambus sein Leichnam geblieben? 
 Ist er noch nicht hinweggebracht? 
 
 HORATIO. Er liegt noch an den Ort, wo er ersto- 
 chen ist. 
 
 KONIG. Es ist leid uns, dafs er so unverhoft um 
 das Leben kommen. Gehet hin, und lasset ihn wegtra- 
 
 day since I have been at court, and I am greatly in 
 arrears with my taxes ; so pr'ythee put in a good word 
 for me, and I'll bestow a good cheese on you. 
 
 PHANT. Eh! Master Clown, think ye I get naught 
 to eat at court? 
 
 SCENE IX. 
 OPHELIA, mad. 
 
 I run and run and cannot find my sweetheart. He 
 sent a messenger to me to fetch me to him, we are 
 to have our wedding, and I am dressed for it already. 
 But ah! there is my love. Is it thou my lamb? Oh! 
 how 1 have sought thee everywhere, everywhere have 
 I sought thee. Ah, only think the tailor has spoiled 
 me my muslin robe! See! there's a pretty flower for 
 you, my heart! 
 
 PHANT. O the devil! I wish I were away! she 
 takes me for her lover. 
 
 OPHELIA. What say'st thou my love? Let's go to 
 bed together, I'll wash thee quite clean. 
 
 PHANT. Ay, ay, I'll soap and wash you and wring 
 you out. 
 
 OPHELIA. Hark! my sweet one, hast already donn'd 
 thy beautiful new suit? Ay! how finely 'tis made, quite 
 in the new fashion. 
 
 PHANT. Well do I know that without - 
 
 OPHELIA. Alack! alack! what is't I had nearly for- 
 gotten ! The King has bidden me to supper, I must make 
 haste. Look, there stands my little coach, my pretty 
 little coach! [Exit. 
 
 PHANT. O Hecate! thou queen of witches, how glad 
 I am that that mad thing's away; 1 should have gone 
 mad with her if she had remained any longer. I must 
 be off before the crazy chit come back again. 
 
 JENS. Oh kind master Phantasmo ! Pr'ythee do not 
 forget me. 
 
 PHANT. Come along, brother Bumpkin, we'll see 
 if we can't put you all straight at the custom-house. 
 
 [Exeunt. 
 
 SCENE X. 
 KING. HAMLET. HORATIO. Two ATTENDANTS. 
 
 KING. Where is the body of Corambus bestowed? 
 Has it not yet been removed? 
 
 HORAT. He is still lying in the place where he was 
 stabbed, 
 
 KING. It grieveth us that Corambus hath lost his 
 life thus suddenly. Go bear the body away; 'tis our will 
 
281 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 282 
 
 gen; wir wollen ihn adlich zur Erden bestatigen lassen. 
 Ach! Prinz Hamlet, was habt Ihr gethan, dafs Ihr den 
 alten Corambus so unschuldig durchstochen ! Es ist uns 
 herzlich leid, doch weil es ohngefahr geschehen, ist zwar 
 diese Mordthat in etwas zu entschuldigen; allein ich 
 fiirchte, wo es unter den Adel kommt, dafs es bey den 
 Unterthanen leicht einen Aufruhr bringen konnte, und 
 konnten also seinen Tod an Each rachen. Wir aber 
 aus vaterlicher Vorsorge haben ein Mittel erfunden, wel- 
 ches dieses Ungliick abhalten kann. 
 
 HAMLET. Es ist mir leid, Herr Vetter und Vater! Ich 
 habe etwas mit der Konigin in geheim reden wollen, die- 
 ser Spion aber hat uns belauert, doch hab ich nicht ge- 
 wufst, dafs es dieser alte Narr seyn sollte: was meynen 
 aber Ihro Majestat, wie nun am besten mit mir zu pro- 
 cediren sey? 
 
 KONIG. "Wir haben bey uns beschlossen, Euch nacher 
 England zu schicken, weil diese Krone nahe mit der un- 
 srigen befreundet; als konnt Ihr Euch eine Zeit, weil 
 eine gesundere Luft allda, in etwas refrigiren, und zu 
 Eurer Genesung besser als hier gelangen. Wir wollen 
 Euch etliche von unsern Bedienten mitgeben, die Euch 
 begleiten und treulich aufwarten sollen. 
 
 HAMLET. Ja ja, Konig, schickt mich nur nach Por- 
 tugall, auf dafs ich nimmer wiederkomme, das ist das beste. 
 
 KONIG. Nein, nicht nach Portugall, sondern nach 
 England, und diese bey den sollen mit Euch auf der 
 Reise seyn; wenn Ihr aber in England kommt, sollt Ihr 
 mehr Diener bekommen. 
 
 HAMLET. Sind das die Laquaien? Das sind saubere 
 Bursche! 
 
 KONIG. Horet ihr beyden! [heimlich zu den bey den 
 Dienern]. Sobald ihr nacher England kommt, so ver- 
 richtet, was ich euch befohlen habe. Nehmet einen De- 
 gen, oder ein jeder eine Pistole, und bringet ihn urns 
 Leben. Wo aber dieser Anschlag nicht mochte von 
 : statten gehn, so nehmet diesen Brief, und bringet ihn 
 nebst den Prinzen an aufgeschriebenen Ort; derselbige 
 wird wohl dahin bedacht seyn, dafs er nimmer wieder 
 aus England kommen soil. Aber das rathe ich euch, 
 dafs ihr keinem Menschen was offenbaret. Eure Be- 
 zahlung sollt ihr haben, sobald ihr zuruckkommt 
 
 HAMLET. Nun, Ihro Majestat, welches sind denn 
 die rechten, die mitreisen sollen? 
 
 KONIG. Diese zwey. Nun, die Gotter wollen Euch 
 begleiten, dafs Ihr moget mit gutem Winde an Ort und 
 Stelle kommen. 
 
 HAMLET. Nun Adieu, Frau Mutter! 
 
 KONIG. Wie, mein Prinz, warum heist Ihr uns 
 Frau Mutter? 
 
 it should have a noble burial. Ah, Prince Hamlet, what 
 made you stab that poor innocent old man ? It grieveth 
 us sorely, still this murderous deed admits of some ex- 
 cuse, seeing it was done unwittingly. Nevertheless I 
 fear that when this gets known amongst the nobles, it 
 may easily excite a rebellion among my subjects, and 
 they may revenge his death on you. This our paternal 
 care hath duly weighed, and we have devised a means 
 to ward this danger from you. 
 
 HAMLET. I sincerely grieve this deed, my uncle and 
 my father. I had begged a private audience of the Queen, 
 and this fellow came eaves-dropping; but I did not know 
 that it was this silly old fool. But how does your Ma- 
 jesty think it were best to proceed? 
 
 KING. We have determined to send you to Eng- 
 land, because this crown is friendly to our own, as if 
 to refresh yourself there for a time, because the air is 
 wholesomer, and may better promote your recovery. We 
 will give you some of our own attendants, who shall 
 accompany you, and serve you faithfully. 
 
 HAMLET. Ay ay, King, send me off to Portugal, 
 that I may never come back again, that is the best plan. 
 
 KING. No, not to Portugal but to England, and 
 those two shall accompany you on the journey. But 
 when you arrive in England, you shall have more at- 
 tendants. 
 
 HAMLET. Those are the lackeys are they? A pair 
 of nice fellows! 
 
 KING. Hark ye [secretly to the two attendants]. As 
 soon as ye reach England, do as I have commanded 
 you. Arm yourselves each with a sword or pistol and 
 take his life. But in case your attempt should miscarry, 
 take this letter and the prince to the place indicated 
 thereon; there our prince will be so well cared for that 
 he will never leave England again. Beware that ye make 
 known this plan to no man. Your reward shall be de- 
 livered to you on your return. 
 
 HAMLET. Well, your Majesty, who are they then 
 that are to bear me company? 
 
 KING. These two. The gods be with you, and 
 give you a fair wind to reach the place of your desti- 
 nation. 
 
 HAMLET. Now farewell dear mother! 
 
 KING. What, Prince! Why do you call us mo- 
 ther? 
 
283 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 284 
 
 HAMLET. Mann und Weib ist ja ein Leib, Vater 
 oder Mutter, es ist mir alles gleich. 
 
 KONIG. Nun so fahrt wohl, der Himmel sey mit 
 Euch. [ab. 
 
 HAMLET. Nun, ihr noblen Quantchen, sollt ihr 
 meine Gefahrten seyn? 
 
 DIENERS. Ja, Ihro Durchlaucht! 
 
 HAMLET. So kommt denn, ihr noblen Gesellen, 
 [nimmt sie beyde an jede Hand] lafst uns fahren, lafst 
 uns fahren nach England, nehmt das Botchen in die 
 Hand, du bist ja ein braver Quant. Lafst uns fahren, 
 lafst uns fahren nach England. [gehen ab. 
 
 SCENE XI. 
 PHANTASMO. OPHELIA. 
 
 PHANTASMO. Wo ich gehe oder stehe, da lauft das 
 elementische Madchen, die Ophelia, aus alien Winkeln 
 mir nach; ich kann keinen Frieden vor ihr haben, sie 
 sagt allezeit, dafs ich ihr Liebster bin, und ist doch nicht 
 wahr. Wenn ich mich nur verstecken konnte, damit sie 
 mich nicht finde. Nun wird der Henker wieder los wer- 
 den: da kommt sie wieder. 
 
 OPHELIA. Wo mag mein Liebchen seyn? Der 
 Schelm will nicht bey mir bleiben, eher vor mir weg 
 Aber siehe, da ist er. Hore, mein Liebchen, ich bin bey 
 dem Priester gewesen, der will uns noch heute zusam- 
 men copuliren; ich habe alles zu der Hochzeit fertig ge- 
 macht, ich habe Hiihner, Haasen, Fleisch, Butter und 
 Ka'se eingekauft; es mangelt nichts mehr, als dafs die 
 Musikanten uns zu Bette spielen. 
 
 PHANTASMO. Ich mufs nur ja sagen. Komm denn, 
 wir wollen miteinander zu Bette gehn. 
 
 OPHELIA. Nein, nein, mein Puppchen, wir miissen 
 erstlich miteinander zur Kirche gehen, hernach wollen 
 wir essen und trinken, und denn wollen wir tanzen 
 Ach, wie wollen wir uns lustig machen! 
 
 PHANTASMO. Ja, es wird lustig hergehn; es werden 
 wohl drey von Einem Teller essen. 
 
 OPHELIA. Was sagst du ? Wilt du mich nicht haben, 
 so will ich dich auch nicht haben. [schldgt ihri\. Siehe 
 dort, dort ist mein Liebchen, er winkt mir. Siehe da, 
 welch ein schon Kleid dafs er an hat: siehe er w r ill mich 
 zu sich locken, er wirft mit einem Roslein und Lilien 
 anf mich zu; er will mich in seine Arme nehmen, er 
 winkt mir, ich komme, ich komme. [ab. 
 
 PHANTASMO. Bey der Nahe ist sie nicht klug, aber 
 weit davon ist sie gar toll. Ich wollte, dafs sie aufge- 
 henkt ware, so konnte mir das Rabenaas so nicht nach- 
 laufen. [ab. 
 
 HAMLET. Man and wife is one flesh father or 
 mother, it is all the same to me. 
 
 KING. Well, fare ye well. May heaven attend you. 
 
 [Exit. 
 
 HAMLET. Eh! you chips of nobility, are you to be 
 my companions? 
 
 ATTEND. We are my lord. 
 
 HAMLET. Come then, my noble sirs, [taking each 
 by the hand], let's start, let's start for England! Put 
 your best foot forward; you are indeed a cunning fel- 
 low. Let's start, let's start for England! 
 
 [Exeunt. 
 
 SCENE XI. 
 
 PHANTASMO. OPHELIA. 
 
 PHANT. Go where I will, that simpleton, that Ophelia 
 runs after me out of every corner. I've not a moment's 
 peace for her, she fancies day and night that I'm her 
 lover; and that's not true. If I could only hide where 
 she can't find me! The deuce is in it, there she is 
 again ! 
 
 OPHELIA. Where can my love be? The rogue will 
 not remain with me, he flies me but ah! there he 
 is. Listen sweet love, I've been with the priest, he will 
 unite us this very day; I have made all ready for the 
 wedding; pullets, hares, meat, butter, cheese, all, all 
 bought now there is nothing more wanting than that 
 the musicians should play us to bed. 
 
 PHANT. I can only say yes. Come then let's go 
 to bed together. 
 
 OPHELIA. No, no, my puppet, we must first go to 
 church together, afterwards feast, and then dance ah ! 
 we will be right merry! 
 
 PHANT. Ay, ay, merry as crickets; three will eat 
 out of one plate. 
 
 OPHELIA. Ha! What do you say? If you will not 
 have me, I will not have you [strikes him}. There, there, 
 is my love, my dearest, he beckons me to him. Look, 
 what a beautiful suit he has on! look, he wants to 
 entice me to him, he casts a lily and a rose at me; he 
 will embrace me, he beckons to me, I come, I come. 
 
 [Exit. 
 
 PHANT. At close quarters she's lost her wits, but 
 at arm's length she's clean mad. 1 wish she were hanged, 
 and then the carrion could not pester me so. 
 
 [Exit. 
 
285 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 286 
 
 VIERTER ACT. 
 
 SCENE I. 
 
 HAMLET. ZWEY BANDITEN. 
 
 HAMLET. Es ist hier ein lustiger Ort auf dieser 
 Insel, wir wollen etwas hier verbleiben und speisen: 
 da ist ein lustiger Wald, und da ein kiihler Wasserstrom; 
 darum holet mir das beste vom Schiif, wir wollen uns 
 hier recht lustig machen. 
 
 1. BAND. Gnadiger Herr, hier ist nicht Essenzeit, 
 denn von diesem Eiland werden Sie nimmer kommen; 
 denn hier ist der Ort, der Ihnen zum Kirchhof bestellt ist. 
 
 HAMLET. Was sagst du Schelm, du Esclav! Weifst 
 du wohl, wer ich bin? Sollst du wohl mit einem Ko- 
 niglichen Prinzen also scherzen? Doch es sey dir ver- 
 geben vor diesesmal. 
 
 2. BAND. Nein, es ist kein Scherz, sondern unser 
 rechter Ernst. Sie prapariren sich nur zum Tode. 
 
 HAMLET. Warum das? Was hab ich euch denn 
 Leides gethan? Ich weifs mich ja auf nichts zu besinnen: 
 darum sagt aus, warum kommt ihr auf solche boshafte 
 Gedanken? 
 
 1. BAND. Es ist uns von dem Konig anbefohlen 
 worden : sobald wir Ihro Durchlaucht auf dieses Eiland 
 bringen, sollen wir ihm das Leben nehmen. 
 
 HAMLET. Ihr lieben Freunde, verschonet mein Le- 
 ben; saget, dafs ihrs verrichtet; ich will die Zeit meines 
 Lebens nicht wieder zu dem Konig kommen; bedenkt es 
 wohl, was 1st euch mit einer Hand voll unschuldiges Fiir- 
 stenblut gedient? Wollt ihr euer Gewissen mit meinen 
 Sunden beflecken ? Ach dafs ich zu allem Ungliick ohne 
 Gewehr bin! Ha'tte ich nur etwas in meinen Ha'nden. 
 [greift einem nach dem Degen. 
 
 2. BAND. Du, Camerad, nimm dein Gewehr in acht. 
 1. BAND. Ich werde mich wohl in acht nehmen. 
 
 Nun, Prinz, macht Euch fertig; wir haben nicht lange 
 Zeit. 
 
 HAMLET. Weil es denn nicht anders seyn kann und 
 ich vor euch sterben mufs, aus Antrieb des tyrannischen 
 Konigs, so will ichs gern erdulden, ob ich gleich un- 
 schuldig, und ihr aus Armuth hierzu erkauft, will ichs 
 euch gerne verzeihen, das Blut aber wird der Bruder- 
 und Vatermorder verantworten miissen an jenem grossen 
 Gerichtstage. 
 
 1. BAND. Ey was fragen wir nach jenem Tage; 
 wir miissen verrichten, was uns heute befohlen. 
 
 2. BAND. Es ist auch wahr, Bruder! Nur frisch 
 darauf, es mufs doch seyn. Gieb Feuer, ich auf der 
 einen, und du auf der andern Seite. 
 
 ACT IV. 
 
 SCENE I. 
 HAMLET. Two RUFFIANS. 
 
 HAMLET. It is a pleasant place here upon this is- 
 land! Let us linger here a-while and dine. There is a 
 merry green wood, and here a cool spring of water; 
 so fetch the best from our ship, and we will make right 
 merry here. 
 
 RUFF. 1. There's no dinner time more for you, my 
 lord, for you will never leave this island again, for 
 here's the spot destined for your grave. 
 
 HAMLET. How say'st thou, knave? Know'st thou 
 then who I am? Wouldst thou jest thus with a royal 
 prince? Let it pass this time, I pardon thee. 
 
 RUFF. 2. Nay, but 'tis no jest, we are in earnest, 
 Prepare yourself for death, my lord. 
 
 HAMLET. Wherefore this? What harm have I ever 
 done you? I cannot recollect any; therefore speak out, 
 why do ye entertain such wicked thoughts? 
 
 RUFF. 1. We have received orders for it from the 
 King : as soon as we have brought your Highness to this 
 island, we are to take your life. 
 
 HAMLET. Most excellent friends, spare my life! 
 bring word ye have fulfilled the King's commission. I 
 swear nevermore to return to the King, as long as I live. 
 Consider well, what are ye better for staining your hands 
 with the innocent blood of a royal prince? Why would 
 ye pollute your consciences with my sins ? Accursed fate 
 that I came here unarmed! Had I but some weapon in 
 i my hand! [Makes an attempt to seize a sword. 
 
 RUFF. 2. Holla! Comrade, look to thy weapon! 
 
 RUFF. 1. I will look well to it. Now prince, pre- 
 pare; our time is short. 
 
 HAMLET. If then it must be so, and I must die by 
 your hands, impelled by a tyrannical king, I must submit. 
 And although I am innocent, and poverty hath driven 
 you to this deed, I pardon you from my heart; at the 
 great day this murderer of my father and his brother 
 must answer for my blood. 
 
 RUFF. 1. Eh! what is that great day to us? we must 
 execute the commission entrusted to us this day. 
 
 RUFF. 2. That's true, comrade! Let us go to work; 
 there is no help for it. You fire from this side, I from 
 the other. 
 
287 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 288 
 
 HAMLET. Horet mich noch ein Wort: well auch 
 dem allerargsten Uebelthater solches nicht abgeschlagen 
 wird, sondern wird ihm Zeit zur Bufse gelassen, also 
 bitte ich, als ein unschuldiger Prinz, ihr wollet mich 
 erstlich zu meinem Schopfer ein andachtiges Gebet ver- 
 richten lassen, hernack will ich gerne sterben; ich will 
 euch aber ein Zeichen geben: ich werde meine Hande 
 nach dem Himmel wenden, sobald ich meine Arme aus- 
 strecke, so gebt Feuer, setzt mir beyde Pistolen in die 
 Seite, und wenn ich werde sagen : schiefst ! so gebt mir 
 so viel, als ich bedarf, und trefft mich gewifs, damit ich 
 nicht lange gemartert werde. 
 
 2. BAND. Nun dieses konnen wir ihm auch wohl 
 noch zu Gefallen thun, darum macht nur fort! 
 
 HAMLET, [schldgt die Hande voneinander.] Schiefst 
 zu ! [indent fdllt er zwischen den bey den vorwdrts nieder, 
 die Diener aber erschiefsen sich selbsten] Ach gerechter 
 Himmel, dir sey Dank gesagt vor dein englisches Ein- 
 geben, denn diesen Schutzengel werde ich ewig prei- 
 sen, welcher mir durch meine Gedanken das Leben er- 
 halten hat. Diese Schelme aber, wie gearbeitet, so ist 
 auch ihr Lohn. Die Hunde riihren sich noch, sie haben 
 sich selber harquebusirt, ich aber will zu meiner Revange 
 ihnen den Todesstich vollends geben, es sollte ein Schelm 
 sonsten davon kommen. [er ersticht sie mit ihren eignen 
 Degen.] Ich mufs sie besuchen, ob sie auch etwa Steck- 
 briefe bey sich haben. Dieser hat nichts; hier finde 
 ich einen Brief bey diesem Morder, ich will ihn lesen. 
 Dieser Brief ist an einen Erzmorder in England ge- 
 schrieben, wenn etwa dieser Anschlag mochte mifslin- 
 gen, sollten sie mich nur dem iiberantworten, der wiirde 
 mir schon das Lebenslicht ausblasen. Allein die Go tier 
 stehn doch dem Gerechten bey :. ,Nun will ich mich mei- 
 nem Vater zum Schrecken wiederum zuruckbegeben. 
 Aber zu Wasser trau ich nicht mehr, wer weifs, ob der 
 Schifscapitain nicht auch ein Schelm ist. Ich will den 
 ersten Platz suchen, und die Post nehmen; den Schiffer 
 will ich nach Dannemark wieder zuriick commandiren, 
 diese Schelme aber will ich ins Wasser werfen. [ab. 
 
 SCENE II. 
 
 KONIG mit Staat. 
 
 KONIO. Uns verlanget zu erfahren, wie es mit un- 
 serm Sohn, Prinz Hamlet, mufs abgelaufen sein, und 
 ob diejenigen, welche wir als Reisegefahrten ihm mitge- 
 geben, auch treulich werden verrichtet haben, was wir 
 befohlen. 
 
 HAMLET. One word more: as the meanest cri- 
 minal is not refused his last request for time to repent 
 him of his sins, I, an innocent prince, do beseech you 
 to grant me time to address a prayer to my Creator, 
 which done I will willingly die. I will give you the 
 sign : I will raise my hands to heaven, and fire the mo- 
 ment I spread out my arms. Level both pistols at my 
 sides, and when 1 call, fire, give me as much as I re- 
 quire, and be sure and hit me that I may not suffer 
 long. 
 
 RUFF. 2. Well, we may do that much to please 
 him; therefore let us proceed. 
 
 HAMLET. [Spreads out his arms.] Fire! [Meanwhile 
 he falls forward between the two servants, who consequently 
 shoot each other.] Just heaven! I thank thee for the 
 divine inspiration, and henceforth I will worship this 
 guardian angel, who through my thoughts hath pre- 
 served my life. These rogues have received the due 
 recompense of their work. Ha! the dogs, they move 
 still. They have butchered each other, but to satisfy 
 my revenge let them take the coup de grace from my 
 hand, else one of the rogues might escape. [He stabs 
 them with their own sword.] Nay, now I'll search them, 
 it may be I find some writ or warrant on them. 
 There's nothing here, but here I find a letter on this 
 murderer. I'll read it. Ha! this letter is directed to an 
 arch-hangman in England, importing that should this 
 attempt miscarry, I should be handed over to him, and 
 he would make no bones about puffing out my rush-light 
 life! But the gods are ever on the side of the just. 
 Now I will go back again to the terror of my father, 
 but I will not trust myself by water, for who knows 
 whether the captain may not likewise prove a rogue. 
 I will go to the first place and take the post, order the 
 sailors back to Denmark, and cast these dogs into the 
 water. [Exit. 
 
 SCENE II. 
 
 KING, and retinue. 
 
 KING. We long greatly to hear how it is with our 
 son, Prince Hamlet, and whether the two companions 
 we gave him on his journey, have faithfully fulfilled 
 our commission. 
 
289 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 290 
 
 SCENE III. 
 PHANTASMO. 
 
 PHANTASMO. Neue Zeitung, Monsieur Konig! Haupt- 
 neue Zeitung! 
 
 K5NIG. Was ist es, Phantasmo? 
 PHANTASMO. Leonhardus aus Frankreich ist wieder 
 zu Hause kommen. 
 
 KONIG. Das ist uns lieb, lafst ihn vor uns kommen. 
 
 SCENE IV. 
 LEONHARDUS. 
 
 LEONH. Gnadiger Herr und Konig, ich begehre von 
 Ihro Majestat meinen Vater, oder die Rache der Ge- 
 rechtigkeit, weil er so jammerlich ermordet. Wo dieses 
 nicht geschieht, werde ich vergessen, dafs Ihr Konig seyd, 
 und mich an den Thater rachen. 
 
 KONIG. Leonhardus, gieb dich zufrieden, wir sind 
 unschuldig an deines Vaters Tod. Prinz Hamlet hat ihn 
 unversehenerweise hinter den Tapeten erstochen, wir aber 
 wollen dahin bedacht seyn, dafs er wieder gestraft werde. 
 
 LEONH. Weil denn Ihro Majestat unschuldig sein 
 an den Tod meines Vaters, als bitte ich auf gefallten 
 Knieen, mir solches zu verzeihen. Der Zorn hatte mich, 
 wie auch die kindliche Liebe iibernommen, dafs ich fast 
 selber nicht gewufst, was ich gethan. 
 
 KONIG. Es sey dir vergeben, denn wir konnen wohl 
 gedenken, dafs es dir sehr zu Herzen gangen sey, dafs 
 du deinen Vater so erbarmlich hast verlieren miissen. 
 Doch gieb dich zufrieden, du solt einen Vater wieder 
 an uns haben. 
 
 LEONH. Ich bedanke mich vor diese hohe Konig- 
 liche Gnade. 
 
 SCENE V. 
 PHANTASMO. 
 
 PHANTASMO. Herr Vetter Konig, noch mehr neue 
 Zeitung ! 
 
 KONIG. Was bringst du wieder vor neue Zeitung? 
 
 PHANTASMO. Prinz Hamlet ist wieder kommen. 
 
 KONIG. Der Teufel ist wieder kommen, und nicht 
 Prinz Hamlet. 
 
 PHANTASMO. Prinz Hamlet ist wieder kommen, und 
 nicht der Teufel. 
 
 KONIG. Leonhardus, hore hier, nun kannst du dei- 
 nes Vaters Tod rachen, weil der Prinz wieder zu Hause 
 kommen; allein du must uns eidlich versprechen, dafs 
 du solches keinem Menschen offenbaren wilt. 
 
 LEONH. Ihro Majestat zweifeln an mir nicht; was 
 Sie mir offenbaren, soil verschwiegen seyn, als ob Sie 
 zu einem Stein gesprochen batten. 
 
 SCENE III. 
 PHANTASMO. 
 
 PHANT. News, news, Monsieur King! News spick 
 and span new! 
 
 KING. What news, Phantasmo? 
 
 PHANT. Leonardo has come back from France. 
 
 KING. We are glad of it, admit him to our pre- 
 sence. 
 
 SCENE IV. 
 LEONARDO. 
 
 LEON. My gracious Lord and King, I come to 
 demand my father at your hands, or vengeance, just 
 vengeance for his miserable murder. If you do not 
 grant it, I shall forget that you are king, and will re- 
 venge myself on the perpetrator. 
 
 KING. Be satisfied, Leonardo, that we are inno- 
 cent of your father's death. Prince Hamlet unwittingly 
 ran him through while behind the arras: but we will 
 see that he is punished for it. 
 
 LEON. As your Majesty is quite innocent of my 
 father's death, I humbly crave your pardon on my knees. 
 My anger as also filial love, had so overcome me, that 
 I myself hardly knew what I did. 
 
 KING. Let it pass, we can easily believe how it 
 must have cut you to the heart to lose your noble father 
 by such a miserable death. But rest contented, you 
 shall find another father in ourselves. 
 
 LEON. I thank you for your royal favour. 
 
 SCENE V. 
 PHANTASMO. 
 PHANT. Uncle King, more news still! 
 
 KING. What fresh news do you bring? 
 
 PHANT. Prince Hamlet has come back! 
 
 KING. The devil has come back, and not Prince 
 Hamlet! 
 
 PHANT. Prince Hamlet has come back and not the 
 devil, I say! 
 
 KING. Leonardo, hear. Now you can revenge your 
 father's death, for the Prince has come home again. 
 But you must swear an oath not to disclose your design 
 to any man. 
 
 LEON. Your Majesty may trust me; what you re- 
 veal shall be kept as close, as if you had spoken to a 
 stone. 
 
 19 
 
291 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 292 
 
 KONIG. Wir wollen zwischen dir und ihm einen 
 Wettstreit anstellen, nemlich also : ihr sollt mit Rapieren 
 fechten, und der von euch beyden die ersten drey Stofse 
 bekommt, soil ein weifs neapolitanisch Pferd gewonnen 
 haben. Aber mitten in diesem Gefecht sollt ihr euer 
 Rapier fallen lassen, und anstatt desselben sollt ihr einen 
 scharf gespitzten Degen bey der Hand haben, welcher 
 dem Rapier ganz ahnlich gemacht mufs seyn, die Spitze 
 desselben aber must du mit starken Gift bestreichen; 
 sobald du nun seinen Leib damit verwunden wirst, wird 
 er alsdenn gewifs sterben miissen, du aber sollst doch 
 den Preifs und hierbey des Konigs Gnade gewinnen. 
 
 LEONH. Ihro Majestat wollen mir verzeihen; ich 
 darf mich dieses nicht unterstehen, dieweil der Prinz 
 ein geiibter Fechtmeister ist, und konnte mir dieses wohl 
 selbst wiederfahren. 
 
 KONIG. Leonhardus, weigere dich hierinnen nicht, 
 sondern thue deinem KSnige solches zu gefallen, um dei- 
 nes Vaters Tod zu rachen, must du dieses thun. Denn 
 wisset, dafs der Prinz als ein Todtschlager cures Vaters 
 solchen Tod verdienet. Allein wir konnen keine Gerech- 
 tigkeit an ihn haben, weil ihm seine Frau Mutter den 
 Riicken halt, und ihn die Unterthanen sehr lieben : durfte 
 also, wenn wir 6'ffentlich uns an ihm rachen wollten, 
 ein Aufruhr leicht geschehen; dafs wir aber ihn als un- 
 sern Stiefsohn und Vetter meiden, geschieht um der hei- 
 ligen Gerechtigkeit willen, denn er ist mordgierig und 
 unsinnig, und miissen uns kiinftig selbsten vor einem 
 solchen bosen Menschen fiirchten. Thut solches, was 
 wir von euch verlangen, so werdet ihr den Konig seiner 
 Furcht benehmen, und euch verbliimterweise an euren 
 Vatermorder rachen. 
 
 LEONH. Es ist eine schwere Sache, welcher ich 
 mich fast nicht unterstehe. Denn sollte dieses auskom- 
 men, wiirde es gewifs mein Leben kosten. 
 
 KONIG. Zweifelt nicht; im Fall es ja euch mifslin- 
 gen sollte, so haben wir schon eine andere List erdacht. 
 Wir wollen einen orientalischen Diamant klein stofsen 
 lassen, und ihm denselben, wenn er erhitzt, in einem 
 Becher voll Wein mit Zucker siifs vermischt beybringen : 
 so soil er auf unsere Gesundheit doch den Tod saufen. 
 
 LEONH. Wohl denn, Ihro Majestat, unter dessen 
 Schutz will ichs verrichten. 
 
 SCENE VI. 
 
 KONIGIN. 
 
 KONIGIN. Gnadiger Herr und Konig, liebstes Ehe- 
 gemahl, ich bringe Euch eine schlechte Zeitung! 
 KONIG. Was ist es, liebste Seele? 
 
 KING. We will arrange a match between yourself 
 and him, and on these terms: you shall fence with foils, 
 and he who makes the first three hits, shall have won 
 a white Neapolitan horse. In the middle of the bout 
 you let your foil drop, and instead of it, you must have 
 a sword with a sharp point ready at hand, which must 
 be made quite like the foil, but you must rub the point 
 of it with a strong poison; as soon as you shall wound 
 his body with it, he will certainly die, but you shall 
 win the prize, and your king's favour as well. 
 
 LEON. Pardon, your Majesty ! I dare not undertake 
 this, seeing the Prince is a practised swordsman, and so 
 might turn the tables on me. 
 
 KING. Leonardo, do not refuse but do it to please 
 your King; you must do it to revenge your father's 
 death. ' For know, the Prince as assassin of your father 
 deserves such a death. [ But we cannot execute justice 
 against him, because his mother supports him,j and my 
 subjects love him. If therefore we would revenge our- 
 selves on him openly, it might easily give rise to a re- 
 bellion. The love of holy justice turneth our heart and 
 favour from our step-son and our cousin, for he is blood- 
 thirsty and full of pranks, and for the future we must 
 ourselves be on our guard against such a bad man. If 
 you do what we require, you will relieve your King of 
 his fears, and secretly revenge yourself on the murderer 
 of your father. 
 
 LEONH. It is a difficult matter which I scarce like 
 to venture on. For should the truth get wind, my life 
 would be the forfeit. 
 
 KING. Nay, doubt not; if this should fail we have 
 already devised another trick. We'll have prepared for 
 him a chalice filled with wine mixed with sugar and 
 the fine powder of an eastern diamond which we will 
 give him, when he is hot: thus shall he drink his death 
 to our health. 
 
 LEON. Well then, your Majesty, I will do it under 
 your protection. 
 
 SCENE VI. 
 
 QUEEN. 
 
 QUEEN. My gracious lord and King, my dearest 
 consort, I bring thee woeful tidings. 
 KING. What are they, dear soul? 
 
293 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 294 
 
 KONIGIN. Meine liebste Staatsjungfer, die Ophelia, 
 la' uft bin und wieder, ruft und schreyt, sie isset und 
 trinket nichts; man meynet, dafs sie ganzlich von ihrem 
 Verstande ist. 
 
 KONIG. Ach, horet man doch nichts als lauter trau- 
 rige und ungluckliche Zeitungen! 
 
 SCENE VII. 
 OPHELIA mit Blumen. 
 
 OPHELIA. Siehe da hast du ein Bliimchen, du auch, 
 du auch. [giebt jedem eine Bhime]. Aber potz tausend, 
 was ha'tte ich schier vergessen: ich mufs geschwinde 
 laufen, ich habe meinen Schmuck vergessen. Ach, meine 
 Fronte ; ich mufs geschwinde nach dem Hofschmidt gehn, 
 und fragen, was er vor neue Moden bekommen. Sa, 
 sa, decket geschwinde den Tisch, ich werde bald wieder 
 hier seyn. [Iduft weg. 
 
 LEONH. Bin ich denn zu allem Ungliick geboren! 
 Mein Vater ist todt, und meine Schwester ist ihres Ver- 
 standes beraubt! Mein Herz will mir vor grofser Trau- 
 rigkeit fast zerbersten. 
 
 KONIG. Leonhardus, stelle dich zufrieden, du sollst 
 alleine bey uns in Gnaden leben. Sie aber, liebste Ge- 
 mahlin, wolle belieben, mit uns hineinzuspatzieren, denn 
 wir haben ihr noch etwas in Geheim zu offenbaren. 
 Leonhardus, vergesset nicht, was wir euch gesagt. 
 
 LEONH. Ich werde emsig seyn, solches zu verrichten. 
 
 KONIGIN. Mein Konig, wir miissen Rath schaffen, 
 dafs diese ungliickseelige Jungfer mo'ge wieder zu ihrem 
 Verstande verholfen werden. 
 
 KONIG. Man lasse die Sache an unsre Leibmedici 
 gelangen. Ihr aber folget uns, Leonhardus. [ab. 
 
 FUNFTER ACT. 
 
 SCENE I. 
 
 HAMLET. 
 
 Ungliickseeliger Prinz, wie lange sollt du noch ohne 
 Ruhe leben! Wie lange verhangst du, gerechte Nemesis, 
 dafs dein gerechtes Rachschwerdt auf meinem Vetter, 
 den Brudermorder wetzest! Ich bin nun wieder anhero 
 gelanget, kann aber noch zu keiner Retfange kommen, 
 weil der Brudermorder allezeit mit viel Volk umgeben. 
 Aber ich schwore, ehe die Sonne ihre Reise von Osten 
 in's Westen gethan, will ich mich an ihm ra'chen. 
 
 QUEEN. The favourite of my retinue, my sweet 
 Ophelia, runs up and down, and crys, and screams, and 
 neither eats nor drinks; they think that she has quite 
 lost her senses. 
 
 KING. Alas! one hears nothing but sad and un- 
 happy news! 
 
 SCENE VII. 
 
 OPHELIA, with flowers. 
 
 OPHELIA. Ah! hold, there's a flower for thee, and 
 for thee too, and for thee too [gives a flower to each~\. 
 "Well-a-day, what had I not clean forgotten ! I must run 
 quick, I have forgotten my jewels. Ha! my diadem. I 
 must go quick to the court goldsmith and ask what new 
 fashions he has got. So, so, spread the table quick, I 
 shall soon be back again. [Buns away. 
 
 LEON. Am I then born to misery ! My father dead, 
 and my sister robbed of her wits! My heart will almost 
 break with its weight of grief! 
 
 KING. Take comfort, Leonardo, you shall live in 
 our favour. But you, sweet Queen, be pleased to follow 
 us, for we have something to communicate to you in 
 private. Leonardo, do not forget what we have told 
 you. 
 
 LEON. I shall be diligent to do your bidding. 
 
 QUEEN. My King, we must devise some means that 
 this unhappy maiden be restored to her senses. 
 
 KING. Submit the case to our own physician. Fol- 
 low us, Leonardo. [Exit. 
 
 ACT V. 
 
 SCENE I. 
 
 HAMLET. 
 
 Unhappy Prince, how long wilt thou know no rest! 
 How long a time, O just Nemesis, dost thou appoint for 
 whetting thy just sword of vengeance against my uncle, 
 this fratricide! Now am I here once more, and cannot 
 yet come to my revenge, because this fratricide is at 
 all times surrounded by so many people. But I swear, 
 that ere the sun hath compassed his journey from east 
 to west, I'll wreak my vengeance on him. 
 
 19* 
 
295 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 296 
 
 SCENE II. 
 HORATIO. 
 
 HORAT. Ibro Durchlaucht, ich bin von Herzen er- 
 freuet, dafs ich Sie mit guter Gesundbeit wieder allhier 
 sehe. Ich bitte aber, Sie wollen mir doch offenbaren, 
 warum Sie sobald wieder zuriickgekommen. 
 
 HAMLET. Ach, Horatio, du hattest mich bald nicht 
 mehr lebendig gesehn, dieweil mein Leben bereits auf 
 dem Spiel gestanden, wo mich die gottliche Allmacht 
 nicht sonderlich hatte bewahret. 
 
 HORAT. Wie, was sagen Ihro Durchlaucht? Wie 
 ist es zugegangen? 
 
 HAMLET. Du weist, dafs mir der Konig zwey Reise- 
 gefahrten als Diener, mich zu begleiten, mitgegeben 
 hatte. Nun begab es sich, dafs wir eines Tages con- 
 trairen Wind hatten, und an ein Eyland, nicht feme von 
 Dovern anker setzten. Ich stieg mit meinen zwey Die- 
 nern aus dem Schiff, etwas frische Luft zu schopfen. 
 Da kamen diese verfluchten Schelme, und wollten mir 
 das Leben nehmen, und sagten, der Konig hatte sie dazu 
 erkauft. Ich bat um mein Leben, ich wollte ihnen eben 
 soviel geben, und sollten den Konig doch unterdessen 
 meinen Tod berichten, ich wollte auch nimmermehr zu 
 Hofe kommen, es war aber kein Erbarmen bey ihnen. 
 Endlich gaben mir die Go tier etwas im Sinn : hierauf bat 
 ich sie, dafs vor meinem Ende ich noch ein Gebet thun 
 mochte, und wenn ich rufen wiirde : schiefst zu! so soll- 
 ten sie auf mich Feuer geben: indem aber dafs ich rief, 
 fiel ich zur Erden nieder, sie aber erschossen sich selb- 
 sten einander; bin also diesesmal noch so mit dem Le- 
 ben darvon kommen. Meine Ankunft aber wird dem 
 Konige nicht angenehm seyn. 
 
 HORATIO. O unerhorte Verratherey! 
 
 SCENE III. 
 PHANTASMO. 
 
 HAMLET. Siehe, Horatio, dieser Narr ist dem Ko- 
 nige viel lieber, als meine Person. Wir wollen horen, 
 was er vorbringt. 
 
 PHANTASMO. fWillkommen zu Hause, Prinz Hamlet!^ 
 Wisset Ihr was Neues? der Konig hat eine Wette auf 
 Euch und auf dem jungen Leonhardo geschlagen. Ihr 
 sollt zusammen in Rapieren fechten, und wer dem an- 
 dern die ersten zwey Stofse anbringen wird, der soil ein 
 weifs neapolitanisch Pferd gewonnen haben. 
 
 HAMLET. Ist dieses gewifs, was du sagest? 
 
 PHANTASMO. Ja es ist nicht anders. 
 
 HAMLET. Horatio, was mag dieses bedeuten? ich 
 und Leonhardus sollen miteinander fechten. Ich glaube, 
 
 SCENE II. 
 
 HORATIO. 
 
 HORAT. My noble Prince, I am heartily rejoiced 
 to see you here again in health and safety. Pray tell 
 me what hath brought you so soon back again. 
 
 HAMLET. Alas ! Horatio, you were very nearly not 
 seeing me alive again, for my life was already at stake, 
 had not the Almighty taken me under his special pro- 
 tection. 
 
 HORAT. What does your Highness say? How did 
 it all happen? 
 
 HAMLET. You know that my father gave me two 
 fellows as servants and companions of my travel. Now 
 it chanc'd one day that contrary winds beset us and we 
 cast anchor by an island not far from Dover. I, and my 
 two attendants left the ship to breathe the fresh air. 
 Hereupon the cursed villains came and would take my 
 life, saying, they were hired to do so by the King. I 
 begged for my life, promised to give them as much, 
 and that if they would report my death to the King, I 
 would never show myself at court again. But there 
 was no mercy to be had of them. At length the gods 
 inspired me with a thought: I begged the knaves for 
 time to say a prayer to Heaven before my end, and 
 when I called fire! they were to lodge their bullets in 
 my breast. But when I called, I fell flat on the ground, 
 so that they shot each other. Thus I escaped this time 
 with my life. But my arrival will not be very agreeable 
 to the King. 
 
 HORAT. O unheard of treachery! 
 
 SCENE III. 
 PHANTASMO. 
 
 HAMLET. Look Horatio, this fool is infinitely dearer 
 to the king than my poor person. Let's hear what he 
 has to say. 
 
 PHANT. Welcome to home, Prince Hamlet! Have 
 you heard the last news? The King has laid a wager 
 on you and young Leonardo. You are to measure 
 your skill at fencing, and he who gives his opponent 
 the first two thrusts is to win a white Neapolitan 
 horse. 
 
 HAMLET. ' Are you sure of what you say? 
 
 PHANT. Ay, ay, so it is, as 1 say. 
 
 HAMLET. Horatio, what may this mean? I and 
 Leonardo to fight! They have been imposing on this 
 
297 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 298 
 
 sie werden diesen Narren etwas weifs gemacht haben, 
 denn man kann ihm einbilden, was man will. Sehet 
 nur, Signora Phantasmo, es ist greulich kalt. 
 
 PHANTASMO. Ja ja, es ist greulich kalt 
 
 [zittert mit dem Munde. 
 
 HAMLET. Nun ist es schon nicht so kalt mehr. 
 
 PHANTASMO. Ja ja, es ist so recht ins Mittel. 
 
 HAMLET. Aber nun ist eine grofse Hitze. 
 
 [wischt das Gesicht. 
 
 PHANTASMO. O welch eine greuliche Hitze! 
 
 [wischt auch den Schweifs. 
 
 HAMLET. Nun ists nicht recht kalt, auch nicht recht 
 warm. 
 
 PHANTASMO. Ja es ist nun eben recht temperirt. 
 
 HAMLET. Da siehest du, Horatio, dafs man ihm 
 weifs machen kann, was man will. Phantasmo, gehe 
 wieder hin zum Konige, und sage ihm, dafs ich ihm 
 bald aufwarten werde [Phantasmo ab~\. Nun kommt, 
 Horatio, ich will gleichwohl gehn, und mich dem Konig 
 prasentiren. Aber ach! was bedeutet dieses? mir fallen 
 Blutstropfen aus der Nase ; mir schuttert der ganze Leib ! 
 O wehe, wie geschieht mir! [fdllt in Ohnmacht. 
 
 HORAT. Durchlauchtigster Prinz, o Himmel, was 
 bedeutet dieses ! Ihro Durchlaucht kommen doch wieder 
 zu sich selbst! Durchlauchtigster Prinz, wie ists, was 
 wiederfahrt Ihnen! 
 
 HAMLET. Ich weifs nicht, Horatio. Indem ich ge- 
 dachte, nach Hofe zu gehn, iiberfiel mich eine schleu- 
 nige Ohnmacht; was dieses bedeuten wird, ist den Got- 
 tern bekannt. 
 
 HORAT. Ach, der Himmel gebe doch, dafs dieses 
 Omen nicht etwas Boses bedeuten moge. 
 
 HAMLET. So sey es wie es will, ich will dennoch 
 zu Hofe gehn, und sollte es auch mein Leben kosten. 
 
 [ab. 
 SCENE IV. 
 
 KONIG. LEONHARDUS. PHANTASMO. 
 KONIG. Leonhardus, mache dich fertig, denn Prinz 
 Hamlet wird auch bald hier seyn. 
 
 LEONH. Ihro Majestat, ich bin schon fertig, und 
 werde schon mein Bestes thun. 
 
 KONIG. Sehet wohl zu; hier kommt der Prinz 
 schon 
 
 SCENE V. 
 
 HAMLET. HORATIO. 
 
 HAMLET. Alles Gliick und Heil warte auf Ihro 
 Majestat ! 
 
 KONIG. Wir danken Euch, Prinz ! Wir sind hochst- 
 erfreut, dafs Euch die Melancholic in etwas verlassen, 
 
 poor fool, for one can make him believe what one 
 likes. Observe, Signor Phantasmo, 'tis horribly cold. 
 
 PHANT. Ay, ay, 'tis horribly cold 
 
 [His teeth chattering with cold. 
 
 HAMLET. Now it is no more so cold. 
 
 PHANT. You're right my lord, just the happy me- 
 dium. 
 
 HAMLET. But now it is very hot. 
 
 [Wiping his face. 
 
 PHANT. what a dreadful heat! 
 
 [Also wiping away the perspiration. 
 
 HAMLET. It seems to me 'tis neither very cold nor 
 very warm. 
 
 PHANT. Yes, now it is just temperate. 
 
 HAMLET. Do you see, Horatio, one can make him 
 believe what one will. Phantasmo, go get thee to the 
 King, and say I'll wait upon him instantly. [Phant. exit] 
 Come, Horatio, I go this very minute, and present myself 
 to the King. Ha! What does this bode? See, these drops 
 of blood which fall from my nose. I tremble from head 
 to foot! Alas! alas! how is it with me? 
 
 [Faints. 
 
 HORAT. Most noble Prince! O Heavens! what does 
 this import? Come to your senses my lord! My noble 
 Prince, what is the matter with you? 
 
 HAMLET. I do not know, Horatio. When I thought 
 of going to court, a sudden swoon came over me. The 
 gods alone know what it signifies. 
 
 HORAT. Heaven grant this be no evil omen! 
 
 HAMLET. Be it what it may, I go to court, ay and 
 should it cost me my life. 
 
 [Exeunt. 
 SCENE IV. 
 
 KING. LEONARDO. PHANTASMO. 
 KING. Leonardo prepare, for Prince Hamlet will 
 also be here directly. 
 
 LEON. I am prepared, your Majesty, and will do 
 my utmost. 
 
 KING. Look well to it; but here comes the Prince 
 in happy time 
 
 SCENE V. 
 
 HAMLET. HORATIO. 
 
 HAMLET. All health and happiness wait on your 
 Majesty! 
 
 KING. We thank you, Prince! We are extremely 
 glad, that your melancholy has somewhat abated ; where- 
 
299 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 300 
 
 derowegen haben wir heut einen Luststreit angestellt 
 zwischen Euch und dem jungen Leonhardo : Ihr sollt 
 mit ihm in Rapieren fechten, und welcher von Euch 
 beyden die ersten drey Stofse bekommen wird, der soil 
 ein weifs neapolitanisch Pferd mit Sattelzeug und allem 
 Zubehor gewonnen haben. 
 
 HAMLET. Ihro Majestat wollen mir verzeihen, denn 
 ich in den Rappier wenig geiibt bin. Leonhardus aber 
 kommt kiirzlich aus Frankreich, allda er sich ohne Zwei- 
 fel wird gut exercirt haben, darum wollen Sie mich 
 entschuldiget halten. 
 
 KONIG. Prinz Hamlet thut uns dieses zu gefallen, 
 denn wir sind begierig zu erfahren, was die Teutschen 
 und die Franzosen vor Finten haben. 
 
 SCENE VI. 
 KONIGIN. 
 
 KONIGIN. Gnadiger Herr und Konig, ich werde 
 Ihnen ein grofses Ungliick erzahlen! 
 
 KONIG. Der Himmel bewahre uns davor! Was ist 
 es denn? 
 
 KONIGIN. Die Ophelia ist auf einen hohen Berg 
 gestiegen, und hat sich selber heruntergestiirzt und um 
 das Leben gebracht. 
 
 LEONH. Ach ungliickseeliger Leonhardus! du hast 
 in kurzer Zeit einen Vater und Schwester verlohren! 
 Wohin will doch das Ungliick dich leiten ! Ich wiinsche 
 mir selbsten vor Betriibnifs den Tod. 
 
 K6NIG. Stellet euch zufrieden, Leonhardus ! wir sind 
 euch gnadig, fanget nur das Gefechte an. Phantasmo 
 bringe die Rappiere; Jhr aber, Horatio, sollet urtheilen. 
 
 PHANTASMQ, Da sind die warmen Biere. 
 
 HAMLET. (Wohlan denn, Leonhardus, so kommet 
 denn an, wir wollen zusehn, wer dem andern die Schel- 
 len wird anhangen.^ "Wo ich aber einen Exces begehen 
 mochte, bkte ich zu excusiren, denn ich lange nicht 
 gefochten. ) 
 
 LEONH. (ich bin Ihro Durchlaucht Diener, Sie scher- 
 zen nur. j 
 
 Yin dem ersten Gang fechten sie reine. Leon- 
 hardus bekommt einen Stofs. 
 
 HAMLET. Nun das war eins, Leonhardus! 
 
 LEONH. Es ist wahr, Ihro Durchlaucht! Allo Re- 
 vange ! [Dieser Icifst das Happier fallen, und ergreift den 
 vergifteten Degen, welcher parat lieget, und stofst dem 
 Prinzen die Quarte in den Arm. Hamlet pariret auf 
 Leonhardo, dafs sie beyde die Gewehre fallen lassen. Sie 
 laufen ein jeder nach dem Happier. Hamlet bekommt den 
 vergifteten Degen, und sticht Leonhardus todt. 
 
 LEONH. O wehe, ich habe- einen todtlichen Stofs! 
 
 fore we have arranged a fencing match between you 
 and young Leonardo. He who makes the first three 
 hits, has gained the prize, a white Neapolitan horse with 
 saddle and housings complete. 
 
 HAMLET. Your Majesty will pardon me, for I am 
 little practised with the foils, while Leonardo comes 
 direct from France, where he has undoubtedly had 
 plenty of practice; wherefore I pr'ythee hold me ex- 
 cused. 
 
 KING. Prince Hamlet will do it to please us, for 
 we are curious to learn the feints of the Germans and 
 the French. 
 
 SCENE VI. 
 QUEEN. 
 
 QUEEN. My gracious Lord and King, I am the 
 bearer of sad tidings. 
 
 KING. Heaven forbid, say on. 
 
 QUEEN. Ophelia has ascended a high hill, and cast 
 herself from the top of it, and taken her life. 
 
 LEON. Ah, ill-fated Leonardo! In how short a space 
 of time hast thou lost a father and a sister! Whither 
 will mischance lead me! O! that death would come to 
 free me from my woe and misery! 
 
 KING. Content ye, Leonardo! You enjoy our fa- 
 vour, only begin the play. Phantasmo fetch the rapiers, 
 Horatio shall be umpire. 
 
 PHANT. Here is the warm beer. 
 
 HAMLET. Come on, Leonardo, let's see who is to 
 wear the fool's bells. Should I blunder, pray excuse 
 me Leonardo, for I am somewhat out of practice. 
 
 LEON. My lord you jest with your servant. 
 
 [During the first bout they fence fairly. Leon- 
 ardo receives a thrust. 
 HAMLET. That was a hit, Leonardo! 
 LEON. True, your Highness. Now for my re- 
 venge! [He lets his foil fall, and seizes the poisoned 
 sword which is lying ready and deals Mm a thrust in the 
 left arm. Hamlet parries, so that both drop their weapons. 
 They run to pick them up. Hamlet takes the poisoned 
 sword and mortally wounds Leonardo. 
 
 LEON. Alack! I am mortally wounded! I receive 
 
301 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 302 
 
 ich bekomme den Lohn, mit welchem ich dachte einen 
 andern zu bezahlen. Der Himmel sey rair gnadig. 
 
 HAMLET. Was zum Teufel 1st dieses! Leonhardus, 
 hab ich euch mit dem Rappier erstochen? Wie geht 
 dieses zu? 
 
 KONIG. Gehet geschwinde, und gebt meinen Mund- 
 becher mit Wein her, damit die Fechter sich ein wenig 
 erquicken. Gehe, Phantasmo, und hole ihn. [tritt vom 
 Thron. Fur sich.} Ich hoffe, wenn sie beyde von dem 
 Wein trinken werden, dafs sie alsdenn sterben, und 
 diese Finte nicht oiFenbar werde. 
 
 HAMLET. Sagt mir, Leonhardus, wie ist dieses zu- 
 gegangen ? 
 
 LEONH. Ach, Prinz, ich bin von dem Konig zu 
 diesem Ungliick verfiihret worden! Sehet, was Ihr in 
 Eurer Hand habt! es ist ein vergifteter Degen. 
 
 HAMLET. O Himmel, was ist dieses! Bewahre mich 
 doch davor! 
 
 LEONH. Ich sollte Euch damit verletzen, denn er 
 ist so stark vergiftet, dafs, wer nur die geringste Wunde 
 damit bekommt, augenscheinlich sterben mufs. 
 
 KONIG. Holla, Ihr Herren, erhohlet Euch ein wenig 
 und trinket. [Indem der Konig vom Stulil aufsteliet, und 
 diese Worte redet, so nimmt die Konigin dem Phantasmo 
 den Becker aus der Hand und trinket, der Konig rufti] 
 Holla! wo bleibt der Becher? Ach, wertheste Gemah- 
 lin, was thut sie? Dieses, was hier eingeschenket, ist 
 mit dem starksten Gift vermenget. Ach wehe, was habt 
 Ihr gethan! 
 
 KONIGIN. O wehe, ich sterbe ! 
 
 [Der Konig stehet vor der Konigin. 
 
 HAMLET. Und Du, Tyranne, sollst sie in dem Tode 
 begleiten. [Hamlet ersticht ihm von hinten zu. 
 
 KONIG. O wehe, ich empfange meinen bosen Lohn! 
 
 LEONH. Adieu, Prinz Hamlet! Adieu, Welt! ich 
 sterbe auch. Ach, verzeihet mir, Prinz! 
 
 HAMLET. \ Der Himmel geleite deine SeeleAweil du 
 unschuldig. Diesen Tyrannen aber wiinsche ich, 'dafs er 
 seine schwarze Siinden in der Ho'llen abwaschen moge. 
 Ach, Horatio, nun ist meine Seele ruhig, nun ich mich 
 an meinen Feinden gerochen habe. Ich habe zwar auch 
 einen Stofs in den Arm, aber ich hoffe, es werde nichts 
 zu bedeuten haben. Es ist mir leid, dafs ich Leonhar- 
 dum erstochen habe, ich weifs aber nicht, wie ich den 
 verzweifelten Degen in meine Hand bekommen; doch 
 
 the recompense with which I thought to pay another. 
 Heaven, have mercy on me! 
 
 HAMLET. What the devil is this, Leonardo? have 
 I slain you with this foil? Say, say, how is this pos- 
 sible ? 
 
 KING. Go quick, and fetch a cup of wine to re- 
 fresh our swords-men a little. Go, Phantasmo, and fetch 
 it. [Descends from the throne. Aside.} I hope they may 
 both drink and die, and that this trick may not become 
 known. 
 
 HAMLET. Tell me, Leonardo, how did this all come 
 about ? 
 
 LEON. Alas! Prince, I have been seduced to this 
 misfortune by the King ! Look at what you have in your 
 hand! It is a poisoned sword. 
 
 HAMLET. 0! Heavens, what is this! Preserve me 
 from it! 
 
 LEON. It was agreed that I should wound you 
 with it, for it is so strongly poisoned, that whoever re- 
 ceives the slightest wound from it, must die. 
 
 KING. Ho! gentlemen, take this cup and drink. 
 [Whilst the King is rising from his chair and speaking the 
 above words, the Queen takes the cup out of Phantasmo' 's 
 hand and drinks; the King exclaims:} Ho! where is the 
 cup? Alas! my dearest wife, what are you doing? This 
 drink is mixed with the strongest poison. Alack! alack! 
 what have you done! 
 
 
 QUEEN. Alas! I die! 
 
 [The King stands before the Qu 
 
 '-(}> 
 
 g&fwwv. 
 
 HAMLET. And thou, tyrant, shalt bear her company 
 in death. [Stabs him from behind. 
 
 KING. Alas! alas! I receive my due recompense! 
 
 LEON. Farewell, Prince Hamlet! Farewell, world! 
 I die too. Ah, forgive me, Prince! 
 
 HAMLET. May heaven receive thy soul for thou art 
 innocent. But for this tyrant, I wish that he may purge 
 his sins in the hell. Ah, Horatio! now is my soul at 
 peace, I am revenged of mine enemies. 'Tis true I have 
 received a touch upon the arm, but I hope it will be 
 of no consequence. It grieveth me that I have slain 
 Leonardo. I know not how the accursed weapon came 
 to my hand; but as he hath sown, so hath he reaped. 
 He has received his reward. My wretched mother ! most 
 
303 
 
 TRAGEDY OF PRINCE HAMLET OF DENMARK. 
 
 304 
 
 wie die Arbeit, so ist auch der Lohn, er hat seine Be- 
 zahlung bekommen. Nichts jammert mir mehr, als 
 meine Frau Mutter. Doch sie hat diesen Tod wegen 
 ihrer Siinden halben auch verdienet. Aber sagt mir, 
 wer hat ihr den Becher gegeben, dafs sie Gift bekommen? 
 
 PHANTASMO. Ich, Herr Prinzl ich habe auch den 
 vergifteten Degen gebracht, aber den vergifteten Wein 
 habt Ihr allein sollen austrinken. 
 
 HAMLET. Bist du auch ein Werkzeug dieses Ungliicks 
 gewesen? Siehe, da hast du auch deine Belohnung! 
 
 [sticht ihn todt. 
 
 PHANTASMO. Stecht, dafs euch die Klinge verlahme! 
 
 HAMLET. Ach, Horatio, ich furchte, es wird nach 
 meiner veriibten Rache auch mein Leben kosten, denn 
 ich bin am Arme sehr verwundet. Ich werde ganz matt, 
 meine Glieder werden schwach, und meine Beine wollen 
 nicht mehr stehn; meine Sprache vergeht mir, ich fiihle 
 den Gift in alien meinen Gliedern. ( Doch bitte ich 
 euch, lieber Horatio, und bringet die Krone nach Nor- 
 wegen an meinen Vetter, den Herzog Fortempras, da- 
 mit das Konigreich nicht in andre Hande falle. \ Ach, 
 o weh, ich sterbe! ' 
 
 HORATIO. Ach, Durchlauchtigster Prinz, erwartet 
 doch Hiilfe, O Himmel, er bleibt mir unter den Handen! 
 Ach, was hat doch dieses Konigreich eine zeither vor 
 schwere Kriege gefuhret! Kaum hatte es Friede, so ist 
 es aufs neue mit innerlicher Unruhe, Regier- Streit- und 
 Mordsucht angefullet worden. Dieser traurige Ungliicks- 
 fall mag wohl in keinem Seculo der Welt jemals ge- 
 schehn seyn, wie man leider jetzt an diesem Hofe erle- 
 bet hat. Ich will alle Anstalt mit Hulfe der treuen 
 Rathe machen, dafs diese hohe Personen nach ihrem 
 Stande beerdiget werden, alsdenn mich cito mit der Krone 
 nach Norwegen verfiigen, und dieselbe iibergeben, wie 
 mir dieser ungliickseelige Prinz befohlen hat. 
 
 Vers. 
 
 So gehts, wenn ein Regent mit List zur Kron sich dringet, 
 Und durch Verriitherey dieselbe an sich bringet, 
 Derselb erlebet nichts, als lauter Spott und Hohn, 
 Denn wie die Arbeit ist, so folget auch der Lohn. 
 
 ENDE. 
 
 do I grieve for her her sins have brought this just 
 punishment down on her. Say, who gave her the poi- 
 soned cup? 
 
 PHANT. I, Prince. I have also brought the poisoned 
 sword, but the poisoned wine was intended for you alone. 
 
 HAMLET. Hast thou too been an instrument of all 
 this woe and misery? There, take thy due reward? 
 
 [Stabs him. 
 
 PHANT. Run it in, and may your blade grow lame ! 
 
 HAMLET. Horatio, alas! I fear my revenge has 
 cost me my life, for I am sorely wounded in the arm. 
 I grow faint, my limbs grow weak and refuse to sup- 
 port me, my voice fails, I feel the poison in all my 
 members. Gentle Horatio, take the crown to my cousin, 
 Duke Fortinbras of Norway, that the kingdom may not 
 fall into other hands. Alas! I die! 
 
 HORATIO. O! Noble Prince, aid may still come! 
 Heavens! he is dying in my arms. Alas! O! how this 
 Kingdom of Denmark hath been scourged with long 
 wars! Scarce was peace established, when anew internal 
 disturbances, murders, ambition, and contentions fill the 
 land. In no age of the world hath such a tragedy been 
 played as now, alas, at this court. And now, with aid 
 from the faithful counsellors of the kingdom, I will take 
 all fitting measures that these high personages be buried 
 according to their rank. "Which done, I will go to Norway 
 with the crown at once, and deliver it as this unhappy 
 Prince commanded. 
 
 Verse. 
 
 Thus is it when a prince by craft the crown will seize, 
 And take it for himself by treach'rous practices, 
 'Tis nothing that he gets but mockery and scorn, 
 For he shall reap at eve, what he has sown at morn. 
 
 THE END. 
 
ACTED IN GERMANY, IN THE YEAR 1626, BY ENGLISH PLAYERS. 
 
 20 
 
The German Text of the TRAGEDY OF ROMEO AND JULIET is printed from the only known Manuscript 
 in the Imperial Library at Vienna. Extracts from it have been published (very incorrectly) in EDUARD DEVRIENT'S 
 Geschichte der deutschen Schauspielkunst, Band I, Leipzig 1848, 8vo, pag. 408 434. The present impression is 
 the first ever published of the complete play. The Manuscript has no title-page and bears no date. 
 
TRAGJEDIA 
 VON ROMIO UND JULIETTA. 
 
 Personen. 
 
 FURST. 
 
 CAPOLET. 
 
 MUNDIGE. 
 
 PARIS. 
 
 ROMIO. 
 
 MERCUTIUS. 
 
 PENVOLIO. 
 
 TIPOLT. 
 
 PATER. 
 
 PlCKELHARING. 
 ElN JUNGE. 
 
 GRAFIN CAPOLET. 
 
 JULIETA. 
 
 AMME (ANTONETA); 
 
 ACTUS PRIMUS. 
 
 SCENA PRIMA. 
 
 FURST mit KAPOLETH vnd MUNDIGE. 
 Ho/stadt. 
 
 FURST. Die Sonne schawet an den blaw Saphir 
 glantzenden Himmel den Erdtkreifs nur darumb, damit 
 alles wachse blue vnd zeitig werde, vnd dem Menscheij 
 zu Nutzen diene, wo aber die fiinstere Hagelswolckhen 
 mit einer frostnufs solche beriihret, so ist die gefahr 
 vnd der Schad vorhanden. Capolet vnd Mundige weillen 
 in vnserer Regirung nichts Jrrsamber vnd vnleidiger 
 scheinet alfs Euer beyder Heuser vneinigkeit saget vnnfs 
 in was Nutzen bestehet Euer Zorn Hafs vnd Feind- 
 schafft alfs dafs Euer Geschlecht gemiindert vnd nach 
 der Zeit mit bluetigen Kempfen ausgerodt vnd zerge- 
 hen mufs vnd ihr habt nichts bessers zu hoffen alfs dafs 
 Euch beyden nichts mehr ubrig nach Euren todt, alfs 
 der Nahmb vnd die nachfolgende weldt sagen wir(d) sie 
 sein gewe(sen). 
 
 CAPOLET. Gnadiger Fiirst und Herr nach dero Be- 
 lieben zu reden gestehe ich, dafs vnser beyde Heuser 
 von Geschlecht zu Geschlecht in solche Erbfeindschaft 
 
 Persons represented: 
 
 PRINCE. 
 
 CAPULET. 
 
 MONTAGUE. 
 
 PARIS. 
 
 ROMEO. 
 
 MERCUTIO. 
 
 BENVOLIO. 
 
 TIBALT. 
 
 A FRIAR. 
 
 CLOWN (Pickelhaering). 
 
 A BOY. 
 
 LADY CAPULET. 
 
 JULIET. 
 
 NURSE. 
 
 ACT I. 
 
 SCENE I. 
 
 4 
 
 PRINCE with CAPULET and MONTAGUE. 
 
 Retinue. 
 
 PRINCE. The sun looks at this earth in heaven's 
 azure only that every thing may grow, flower, and ma- 
 ture, and be of use to man : but wherever the dark hail- 
 clouds strike her with a chill, there is danger and loss. 
 Capulet and Montague! since in our reign nothing ap- 
 pears more erratic and intolerable than the quarrel of 
 your two houses, tell us then, what else do you gain 
 by your wrath, hatred, and enmity but that your race 
 dwindle away, and in the course of time become ex- 
 tirpated in bloody fights and disappear, and that you 
 have nothing better to hope, but that after your death 
 nothing remains of both of you, except your names and 
 the saying of future generations: they have been. 
 
 CAPULET. Gracious Prince and Lord! To speak 
 according to your pleasure, I confess that both our 
 houses from generation to generation have grown into 
 
 20* 
 
311 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 312 
 
 gerathen, dafs es scheinet, als ob der Himmel darob 
 ein Wohlgefallen vnd mit seinen influenzen das Kindt 
 in Muetterleib mit der geburthstundt schon feindlich be- 
 kleitet. Der Himmel ist mein Zeug, das meine grawe 
 Haar daran keinen gefallen, sondern viel mehr beseufftze 
 den Schadenfohl vndtergang, vnsers so alten Stammen 
 Hauls. 
 
 FURST. Was sagt ihr graff Mundige, wie gefalt 
 Euch diese meinuqg? 
 
 MUNDIGE. Gnadiger Furst und Herr diese meinung 
 des Capoleth ist nicht vervveriflich, aber die offt be- 
 schehene affront vnd iiberfallung der Meinigen so sie 
 von den Capoleten erliden ist weldt kiindig vnd vnserer 
 Vorfahrer bluetvergiefsung gantze cronicen voll voll (sic) 
 sein ist also meinem bedunckhen nach nicht Rathsamb 
 dafs mein feindt zuesehe dafs mir das wasser in das 
 maul rinnt. 
 
 FURST. Graff Mundige der tugendtwurdige titul 
 bestehet nicht in hiitzigen Buffer des Zorns sondern 
 mit Nachlassung des Empfangenen Schaden, der ist 
 Ruhmbwiirdig zu nennen, so seinen feindt verzeihen vnd 
 mit freundtschafft obsigen kan. 
 
 MUNDIGE. Die Natur lehrent aber viel ein anders 
 gnadiger Furst und Herr. 
 
 FURST. Und was dan? 
 
 MUNDIGE. Nicht zuelassen, das man von feindt 
 iiberwunden vnd bezwungen werde. 
 
 FURST. Es ist wahr was den Krieg vnd landtsver- 
 wustung betrufft. 
 
 CAPOLET. Wan es so wahre wolte ich vmb wur- 
 diger gleich meine grawe Haar mit Sigesblatter vmb 
 winden, oder einen Ehrlichen todt hoffen, aber dieser 
 Haufs vnd Nahmben Krieg legt mich selber eher in das 
 grab, alfs Hoffnung haben einen friden zu erleben. 
 
 FURST. Der Himmel kan keinen gefallen an einer 
 einheimbischen Vnruhe oder Stattsverderben haben noch 
 weniger an dem, das zwey so vornehme Stammenheufser 
 fallen vnd selbst sich zu grundte richten sollen. 
 
 CAPOLET. Wie vorgesagt gnadiger Furst vnd Herr 
 ich liebe die Einigkeit den Frieden vnd hasse das vn- 
 rechte Bluetvergiessen. 
 
 MUNDIGE. Wer gezwungen das gewohr zu brauchen, 
 der vergiefst nicht vnrechtes blueth. 
 
 CAPOLET. Der fridlich leben will, braucht kein ge- 
 vvahr zu wetzen. 
 
 MCXDIGE. Der leichtlich glaubet, wird leicht be- 
 trogen. 
 
 CAPOLET. Der nicht die Ehre acht, kan leicht ein 
 betriiger sein. 
 
 such hereditary feud, that it seems as if heaven taketh 
 delight in it, and by its influences renders the child in 
 the mother's womb hostile from its birth. Heaven is 
 my witness, that my gray hair does not delight in it, 
 but that I sigh over the hurtful ruin of our so ancient 
 stock. 
 
 PRINCE. How say you, count Montague? how do 
 you like this sentiment? 
 
 MONTAGUE. Gracious Prince and Lord! This sen- 
 timent of Capulet is not to be rejected; but the often 
 repeated affronts and attacks which my kinsmen have 
 had to suffer from the Capulets, are well-known to all 
 the world; and whole chronicles are full of our fore- 
 father's bloodshed. Therefore methinks it is not advis- 
 able, that my enemy should stand by and see the waters 
 rise up to my mouth. 
 
 PRINCE. Count Montague! The title to virtue does 
 not consist in heat of anger but in remission of received 
 injury. That man is worthy of praise who forgives his 
 enemy and conquers by kindness. 
 
 MONTAGUE. Yet nature teaches something very dif- 
 ferent, gracious Prince and Lord! 
 
 PRINCE. And what? 
 
 MONTAGUE. Not to suffer oneself to be conquered 
 and overcome by enemies. 
 
 PRINCE. That is true as far as concerns war and 
 devastation. 
 
 CAPULET. If it were so, I should all the more 
 worthily at once entwine my gray hair with victorious 
 leaves, or hope for an honourable death. But sooner 
 will the feud of these houses and names lay me in my 
 grave, than there will be hope of my living to see a 
 peace. 
 
 PRINCE. Heaven cannot be pleased with civil dis- 
 turbance or ruin of the state, still less with the fall and 
 mutual destruction of two such noble houses. 
 
 CAPULET. As I have said before, gracious Prince 
 and Lord, I love union, and peace, and hate unlawful 
 bloodshed. 
 
 MONTAGUE. He who is forced to use his weapon, 
 does not shed unlawful blood. 
 
 CAPULET. He who will live peacably, need whet 
 no weapon. 
 
 MONTAGUE. He who easily believes, is easily de- 
 ceived. 
 
 CAPOLET. He who does not regard his honour, may 
 easily turn deceiver. 
 
313 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 314 
 
 MUNDIGE. Der die meinigen beleidiget, greifft mich 
 vnd meine Ehre an. 
 
 CAPOLET. Der mein Herkommen beschimpfet ohne 
 vrsach, ist nicht zu achten. 
 
 MUNDIGE. Wan aber die feindtschafft sein vrsach 
 hat? 
 
 CAPOLET. "Wer feindtschafFt haben will, der darf 
 kein vrsach suechen. 
 
 MUNDIGE. Die Beleidigung hat kein gedult. 
 
 CAPOLET. Der Beleidiget ist strafFwiirdig. 
 
 MUNDIGE. So straff man den so der beleidigung 
 anfenger ist. 
 
 CAPOLET. O Mundige, Mundige, ich wintsche das 
 kein beleidiger Nie gewesen wehre. 
 
 MUNDIGE. Wan wintschen gultig wehre, so hette 
 ich auch mehr von meiner FreundtschafFt vnd familia bey 
 leben. 
 
 FURST. Es gehet vnnfs selbst zu Hertzen, in deme 
 wur bedrachten was thorheit das seyn ein Geschlecht 
 das ander zu verdilgen, die freyheit zu verliehren, ta'g- 
 lich vnruhe suechen, sich selbst in vnglickh stiirtzen vnd 
 Entlichen ubel sterben. 
 
 MUNDIGE. Ich wintsche wol zu sterben vnd fridlich 
 zu leben. 
 
 CAPOLET. Der Himmel gebe, das es mir auch wi- 
 derfahre. 
 
 FURST. Vernehmet, ein Konig Furst oder Herr, 
 der da in seiner Regierung sitzet, wafs steht ihm besser 
 an alfs seine Vndterthanen in friden vnd Recht zu er- 
 halten, thuet Er solches so lebt Er glickselig, wo aber 
 in Regirungssachen ein Unruhe vnd Feindtseeligkeit sich 
 sehen lasset, so ist dafs Verderben verhanden, man sehe 
 in alien landten, wo der frid vnd Einigkeit sich vmb- 
 halsen da wohnet lauther frewd. Euer Vndterthanen 
 blueten selbst mit Euch vnter den schwaren Joch Eurer 
 FeindtschafFt, darumb leget ab den Hafs vnd suechet 
 nicht Euer Verderben, wo man nicht mit Scharpffe vnd 
 Statuten des faderlandes mit Euch verfahren soil. 
 
 CAPOLET. Gnadigster Furst vnd Herr, dem die sache 
 angehet der fiihlt den Schaden vnd weillen mir gebuh- 
 ren will zu gehorsamben, so setze ich mich nicht wider 
 die gesetz des Verbots. 
 
 MUNDIGE. GrafF, das guete Vornehmen, so ich an 
 Euch verspiihre soil mich nicht hindern den gehorsamb, 
 die gesetz vnd liebe vnsers Vatterlandts zu vollziehen, 
 wo nur der grundtstein Eures willeh wohlgelegt. 
 
 CAPOLET. GrafF, ich will Eurer meinung beyfallen, 
 vnd wan mein will anders alfs der Eure, so verspreche 
 ich hier in gegenwarth vnsers gnadigen Fiirstens, das 
 ich alle schuld ertragen, wo Euch vnd den Eurigen von 
 
 MONTAGUE. He who insults my kinsmen, attacks 
 me and my honour. 
 
 CAPULET. He who defames my extraction without 
 reason, deserves no respect. 
 
 MONTAGUE. But if there be a reason for enmity? 
 
 CAPULET. He who will have enmity, need not seek 
 for a reason. 
 
 MONTAGUE. Offence has no patience. 
 
 CAPULET. The offender is liable to punishment. 
 
 MONTAGUE. Then let him be punished who began 
 offending. 
 
 CAPULET. Oh Montague, Montague! I wish there 
 had never been an offender. 
 
 MONTAGUE. If wishing were of any good, I also 
 should have more joy of my friends and family in my 
 life-time. 
 
 PRINCE. It makes our own heart ache, to think 
 what folly it is one race destroying the other, losing 
 Qne's liberty, seeking quarrel day by day, precipitating 
 oneself into misfortune, and in the end dying miserably. 
 
 MONTAGUE. I wish to die well and to live in peace. 
 
 CAPULET. Would to Heaven that the same be my 
 lot too! 
 
 PRINCE. Hear ye! a King, Prince, or Lord who 
 sits in his government, what becomes him better than 
 keeping his subjects in peace and right? If he does that, 
 he lives in happiness ; but wherever trouble and hostility 
 appear in matters of government, there ruin is at hand. 
 Look at all countries : where peace and unanimity exist 
 in fond embrace, there is joy. Even your vassals are 
 bleeding from the heavy yoke of your enmity. There- 
 fore discard your hatred and do not court your ruin, 
 unless you would be treated with severity, and accord- 
 ing to the statutes of the land. 
 
 CAPULET. Most gracious Prince and Lord! He, 
 whose concern it is, feels the injury; and as it behoves 
 me to obey I do not set myself against the law. 
 
 MONTAGUE. Count! The good intention I observe 
 in you shall not hinder me from obedience, from fol- 
 lowing the laws and love of our country, provided the 
 corner-stone of your will be well laid. 
 
 CAPULET. Count! I approve of your sentiment; and 
 when my will shall differ from yours, I do here pro- 
 mise, in the presence of our gracious Prince, to take 
 upon myself all responsibility in case you and your 
 
315 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 316 
 
 den Capoleten solle eine beleidigung geschehen, vnd 
 hier ist meine Handt. 
 
 MUNDIGE. Und hier die meine. 
 CAPOLET. Zu einer wahren trew. 
 MUNDIGE. Vnd Eechten freundschafftsbandt. 
 CAPOLET. Wer dise bricht 
 MUNDIGE. Verfluechet sey sein Handt. 
 FURST. Dises ist ein werkh, daran wiir einen ge- 
 fallen tragen vnd wintschen 
 
 Euren beiden Stammen 
 Die weifse Fridensbliie 
 Die waxe Nestors Jahr 
 Mit 1000 glickes Nahmen. 
 
 MUNDIGE. 
 
 Der Himmel hat bifsher gantz zornig aufsgesehen 
 Nun aber muefs der Krieg vnd Hafs zu Ende gehen. 
 
 CAPOLET. 
 
 Es hat der Krieges Newd vnfs beyde hart gekrenkt 
 Jezt vnser will an frid vnd Siifse Ruhe gedenkt. 
 
 MUNDIGE. 
 
 Die Ruhe nimbt mich ein, die Rach ligt ietzo vnten 
 Nun ist das vngemach vnd aller Zankh versch\vunden. 
 
 CAPOLET. 
 
 Nun bin ich sorgenfrey vnd sag vonn hertzen recht, 
 Ich werd mich allzeit nennen sein Diener vnd sein Knecht. 
 
 MUNDIGE. 
 
 Den ich ertodten wolt nennt mich ietzt seinen freind 
 Nun mehr hats keine noth, ich weifs von keinem feind. 
 
 FURST. 
 
 Wehe in dem Hertzen dem der da hegt Krieges glueth 
 Vnd lescht die tugendt aufs, acht weder freind noch blueth 
 Es will dafs Ilion durch solches Krieges fewer 
 Dafs Troia muest vergehn in diesem vngehewer 
 Dafs laster weiche weith aufs Euren tugendt Sinn 
 Die freindtschafft gebe Euch, die balmen zu gewiinn. 
 
 [Alle ab. 
 
 SCENA 2 DA . 
 JULIETA vnd ANTONETA 
 
 in garthen. 
 
 JULIETA. O grofse Belustigung dieser Fruhlings Zeit, 
 wan man sich ergotzen kan in den lustbahren Garten, 
 felder vnd walder, wan man horet die rauschende Bach- 
 lein die ihren lauff zwischen den Kifselsteinen zerbre- 
 chen, welches das gehor ergetzet, wan der zephirus den 
 blatterreichen Bawmen schmeichlet, vnd mit ihnen schert- 
 zet, wan die Vogl singen, vnd mit ihrem gender die lufft 
 durchstreichen , vnd andere tausend anmuethungen die 
 das Hertz erquickhen. Aber sage Julieta wafs frewde 
 genuest du, weil ich wie eine Einsambe turteltaube ein- 
 
 people should suffer any injury from the Capulets; and 
 there is my hand. 
 
 MONTAGUE. And here is mine. 
 CAPULET. Unto a true faith 
 MONTAGUE. And genuine bond of friendship. 
 CAPULET. The which whoever breaks - 
 MONTAGUE. Accursed be his hand! 
 PRINCE. This is a work therein we delight, and 
 wish 
 
 Both your houses 
 The white blossom of Peace; 
 May it grow to Nestor's age 
 With a thousand lucky names! 
 
 MONTAGUE. 
 
 The Heavens did as yet anger and wrath portend/ 
 But now henceforth must war and hatred have an end. 
 
 CAPULET. 
 
 War's envy on us both hath grievous suffering brought 
 To sweet repose and peace our will now turns our thought. 
 
 MONTAGUE. 
 
 Quiet now fills my heart, revenge lies low too here, 
 Now does our wrangling all and trouble disappear. 
 
 CAPULET. 
 
 Now am I free from care, and from my heart I say 
 I'll call myself your slave and servant from to-day. 
 
 MONTAGUE. 
 
 He whom I wished to kill now makes a friend of me, 
 No more I wish his death, I have no enemy. 
 
 PRINCE. 
 
 Woe to the man whose heart with warlike ardour glows, 
 Who quenches virtue's light, nor blood nor friendship knows. 
 'Twas Ilion's fate indeed through just such warlike fire, 
 That Troy must pass away in monstrous wrong and dire. 
 Before your virtuous souls may all the vices flee, 
 And friendship grant to you to gain the victory! 
 
 [Exeunt omnes. 
 
 SCENE II. 
 JULIET and NURSE. 
 
 In the garden. 
 
 JULIET. Oh! how great is the enjoyment of this 
 spring-time, when one may delight in the merry gardens, 
 fields, and woods ; when one hears the murmuring brooks 
 breaking their course betwixt the pebbles, so pleasant to 
 the ear; when the zephyr dallies with the leafy tree; 
 when the birds chant and with their plumage sweep 
 through the air, and a thousand other charms gladden 
 the heart! But say, Juliet, what pleasure dost thou en- 
 joy while I am pent up like a solitary turtle and .forced 
 to live like a prisoner, deprived of every enjoyment by 
 
317 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 318 
 
 gesperrt, vnd alfs eine gefangene leben muefs indeme 
 mich meiner Eltern Zucht aller frewd berauben, o Ita- 
 lia was fur gesetz gibest du dem weiblichen geschlecht, 
 dafs sie nichts geniifsen als die Einsambkeit, sage mir 
 Antoneta soil ich die Blumen besuechen oder schlaiFen? 
 
 ANTONETA. Schone Julieta mich wundert selber das 
 sie sich Ihrer Eltern gehorsamb so starkh vnterwurfft, 
 vnd den gehorsamb nicht vberschreidten will, o wehre 
 mir also ich wolte mir schon helffen. 
 
 JULIETA. Vnd wie in deme mir nichts mehr erlau- 
 bet ist, alfs in disen garthen vnter den Blumen mich zu 
 erfrewen. 
 
 ANTON. Vnd was ist's? Blumen sind blumen, aber 
 ein beth das ware eine linderung. 
 
 JULIETA. Wafs linderung? 
 
 ANTON. Linderung der glider. 
 
 JULIETA. Wafs glider? 
 
 ANTON. Nun der gantze theil defs Menschen, ihr 
 versteht mich ja wohl, wan ihr nur wolt, o wie Ein- 
 feldig seht ihr doch aus. 
 
 JULIETA. Und wafs dan? 
 
 ANTON. Nichts nichts, aber wan ich reden dorffte. 
 
 JULIETA. Rede nur frey. 
 
 ANTON. Gn. Fraulein, sie verzeihe mir wan ich sa- 
 gen darf dafs besser wahre einen discurs mit einen 
 wackheren gaualier zu fiihren, alfs sich in die stumme 
 garthenblumen zu uerlieben. 
 
 JULIETA. Ach Antoneta wafs redest du? 
 
 ANTON. Worumb farbet sie sich schone Julieta vnd 
 wird roth. 
 
 JULIETA. Roth bedeutet lieb. 
 
 ANTON. So liebt sie dan. 
 
 JULIETA. Worumb solt ich nicht lieben, ich liebe 
 aber weifs nicht wafs. 
 
 ANTON. Es muefs was sein dafs sie blagt, dan sie 
 bald roth bald weifs ihr gesicht verendert, sie jagt mir 
 bald ein forcht ein. 
 
 JULIETA. Antoneta wisset ihr nicht wer roth vnd 
 weifs erfunden? Habe ichs in meinem gesicht, so ist es 
 nicht ohne vrsach, dan die tugendt lebt in mir, vndt 
 tugendt hats erworben. 
 
 ANTON. Tugendt vnd wafs fur tugendt? 
 
 JULIETA. Tugendt des gemuths. 
 
 ANTON. Seit ihr ein Soldat? 
 
 JULIETA. Nicht mit waffen. 
 
 ANTON. Mit was dan? 
 
 JULIETA. Ach! 
 
 ANTON. Wie ist Euch? 
 
 JULIETA. Ach leiderl 
 
 ANTON. Leidet ihr? 
 
 parental control? Oh Italia! what law givest thou to 
 womankind, leaving them nothing to enjoy but solitude ! 
 Say, Antoneta, shall I visit the flowers or go to sleep? 
 
 NURSE. Fair Juliet! I really wonder you should 
 pay such strict obedience to your parents, and never 
 transgress it. If I were in your case, I should know 
 how to make shift. 
 
 JULIET. And how, since nothing is allowed me 
 but to enjoy myself in this garden among the flowers. 
 
 NURSE. And what of that? Flowers are flowers, 
 but a bed would be some comfort. 
 
 JULIET. What comfort? 
 
 NURSE. For the limbs. 
 
 JULIET. Which limbs? 
 
 NURSE. Why, for the whole frame. I dare say 
 you can understand me. if you choose. How simple 
 you look! 
 
 JULIET. And what then? 
 
 NURSE. Nothing, nothing. But if I might speak 
 
 JULIET. Speak your mind freely. 
 
 NURSE. Pardon me, my lady, for saying, you would 
 do better to carry on a discourse with some gallant ca- 
 valier than to make love to the dumb garden-flowers. 
 
 JULIET. Oh, Antoneta, what are your talking? 
 NURSE. Why do you colour, fair Juliet, and blush? 
 
 JULIET. Red means love. 
 
 NURSE. So you love? 
 
 JULIET. Why should I not love? I love, but I 
 know not what. 
 
 NURSE. Something must torment you, for you now 
 blush, and now blench. You make me almost afraid. 
 
 JULIET. Antoneta, do you not know who invented 
 red and white? If 1 wear them in my face, there is 
 a reason for it; for virtue lives in me, and colour is 
 virtue's own. 
 
 NURSE. Virtue? and what virtue? 
 
 JULIET. The virtue of the mind. 
 
 NURSE. Are you a soldier? 
 
 JULIET. Not in arms. 
 
 NURSE. In what then? 
 
 JULIET. Alas I 
 
 NURSE. How do you feel? 
 
 JULIET. Woe ! 
 
 NURSE. Are you suffering? 
 
319 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 320 
 
 JULIETA. Ach nur gahr zu viel, 
 ANTON. Wessentwegen ? 
 JULIETA. Ich weifs es nicht. 
 ANTON. Ich auch nicht. 
 JULIETA. Wafs sagt ihr? 
 
 ANTON. Nichts alfs das mir Ihr Jammer zu Hert- 
 zen gehet. 
 
 JULIETA. Geduld. 
 
 ANTON. Ich sehe eine veranderung an ihr, darumb 
 bitt ich, schone Julieta, sie verhalte mir nicht ihr an- 
 ligen, kan ich ihr helffen, ich will nichts vnterlassen 
 ihr zu dienen. 
 
 JULIETA. Nichts nichts ist mir, was soil mir sein, 
 ich habe nur geschlaffen, obwohlen mir in den schlaff 
 wunderliche sachen vorkommen, so sein es sachen die 
 nicht wahr konnen werden, vnd begehr es auch nicht, 
 das es wahr wehre. 
 
 ANTON. Warumb dises? 
 
 JULIETA. Darumb weil mir vorkommen alfs solte 
 ich einen Mundiqueser lieben, welcher meines Herrn 
 Vatter argister feindt, derwegen begehre ich nicht dafs 
 es wahr werde. 
 
 ANTON. Feindtschafft kan sich in freindschafft ver- 
 wandlen wan es den blinden bogen Schiitz gefallig wahre. 
 JULIETA. Schweige vnd rede mir nicht von solchen 
 sachen wo du meine gnad nicht verliehren wilst. 
 
 ANTON. Ach wann sie nur ein mahl kosten soil 
 die 1000 feldigen frewden die ein verliebtes Hertz ge- 
 nfist sie wurde sagen die Zeit ist vbel verlohren die 
 man nicht auf Liebe wendt. 
 
 JULIETA. Wann ich dafs thuen werde, so werden 
 die wasser zuriicklauffen, die wolff vor den lammern 
 fliehen, die Hundt den Haasen weichen vnd der Beer 
 das Meer, vnd der Delphin die gebiirg lieben, die Ein- 
 sambkeit ist meine Kurtzweil. 
 
 ANTON. Ach vngesaltzene Kurtzweil vndt wider- 
 spenstige tugendt wie sie ietzundt ist so wahr ich auch 
 einmahl aber ich legte meine Zeit befser an. 
 
 JULIETA. Es scheinet Antoneta ihr wollet mich mit 
 Fleifs zum Zorn reitzen, darumb schweiget mir von der 
 liebe, die nichts bringt alfs stette vnruehe vndt Schmert- 
 zen. [obit. 
 
 ANTON. Ja Ja ich habe sie zornig gemacht, sie 
 gehet daruon, o ihr arme Magdlein ihr seit wohl Nar- 
 risch, das ihr die liebe veracht, vnd denkhet nicht ein- 
 mahl auf den grofsen Jahrmarkh da ihr must fleder- 
 wisch verkaufFen, o giitiger Himmel ich habe bald kein 
 Zahn mehr in maul, o wie wohl wirts mir thuen wan 
 du deinen Seegen liest fiber mich kommen, dafs ich bald 
 einen Mann hette. [abit. 
 
 JULIET. Alas! only too much. 
 
 NURSE. What for? 
 
 JULIET. I do not know. 
 
 NURSE. Nor I either. 
 
 JULIET. What do you say? 
 
 NURSE. Nothing but that your misery grieves me 
 to the heart. 
 
 JULIET. Patience ! 
 
 NURSE. I observe a change in you; therefore I 
 pray, fair Juliet, do not keep back from me anything 
 that concerns you; if I can help you I will leave nothing 
 undone to serve you. 
 
 JULIET. Nothing, nothing ails me : what should ail 
 me? I have slept, that is all; and though strange things 
 come to me in my sleep, yet are they things that can- 
 not come true, nor do I desire them to come true. 
 
 NURSE. And why so? 
 
 JULIET. Because it seemed to me as if I was to 
 marry a Montague, who is my father's worst enemy: 
 therefore I do not desire it to come true. 
 
 NURSE. Enmity may change to amity, if it were 
 the blind archer's pleasure. 
 
 JULIET. Be silent and do not talk to me of such 
 things under pain of my displeasure. 
 
 NURSE. Oh, if you were only once to taste the 
 thousand pleasures enjoyed by a heart in love, you would 
 say: the time is ill spent that is not spent on love. 
 
 JULIET. Ere I do that, the waters will run up hill, 
 the wolf fly before the lambs, the dog shun the hare, 
 the bear love the sea and the dolphin the mountains. 
 Solitude is my pastime. 
 
 NURSE. Ay, saltless pastime and reluctant virtue! 
 As you are now, so have I been once, but I made better 
 use of my time. 
 
 JULIET. It seems, Antoneta, you are determined to 
 excite my wrath; therefore do not talk of love, for it 
 brings forth nothing but perpetual trouble and pain. 
 
 [Exit. 
 
 NURSE. Forsooth I have made her angry: there 
 she goes. Oh, ye poor damsels, ye are foolish indeed to 
 despise love and not to think of that great fair where 
 ye will have to sell goosewing-dusters. Oh gracious 
 heavens! I have Ijardly a tooth left in my mouth; what 
 a comfort it would be if you would bestow that blessing 
 on me to let me soon have a husband! 
 
 [Exit. 
 
321 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 322 
 
 SCENA 3 TIA . 
 PARIS. CAPOLET. 
 
 CAPOLET. Herr Graff die Ehr so sie zu vnseren 
 Haufs tragen ist grofs zu aestimiren, darumb bitt ich 
 noch mahlen, sie wollen ihnen gefallen lafsen die 
 Schlechte tractament, so ihnen zu gefallen bereithet 
 nicht verschmahen, dan was in Capolets vermogen ha- 
 ben sie zu beuehlen. 
 
 PARIS. Herr Capolet ich bin Niemahlen gewohnet 
 eine solche Ehr zu empfangen, da ich dieselbe nicht mit 
 Ehr belohnen solle, darumb schatze ich sein Haufs 
 preifswiirdig mich darinnen zu bewiirden. 
 
 CAPOLET. Mein schlechte wohnung wird preifswiir- 
 dig durch dero gegenwarth. 
 
 PARIS. Herr Capolet ich bitte. 
 
 CAPOLET. Sie befehlen Herr Graff. 
 
 PARIS. Mich zu verschonen. 
 
 CAPOLET. Mit was? 
 
 PARIS. Mit solchen Ehren ceremonien. 
 
 CAPOLET. Sie sein es aber wiirdig alle Ehre von 
 meinen Hause zu nehmen. 
 
 PARIS. So wird Graff Paris wiirdig sein alle Ehre 
 zu ersetzen. 
 
 CAPOLET. Da kompt mein Pickl Ha'ring zu geleg- 
 ner Zeit. Hore Pickl Ha'ring merkhe aber wohl, wafs 
 ich dir sage. 
 
 PICKL HARING. 
 
 PICKL. Noch habt ihr mir nichts gesagt, das ich 
 merkhen kan. 
 
 CAPOLET. Du bist ein Narr. 
 
 PICKL. Es kan wohl sein. 
 
 CAPOLET. Dises was du verrichten sollst will ich 
 dir sagen. 
 
 PICKL. Warumb kans kein gescheider verrichten? 
 
 CAPOLET. Weil ich haben will du alfs der Narr 
 soil es thuen, weillen die anderen bedienten andere ver- 
 richtungen haben. 
 
 PICKL. Mit Euren schnarchen, ietzt hab ich alles 
 vergefsen, wafs ich thuen soil. 
 
 CAPOLET. Schelm ich habe dir ja noch nichts be- 
 uohlen oder gesagt. 
 
 PICKL. Ich hab vermeint ihr habt schon ausge- 
 redt. 
 
 CAPOLET. Ich vermeine du bist lustig. 
 
 PICKL. A so nicht gar sehr, es thuets wohl aber, 
 gegen 12 Vhr werd ich lustiger werden. 
 
 CAPOLET. Vnd warumb vmb 12 Vhr? 
 
 PICKL. Da wird der Koch anrichten. 
 
 CAPOLET. Du halts nur viel von frefsen. 
 
 SCENE III. 
 PARIS. CAPULET. 
 
 CAPULET. My Lord, the honour you do our house 
 is to be highly estimated. I therefore beg once more 
 you will be pleased not to disdain the poor treatment 
 provided for you; for whatever is in Capulet's power is 
 at your command. 
 
 PARIS. Sir! I am not at all accustomed to receive 
 such honour, as I am not able to return it. Therefore 
 I think your house quite worthy to receive me. 
 
 CAPULET. My poor habitation becomes worthy by 
 your presence. 
 
 PARIS. Sir! 1 beg 
 
 CAPULET. "What is your command, Count? 
 
 PARIS. To forbear. 
 
 CAPULET. What? 
 
 PARIS. Treating me with such honour and ceremony. 
 
 CAPULET. But you are worthy to receive all ho- 
 nour from my house. 
 
 PARIS. Then Count Paris will be worthy to repay 
 all honour. 
 
 CAPULET. There comes my clown in the very nick 
 of time. Hark, clown, and mind what I tell you. 
 
 Enter CLOWN. 
 
 CLOWN. You have not said anything that I could 
 mind. 
 
 CAPULET. Thou art a fool. 
 
 CLOWN. That may be. 
 
 CAPULET. I am going to tell thee what thou art 
 to do. 
 
 CLOWN. Why can it not be done by some one in 
 his senses? 
 
 CAPULET. Because it is my pleasure that thou, as 
 fool, shouldst do it; because the other servants have 
 something else to do. 
 
 CLOWN. With your blustering I have quite for- 
 gotten all I am to do. 
 
 CAPULET. Why, I have not yet commanded nor 
 told thee anything, thou rogue! 
 
 CLOWN. I fancied you had already done talking. 
 
 CAPULET. I fancy, thou art merry. 
 CLOWN. Not overmuch, just sufficient; but near to 
 twelve o'clock I shall be merrier. 
 
 CAPULET. And why at twelve o'clock? 
 CLOWN. Then the cook will serve up the dinner. 
 CAPULET. Thou carest only for feeding. 
 
 21 
 
323 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 324 
 
 PICKL. Das halt Leib vnd Seel zusammen. 
 
 CAPOLET. Hore Picklharing nimb disen Zetl, vnd 
 die darinnen aufgezeicb.net sein alfs Herr vnd frawen, 
 die lade ein morgen bey mir auf ein Panquet zu er- 
 scheinen. 
 
 PICKL. Wissen sie schon, dafs sie kommen sollen? 
 
 CAPOLET. Nein du solt sie einladen. 
 
 PICKL. Wie solt ich sie einladen in Pistollen oder 
 in ein gezogenes Rohr. 
 
 CAPOLET. In ein Efsels Kopff solst du laden du 
 vnuerstandiger Schelm. 
 
 PICKL. Nun man darf ja fragen. 
 
 CAPOLET. Die Zettl wird es weisen wer da kom- 
 men soil. 
 
 PICKL. So hat der Zettl mehr verstandt alfs ich, 
 so lafst die Zettl hingehen und einladen. 
 
 CAPOLET. Ich sage du solt es thuen. 
 
 PICKL. Vnd ich sag die Zettl soil es thuen. 
 
 CAPOLET. Pickl Haring bring mich nicht zum Zorn, 
 ich lafse dich in die Kuchel fiihren. 
 
 PICKL. Das ware guet vor mich. 
 
 CAPOLET. Warumb ? 
 
 PICKL. Das ich etwas zu Essen bekomb. 
 
 CAPOLET. Nein gestrichen solst du werden. 
 
 PICKL. Ich bedankhe mich dauor. 
 
 CAPOLET. Gehe vnd verrichte was ich dir befoh- 
 len, oder du wirst gestrafft werden. 
 
 PICKL. Nu Nu wan ichs thuen muefs, so thue ichs 
 gehrn, iezt bin ich Herr Latein, o wo werd ich die Heu- 
 ser abfinden, wo sie wohnen, ich will gehen vnd ein 
 wenig Studiren, wie man die gast anradt wan man sie 
 einladen soil alfs Edl Ehrnuester Insonders Hoch- 
 geehrte fraw pfanne Schmidin vnd so. Ey Ihr lacht 
 mich nur aufs ich wils schon machen. [abit. 
 
 PARIS. In warheit Herr Capolet difs ist ein lusti- 
 ger Mensch, damit man die Zeit verkiirtzen kann. 
 
 CAPOLET. Herr Graff so einfeldig er ist go getrew 
 ist er, ich habe ihn von Jugendt an aufferzogen, vnd 
 last sich brauchen Recht vnd links. 
 
 PARIS. Dergleichen habe ich nicht gesehen, wie 
 wird ers aber machen die rechte eingeladene gast zu 
 finden. 
 
 CAPOLET. So guet alfs durch einen gescheiden wird 
 es verrichtet werden. Herr Graff die Zeit verlaufft, will 
 ihme belieben etwas in den garthen zu spatziren, vnd 
 sich der springenden wasser beliebt zu machen vnd an- 
 dere 1000 annehmbligkeiten zu sehen. 
 
 PARIS. Mein Herr Capolet ich folge ihm, ein gar- 
 then ist ein belustigung des gemuths, 
 
 [beyde ab. 
 
 CLOWN. Eating keeps soul and body together. 
 
 CAPULET. Listen, ^ clown; take this paper and in- 
 vite those put down thereon, gentlemen and ladies, to 
 appear to-morrow at my banquet. 
 
 CLOWN. Are they aware that they are to come? 
 CAPULET. No, thou shalt charge them. 
 CLOWN. How shall I charge them? In a pistol or 
 a rifled barrel? 
 
 CAPULET. Charge an ass-head, thou silly rogue ! 
 
 CLOWN. Well, I suppose one may ask a question. 
 CAPULET. The paper will show who is to come. 
 
 CLOWN. Then the paper is cleverer than I am; 
 let the paper go and invite them. 
 
 CAPULET. I say, thou shalt do it. 
 
 CLOWN. And I say, the paper shall do it. 
 
 CAPULET. Clown, don't rouse my anger, or I shall 
 send thee to the kitchen. 
 
 CLOWN. That would be a nice thing for me. 
 
 CAPULET. How so? 
 
 CLOWN. As I should get some victuals. 
 
 CAPULET. No, thou would'st get some whipping. 
 
 CLOWN. No, thank you. 
 
 CAPULET. Go, and do as thou art ordered, or thou 
 wilt be punished. 
 
 CLOWN. Well, well, if it cannot be helped, I will do 
 it with all my heart. Now I am Mr. Invite; how shall 
 I find out the houses where they live? ! will go and 
 study a little how to address guests that are to be in- 
 vited, as, Noble, worshipful Sir; Especially respected 
 Mrs. Tinker, and so forth. You laugh at me? Never 
 mind, I shall manage. [Exit. 
 
 PARIS. In truth, Sir ! a jolly fellow that, with whom 
 one may idle away the time. 
 
 CAPULET. As simple as faithful. I brought him 
 up; he makes himself useful right and left. 
 
 PARIS. I never saw his like; but how will he ma- 
 nage to find out the right persons to be invited? 
 
 CAPULET. As well as a clever man would do it. 
 My Lord, time wears on; would you like to take a walk 
 in the garden and enjoy the fountains and look at a 
 thousand other pleasant things? 
 
 PARIS. Sir I I follow you; a garden is a refresh- 
 ment for the mind. 
 
 [Exeunt. 
 
325 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 326 
 
 SCENA 4 TA . 
 ROMIO. PENUOLIO. 
 
 ROMIO. Ach verwundetes Hertz vnd stets brennen- 
 der Siinne ich, der ich vor disem alle Adeliche gemiieths 
 ergotzung geliebet alfs Reithen Fechten Tantzen vnd 
 was Edl ist, aber Ey lafs. Nun trachte ich allein meiner 
 schonen Rosalina zu gefallen, in dero Diensten zu leben, 
 durch Amors will bin ich ein liebsgefangener worden, 
 o armseeliger Romio wohin bringt dich dein fata? ob- 
 wohl nur meine Schmertzliche anfechtung mir die augen 
 verdunklen ihr schone zu bedrachten, dannoch blickt der 
 glantz ihres angesichts in meinen Hertzen herfiir wie 
 die Hell glantzende Sonn, ihre augen sein zwey Hell 
 glantzende stern, darin die fewrigen Strahlen verborgen, 
 welche mein Hertz verwundt, ihr athem ist viel Siifser 
 wohlriechender alfs Zephirus oder angenehme windt von 
 westen, wann Er hin vnd wider durch die bletter riih- 
 rende beume wehet, die lieblichen blumen so die felder 
 alfs eine tappzerey bekleidet, dises ist noch nichts in ver- 
 gleichung der erwiinschten Siifsigkeit ihres Holdseeligen 
 Munds, ach Rosalina Rosalina! 
 
 PENUOLIO. Wie ists Romio, ich glaub du redest in 
 traum, aber schaw, wafs kompt da vor ein abentheuer. 
 
 PICKL HIRING aufs. 
 
 Gueten morgen oder Mittag ihr Herrn, Mein ich 
 bitte sagt kont ihr lesen? 
 
 ROMIO. Ja wan ich die buechstaben kann vnd ver- 
 stehe. 
 
 PICKL. O Ho Herr buchstabenversteher , wan ich 
 die buchstaben konnt, so wolte ich sie selber wohl 
 lesen. 
 
 ROMIO. Du verstehst mich nit, es mochte vielleicht 
 eine frembde Sprach sein die ich nicht verstunde, lafs 
 mich die Zettl sehen, so will ich dir bald sagen, ob ich 
 es verstehe oder nicht. 
 
 PICKL. Ich wolts selber wohl lesen, aber buech- 
 stabiren kan ich nicht. 
 
 ROMIO. Ja das verstehe ich vnd es ist zu teutsch, 
 lad ein die fraw Margarita mit ihrer tochter Mellina. 
 
 PICKL. Ja ja ich kenne sie sehr wohl, die Muetter 
 ist fast schoner alfs die tochter. 
 
 ROMIA. Lad ein Don Horatio den Jiingeren. 
 
 PICKL. Den kenn ich, er gab mir gestern eine 
 guete ohrfeigen vnd einen dugaten daruor. 
 
 ROMIO. So ist die ohrfeigen wohl bezahlt worden, 
 weither lad ein Don Fortuniam vnd seinen bruder Flo- 
 risell. 
 
 PICKL. Dafs sein zwey rechte Eifsenbeifser die 
 fangen gleich grachel an. 
 
 SCENE IV. 
 
 ROMEO. BENVOLIO. 
 
 ROMEO. Alas! wounded in the heart and burning 
 more and more, now am I immersed in thought, who 
 formerly was so fond of every noble sport, as riding, 
 fencing, dancing, and everything noble. But let that 
 pass. Now my sole endeavour is to be agreeable to 
 fair Rosaline, in whose service to live I am by Cupid's 
 will a prisoner of love. Oh miserable Romeo! whither 
 does thy fate lead thee ? Although my painful affliction 
 makes my eyes dull to contemplate her beauty, yet the 
 radiance of her face strikes my soul like the resplendent 
 sun. Her eyes are two splendent stars, the source of 
 those fiery rays that have wounded my heart. Her breath 
 is much sweeter than Zephirus, or the pleasant breezes 
 from the "West, sporting through trees that shake their 
 leaves. The charming flowers that cover the fields like 
 some tapestry, are not to be compared with the coveted 
 sweetness of her lovely mouth. Ah Rosaline, Rosa- 
 line! 
 
 BENVOLIO. What is that, Romeo? I suppose you are 
 talking in a dream. But look, what strange thing is that 
 coming here? 
 
 Enter CLOWN. 
 
 CLOWN. Good morning or midday, gentlemen. Pray, 
 can you read? 
 
 ROMEO. Ay, if I know and understand the letters. 
 
 CLOWN. O ho, Mr. Letter-wise ! If I knew the let- 
 ters I would read them myself. 
 
 ROMEO. Thou dost not understand me; it might be 
 a foreign tongue, which I do not understand. Let me 
 see the paper and I will soon tell you, whether I under- 
 stand it or not. 
 
 CLOWN. I would read it myself, but I cannot spell. 
 
 ROMEO. Yes, I understand this, and it is in German : 
 'Invite Mrs. Margerita with her daughter Mellina.' 
 
 CLOWN. Ay, I know them well, the mother is al- 
 most handsomer than the daughter. 
 
 ROMEO. 'Invite Don Horatio the younger.' 
 
 CLOWN. Him I know; he gave me a sound box on 
 the ear yesterday and a ducat for it. 
 
 ROMEO. So the box on the ear is well paid for. 
 'Further, invite Don Fortuniam and his brother Flori- 
 sell.' 
 
 CLOWN. Two regular bullies, they are, always 
 ready for a row. 
 
 21* 
 
327 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 328 
 
 ROMIO. Lad ein Don Lucentio vnd Amaranta seine 
 Bafs. 
 
 PICKL. Die wohnen in der Schuestergassen gegen 
 den Meykeffer fiber. 
 
 ROMIO. Lad ein die Schone Rosalina, o Honnig- 
 siifser Nahmb dich will ich kiissen 1000 rnahl. 
 
 PICKL. Dafs ist ein Narr er kfist das papir, wan 
 er das Mensch hett, er kundt sie kussen, wo ihr ruck- 
 grad ein Ende hat. 
 
 ROMIO. Lad ein Madam Fioleta Catharina. 
 
 PICKL. Ist recht, die wohnt in Sauwinkl. 
 
 ROMIO. Lad ein Madam Flora. 
 
 PICKL. Hum dafs ist ein Mensch, ist wahr sie tragt 
 allezeit ein flor fiber das gesicht, das man ihr Nasen 
 nicht sieht, dan die Naafs steht ihr recht mitts in dem 
 gesicht. 
 
 ROMIO. Lad ein graff Paris, das ist ein wackherer 
 gaualier. 
 
 PICKL. Ja aber er stinkt zwischen den Zehen wie 
 bauern. 
 
 ROMIO. Aber sage mir wo wird dise Versamblung 
 geschehen? 
 
 PICKL. In Meines Herrn Haufs. 
 
 ROMIO. Wie heist dein Herr? 
 
 PICKL. Mein Herr heifst Capolet. 
 
 ROMIO. Wafs? soil meine liebste Rosalina in mei- 
 nes feindes Haufs kommen? (zerreist den ZetiT) difs will 
 ich nicht haben. 
 
 PICKL. O Potz schlapperment was macht ihr? mein 
 ladein Zetl zerrifsen vnd Rosalina ist entzwey gerissen ? 
 o du schelm. 
 
 ROMIO. Gehe forth oder ich brech dir den Halfs. 
 
 PICKL. Ja brich du mir den podex o du bernheu- 
 ter du du Morder, wie viel Herrn vnd frawen hast du 
 entzwei gerissen, vnd vmbs leben gebracht. 
 
 ROMIO. Wilt du gehen oder ich will dir ffiefs 
 machen. 
 
 PICKL. Vnd wan du mir gleich 6 ffiefs woltest 
 machen so darf ich nicht mehr heimb, o Potztausendt 
 die Rosalina hat recht ein ritz in der mitten bekommen, 
 o ich armer ladein was werde ich thuen. 
 
 ROMIO. Ich sag gehe. 
 
 PICKL. Ich sag be. [abit. 
 
 PENUOL. Auf disen fest, welches Herr Capolet hal- 
 ten wird, wird deine schone Rosalina auch sein, die du 
 so sehr liebest, mein ich bitte gehe mit mir ich will 
 dir daselbst solche gesichter weisen, die deiner Rosalina 
 weith vorgehen vnd ich weifs gewifs dafs die Jenige so 
 du vor deinen schwanen gehalten, soil bey anderer ge- 
 genwarth alfs eine Kree aufssehen. 
 
 ROMEO. 'Invite Don Lucentio and his cousin Ama- 
 ranta.' 
 
 CLOWN. They live in Cobbler's Lane, opposite the 
 cock-chafer. 
 
 ROMEO. 'Invite fair Rosaline.' Oh honey -sweet 
 name! Thee do I kiss a thousand times. 
 
 CLOWN. What a fool ! to kiss the paper. If he had 
 got the wench he might kiss her where her spine ends. 
 
 ROMEO. 'Invite Madam Fioleta Catharina.' 
 
 CLOWN. All right, she lives in Sow-alley. 
 
 ROMEO. 'Invite Madam Flora.' 
 
 CLOWN. What a wench! she always wears a gauze 
 before her face that people may not see her nose; for 
 her nose stands right in the middle of her face. 
 
 ROMEO. 'Invite Count Paris?' And a gallant ca- 
 valier he is. 
 
 CLOWN. True, but he stinks between his toes like 
 a peasant. 
 
 ROMEO. But tell me, where is this assembly to be? 
 
 CLOWN. At my master's. 
 
 ROMEO. What is the name of thy master? 
 
 CLOWN. Capulet is his name. 
 
 ROMEO. What! is my dearest Rosaline to go to the 
 house of my enemy? (Tears the paper up.) I won't 
 have that. 
 
 CLOWN. Odds bobs! what are you doing? tearing 
 up my invitation paper, and Rosaline rent asunder ! Oh 
 you rogue! 
 
 ROMEO. Get along with thee, or I'll break thy neck. 
 
 CLOWN. You may break my podex, you idle fellow, 
 you murderer! How many gentlemen and ladies have 
 you torn in pieces and killed! 
 
 ROMEO. Wilt thou be off? or I will find thee 
 legs. 
 
 CLOWN. And if you would find me six legs at 
 once, I could not go home. Confound your eyes! Ro- 
 saline has got a rent right in the middle. Oh poor 
 messenger, what am I to do? 
 
 ROMEO. I say, go! 
 
 CLOWN. I say, bo! [Exit. 
 
 BENVOLIO. At this feast of Capulet's thy fair Ro- 
 saline too will appear, whom thou lovest so much. Pray, 
 go with me, I will there show thee faces far superior 
 to Rosaline's, and am quite sure, she whom thou hast 
 taken for thy swan will look a crow in the presence of 
 others. 
 
329 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 330 
 
 ROMIO. Du redest nach deinem Belieben, aber 
 meine Rosalina ist allein der stern meines Hertzens, 
 vnd ihrer schonheit miissen alle weichen. 
 
 PENUOL. Sie kompt dir nur so schon vor wan 
 kein schonere darbey ist. Hore Romio komb auf die- 
 sen fest will ich weisen die best. 
 
 ROMIO. Ich will dir zwar folgen aber du wirst mir 
 hierinnen wenig helffen konnen. [beyde ab. 
 
 PICKL HARING. 
 
 PICKL. Ich habe gleichwohl so viel in meinen Poe- 
 tischen Kopff gebracht, dafs ich sie alle geladen habe, 
 aufsgenohmen etzliche haben das Zahnwehe starkh aber 
 schadt nicht es bleibt nur desto mehr frefsen fiber, ich 
 will schon zerschroden ich habe kein Zahnwehe, aber 
 ich versaume nach Haufs zu kommen dan es wird braff 
 angehen, an frefsen vnd saufFen, dan bin ich gehrn dar- 
 bey, drumb mufs ich lauffen. 
 
 ACTUS SECUNDUS: 
 
 SCENA PRIMA. 
 ROMIO. MERCUTIUS. PENUOLIO. 
 
 ROMIO. Ihr Herrn habt ihr vernohmen von den 
 grofsen Panquet defs Capolet, darauf erscheindt der 
 beste Adi vnd die schonsten Damen, darunder sich auch 
 die schone Rosalina befindet, difs ist der Sporn der mich 
 treibt dahin zu kommen meine schone zu sehen, die da 
 wird glantzen vnd ein vndterscheid wird machen zwi- 
 schen alien Damen gleich die Sonn gegen den Mon. 
 
 MERCUT. Ihr Herrn ich achte wenig dafs Frawen 
 Zimmer, meine frewd ist schlagen vnd balgen, ich will 
 mich lieber 3 mahl schlagen, alfs einmahl einem weibs 
 bild aufwarthen. 
 
 ROMIO. Ach Mercutio lege doch einmahl ab deine 
 dolheit, wo ist der, der durch Kragel reich worden, dar- 
 umb za'hme dich, verehre das Frauenzimmer, so wirst 
 du haben Ehr vnd lob. 
 
 PENUOL. Ich halt es mit dein Romio, vnd weil 
 dafs Panquet so stattlich, so will vnnfs gebuhren einen 
 Pallet oder Mascara darauf zu praesentiren vnd dafs 
 Frauenzimmer damit verehren. 
 
 MERCUT. Ich lafs mirs entlich gefallen, aber was 
 wollen wir tantzen? 
 
 PENUO. Eine Masquara wie es breuchlich ist. 
 
 ROMIO. Vnd ich will verkleidter die fackl tragen. 
 
 MERC. Wafs fackl du muest tantzen deiner Rosa- 
 lina zu gefallen. 
 
 ROMEO. You may talk as you please, but my Ro- 
 saline is the only star of my heart, and all must give 
 way before her beauty. 
 
 BENVOLIO. She appears so fair to thee only when 
 there is none fairer present. Go to that feast, Romeo, 
 I will point out to thee the best. 
 
 ROMEO. I will follow thee, yet in this thou wilt 
 afford me little help. [Exeunt. 
 
 He-enter CLOWN. 
 
 CLOWN. All the same, I crammed so much into my 
 poetical head that I was able to invite them all, except 
 that some few have got the tooth-ache. But never mind; 
 so much the more victuals will come down I will 
 mounch away, and have no tooth-ache. However I ought 
 to be on my way home ; they will take bravely to eat- 
 ing and drinking and then I like to be one of the party; 
 so I must run. 
 
 ACT n. 
 
 SCENE I. 
 
 ROMEO. MERCUTIO. BENVOLIO. 
 ROMEO. Gentlemen, have you heard of the great 
 banquet of Capulet's which is to be attended by the 
 best nobility and the fairest ladies, fair Rosaline among 
 them? That is the spur that urges me to go there 
 to see my fair one, who will outshine all the other la- 
 dies as the sun does the moon. 
 
 MERCUTIO. Gentlemen, I don't care much for wo- 
 men, my delight is fighting and scuffle. I would rather 
 have three fights than once attend upon a woman. 
 
 ROMEO. Nay, Mercutio, pray at last lay aside your 
 folly. Who ever grew rich by quarrelling? Restrain 
 yourself, do homage to woman, and you will earn both 
 honour and praise. 
 
 BENVOLIO. I side with Romeo. And as the banquet 
 is so magnificent, it will behove us to represent there 
 a ballet or mascara in honour of the ladies. 
 
 MERCUTIO. Well, I agree; but what sort of dance 
 shall we perform? 
 
 BENVOLIO. A mascara, as the custom is. 
 
 ROMEO. And I will disguise myself and bear the torch. 
 
 MERCUTIO. What torch I thou must dance to please 
 thy Rosaline. 
 
331 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 332 
 
 ROMIO. Ich kan nicht. 
 
 MERCUT. Warumb ? 
 
 ROMIO. Mein leib vnd fiiefs sein gantz schwar- 
 muthig. 
 
 MERCUT. So entlehne des Cupido fliigl vnd fliege, 
 ich schwore wen ich verliebt wiihre vnd hette nur ein 
 fiies so wolte ich doch hupfFen. 
 
 PENUO. Ey Er last sich schon bereden dem Frawen 
 Zimmer zu gefallen. 
 
 ROMIO. Ihr Herrn mich taucht wiir thuen iibel das 
 wiir hingehen. 
 
 PENUOL. Warumb das? 
 
 ROMIO. Ich habe heunt einen schwaren traum ge- 
 habt. 
 
 MERCUT. Ich glaub fiirwahr die Maphas oder truth 
 hat dich getruckt, ich habe auch einen traum gehabt. 
 
 ROMIO. Wafs war es vor ein traum. 
 
 MERCUT. Mir hat getraumt, dafs alle traum erlo- 
 gen sein. 
 
 PENUO. Ihr Herrn was wiir thuen wollen dafs thuen 
 wir bald, vielleicht seind sie schon von der taffel auf- 
 gestanden, so kommen wiir zu Spath, ich will Euch 
 folgen aber der Himmel gebe dafs kein vnheil daraufs 
 entstehe. [alle ab. 
 
 SCENA 2 DA . 
 CAPOLET, TIBOLT, PARIS, alle an der taffl. 
 
 CAPPOLET. Ihr Herrn mich nimbt wunder dafs vnfs 
 Niemand besuecht bey vnserer Mahlzeit, etwan wie ge- 
 breuchlich mit einer masquara, da ich noch jung wahr, 
 wahr ich nicht zu faul wie ietziger Zeit die Jungen ge- 
 sellen, es dorffte kein Panquet geschehen, ich funde 
 mich alle Zeit darbey mit einer Mascara oder sonsten 
 was lustiges. 
 
 FRAW. Ja ich glaub es wohl in Eurer Jugendt seit 
 ihr ein grosser Maufshundt gewesen, aber anietzo miest 
 ihr es wohl lassen. 
 
 TIBOLD. Wie lang ist es wohl Herr Vatter dafs 
 Er keine Mascara mehr getantzt? 
 
 CAPPOLET. Dafs kan ich mich nicht mehr erindern 
 wie viel Jahr es seyn. 
 
 TIBOLD. Es ist so lang nicht das mans nicht wis- 
 sen soil, ich gedenckhe es noch wohl, dafs der Herr 
 Vatter auf der Mabilia ihrer Hochzeit gedanzt. 
 
 CAPPOLET. Es kan sein, in dem alter ist bald alles 
 vergessen. 
 
 TIBOLD. Aber so mich bedunkt so ist schon eine 
 Mascara vorhanden, willkommen Ihr Herrn. 
 
 ROMEO. I cannot. 
 
 MERCUT. Why not? 
 
 ROMEO. My body and feet are quite melancholy. 
 
 MERCUT. Then borrow wings from Cupid and fly. 
 I swear, if I were in love and had but one foot, I should 
 hop. 
 
 BENVOL. Aye, he gives in, and is ready to please 
 the ladies. 
 
 ROMEO. Gentlemen, methinks, we do wrong to go 
 there. 
 
 BENVOL. How so? 
 
 ROMEO. I had a heavy dream last night. 
 
 MERCUT. Really I suppose Maphas or alp has 
 
 pressed you. I too had a dream. 
 
 ROMEO. What was yours? 
 MERCUT. I dreamt that all dreams are lies. 
 
 BENVOL. Gentlemen, whatever we intend to do, let 
 it be done soon. Perhaps they have risen from table and 
 then we shall be too late. I will follow you, but heaven 
 grant that no mischief come of it. 
 
 [Exeunt. 
 
 SCENE II. 
 CAPULET. TIBALT. PARIS. All at table. 
 
 CAPULET. Gentlemen, I wonder that nobody visits 
 us at supper, as the custom is, with some masquara. 
 When 1 was young, I was not so lazy as our young 
 fellows are at the present day. There was no banquet I 
 did not attend with some mascara or other frolic. 
 
 LADY (CAPULET). I readily believe, you have been 
 a mouse-hound in your youth, but now you must leave 
 it off. 
 
 TIBALT. How long is it, father, you have not 
 danced a mascara? 
 
 CAPULET. I cannot remember how many years. 
 
 TIBALT. It is not so long ago that one should not 
 know it. I well remember your dancing at Mabilia's 
 wedding. 
 
 CAPULET. That may be; in my age everything is 
 soon forgotten. 
 
 TIBALT. But it appears there is already a mascara. 
 Welcome, gentlemen! 
 
333 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 334 
 
 SCENA 3 T1A . 
 ROMIO. PENUOLIO. 
 
 CAPPOLET. Ihr Herrn sie seind freindlich willkom- 
 men in meiner Behausung. 
 
 PARIS. Wiir seind ihnen hochlich verpflicht vor 
 disc Ehr so sie hierinnen vnfs beweisen. 
 
 [wird getanzt. 
 
 ROMIO. Schonste Dam die Ehr so ich gehabt mit 
 ihr zu tantzen kan weder meine Zung oder Hertz be- 
 zeichen, ich bitte sie vergonne doch einen Schambhafften 
 Pilgramb dero Handt zu kiissen. 
 
 JULIETA. Gueter Pilgramb ihr entheiliget Euch nicht, 
 dan solche bilder wie ich haben Hande zum fiihlen vnd 
 lippen zum kiissen. 
 
 ROMIO. Die Kiinheit entschuldiget mich dan [Kufst 
 sie] vnd nun bin ich aller meiner Siinden lofs. 
 
 JULIET. Wie? so hab ich Eure Siinden Empfangen? 
 
 ROMIO. Schonste Dam, wan sie es nicht behalten 
 wil, so gebe sie mir dieselbigen wieder. [Kiist Sie 
 wider.] 
 
 AMMA. Holla was ist das, die fraw Muetter siehts. 
 
 JULIETA. Fahret wohl mein Herr. 
 
 ROMIO. Fahre wohl du Zierte aller Damen, ach 
 Romio wie bald seind dein Sunn vnd gedanckhen ver- 
 endert worden [bist], 
 
 AMMA. Wafs beliebt den Herrn? 
 
 ROMIA. Sagt mir was ist das vor eine Damen so 
 mit mir gedanzet? 
 
 AMMA. Mein Herr der sie bekommen, wird an gelt 
 vnd guet keinen mangel leiden, sie ist des Herrn Cap- 
 polet sein eintzige Tochter. 
 
 ROMIO. O Himmel wafs hore ich, defs Cappolets 
 tochter, wie geschieht mir, muefs vnd solle ich nun ein 
 liebes gefangener sein der Jenigen deren Vatter mein 
 argister todsfeind ist, in wahrheit sie glantzet vnter an- 
 dern damen herfiir wie ein schoner stern, o Rosalina 
 du bist nur der blafse Mondt gegen diser glantzenden 
 Sonnen. 
 
 TIBOLD. Was hore ich, ist das nicht der verfluchte 
 Hundt Romio mein feind vnd darf sich vnterstehen an- 
 hero zu kommen, dafs ist nicht zu leiden. Holla Jung 
 mein stofsdegen her. 
 
 CAPPOL. Vetter Tibold wafs ist Euch, warumb rast 
 ihr so? 
 
 TIBOLD. Ha solt ich das leiden, das vnser feind 
 anhero kommen vnser Panquet zu verspotten? 
 
 CAPPOL. Wer ist es dan? 
 
 TIBOLD. Es ist mein feind der Romio, Holla Jung 
 mein stofsdegen, du Hurn Sohn wo bleibst du so lang. 
 
 SCENE III. 
 ROMEO. BENVOLIO. 
 
 CAPULET. Gentlemen, you are welcome in my 
 house. 
 
 PARIS. We are deeply indebted to you for the ho- 
 nour you shew us. 
 
 [Dancing. 
 
 ROMEO. Fairest lady, neither my tongue nor my 
 heart can appreciate the honour I have had of dancing 
 with you. Pray, grant a blushing pilgrim your hand to 
 kiss. 
 
 JULIET. Good pilgrim, you do not profane your- 
 self; for saints like me have hands to feel and lips to 
 kiss. 
 
 ROMEO. Then boldness excuses me, [kisses her\ and 
 now all my sin is purged. 
 
 JULIET. Why? Then I have taken your sin? 
 
 ROMEO. Fairest lady, if you won't keep it, give it 
 me back again. [Kisses her again.] 
 
 NURSE. Hollahl what is that? your lady mother 
 sees it. 
 
 JULIET. Farewell, sir! 
 
 ROMEO. Farewell, thou ornament of women! Ah 
 Romeo, how soon have your feelings and thoughts 
 changed! [Aside.] Whist! 
 
 NURSE. What is your pleasure? 
 
 ROMEO. Tell me, who is that lady with whom I 
 danced just now? 
 
 NURSE. Sir, the man who carries her off, will not 
 want for money and goods. She is my lord Capulet's 
 only daughter. 
 
 ROMEO. O Heaven, what do I hear! Capulet's 
 daughter? What has become of me! Must and shall I 
 henceforth be love's captive to her whose father is my 
 most bitter and most deadly foe? In truth she shines 
 above all other ladies like a beautiful star. O Rosaline ! 
 thou art but the pale moon to this resplendent sun! 
 
 TIBALT. What do I hear! Is not that that accursed 
 dog Romeo, my enemy? And does he dare to come 
 here? That is not to be endured! Fetch me my ra- 
 pier, boy! 
 
 CAPULET. What is the matter with you, cousin Ti- 
 balt? Why are you so angry? 
 
 TIBALT. What, should I suffer our enemy to come 
 here to scorn our banquet? 
 
 CAPULET. Who is it? 
 
 TIBALT. It is my enemy Romeo. Hollah boy, my 
 rapier! Thou whore's son, what makes thee so slow? 
 
335 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 336 
 
 CAPPOL. "Wofern es Romio ist, so ist er vnfs will- 
 kommen vnd wur seind ihm hochlich verpflicht vor die 
 Ehr so er vnfs erweist, darumb seit zufriden vnd ma- 
 chet kein Molest. 
 
 TIBOLD. Ich will es aber nicht haben. 
 
 CAPPOL. Wie \volt ihr es nicht haben, so will ich 
 es aber haben, wer ist Herr im Haufs ich oder ihr? 
 
 AMMA. Ja seit ihr Herr im Haufs oder ist der Herr 
 Cappolet Herr im Haufs? 
 
 TIBOLD. Gehe du alte Hex oder ich schlage dich 
 an ein Ohr. 
 
 AMMA. la ia alle zeit wolt ihr nur die weiber schla- 
 gen aber ihr habt nicht einmal das Hertz einen Mann 
 anzuriihren. 
 
 CAPPOL. Ich sage Vetter Tibold fangt mir nichts 
 an in diser gesellschafft oder da stehet die thier vor 
 Euch offen. 
 
 TIBOLD. O himmel, was muefs ich horen, ein freindt 
 soil hinwekh gehen vnd ein feindt hier verbleiben, wollan 
 ich gehe, aber Romio meine Rach sey dir geschworen. 
 
 [abit. 
 
 CAPPOL. Ich bitte ihr Herrn sie lassen sich des 
 Tibolds raserey nicht verstoren v sondern verbleiben gehrn 
 alhier. 
 
 ROMIO. Wiir bedankhen vns fur die Ehre so wur 
 genossen die Zeit fordert vnfs wider von hier zu gehen. 
 
 CAPPOL. Ich bitte ihr Herrn sie verbleiben. 
 
 PENUOL. Komb forth Romio lafs vnfs gehen vnser 
 kurtzweil ist geendet. 
 
 PARIS. Wo es moglich so wollen Sie noch ver- 
 bleiben. 
 
 ROMIO. Wir bedankhen vnfs aller Ehre vnd neh- 
 men also abschied. [abeunt. 
 
 CAPPOL. In wahrheit Romio ist hofflich discret vnd 
 jung, es ist mir leid das ich sein feind mues sein. 
 
 PARIS. Ich habe offtermahl gewiinscht dafs das Haus 
 Cappolet mit Mundige mochte vereinbahret werden, habe 
 auch vernohmen, dafs sich gar die Herrschafft bemuhet 
 difs lebensstreit beyzulegen. 
 
 CAPPOL. Es ist deme also Herr Graff, aber Ihro 
 fiirstl. Gn. haben es noch nicht proclamiren lassen, so 
 stehet die feindschafft noch bis dato. Herr Graff er 
 wolle ihme belieben lassen weil die Mahlzeit vorbey vnd 
 alle Yrlaub nehmen mit mir ins Zimmer zu gehen, ich 
 habe mehrers mit dero selben zu reden. 
 
 PARIS. Ich folge Herr Cappolet, aber schone Ju- 
 lieta beliebt ihr mit zu kommen. [abit. 
 
 JULIETA. Ich bin schuldig Ihro Gn. auf den fues 
 zu folgen. Amma gehe sehe vnd frage wer diser ge- 
 wesen so mit mir gedanzt. 
 
 CAPULET. If it be Romeo, he is welcome, and we 
 are deeply indebted to him for the honour he shews us. 
 Therefore be quiet, and do not make any disturbance. 
 
 TIBALT. But I won't have it. 
 
 CAPULET. Indeed! You won't have it? But I will 
 have it; who is master of the house, 1 or you? 
 
 NURSE. Aye, are you master of the house or is 
 my lord Capulet master of the house? 
 
 TIBALT. Be off, old witch, or I shall box your ears. 
 
 NURSE. Aye, aye, you always want to beat the 
 women, but you have not the heart to touch a man. 
 
 CAPULET. I say, cousin Tibalt, don't make any 
 trouble in this party or there is the door. 
 
 TIBALT. heavens! what must I hear? a friend 
 must go away and an enemy stay! Well then, I will 
 go, but Romeo, I swear you vengeance. [Exit. 
 
 CAPULET. Pray, gentlemen, do not mind the fury 
 of Tibalt, but stay longer. 
 
 ROMEO. We thank you for the honour we have en- 
 joyed; our time obliges us to depart. 
 
 CAPULET. Pray, gentlemen, stay. 
 
 BENVOL. Come Romeo, let us go, our pastime is 
 over. 
 
 PARIS. Pray, remain, if possible. 
 
 ROMEO. We thank you for all the honour and take 
 our leave. [Exeunt. 
 
 CAPULET. In truth, Romeo is polite, discreet, and 
 young; I am sorry I must be his enemy. 
 
 PARIS. I have often wished, the house of Capulet 
 might become reconciled with that of Montague, and hear 
 that even the Prince endeavours to lay this deadly 
 strife. 
 
 CAPULET. So it is, Count Paris, but His Grace has 
 not yet issued the proclamation. Therefore the feud 
 stands to this hour. As supper is over, and all the 
 guests taking leave, may it please you to go with me 
 to my cabinet; I have various things to discuss with 
 you. 
 
 PARIS. 1 follow, my lord ; but, fair Juliet, be pleased 
 to go with us. [Exit. 
 
 JULIET. I am bound to follow your Grace instantly. 
 Nurse dear, go and enquire who the gentleman was 
 who danced with me. 
 
337 
 
 TRAGEDY OF UOMEO AND JULIET. 
 
 338 
 
 I 
 
 AMMA. Ich glaub fiirwahr Julieta ist schon verliebt, 
 aber ich will gleichwohl ihren Befehl verrichten. 
 
 PENUOL. Ich habe mich verirrt in disem Haus, 
 saget mir wo geht man hinaufs? 
 
 AMMA. Mein Herr verzeihe mir, das ich frage, was 
 wahr das vor einer in den rothen Kleid? 
 
 PENUOL. Sein Nahmb heifst Romio. 
 
 AMMA. Ist es der Junge Romio? ich bedankhe mich 
 mein Herr, dafs er es mir gesagt. 
 
 PENUOL. Habt ihr auch noch etwas mehrers zu 
 fragen ? 
 
 AMMA. Nein mein Herr. 
 
 PENUOL. Und ich in der Wahrheit auch nicht. 
 
 [abit. 
 
 AMMA. Vnd ich auch nicht. 
 
 JULIETA. Amma sage bald, wer wahr er, vnd wie 
 ist sein Nahmb. 
 
 AMMA. Schone Julieta, es wahr der Junge Romio. 
 
 JULIETA. Wie der Junge Romio? 
 
 AMMA. Ja der Junge Romio. 
 
 JULIETA. O ein honig siifser Nahmb, aber es ist 
 ein vergiiffter stachel darin verborgen, ach Romio du 
 hast mein Hertz verwund. [abit. 
 
 SCENA 4 TA . 
 ROMIO allein. Hernach PENUOLIO, MERCUTIUS. 
 
 ROMIO. Ach Siifser liebesgott, wie veranderst du 
 die Hertzen deiner leib Eigenen, ich liebte Rosalina, 
 vnd nun bin ich ein liebes gefangener worden der iiber- 
 irrdischen Julieta, ich weifs mir nicht zu helffen in di- 
 sen Irrgarthen, aber stille Romio, da kompt Mercutius 
 vnd Penuolio, ich will mich verbergen vnd ihr gesell- 
 schafft fliehen. [abit. 
 
 PENUOL. Romio, Vetter Romio. 
 
 MERCUT. Wir fohlen den weeg, da ist er nicht her. 
 
 PENUOL. Nein er ging disen weeg. Rueff ihn doch 
 Mercutio. 
 
 MERCUT. Wohl ich will ihn rueffen, Romio, liebes- 
 gefangener, erscheine vor vnnfs alhier, ich beschwore dich 
 bey Rosalina augen, bey ihren schonen wangen, bey 
 ihren corallinen leffzen, bey ihren Alabasternen Ha'nden, 
 gerathen leib, schonen brusten, armen, bein, vnd alles was 
 oben vnd vnten an ihr ist, dafs du alhier erscheinest. 
 
 PENUOL. Wofern er dich horet, er wird zornig 
 werden. 
 
 MERCUT. Warumb soil er zornig werden, ich sage 
 ja nichts das wider seine Rosalina oder ihn sein kan. 
 
 PENUOL. Komb lafs vnfs gehen, er begehrt kein 
 
 NURSE. Forsooth I believe Juliet is already in love ; 
 but I will do her bidding all the same. 
 
 BENVOLIO. I have lost myself in this house : can you 
 tell me the way out? 
 
 NURSE. Pardon, Sir, my question; who was the 
 gentleman in the red dress? 
 
 BENVOLIO. His name is Romeo. 
 
 NURSE. Young Romeo? I thank you, Sir, for tell- 
 ing me. 
 
 BENVOLIO. Have you anything more to ask? 
 
 NURSE. No, Sir. 
 BENVOLIO. Nor I indeed. 
 
 Nor I. 
 
 Tell me quick, who he 
 
 Exit. 
 
 what is 
 
 NURSE. 
 
 JULIET. 
 his name? , 
 
 NURSE. Fair Juliet, it was young Romeo. 
 
 JULIET. What, the young Romeo? 
 
 NURSE. Yes, the young Romeo. 
 
 JULIET. Oh a honey-sweet name ! but therein lurks 
 a poisoned sting. Ah Romeo, you have wounded my 
 heart. [Exit. 
 
 SCENE IV. 
 ROMEO alone. Then BENVOLIO, MERCUTIO. 
 
 ROMEO. Ah, sweet Cupid, how dost thou change the 
 hearts of thy lieges! I did love Rosaline and now I 
 have become the love-prisoner of the heavenly Juliet. I 
 know not where to turn in this maze. But silence, Ro- 
 meo, there Mercutio and Benvolio are coming; I will 
 hide myself and fly their company. 
 
 [Exit. 
 
 BENVOLIO. Romeo, cousin Romeo! 
 
 MERCUTIO. We have come the wrong way; he is not 
 here. 
 
 BENVOLIO. No, he went this way; call him, Mer- 
 cutio. 
 
 MERCUTIO. Well, I will call him. Romeo, captive 
 of love, appear before us here ! I conjure you by Ro- 
 saline's eyes, by her fair cheeks, by her coral lips, her 
 alabaster hands, her lithe body, her beautiful bosom, 
 arms, legs, and every part of her above and below ' 
 appear ! 
 
 BENVOLIO. If he hear you, you will vex him. 
 
 MERCUTIO. Why should I? I say nothing against 
 his Rosaline or himself. 
 
 BENVOLIO. Come, let us go. He does not desire 
 
 22 
 
339 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 340 
 
 andere gesellschafft, alfs die dunkle nacht, die lieb ist 
 blind, darumb halt sie am meisten von der funster- 
 nufs. 
 
 MERCUT. Ich muefs ihm noch einmal ruefFen, Romio! 
 er ligt gewifs vnter einen baumb, vnd wintschet, das 
 die friichte Rosalina wahren vnd ihme in sein schofs 
 fallen, o wie anmuethig ware es ihm. 
 
 PENUOL. Ey komb, es ist vergeblich den Jenigen 
 zu suechen, welcher nicht will gefunden werden. 
 
 [abit. 
 
 SCENA 5 TA . 
 
 ROMIO mit einem Jung vnd lautten. 
 ROMIO. O angenehme gelegenheit, die sicherheit zeigt 
 mir den weeg, weil der frid geschlossen zwischen mei- 
 nen Herrn Vatter vnd den Capolet, so weiset mich die 
 Hebe zu der himmlischen schonheit der Julieta, deren 
 ich mich schon langsten verpflichtet habe, o Julieta die 
 du mem Hertz gefangen haltest, wan du sehen kontest 
 wie dein gottlicher blickh ein fewer in meinem Hertzen 
 entziindet, du wurdest mit etlichen thranen der Ehr- 
 barmmung begiefsen, du kanst meiner Marter nicht ge- 
 wahr werden, weil du nicht weift, das ich dich liebe, 
 ich weifs deine vortreffliche schonheit, auch weifs ich 
 dafs ich liebe aber nicht geliebt werde, so seze keinen 
 fues mehr weither Romio, vnd fafs ein Hertz, o liebe 
 ich rueffe dich an stehe mir bey, an disem orth ist nicht 
 weith ihr Schlafgemach, darumb Jung komb her vnd 
 singe dafs gemachte lied. 
 
 Lied. 
 
 1. 
 Ach willkommen schonste blumb, aufenthalt so vieller 
 
 gaben, 
 Deine tugendt mufs den Ruhm vor alien schonen ha- 
 
 ben, 
 
 Julieta liecht der Zeit, keine Sonn ist dir zu gleichen, 
 Deiner Zier vnd trefflichkeit miessen alle Damen wei- 
 
 chen. 
 2. 
 Ach Julieta dein verstand welcher himmlisch ist zu 
 
 schetzen, 
 Gib mir nur ein liebespfandt, dafs mich Ewig kan er- 
 
 getzen. 
 
 Julieta du mein Herzt, Julieta mein behagen, 
 Stille meiner Seelen Schmertz den ich ietzt so starkh 
 
 mus tragen. 
 
 ROMIO. Aber nun o ihr meine augen, schauet an 
 den orth wo cure Sonnen verborgen, o nacht ziehe vor 
 die schwartze Gardin vnd durch eine dunkle wolkhe 
 
 any other company but the dark night. Love is blind, 
 therefore he takes most to darkness. 
 
 MERCUTIO. I must call him once more. Romeo! 
 I am sure he is lying under some tree, and wishing that 
 the fruits were Rosaline and would fall into his lap. How 
 very agreeable he would think that. 
 
 BENVOHO. Come then; it is in vain to seek a man, 
 that does not mean to be found. 
 
 [Exeunt. 
 
 SCENE V. 
 
 ROMEO. A Page with a lute. 
 ROMEO. Oh welcome opportunity! safety points to 
 the way. Since peace is concluded between my father 
 and Capulet, love directs me to the heavenly beauty of 
 Juliet, to whom I have long devoted myself. Oh Juliet, 
 thou who hast taken my heart captive, if thou couldst see 
 how thy divine glance kindles a fire in my breast, thou 
 wouldst quench it by some tears of pity. Yet thou canst 
 not be aware of my torment, because thou dost not know 
 that I love thee. I know thy surpassing beauty, I know 
 too that I love but am not loved. Move not then from 
 here, Romeo, and take heart. Love! I invoke thee, 
 assist me! Not far from this spot is her chamber. 
 Come here then, boy, and sing the song I made. 
 
 Song. 
 
 1. 
 Welcome to thee fairest flower, of so many gifts the 
 
 dwelling, 
 
 Fame is thine, by virtue's power over all the fair ex- 
 celling. 
 
 Juliet, the light of days, there's no sun to equal thee, 
 To thy beauty and thy praise, all must yield the victory. 
 
 Ah my Juliet thy mind is indeed a heavenly treasure, 
 Canst thou no love-token find to aiford me endless 
 
 pleasure. 
 
 Ah my Juliet, thou my heart, Juliet my consolation, 
 Still my soul's devouring smart which now I bear with- 
 out cessation. 
 
 ROMEO. But now, ye eyes of mine, gaze at that 
 spot where my sun is hidden. Oh Night, draw the black 
 curtain, and by a dark cloud prevent me from being 
 
341 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 342 
 
 lhalte zuruck dafs erkhennen meiner persohn, ich sehe 
 lliecht, darumb will ich wafs naher hinzuetretten , vnd 
 fsehen ob ich Etwas vernehmen kan. 
 
 JULIETA. Holla was soil discs bedeuten, ein Music 
 
 vor meinen Kammerfenster ? wer soil sich wohl vnter- 
 
 i stehen bey nachtlicher weil mir vnruhe zu machen ? 
 
 imein schlaff ist vnterbrochen, die gedankhen sein ver- 
 
 wiirt, die Natur verha'ngnus vnd liebes brunst sturmen 
 
 , alle drey liber mich zu samben , vnd suechen mein 
 
 verderben, die natur vnd lieb halten einen streitt in mir, 
 
 doch will die liebe Meister sein, die natur aber will, 
 
 dafs ohne ihre gaben kein ding moglich ist zu vollbrin- 
 
 gen, wan die Krafft der natur nicht wa'hre, wafs wolte 
 
 doch die liebe thuen, o Romio warumb heist du Romio, 
 
 i mein traum ist aufsgelegt, du bist der Mundigeser den 
 
 ich in schlaff gesehen, ach Romio verendere den gehes- 
 
 sigen Namen, die verhangnufs stiirtzet mich, die liebe 
 
 reget sich, die natur treibet mich, o Romio wann ich an 
 
 dich gedenkhe, vor frewd ich dir mein liebe schenkhe. 
 
 ROMIO. Das stumme wordt der augen thuet seine 
 
 meinung. Ach konte meine schonste dises aufs meinem 
 
 igesicht sehen, mein Hertz wurde noch so frohlich sein, 
 
 die Hoffnung wird mich blofs erhalten, weil ich verlie- 
 
 bet bin. 
 
 JULIETA. Wie ? wafs seit ihr vor eine bersohn, vnd 
 wie ist euer Nahmb? das ihr euch vnterstehet bey 
 Schlaffender Zeit vnter mein fenster zu kommen? 
 
 ROMIO. Mein Nahmb ist (o ihr Gotter soil ich mich 
 offenbahren, es seyn Ja.) mein Nahmb, schonste Julieta, 
 ist zwar ein feindseliger Nahmb vnd heist Romio, aber 
 o schone, sie verendre denselben nach ihren belieben, 
 wan nur mein Hertz stehts zu dero Diensten sein kan. 
 
 JULIET. "Wafs Romio! o Himmel wie geschiecht mir, 
 ist Romio vorhanden vnd hat mein Klagen gehort? o 
 liebe, liebe, zu was bringst du mich, Romio Romio, seit 
 ihr noch vorhanden vnd habt meine Reden gehort? 
 
 ROMIO. Etwas schonste Julieta. 
 
 JULIETA. Ach Romio. 
 
 ROMIO. Wafs seuffzet sie meine schone? 
 
 JULIETA. Habt ihr 
 
 ROMIO. Wafs gebieth sie? 
 
 JULIETA. Mein Clagen vernohmen? 
 
 ROMIO. Nicht alles. 
 
 JULIETA. Ach Romio ich wolte, das ihr nicht wuste, 
 das ich euch liebe. 
 
 ROMIO. Worumb schonste Julieta, veracht sie dan 
 meine getrewe liebe, schonste Julieta, womit soil ich 
 dann genugsamb meine getrewe liebe vnd das Inner- 
 liche brennende fewer meines Hertzens bezeugen, oder 
 
 O ' 
 
 will sie nicht wissen dafs ich sie liebe? wollan so sterbe 
 
 recognised. I see a light; I will draw nearer, and try 
 if I can hear anything. 
 
 JULIET. Hollah! What does this mean? Music 
 under my window? Who should dare to disturb me at 
 night-time ? My sleep is broken, my thoughts disturbed. 
 Nature, fate, and love's fire are violently rushing upon 
 me, and compassing my ruin. Nature and love fight 
 within me, yet love will conquer. But nature will 
 that without her gifts nothing can ever be accomplished. 
 If the power of nature were not, what could love do? 
 Oh Romeo! wherefore is thy name Romeo? My dream 
 is interpreted, thou art the Montague whom I saw in 
 my sleep. Ah, Romeo! change that loathsome name! 
 Fate strikes me down; love moves within me; nature 
 urges me on! Oh, Romeo! when I think of thee, I 
 give thee joyfully my love! 
 
 ROMEO. The dumb word of the eyes discourses. 
 Ah, could my fair one read this in my face, my heart 
 would be far more joyous. Hope alone will keep me up, 
 because I am in love. 
 
 JULIET. Why? who are you, what is your name, 
 that you dare come under my window at this hour of 
 sleep? 
 
 ROMEO. My name is (aside: Ye gods, shall I dis- 
 close myself? Well, be it so !) my name, fair Juliet, is a 
 hostile name, is Romeo ; but, Oh fair one, change it as 
 you like, provided my heart may be in your service. 
 
 JULIET. What? Romeo? Oh Heavens! what hath 
 befallen me? Is Romeo present and has heard my wail? 
 Oh, love, love! what dost thou bring me to? Romeo, 
 Romeo! are you still there, and did you hear my words? 
 
 ROMEO. Some of them, fairest Juliet. 
 
 JULIET. Ah, Romeo! 
 
 ROMEO. Why do you sigh, my fair one? 
 
 JULIET. Have you 
 
 ROMEO. What is your behest? 
 
 JULIET. Have you heard my wailing? 
 
 ROMEO. Not all. 
 
 JULIET. Ah, Romeo! I wish you did not know I 
 love you. 
 
 ROMEO. Why, fairest Juliet, do you despise my true 
 love? How shall I prove sufficiently my true love and 
 the inward burning fire of my heart? Or do you not 
 choose to know that I love you? Well, let me die, 
 and let my tomb be a monument of your virtue. But 
 
 22* 
 
343 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 344 
 
 ich, vnd mein grab soil sein ein Denkhmahl ihrer tu- 
 gendt, aber Ey lafs, mein Hertz ist viel zu wenig auf 
 dem Altar einer so tibertrofflichen schonheit aufgeopffert 
 zu werden, ach schonste Julieta, acht sie mich dan nicht 
 wiirdig ihrer liebe in deme sie dafs selbe wider zuruckh 
 wintschet was sie mir versprochen? 
 
 JULIET. Werthester Romio, ich wintsche sie darumb 
 wider zuruckh, auf das ich sie noch einmahl wider- 
 schenkhen mochte. 
 
 ROMIO. Schonste gebietherin, so lafset vns dan eine 
 Verbindnufs vnserer getrewen liebe anietzo aufrichten, 
 dan ich schwore alhier bey dem hellglanzenden Mond. 
 
 JULIET. Ach schworet nicht bey den wankelmueti- 
 gen vnd vnbestandigen Mond. 
 
 ROMIO. Ach bey wemb solt ich den schworen? 
 
 JULIETA. Schworet lieber gahr nicht. 
 AMMA. 
 
 AMMA. Julieta, die fraw Muetter ruefft. 
 
 JULIETA. Ich komme. Ach Romio macht euch von 
 hier, der orth ist gefahrlich, wofern euch meines Vatters 
 Diener alhier solten gewahr werden, dorfften sie euch 
 das leben nehmen. 
 
 AMMA. Dafs euch Sanct Velten hoi, so geht forth. 
 
 JULIET. Ich komm, ich komm, fahret wohl Romio. 
 
 ROMIO. Fahret wohl scheme Julieta, es ist mir un- 
 moglich von disen orth zu gehen, mich daucht ich mochte 
 die gantze nacht alhier verbleiben. 
 
 JULIETA. Romio Romio, ach Himmel er ist schon 
 forth. 
 
 ROMIO. Nein schonste gebietherin, euer getrewe- 
 ster Diener ist noch hier vnd erwarthet dero selben be- 
 fehl, welchen er in aller Vnterthanigkeit aufszurichten 
 willens ist. 
 
 AMMA. Julieta Julieta, wie wirds werden, habt ihr 
 nicht gehort das die fraw Muetter ruefft? 
 
 JULIETA. Amma noch ein kleine geduld, ich komme 
 gleich. Edler Romio, ich habe euch etwas offenbahren 
 wollen, aber es ist mir aus den Sunn entfallen. 
 
 ROMIO. Ach schonste Julieta, ich bitte sie befriedige 
 mein Hertz mit einer glickseligen Versprechung ihrer 
 gegenlieb. 
 
 AMMA. Ey so blaudert das vnd keins mehr, heist 
 das der fraw Muetter gehorsambt? warth ihr werds 
 kriegen. 
 
 JULIETA. Nun ich komme ja gleich. Nehmet bin 
 Romio dises von mir, vnd morgen vmb 9 Vhr will ich 
 euch meine meinung wissen lassen. 
 
 AMMA. Potz tausendt Schlaper most seit ihr noch 
 da? Ey was denkt ihr? ist dafs nicht ein schand, dafs 
 man das Mensch nicht heimb kan bringen, so gehts 
 
 no! My heart is far too mean to be sacrificed on the 
 altar of so surpassing a beauty. Ah, fairest Juliet, do 
 you not think me worthy of your love, that you would 
 take back what you have promised me? 
 
 JULIET. Dearest Romeo! 1 wished it back that I 
 might give it you again. 
 
 ROMEO. Fair lady! let us set up a contract of our 
 true love here. For here I swear by yonder splendent 
 moon 
 
 JULIET. Oh swear not by the fickle inconstant moon ! 
 
 ROMEO. What shall I swear by? 
 
 JULIET. Do not swear at all. 
 Enter NURSE. 
 
 NURSE. Juliet! Your mother calls. 
 
 JULIET. Anon, good nurse! Oh Romeo, go, the 
 place is dangerous. If my father's servants were to 
 find you here, they might take your life. 
 
 NURSE. Zounds! take yourself off! 
 JULIET. Coming, coming! Farewell, Romeo! 
 ROMEO. Farewell, fair Juliet! I cannot leave this 
 place; methinks I would rather tarry here all night. 
 
 JULIET. Romeo, Romeo ! Oh Heavens, he is already 
 
 ROMEO. No, fair lady, your most faithful servant is 
 still here and awaits your commands, which he is ready 
 to carry out in due submission. 
 
 NURSE. Juliet, Juliet! How will this end! Did you 
 not hear your mother call? 
 
 JULIET. Nurse, have a little patience ! I am coming 
 directly. Noble Romeo, I was going to reveal something 
 to you but it has escaped me. 
 
 ROMEO. Ah, fair Juliet, pray satisfy my heart with 
 a blessed promise of your love. 
 
 NURSE. Oh dear, there's no one for chattering like 
 her! Do you call that obeying your mother? You will 
 catch it. 
 
 JULIET. Well, I arn coming directly. Take this, 
 Romeo, from me, and to-morrow at nine o'clock I will 
 let you know my mind. 
 
 NURSE. Confound you! are you still there? What 
 can you be thinking of? Is it not a shame, one cannot 
 bring that wench home ! That is the way with the young 
 
345 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 346 
 
 mit den jungen Dirnel, wan man ihnen zuelafst ein fin- 
 ger, so wollen sie die gantze Handt haben. Nun geht 
 oder ich sags. 
 
 JULIETA. Nun ich komme ja, lebet wohl Romio. 
 
 ROMIO. Ynd sie auch schonste Julieta. 
 
 JULIETA. Ach Romio. [obit. 
 
 ROMIO. Ach Julieta. Nun gibe dich zufriden Ro- 
 mio, die weillen du gegenliebe verspiihrest von der vn- 
 vergleichlichen Julieta, ich will mich wider nacher Haufs 
 verfugen, dan ich sehe dafs Aurora ihr langes ligen bey 
 dem alien Titon uberdriissig, vnd Phebus fangt an al- 
 gemach herfiir zu brechen vnd seine errothete wangen 
 aufszubreitten. 
 
 PATER. 
 
 PATER. Gueten Morgen Herr Romio, wie so fruhe 
 aus dem Schlaff, doch ein Verliebter hat wenig ruhe 
 wan er stehts an seine geliebte Rosalina gedenkt. Wafs 
 macht die guete Rosalina? 
 
 ROMIO. Geehrter Herr Pater, sie wissen wie wun- 
 derbahrlich sich der Mensch vnd deren gedankhen ver- 
 andern, so ists mir armen Romio auch geschehen. 
 
 PATER. Wie da, wie da Herr Romio? 
 
 ROMIO. Rosalina ist langsten aufs meinen Sunn vnd 
 gedankhen, also dafs ich wenig mehr an sie gedenkhe. 
 
 PATER. Solches gefalt mir sehr wohl Herr Romio, 
 das er einmahl befrewet worden von dem liebes Joch. 
 
 ROMIO. Frey Herr Pater, o nein, ich habe mein 
 Hertz einer andern geben vnd die selbige mich auch mit 
 gegenliebe belohnet. 
 
 PATER. O Himmel kan es wohl moglich sein, das 
 ein Mensch so wankelmiietig vnd tibel bestandig in der 
 liebe sein kan, aber sagt mir Herr Romio, was ist das 
 vor eine die er liebt? 
 
 ROMIO. Es ist die schone Julieta, des Capolets ei- 
 nige Tochter. 
 
 PATER. Solches hore ich nicht gehrn, vnd wie ist 
 es moglich seines feindts tochter zu lieben, doch viel- 
 leicht will der Himmel dardurch einen frieden beyden 
 Hausern geben, welches mich von Hertzen erfrewen 
 soil, aber ich halte mich zu lang auf, Herr Romio ich 
 wintsche demselben glickh vnd wohlergehens, hat er 
 meinen geistlichen Rath von nothen so weifs er schon 
 mein Zelt. [abit. 
 
 ROMIO. Der Himmel begleite ihn Herr Pater. Nun 
 ist es Zeit mich auch von hier zu begeben, vnd dises 
 guten geistlichen Rathes werde ich wohl von nothen ha- 
 ben in alien meinen vorgenohmenen werkhen. 
 
 [abit. 
 
 girls; if you give them a finger, they want the whole 
 hand. Now do you go in, or I tell your mama. 
 
 JULIET. Well, I am coming. Good bye, Romeo. 
 
 ROMEO. Good bye to you, fair Juliet! 
 
 JULIET. Ah, Romeo! [Exit. 
 
 ROMEO. Ah, Juliet ! Now thou mayst be satisfied, 
 Romeo, since thou art aware that thy love is returned by 
 the incomparable Juliet. I will return home again, for 
 I observe that Aurora is tired of lying with old Titon, 
 and Phoebus is beginning to break forth, and display 
 his ruddy cheeks. 
 
 Enter FRIAR. 
 
 FRIAR. Good morning, Romeo ! What, up so early ? 
 True, a lover has little rest, when he is always thinking 
 of his beloved Rosaline. How is the good Rosaline? 
 
 ROMEO. Honoured father! You know how strangely 
 man and his thought change. The same has happened 
 to me, poor Romeo. 
 
 FRIAR. How so, how so, Romeo? 
 
 ROMEO. Rosaline has long gone out of my mind 
 and memory; I little think of her. 
 
 FRIAR. I am much pleased to hear, sir, that you at 
 last are freed from the yoke of love. 
 
 ROMEO. Freed, father? Oh, no; I have given my 
 love to another lady, and she rewards me by return- 
 ing it. 
 
 FRIAR. Oh Heavens! is it possible, that a man 
 should be so fickle and inconstant in love ! But tell me, 
 sir, who is it whom you are in love with? 
 
 ROMEO. It is the fair Juliet, Capulet's only daugh- 
 
 ter. 
 
 FRIAR. I don't like that at all: how is it possible 
 to love the daughter of one's enemy! But may be that 
 God in this way means to give peace to the two houses, 
 which would gladden my heart. But I am tarrying too 
 long, Sir, I wish you luck and prosperity. If you need 
 my spiritual advice, you know my cell. 
 
 [Exit. 
 
 ROMEO. Heavens be with you, father. It is time 
 for me also to leave this place; I am likely to need 
 this good father's advice in all my enterprises. 
 
 [Exit. 
 
347 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 348 
 
 ACTUS TERTIUS. 
 
 SCENA PRIMA. 
 
 FRAW mit AMMA. 
 
 FRAW. Amma! 
 
 AMMA. Wafs beliebt ihr gnadige Frau? 
 
 FRAW. Sagt mir wo ist vnser tochter Julieta? be- 
 findt sie sich noch wohl bey ihrer gesundtheit? 
 
 AMMA. Sie ist, gnadigste Fraw, bey gueter gesundt- 
 heit, vnd thuet nichts alfs biiecher lesen. 
 
 FRAW. Es ist guet, aber sagt vnnfs Amma soil sie 
 nicht schon alt genug sein einen Mann zu nehmen? 
 
 AMMA. Ist mir recht gnadige Fraw, so ist sie schon 
 in den 16ten Jahr, dan ich weifs mich noch wohl zu 
 entsinnen wie lang ich ihr gewarthet hab. 
 
 FRAW. Noch nicht gahr 16 Jahr? Amma rueffet 
 sie zu mir, ich hab mit ihr zu reden. 
 
 AMMA. Alsobald gnadige Fraw will ich rueffen, Ju- 
 lieta sufses turtelteublein, furwahr ich mag sie wohl so 
 nennen, dan sie ist so fromb vnd angenehmb alfs ein 
 turtelteublein. Julieta kompt herfiir, die Frau Muetter 
 ruefft euch. 
 
 SCENA 2 DA . 
 
 JULIETA. 
 
 JULIETA. Geliebte Fraw Muetter, in gehorsamb er- 
 schein ich, was hat sie mit mir alfs dero gehorsamben 
 tochter zu befehlen? 
 
 FRAW. Liebes Kind Julieta, du hast einen sorg- 
 feltigen Vatter. 
 
 JULIETA. Warumb das Frau Muetter? 
 
 FRAW. Darumb dafs dein Vatter sorgfeltig ist ge- 
 wefsen in auferziehung deiner Jugendt, so will er auch 
 sorgfeldig sein in wachstumb deiner Jahren vor dich 
 sorg zu tragen, vnd weil du mannbahr, hat er dir einen 
 wackhern gaualier aufserkoren, den du heyrathen solst. 
 
 JULIETA. Wie Fraw Muetter, meine Jahr sein noch 
 zu wenig mich in eine wiirthschafFt zu schickhen, vnd 
 einen Mann zu nehmen. 
 
 FRAW. Du wirst deines Vatters gebott nicht ver- 
 werffen, sondern wafs er von dir haben will in obbacht 
 nehmen, da ist kein entschuldigung gultig deinem Vat- 
 tern zu widerstreben , er tragt sorg fur dich vnd dir 
 einen dapfferen gaualier aufserkoren, nemblich den Graff 
 Paris, darumb sage mir deine Meinung. 
 
 JULIETA. Wie Fraw Muetter? ich lebe in der gehor- 
 samb, vnd bitte mich mit heyrathen nicht zu zwingen. 
 
 MUETTER. So lebst du mir vnd deinen Vatter zu 
 wider. 
 
 ACT III. 
 
 SCENE I. 
 
 LADY CAPULET with NURSE. 
 
 LADY. Nurse ! 
 
 NURSE. What is your ladyship's pleasure? 
 
 LADY. Tell me, where is my daughter Juliet? is 
 she still in good health? 
 
 NURSE. She is in good health, my lady; and does 
 nothing but read books. 
 
 LADY. That is well. But tell me, nurse, don't you 
 think her old enough to take a husband? 
 
 NURSE. If I am not mistaken, my lady, she is al- 
 ready turned fifteen; for I remember well how long I 
 have waited on her. 
 
 LADY. Not quite sixteen? Nurse, call her, I have 
 something to talk over with her. 
 
 NURSE. I will call her at once, my lady; Juliet, 
 you sweet little dove! Forsooth I may call her that, 
 for she is as good-tempered and as gentle as a turtle. 
 Juliet, come! your mother wants you. 
 
 SCENE II. 
 
 JULIET. 
 
 JULIET. Dear mother, in duty I appear before you : 
 what commands have you for your obedient daughter? 
 
 LADY. Juliet, my dear child, thou hast a careful 
 father. 
 
 JULIET. Why mention that, dear mother? 
 
 LADY. Because thy father, careful as he has been 
 in bringing thee up, will be equally so in providing 
 for thee according to thy age; and as thou art mar- 
 riageable he has chosen for thee a gallant cavalier whom 
 thou art to marry. 
 
 JULIET. Why, mother, my years are still too few 
 to fit me for the conduct of a household and the mar- 
 ried state. 
 
 LADY. Thou wilt not reject the command of thy 
 father, but observe what he requires of thee. There is 
 no excuse for opposing a father. He cares for thy wel- 
 fare, and has selected a gallant cavalier, Count Paris. 
 Now tell me thy mind. 
 
 JULIET. Why, mother, I live in obedience, but pray 
 do not force me to marry. 
 
 LADY. Then thou livest in opposition to me and 
 to thy father. 
 
349 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 350 
 
 JULIET. Fraw Muetter nein, ich bin geboren zu 
 gehorsamben aber mit heyrathen zu uerschonen. 
 
 MUETTER. Wie tochter Julieta? du solst dich glick- 
 selig schatzen einen solchen gaualier wie Graff Paris 
 ist zu bekommen. 
 
 JULIETA. Liebste Fraw Muetter, verschonet meiner 
 Jugendt vnd schlaget solche gedanckhen aufs den Sunn, 
 dann der gehorsamb meiner Eltern zu folgen, achte ich 
 mehr alfs eine Princessin zu sein. 
 
 MUETTER. Julieta du bist halfsstarrig, deiner Siin- 
 nen verruckt, aber stille, da kompt dein Herr Vatter, 
 siehe zue wie er deine worter annehmen wird. \_Abit. 
 
 SCENE 3 TIA . 
 
 CAPOLET. 
 
 CAPOL. Wie ists liebes Kind Julieta? Hast du die 
 meinung deiner Fraw Muetter verstanden? 
 
 JULIE. Ja gn. Herr vnd Vatter, ich habe es wohl 
 verstanden, aber ich bitte in der Jugendt meiner Jahren 
 mich zu uerschonen einen Mann zu nehmen, dan mir 
 gebiihren will noch meinen Eltern zu gehorsamben. 
 
 CAPUL. Julieta, mir ist wissendt dein gehorsamb 
 von Jugendt auf, darumb ich dir nicht iibel rathen, son- 
 dern wohl versorgen will. 
 
 JULIE. Herr Vatter, die Meriten des Graff Paris 
 seind nicht verwerfflich, aber ich bitte mit heyrathen 
 mich zu uerschonen. 
 
 CAPOL. Wie, widerspenstige tochter, wilst du auch 
 anfangen ein vngehorsambes Kind zu werden? 
 
 JULIET. Ach nein gn. Herr vnd Vatter der gehor- 
 samb ist mein glickh, die Ehre mein Keuchthumb, wan 
 es ja nach meiner Eltern willen gehen soil, so bitte ich 
 vmb bedenckh Zeit, damit solches mit wohl bedachtem 
 mueth vnd reiffen verstandt geschehen moge. 
 
 CAPUL. Wollan dan, liebe tochter Julieta, bedenckhe 
 dich vndt erfrewe deinen Vatter mit einem frolichen 
 Ja, den Graff Paris zu haben. [abit. 
 
 SCENA 4 TA . 
 
 AMMA. 
 
 JULIET. Fahret wohl Herr Vatter, ich will wafs 
 einer gehorsamben tochter gebiihren will, verrichten. 
 Aber Ey, lafs armseelige Julieta, wafs wirstu anfangen 
 in dem du dein Hertz schon den Romio gegeben. Ach 
 Romio komb vnd erledige deine armselige Julieta von 
 den Zwang diser Heyrath, aber Amma ich habe dir eine 
 sach zu offenbahren wofern du mir getrew vnd ver- 
 'schwigen sein wilst. 
 
 AMMA. Schonste Julieta habe ich nicht mehr ver- 
 
 JULIET. No, mother, I am born to be obedient but 
 also to be excused marrying. 
 
 LADY. Why, my daughter, thou shouldst consider 
 thyself fortunate to get a cavalier like Count Paris. 
 
 JULIET. Dearest mother, have pity on my youth, and 
 give up all such thoughts; for I think it more to be 
 obedient to my parents than to be a princess. 
 
 LADY. Juliet, thou art obstinate, thy mind is per- 
 verted. But silence! there comes thy father. Now you 
 will see how he will take thy words. [Exit, 
 
 SCENE III. 
 
 CAPULET. 
 
 CAPULET. Well, my dear Juliet? Hast thou under- 
 stood the opinion of thy lady mother? 
 
 JULIET. Yes, my gracious lord and father, I have 
 quite understood it, but pray for the sake of my youth 
 that you will excuse me from taking a husband, for it 
 is more fitting that I should still remain under the au- 
 thority of my parents. 
 
 CAPULET. Juliet, I well know thy obedience from 
 childhood; therefore I will not advise thee ill, but well 
 provide for thee. 
 
 JULIET. My lord and father, the merits of Count 
 Paris are unexceptionable; but I pray you to excuse me 
 from marrying. 
 
 CAPULET. Why, thou headstrong girl, wilt thou also 
 turn a disobedient child? 
 
 JULIET. Oh no, my gracious lord and father, obe- 
 dience is my happiness, chasteness my fortune. If the 
 will of my parents is to be carried out, I pray for respite 
 that the thing may be done with consideration and mature 
 judgment. 
 
 CAPULET. Well, my dear daughter, reflect upon it, 
 and cheer thy father with a cheerful assent to take Count 
 Paris. [Exit. 
 
 SCENE IV. 
 
 JULIET. NURSE. 
 
 JULIET. Farewell, father! I will perform what be- 
 hoves a dutiful daughter. But, alas, wretched Juliet! 
 what art thou to do, now that thou hast already given 
 thy heart to Romeo? Ah, Romeo, come and deliver thy 
 poor Juliet from the constraint of this marriage. Look 
 here, nurse, I have something to reveal to you, provided 
 you will be faithful to me and secret. 
 
 NURSE. Fair Juliet, do I not enjoy more confidence 
 
351 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 352 
 
 trawen bey ihr alfs dises ? offenbahret mir was ihr wolt, 
 es wird bey mir sicher verschwigen bleiben, alfs ob ihr 
 es einen stein vertrawet. 
 
 JULIE. So wisse dan, seid der Zeit ich mit Romio 
 gedanzt, ist mein Hertz also in liebe gegen ibm ver- 
 strickhet, dafs wofern ich nicht heylsambe mittel finden 
 werde, so ist es vmb mich geschehen, darumb sage mir 
 Amma, wilst du mir etwas zu gefallen thuen, 
 
 AMMA. Wie Julieta? was gedenkt ihr? Romio ist 
 ja euer Erztfeindt, darumb wahre mein rath ihr verlafst 
 ihn, vnd verheyrathet euch mit Graff Paris. 
 
 JULIE. Hinweckh mit deinen Rath, gedenkhe nicht 
 mehr daran, dan ich schwore, wofern ich nicht Romio 
 fur einen Mann bekomme, so ist es schon geschehen, 
 vnd ich will mein vnglickh so ich anietzo fiihle noch 
 arger machen alfs es ist. 
 
 AMMA. Wollan Julieta, weil ich den ernst bey ihr 
 verspiire, so will ich alles verrichten, wafs sie mir be- 
 fehlen wird. 
 
 JULIE. So gehe alsobald zu Romio, vnd vermelde 
 ihm, dafs er sich vnfehlbar wan er sich meinen Ehe- 
 man nennen wil vmb 9 Vhr in defs Paters Zelt befinde, 
 alda ich mich mit ihm will vermahlen oder trauen lassen, 
 verricht es wol, sey verschwigen, eine guete belohnung 
 wirst du zu gewarthen haben. [abit. 
 
 AMMA. Geliebte Julieta, ich bedankhe mich ihrer 
 Zuneigung, ich gehe vnd verrichte wafs sie mir befohlen 
 hat. [abit. 
 
 SCENA 5 TA . 
 
 MERCUTIUS. PENUOLIO. 
 
 MERCU. Es nimbt mich grofs wunder dafs Romio 
 nicht anzutreffen sey, sage mir Penuolio, ist er zu Haufs 
 zu finden? 
 
 PENUO. Nein zu Haufs ist er nicht, ich habe mit 
 seinen Diener geredt, der weifs eben so viel von ihm 
 alfs ich vnd du. 
 
 MERCU. Wo zum Krankheit muefs er sich dan ver- 
 stekht haben? 
 
 PENUO. Tipold, des Capolets Vetter, hat Romio 
 einen Brief geschrieben vnd denselbigen in seines Vat- 
 ters Haufs geschickht. 
 
 MERCU. So ist gewifs ein duell oder aufsforderungs- 
 brieff. 
 
 PENUO. Du hast es errathen, und Romio will ihn 
 beandtwortten. 
 
 MERCU. Das glaub ich wohl, ein Jeder der schrei- 
 ben kan, kan auch einen brieff beandtwortten. 
 
 PENUO. Nein, Romio will ihn beandtwortten mit 
 den Degen in der Faust. 
 
 with you? Reveal to me whatever it may be: it shall 
 remain as secret with me as if you had confided it to 
 a stone. 
 
 JULIET. Know ye then, that since the day I danced 
 with Romeo my heart is entangled in love to him and 
 that I am undone unless some remedy be found. There- 
 fore tell me, nurse, will you do something to oblige me ? 
 
 NURSE. Why Juliet! What are you thinking about? 
 Romeo is your enemy; therefore my advice is you leave 
 him and marry Count Paris. 
 
 JULIET. Away with your advice! don't think of it: 
 for I swear, unless I get Romeo for my husband I am 
 undone, and will make my present misery still worse 
 than it is. 
 
 NURSE. Well, Juliet! since I see you are in ear- 
 nest, I will perform whatever you command me to do. 
 
 JULIET. Then go at once to Romeo, and tell him, 
 that. if he wants to call himself my husband he should 
 be at the father's cell to-morrow at nine o'clock, where 
 I will be married to him. Do your errand well, be secret, 
 and you may expect a good reward. [Exit. 
 
 NURSE. Dear Juliet, I am sensible of your affection, 
 I will go and do what you have ordered. 
 
 [Exit. 
 
 SCENE V. 
 
 MERCUTIO. BENVOLIO. 
 
 MERCUT. I am much surprised, that I cannot find 
 Romeo. Tell me, Benvolio, is he to be met with at his 
 own house? 
 
 BENVOL. No, he is not at home, I have spoken to 
 his servant, and he knows as much of him as I and 
 you do. 
 
 MERCUT. Where the deuce can he be hiding? 
 
 BENVOL. Tibalt, Capulet's cousin, has written him 
 a letter, and sent it to his father's house. 
 
 MERCUT. It is a duel to be sure or a challenge. 
 
 BENVOL. You are right, and Romeo is going to 
 answer it. 
 
 MERCUT. Very likely; a man who can write, can 
 also answer a letter. 
 
 BENVOL. No, Romeo intends to answer sword in 
 hand. 
 
353 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 354 
 
 MERCU. Ach armer Romio du bist schon halbtodt, 
 dan er ist geschossen mit einem pfeil von einen blinden 
 Knaben, vnd wie soil er bestehen mit den Tipold zu 
 fechten. 
 
 PENUO. Vnd wafs ist dan Tipold? 
 
 MERCU. Nichts mehr als ein Katzen Konig der 
 
 PENUO. Wafs der? 
 
 MERCU. Der viel prallens aber wenig Hertz hat. 
 
 PENUO. Das ist wahr, aber stille da kombt Romio. 
 ROMIO. 
 
 MERCU. Warth ich will ihm einen grues auf fran- 
 zesiscb bringen, Monsieur Monsieur Romio, das ist fran- 
 zesisch, Romio, vor den gestrigen SchimpiF den du vnfs 
 gegeben. 
 
 ROMIO. Ihr Herrn verzeiht es mir, ich weifs nichts 
 darumb. 
 
 MERCU. Ja Ja du hast recht sagen deine gedankhen 
 sein nur an Rosalina, ich weifs es gahr zu wohl. 
 
 ROMIO. Ja Ja glaub es nur, ich verstehe dein Schertz 
 auch gahr zu wohl. 
 
 SCENA 6 TA . 
 
 AMMA. 
 
 MERCU. Wafs zum Henkher kompt da vor eine 
 Hex? 
 
 AMMA. Ich gehe lauff vnd renn, vnd sueche den 
 Herrn Romio, kan ihm aber nicht antreffen, aber hier 
 stehen wakhere Herren, die will ich fragen ob sie mich 
 nicht berichten konnen wo Herr Romio anzutreffen, 
 mein Herr auf ein wordt, ist nicht in diser gesellschafft 
 Herr Romio? 
 
 ROMIO. Geehrte Fraw, ich bin es selber nach dem 
 sie fragt vnd mein Nahmb heist Romio. 
 
 AMMA. Ach Herr Romio ich bring ihm Zeitung, 
 das er sich bey der Julieta zur Mahlzeit einfinden soil. 
 
 MERCU. Wafs will das alte Mutterlein? 
 
 PENUO. Sie redt von einer Mahlzeit, sie wird ge- 
 wifs Romio auff ein Panquet laden. 
 
 MERCU. Nichts anders, so mag er kommen nach 
 seinem belieben, ihr Herrn mir fait eine Verrichtung 
 ein, darumb adio, ich gehe von hier. [abit. 
 
 AMMA. Mein Herr wafs gibt er mir vor ein andt- 
 wordt, das ich eylents meine botschafft verrichten kan. 
 
 ROMIO. Geliebte Fraw, ich werde mich gehorsamb 
 einfinden, vnd gehorsamb aufwarthen. 
 
 AMMA. Wollan ich gehe, die Herren werffen kein 
 Vngnad auf mich. [abit. 
 
 ROMIO. Penuolio warumb lachstu? 
 
 PENUO. Ich lache nicht sondern weine vielmehr. 
 
 MERCUT. Poor Romeo! he is already half killed; 
 for he is hit by an arrow of the blind boy, and how is 
 he to stand a fight with Tibalt! 
 
 BENVOL. And what is Tibalt then? 
 
 MERCUT. He is nothing more or less than a cats- 
 king, a 
 
 BENVOL. A what? 
 
 MERCUT. A hectoring fellow with little courage. 
 
 BENVOL. True, but there comes Romeo. 
 Enter ROMEO. 
 
 MERCUT. Look here, I will salute him in French. 
 Monsieur, Monsieur Romeo! That is French, Romeo, 
 in exchange for the insult you offered us yesterday. 
 
 ROMEO. Pardon, gentlemen, I am not aware of 
 any. 
 
 MERCUT. It is all very well to say your thoughts 
 are all with Rosaline; I know it well enough. 
 
 ROMEO. Depend upon it, I also understand your 
 joke well enough. 
 
 SCENE VI. 
 
 NURSE. 
 
 MERCUT. What, the deuce is that witch coming 
 here? 
 
 NURSE. I am running about to look for Mr. Ro- 
 meo, but cannot meet with him. But there are some 
 gallant cavaliers; I will ask them where to find him. 
 Sir, one word; is not Mr. Romeo one of this company? 
 
 ROMEO. Madam, I am the person for whom you 
 enquire; Romeo is my name. 
 
 NURSE. Ah, Sir Romeo ! I bring you a message, that 
 Juliet wants you to dinner. 
 
 MERCUT. What does that old woman want? 
 
 BENVOL. She talks of dinner; to. be sure she has 
 come to invite Romeo to a banquet. 
 
 MERCUT. Nothing else; he may go if he likes. 
 Gentlemen, I remember some business; so adio, I will 
 take my leave. [Exit. 
 
 NURSE. Sir, what is your answer? Tell me, that 
 I may do my errand without loss of time. 
 
 ROMEO. My dear madam, I shall come obediently 
 and wait upon you obediently. 
 
 NURSE. Very well, I go, and command myself to 
 your favour. [Exit. 
 
 ROMEO. Benvolio, what art thou laughing at? 
 
 BENVOL. I am not laughing, rather crying. 
 
 23 
 
355 
 
 TRAGEDY OF EOMEO AND JULIET. 
 
 356 
 
 ROMIO. Warumb das? 
 
 PENU. Vmb dafs, das dir dein armes Hertz also 
 geangstigt ist. 
 
 ROMIO. Ach du wurdest es noch hartter krankhen 
 mich weither zu vexiren, Adieu darumb fahre wohl. 
 
 PENUO. Nein, ich will mitgehen, mich also zu uer- 
 lassen thuest du vnrecht. 
 
 ROMIO. So schertze nicht mehr, mein Hertz ist ohne 
 dafs mit uberfliifsiger betriibnufs uberladen. 
 
 PENUO. Deine SeufFzer vnd traurigkeit geben zu 
 erkhennen, das dir etwas mangelt. 
 
 ROMIO. Wafs manglen, ich weifs von keinen Seuff- 
 zen vnd Klagen. 
 
 PENUO. Nein bekhenne vnd sage mir, du bist ver- 
 liebt vnd dein Hertz ist zertheilt. 
 
 ROMIO. Etwas hast du errathen, dafs mein Hertz 
 nicht mehr mein sondern einer andern gehorig. 
 
 PENUO. So viell kont ich wohl merkhen aufs dei- 
 ner traurigkeit, dafs du verliebt wahrest. 
 
 ROMIO. Ich bestehe dir Penuolio, dafs die Jenige 
 so ich liebe auch schon ist. 
 
 PENUO. Ein schones Zihl, darnach man pflegt zu 
 schiefsen ist am ersten getroffen. 
 
 ROMIO. Ey lafs Penuolio eben dafs qualet mein 
 Hertz, das ich Ihrer Liebe nicht theilhafftig werden 
 kann. 
 
 PENUO. So hat sie dan geschworen allezeit keusch 
 zu leben? 
 
 ROMIO. So viel mir bewust so basset sie viel mehr 
 das Mannsgeschlecht alfs zu lieben. 
 
 PENUO. So folge meinen Rath vnd denkhe nicht 
 mehr an sie. 
 
 ROMIO. Nicht an sie gedenkhen? ach so wurde 
 mein leben auch sich bald enden. 
 
 PENUO. Herr Vetter gebet euren Augen die frey- 
 heit, vnd erwehlet eine andere, dan es gibt ja nicht 
 Handt sondern lander voll weibsbilder. 
 
 ROMIO. Ich sehe dein Schertzen kan mir nicht helf- 
 fen, drumb verlafs ich dich vnd bleibe der verliebte vnd 
 betrubte Romio. [abit. 
 
 PENUO. Nein ich folge dir, vnd will mich befleifsen 
 dein Doctor zu sein, bifs ich ein gewisses recept zu 
 deiner traurigkeit finde. {abit. 
 
 SCENA 7 MA . 
 
 JULIETA. AMMA. 
 
 JULIE. Liebste Amma wafs bringt ihr mir von mei- 
 nen Romio guete oder befse Zeittung, dan mich ver- 
 langt zu wissen, wafs er euch vor eine andtwortt ge- 
 geben. 
 
 ROMEO. What for? 
 
 BENVOL. For thy poor heart being so tormented. 
 
 ROMEO. Thou wouldst not mind adding to its torments 
 merely for the sake of chafing me. Adieu then, farewell. 
 
 BENVOL. No I shall go with thee ; thou art wrong 
 to leave me thus. 
 
 ROMEO. Then leave off joking; my heart is already 
 overburdened with sorrow. 
 
 BENVOL. Thy sighing and despondency show that 
 there is something the matter with thee. 
 
 ROMEO. What should be the matter ? I know nothing 
 of sighing nor lamenting. 
 
 BENVOL. No, confess and tell me, thou art in love, 
 thy heart is divided. 
 
 ROMEO. So far thou art right that my heart is no 
 longer mine, but belongs to some one else. 
 
 BENVOL. So much I could perceive from thy sad- 
 ness, that thou art in love. 
 
 ROMEO. I confess to thee, Benvolio, that she whom 
 I love, is also handsome. 
 
 BENVOL. A handsome mark to shoot at is most 
 easily hit. 
 
 ROMEO. Alas, Benvolio, it is just that which tor- 
 ments my heart, that I cannot gain her affection. 
 
 BENVOL. Has she, then, sworn to remain chaste? 
 
 ROMEO. As far as I know she rather hates our 
 sex than loves it. 
 
 BENVOL. Then take my advice and do not think 
 of her any longer. 
 
 ROMEO. Not think of her! there would soon be an 
 end of my life. 
 
 BENVOL. Cousin, set thy eyes free and choose an- 
 other woman; there are handfuls, nay countryfuls of 
 them. 
 
 ROMEO. Thy playfulness cannot aid me; I leave thee 
 remaining what I am, Romeo in love and in sadness. 
 
 [Exit. 
 
 BENVOL. No I will follow thee, and try to be thy 
 doctor till I have found out a certain prescription for 
 thy sadness. [Exit. 
 
 SCENE VII. 
 
 JULIET. NURSE. 
 
 JULIET. What news, good or bad, do you bring 
 me from my Romeo? I long to know what answer he 
 sends. 
 
357 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 358 
 
 AMMA. Er redt gleich wie es einen Ehrlichen Jun- 
 gen gesellen zuestehet. 
 
 JULIETA. Wie Amma, wafs saget ihr? Er redt gleich 
 wie es einen Jungen gesellen zuestehet, pfuy schamet 
 euch er ist ein gaualier vnd kein gemeine persohn. 
 
 AMMA. Hoho, verdriist Euch discs dafs ich ihn einen 
 Jungen gesellen heifs, gehet ein andermahl selber, bringt 
 ihm die bottschafft , hernach mogt ihr ihn nennen wie 
 ihr wolt. 
 
 JULIET. Ey liebe Amma nicht so zornig, es wahr 
 nur mein Schertz mit euch also zu reden, drumb sagt 
 mir geschwind, was sagt mein lieber Romio? 
 
 AMMA. Ach wafs soil er sagen ? 
 
 JULI. Wie wolt Ihr mich noch langer aufhalten 
 mich zu qualen. 
 
 AMMA. Ey nun er sagt 
 
 JULI. Vnd was sagt er? 
 
 AMMA. Er weifs selber nicht ob er krankh oder 
 gesundt sey. 
 
 JULIE. Ach der Himmel bewahre ihn. 
 
 AMMA. Ich muefs euch doch nicht gahr erschrock- 
 hen, er sagt, er will nach ihren Befehl zu leben 
 wissen. 
 
 JULI. So will er kommen? 
 
 AMMA. Ich hab schon gesagt, ja ia er will kom- 
 men, seit ihr darmit zufriden? 
 
 JULI. Ach ja liebe Amma, bedankhe mich vor dise 
 froliche Zeitung ich gehe ihn zu erwarthen, vnd euer 
 recompens kont ihr bey mir abholen. [abit. 
 
 AMMA. So so, ist das mein Dankh vor mein Miihe 
 vnd lauffen, warth ein andersmahl will ichs bleiben las- 
 sen, dan wer das trinkhgelt in Handen hat, da richten 
 sie die bosten selber aus, aber ich gehe vnd will sehen, 
 wafs das verliebte frewlein Julieta noch wird anfangen. 
 
 [abit. 
 
 SCENA 8. 
 
 PATER. ROMIO. 
 
 PATER. Herr Romio, die sachen so er mir vorge- 
 tragen seind schwar der Vernunfft nach, bedenkh er sich, 
 das ich alfs ein Priester nicht thuen kan mit recht nach 
 seinen begehren, in deme dero Eltern von disen alien 
 keine wissenschafft haben. 
 
 ROMIO. Geehrter Herr Pater, es ist aber mein vnd 
 der Julieta willen, vnd ehe sie sich will zwingen lassen 
 den Graff Paris zu ehligen, will sie lieber sterben, dar- 
 umb were mein bitt, sie wollen alhier ein mittel finden 
 vnd disen gefalligen werkh beyhulff leisten. 
 
 PATER. Sohn Romio difs sein schwar sachen zu 
 thuen, dennoch euch zu lieb, wofern Julieta auch zu- 
 
 NURSE. He speaks as it behoves an honest young 
 fellow. 
 
 JULIET. Why, nurse, how can you talk so? He 
 speaks as it behoves an honest young fellow! For 
 shame! He is a cavalier, not a common person. 
 
 NURSE. Oho ! If you take it amiss that I call him 
 a young fellow, go yourself another time, be your own 
 messenger; after that you may call him as you like. 
 
 JULIET. Ay, dear nurse, don't be angry. It was 
 but my joke. Now be quick and tell me, what does my 
 dear Romeo say? 
 
 NURSE. Why, what should he say? 
 
 JULIET. How can you keep me in suspense, and 
 tease me so? 
 
 NURSE. Well, he says . . . 
 
 JULIET. What is it he says? 
 
 NURSE. He does not know himself whether he is 
 well or ill. 
 
 JULIET. May Heaven protect him! 
 
 NURSE. 1 must not frighten you too much. He says 
 he will know how to live according to your commands. 
 
 JULIET. He will come then? 
 
 NURSE. I told you yes, he will. Are you satis- 
 fied? 
 
 JULIET. Yes, nurse dear; thanks for these glad 
 tidings. I go to await him; you may call for your re- 
 ward. [Exit. 
 
 NURSE. Ahem! are these the thanks for my trouble 
 and running about ? Next time I shall let it alone. For 
 when I have once got my glove-money in my hand, they 
 may do their errands themselves. But let me go and 
 see what that love-stricken girl Juliet is about. 
 
 [Exit. 
 
 SCENE VIII. 
 
 FRIAR. ROMEO. 
 
 FRIAR. Sir, the matter you have broached to me 
 is difficult; that stands to reason. Remember that, being 
 a priest, I cannot in duty do what you desire, as your 
 parents are ignorant of all this. 
 
 ROMEO. But, Reverend Sir, it is my and Juliet's 
 will; and sooner than marry Count Paris, she will die. 
 Therefore my prayer is you would devise some means, 
 and lend your aid to such agreeable business. 
 
 FRIAR. My son, these are difficult things to do. 
 However, to please you, and provided Juliet agrees, 
 
 23* 
 
359 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 360 
 
 friden, wollen wiir sehen, wie der sach zu thuen, dan 
 es will sich gebiihren der Julieta freywillige meinung 
 auch zu uernehmen, darumb lasset sie wissen wan sie 
 willens ist mich sambt Euch zu besuechen. 
 
 ROMIO. Sie ist, hochgeehrter Herr Pater, willens 
 vmb 9 Vhr alhier zu erscheinen, dan sie mir solches 
 durch ihre Amma hat wissen lassen. 
 
 PATER. Wohl dan Herr Romio, so wird er sich der 
 geduld gebrauchen, wie ist die Zeit vorhanden, dan 
 wollen wir sehen, was einen geistlichen Priester wohl 
 ansteht zu thuen, hiermit fahre er wohl Herr Romio, 
 ich verfuge mich in mein Zelt. \abit. 
 
 ROMIO. Vnd ich befehle mich in seine freindtschafft 
 vnd wohlgewogenheit. Ach glickhseeliger Romio, will 
 dir dan der Himmel die iiberirtische Julieta schenkhen, 
 ach ja die gunst ihr schonheit versicheret mich solches, 
 wollan'dan ich gehe dem Himmel zu dankhen, dafs 
 disc Himmels Stundt mich der schonen Julieta zu einen 
 Mann beglickhseeligen moge. [abit. 
 
 PARIS. CAPULET. JULIETA. 
 
 PARIS. Herr Capulet, ihm ist wissendt die lieb vnd 
 affection so ich zu seiner tochter trage, entlich von ihme 
 Herr Capulet ein gewintschtes Ja vnd andtwort zu em- 
 pfangen, weil mein grostes Verlangen nichts anders alls 
 seine Tochter zu meiner Gemahlin empfangen werde. 
 
 CAPU. Herr Graff, die' lieb vnd affection so ich zu 
 dero Haufs trage versichert mich, dafs ich meine Toch- 
 ter Julieta keinem gaualier von Meriten alfs ihnen Herr 
 Graff verehren, vnd schenkhen kan, dardurch mein altes 
 Stammenhaufs glickhseelig zu machen. 
 
 PARIS. Herr Capulet, das gewintschte Ja so ich von 
 Ihm empfange, wird ein vrsach sein dafs ich ihm vnd 
 die seinigen ieder zeit auf lebenslang mich verobligiert 
 vnd dienstbahr befinden werde. 
 
 CAPU. Ich bedankhe mich Herr Graff, vor dero af- 
 fection, ich werde thuen, was einem Vatter wohl anstan- 
 dig ist, darumb bitte ich Herr Graff er wolle auch das 
 Jawordt von meiner gehorsamben Tochter Julieta em- 
 pfangen, welche eben zu rechter Zeit anhero kompt. 
 Geliebtes Kindt Julieta, hier hab ich mit Graff Paris die 
 vndterredung deiner bersohn halber gethan, du wirst 
 dirs gefallen lassen disen tapffern gaualier vor deinen 
 Eheherrn zu erkiesen, dadurch wirst du mich vnd deine 
 Muetter glickseelig machen. 
 
 JULI. Wafs mein Herr Vatter thuet, das ist auch 
 mein gehorsamb vnd will. 
 
 PARIS. Schonste Julieta, von dero Herrn Vatter vnd 
 fraw Muetter habe ich das Jawordt erhalten sie vor 
 
 we will see how to manage it; for it is right that I 
 should learn the free opinion of Juliet. Therefdre let 
 her say at what time she would like to come with you 
 to visit me. 
 
 ROMEO. She intends, reverend Father, to make her 
 appearance here at nine o'clock: she sent me word to 
 that effect by her nurse. 
 
 FRIAR. Well then, Sir Romeo, you must have pa- 
 tience. In due time we shall see what it may become a 
 priest to do. Meanwhile, good bye, Sir Romeo, I will 
 go to my cell. [Exit. 
 
 ROMEO. And I commend me to your friendship and 
 goodwill. Ah fortunate Romeo ! will Heaven then really 
 grant thee that heavenly Juliet? Ah yes, the favour of 
 her beautiful face assures me of it. Well then, I will go 
 and thank Heaven that that heavenly hour may make 
 me the blessed husband of the fair Juliet. 
 
 [Exit. 
 
 PARIS. CAPULET. JULIET. 
 
 PARIS. Sir, you are aware what love and affection 
 to your daughter makes me long for your consent, since 
 my greatest desire is no other than to obtain your 
 daughter for my wife. 
 
 CAPUL. My lord, the love and affection I bear your 
 house is a guarantee that I cannot give away my daughter 
 Juliet to any other cavalier of merit than yourself, if I 
 would ensure the happiness of my ancient race. 
 
 PARIS. The much desired Yes which I have received 
 from you will make me your debtor, and place me at 
 the service of yourself and your house for the rest of 
 my life. 
 
 CAPUL. I thank you, my lord, for your affection. 
 I shall do what becomes a father; I pray you therefore 
 accept the consent of my dutiful daughter Juliet who is 
 making her appearance just in time. Dear child, I have 
 just conversed with Count Paris on thy behalf. Thou 
 wilt be pleased to choose this gallant cavalier for thy 
 husband, for thus wilt thou make me and thy mother 
 quite happy. 
 
 JULIET. What my lord and father does, is also my 
 obedience and will. 
 
 PARIS. Beautiful Juliet, I have got the consent of 
 both your father and mother to make you my beloved 
 
361 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 362 
 
 meine liebste vnd gemahlin zu nehmen, so verhoffe ich 
 auch das meine lieb vnd affection bey dero Schonheit 
 platz vnd statt finden werde. 
 
 JULI. Herr Graff, wie vor vermeld, wafs meiner El- 
 tern befehl, 1st auch mein will vnd alfs einer gehor- 
 samben tochter haben Sie mit mir zu befehlen. 
 
 CAPUL. Du thuest wohl daran liebe tochter, der 
 Himmel wird dir auch sein gnad vnd seegen geben, 
 vnd hiermit Herr Graff iiberreiche ich ihm meine Toch- 
 ter, er empfange sie von meiner Handt. 
 
 PARIS. Ich bedankhe mich Herr Capulet vor dises 
 edle Kleinod, vnd sie, schonste Julieta erkhenne ich 
 vor meine Gebietherin, vnd alles, wafs Graff Paris ver- 
 mag, erwehle ich sie vor eine gebietherin aller meiner 
 Bar vnd Habschafft. 
 
 JULI. Herr Graff ich bedankhe mich, ich werde 
 wissen zu leben vnd schuldigste Dienstleistung erzeigen. 
 
 PARIS. Wollan dan, ich gehe vnd verlasse sie, da- 
 mit alle praeparatoria zu vnseren beylager auf das ehi- 
 ste verfertiget werden, vnd also adie Herr Capulet. 
 
 [abit. 
 
 CAPU. Herr Graff, ich befehle mich dero selben 
 vnd werde zu disem vorgenohmenen werkh nichts er- 
 manglen lassen. So Adie Tochter Julieta, folge mir vnd 
 erfrewe deine fraw Muetter. [abit. 
 
 JULI. Ich folge 'Herr Vatter. [abit. 
 
 PATER. ROMIO. JULIETA. 
 
 PATER. Kommet herr meine Kinder, in deme ich 
 von euch nach geniigen verstanden wie die sach be- 
 schaffen, aber bedrachte solche hoche sachen besser, da- 
 mit ich mich sambt euch in keine gefahr vnd Ynglickh 
 sturtzen moge. 
 
 JULIET. Herr Pater ich habe ihm geoffenbahret 
 meiner Elter Meinung, die gantzlich haben wollen den 
 Graff Paris zu nehmen, welches ich aber bey mir be- 
 schlossen nicht zu thuen, sondern Romio meine getrewe 
 liebe zu schenkhen, darumb bitte ich dafs wiir beide 
 durch euere Hiilff mochten vermahlet werden. 
 
 ROMIO. Vnd ich desselben gleichen bitte Herr Pa- 
 ter, er wolle keinen aufschub machen, weillen vnser 
 beyder ein Hertz vnd Sunn, so empfange sie hier o 
 schonste Julieta disen ring, welches ein Zeichen vnd 
 Verbindnus seyn, ihr alfs meinen Schatz bifs in mein 
 grab getrew zu verbleiben. 
 
 JULIET. Vnd hier werthester Romio, nehmet disen 
 von meiner Handt, auch das Hertz zugleich, welches 
 euer eigen bifs vnfs der todt scheiden kan, vnd nun 
 Pater mangelt nichts weither, alfs eure miihe der Co- 
 pulation. 
 
 wife; let me hope that my love and affection will find 
 a place also with your beauty. 
 
 JULIET. My lord, as I have said before, whatever 
 may be the command of my parents is my will also ; you 
 may dispose of me as of an obedient daughter. 
 
 CAPUL. In that thou dost well, my dear daughter. 
 Heaven grant thee its grace and blessing! And there, 
 my lord, I give you my daughter; receive her from my 
 hand. 
 
 PARIS. I thank you, Sir, for this noble jewel; and 
 you, fair Juliet, do I acknowledge for my mistress, and 
 as far as Count Paris can, do I choose you for the 
 mistress of all my fortune. 
 
 JULIET. I thank you, my lord; I shall know how 
 to conduct myself and shew you all my bounden duty. 
 
 PARIS. Well then, I will go, and leave you to see 
 all the preparations made for our wedding as speedily as 
 possible. Adieu, my lord Capulet. [Exit. 
 
 CAPUL. My lord, I commend me to you, and shall 
 see that there is nothing wanting jn the business we have 
 in hand ; adieu ! Juliet, follow me and gladden the heart 
 of thy mother. [Exit. 
 
 JULIET. I follow, my father. [Exit. 
 
 FRIAR. ROMEO. JULIET. 
 
 FRIAR. Come here, my children; I sufficiently un- 
 derstand from you how *jthe matter stands, but I must 
 give such an important matter more consideration, lest 
 I bring danger and misfortune over myself and you. 
 
 JULIET. Father, I have made known to you the 
 opinion of my parents who insist upon my taking Count 
 Paris, while 1 am resolved never to do that, but, to give 
 my true love to Romeo. Therefore I beg that we may 
 be married by your aid. 
 
 ROMEO. I likewise, Sir, beg you not to delay, since 
 both of us are of one heart and mind. Accept then, 
 fairest Juliet, this ring as a token and covenant that I 
 will remain faithful to you unto my grave. 
 
 JULIET. And there, dearest Romeo, take that from 
 my hand together with my heart which is yours till death 
 part us. And now, Father, there is nothing wanting but 
 that you take the trouble of uniting us. 
 
\ 
 
 363 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 364 
 
 PATER. Wollan dan, weil Euer beyder will be- 
 schlofsen, vnd es nicht anderst sein kan, so folget mit 
 mir in die Capellen alwohe ich euch verrriahlen will. 
 
 ACTUS QUARTUS. 
 
 SCENA PRIMA. 
 
 PENUOLIO. MERCUTIO. 
 
 PENUOL. Ich bitte dich Freundt Mercutio, lasse ab 
 von deinem Yorhaben, lafs vnfs von hier gehen, der 
 tag ist worden, die Capuleter finden sich alle zeit vmb 
 diser reuir, wofern wiir ihnen begegnen, gehet es ohne 
 schlagen nicht ab, dan in den heifsen tagen das gebliit 
 am hiitzigsten. 
 
 MERCU. Du bist gleich Penuolio den Jenigen, die 
 in ein Wirths Hauls kommen, legen sie ihr gewohr auf 
 dem tisch, vnd sagen ich will dich in keinem Jahr mehr 
 aufsziehen, sobald sie aber einen kleinen Tummel in 
 den Kopff bekommen, ziehen sie den Degen aufs, hawen 
 in die Stein vnd jauchzen darzue, das einen die Ohren 
 klingen. 
 
 PENUOL. Haltest du mich dan auch vor einen sol- 
 chen Kerl. 
 
 MERCU. O schweig, du bist der aller erhitzigste, ich 
 wolte schier sagen in gantz Italia, hast du nicht mit 
 einen gezankt nur darumb dafs er sein wammes vor 
 den Sontag angezogen, widerumb mit einen, der seine 
 alte Schuechband in newe schuech gezogen. 
 
 PENUO. Vnd was weither? 
 
 MERCU. Auch hast du mit einem gezankt, der nur 
 auf der strafsen gehuest, dieweil er deinen Hundt wel- 
 cher an der Sonnen lag vnd schlieff, aufgeweckt, vnd 
 gleichwohl wilst du noch von zankhen sagen. 
 
 PENUO. Were ich so geneigt zu zankhen alls du, 
 ich ware schon langsten in der Erden erkalt. Huy ich 
 schwore bey meinem Kopff hier kompt ein Capulet. 
 
 MERCU. Vnd ich schwore bey meinen fiiessen, dafs 
 ich nichts darnach frag. 
 
 SCENA 2 UA . 
 
 TEPOLD. 
 
 TIPOLD. Ich bin aufsgegangen vnd gehe noch mei- 
 nen feindt anzutreffen, aber stille da sehe ich ein paar 
 von meines feindts consorten, ich muefs sie anreden, 
 gueten Abend. 
 
 MERCU. Nichts mehr alfs ein gueten Abend, der ist 
 nicht dankhens werth. 
 
 FRIAR. Well, as you have both made up your minds, 
 and there is no help for it, follow me to the chapel 
 where I will join you in marriage. 
 
 ACT IV. 
 
 SCENE I. 
 
 BENVOLIO. MERCUTIO. 
 
 BENVOL. 1 entreat thee, Mercutio, give up thy enter- 
 prise, let us be off. It is day-light. There are always 
 some Capulets in this quarter, and if we should meet 
 any, we should not escape a brawl; for in these hot 
 days the blood is hottest. 
 
 MERCUT. Benvolio, thou art like one of those fel- 
 lows that enter an inn, lay their weapon on the table 
 and say : I will not draw thee for a twelvemonth. But as 
 soon as they are half seas over, they draw their swords, 
 strike the pavement, and shout to make one's ears tingle. 
 
 BENVOL. Thou takest me for a fellow like that? 
 
 MERCUT. Be silent, thou art the most fiery man, I had 
 almost said in all Italy. Didst thou not quarrel with one 
 man for wearing his Sunday doublet, and with another 
 for tying his new shoes with old riband? 
 
 BENVOL. And what else? 
 
 MERCUT. And then thou didst quarrel with a man 
 only for coughing in the street because he had wakened 
 thy dog that was lying asleep in the sun. And yet thou 
 talkest to me about quarrelling! 
 
 BENVOL. If 1 were as fond of quarrelling as thou, I 
 should have been cold in the earth ever so long. Halloh, 
 I swear by my head, there comes a Capulet! 
 
 MERCUT. And I swear by my feet, I do not care 
 a straw for it. 
 
 SCENE II. 
 
 TIB ALT. 
 
 TIBALT. I went out, and am still wandering about 
 to meet my enemy. But stop, there I see a couple of 
 my enemy's consorts. I must accost them. Good eve- 
 ning! 
 
 MERCUT. Not more than a good evening? That is 
 not worth a thank. 
 
365 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 366 
 
 TIPOLD. Wofern ihr mir Vrsach gebt, so bin ich 
 bereith zu schlagen. 
 
 MERCU. Wie Tipold, muest du erst Vrsach haben, 
 kanst du dick nicht schlagen ohne Vrsach? 
 
 TIPOLD. Dises auf die Seith gesetzt, sagt mir wo 
 ist euer mit Consort Romio? 
 
 MERCU. Wafs teuffl, meinst du das wiir bierfidler 
 sein? Vnd vnfs Consorten nennen darffst, sehe zue dafs 
 kein discord daraufs wird, sonsten ist hier mein fidl- 
 bogen. 
 
 ROMIO. 
 
 TIPOLD. Stillo, stillo, da kompt der eben zu rechter 
 Zeit den ich begehre. 
 
 MERCU. Holla hier kompt Romio, Tipold wirst du 
 noch viel von Consorten reden, so ist Romio schon vor- 
 handen. 
 
 TIPOLD. Ho ho, die freindtschaft so ich zu den Mun- 
 digesern trag ist sehr schlecht, Herr Romio du bist ein 
 schelm. 
 
 ROMIO. Wie Tipold, ich habe dir kein Vnrecht ge- 
 than, kanst du die Jenigen so dich nicht beleidigen auf 
 der strassen gehen lassen. 
 
 TIPOLD. Hore Romio, du kombst mir vor alfs ein 
 Jung vnd gehest ohne degen, wofern ich dich noch ein- 
 mahl so antreffe, so will ich dich von meinen laggeien 
 pastiniren lassen. 
 
 ROMIO. Lasse mich zufriden Tipold ich erdulde 
 mehr alfs zu viel, ach Himmel ich bin nur vor wenig 
 Stunden sein Schwager worden vnd muefs dises gedul- 
 den. Julieta halt mich zuruckh ihm widerstand zu thuen, 
 ich will mich zwingen vnd von hier gehen. [obit. 
 
 MERCU. Wafs, will Romio dafs leiden? ich aber bey 
 meinem leben nicht, Holla Tipold Katzen Konig, komme 
 hier, sie sagen dafs ein Katz nein leben hat, darumb 
 komb, ich will dir eins daruon nehmen. 
 
 TIPOLD. Du, Mercutio, mit mir fechten ? Komb komb 
 wan du lust hast in die andere welt, oder ich will dich 
 gahr nach der Hollen schickhen, so komb an. 
 
 ROMIO aufs. PENUOLIO. 
 
 ROMIO. Haltet ein ihr Herrn, ihr vergesset eures 
 Stands vnd Nahmb. 
 
 MERCU. Ja ja, halt ein, halt ein, ich bin schon ver- 
 wundt. 
 
 TIPOLD. So recht, du hast dein theil, fahre nach der 
 Hollen ich aber gehe von hier. \abit. 
 
 PENUO. O Himmel, Mercutius ist verwundt! 
 
 ROMIO. Wie verwundt, wans nur kein todtliche 
 wunde ist vnd nicht grofs. 
 
 TIBALT. If you give me occasion, you will find me 
 ready to fight. 
 
 MERCUT. Why Tibalt, do you require an occasion? 
 can't you fight without any occasion? 
 
 TIBALT. This apart, tell me where is your consort 
 Romeo ? 
 
 MERCUT. What the devil, dost thou take us for 
 fiddlers, that thou call'st us consorts? Take care that 
 no discords arise from it, else here is my fiddlestick. 
 
 Enter ROMEO. 
 
 TIBALT. Peace, peace! Here comes the very man 
 I want. 
 
 MERCUT. Hollah, here comes Romeo. Now, Tibalt, 
 wilt thou talk any more of consorts, there is Romeo! 
 
 TIBALT. It is bad friendship I bear to the Mon- 
 tagues. Thou art a villain, Romeo. 
 
 ROMEO. How, Tibalt, I never injured thee! Canst 
 thou not let those who do not insult thee walk the street 
 in peace-? 
 
 TIBALT. Hear me, Romeo, thou appearest to me a 
 mere boy, and carriest no sword. If I meet thee so 
 another time I shall make my lackeys bastinado thee. 
 
 ROMEO. Leave me in peace, Tibalt! I suffer more 
 than enough! Good heavens! it is but a few hours 
 since I became his brother in law, and must forbear. 
 Juliet, restrain me from opposing him! I will control 
 myself, and go from hence. [Exit. 
 
 MERCUT. What, will Romeo bear this? I will not, 
 by my life! Hollah, Tibalt, king of cats, come here! 
 They say a cat has nine lives, come on, I will take one 
 of them. 
 
 TIBALT. Thou, Mercutio, fight me? Come on, come 
 on, if thou hast got a mind for the other world, or I 
 may send thee even to hell. Come on! 
 
 Re-enter ROMEO. BENVOLIO. 
 
 ROMEO. Stop, gentlemen, you forget your position 
 and name. 
 
 MERCUT. Ay, ay, stop! I am hurt already. 
 
 TIBALT. Right so, thou hast it, go to hell; I am off. 
 
 [Exit. 
 
 BENVOL. Oh Heavens, Mercutio is wounded. 
 ROMEO. How, wounded? Let us hope not fatally, 
 not seriously. 
 
367 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 368 
 
 MERCU. Ich glaub Ihr spottet mein, so grofs ist 
 die wunde nicht aKs ein ochsenmaul oder Stadtthor, aber 
 morgen werdet ihr mich recht gravitetisch begraben 
 helfFen. 
 
 ROMIO. Ich bitte Penuolio, eyle vmb einen balbirer, 
 damit ihm seine wunde versorget werde. 
 
 MERCU. Ey bemilhet Euch nicht vor meine wunde 
 zu heylen, doch bekhenne ich, es wahre besser ich were 
 in einen arm gestochen aKs durch lungen vnd leber. 
 
 ROMIO. O Himmel, ist dan vnser Haus vnd ge- 
 schlecht mit lauttern vnglickh behafftet? armseeliger Ro- 
 mio was wirst du entlich noch vor widerwertigkeit er- 
 tragen miissen? 
 
 PENUO. Wie Mercutius, riihrst du dich nicht mehr? 
 o Romio Mercutius ist todt, sein geist ist schon nach 
 den wolkhen geflogen. 
 
 ROMIO. Wie wafs? Ist Mercutius todt, so trutze 
 ich das argiste so mir kommen kan, vnd der Jenige so 
 disen freffl begangen, solle gewifs den schaden fiihlen. 
 
 TIPOLD. 
 
 PENUO. Romio, hier kompt Tipold widerumb. 
 
 ROMIO. Es ist guet. Nun Tipold, anietzo ist es Zeit 
 das du zuruckh nehmest den Schelmen so du mir zuuor 
 auferlegt, oder ich halte dich vor einen bifs in deinen 
 todt. 
 
 TIPOLD. Ha ha, hast du einmal einen Degen be- 
 khommen, es wahre vnbiillich das du vnd Mercutius von 
 einander sollet separirt werden, vnd weil ihr euch in 
 eurem Leben trewlich einander geliebet, so warthe, ich 
 will dir alsobald denselben weg zeigen, den dein mit 
 consort gewandert. 
 
 ROMIO. Du vermeinst vielleicht mich mit deinen 
 trutzen zu uerjagen, aber es soil dir fohlen, darumb so 
 komb an vnd brauche dein gewohr. 
 
 [Fechten. Tipold fait. 
 
 PENUO. Halt ein Romio, Tipold fait zur Erden vnd 
 ist verwundt, drumb ist kein Zeit vor dich vnd mich 
 vnfs langer aufzuhalten. 
 
 TIPOLD. O wehe ich bin des todts vnd sterbe. 
 
 ROMIO. Penuolio folge mir, lals vnfs die flucht neh- 
 men meiner liebsten Julieta willen. [abit. 
 
 PlCKLHARING. 
 
 PICKL. Wer viel zu thuen hat, hat viel zu schaffen, 
 ich glaube nicht dafs alle Menschen in der weldt so 
 viel zu thuen haben aKs ich allein, ietzt soil ich lauffen 
 vnd sehen wafs vor ein tumult auf der gassen. Aber 
 wafs ligt hier vor ein voller Nafskiittl; potz schlapper- 
 
 MERCUT. I belieye you are mocking at me. The 
 wound is not so big as the mouth of an ox or a town- 
 gate, but to-morrow you will help to bury me right 
 gravely. 
 
 ROMEO. Pray, Benvolio, run for a barber to have 
 his wound dressed. 
 
 MERCUT. Don't trouble yourself about healing my 
 wound. Yet I must confess, I should rather like to 
 have got a thrust through my arm than through my lungs 
 and liver. 
 
 ROMEO. Good heavens! Is our house and race 
 accursed? Miserable Romeo, what misfortune is still in 
 store for thee! 
 
 BENVOL. How, Mercutio! thou dost not move? Oh 
 Romeo, Mercutio is dead, his soul has already flown to 
 the clouds. 
 
 ROMEO. What? Mercutio dead? Then I defy the 
 worst that can befal me, and he who committed this 
 outrage, shall surely suffer. 
 
 He-enter TIBALT. 
 
 BENVOL. Romeo! there is Tibalt again. 
 
 ROMEO. Well so. Now, Tibalt, take the villain 
 back again, that late thou gavest me, or I shall take 
 thee for one until thy death. 
 
 TIBALT. Hast thou at last got a sword? It would 
 not be right that thou and Mercutio should be sepa- 
 rated; and as you truly loved each other in life, I shall 
 soon show thee the same way thy consort went. 
 
 ROMEO. Thou mean'st perhaps to scare me by thy 
 bluster, but thou shalt not succeed: come on and use 
 thy weapon! 
 
 [They fight. Tibalt falls. 
 
 BENVOL. Hold, Romeo ! Tibalt falls and is wounded. 
 There is no time for thee and me to tarry. 
 
 TIBALD. Oh, I am slain, I die! 
 ROMEO. Follow me, Benvolio; let us fly for my 
 dear Juliet's sake. [Exit. 
 
 Enter CLOWN. 
 
 CLOWN. Who has much to do has much to manage. I 
 don't believe that all the people in the world have as much 
 to do as I alone. Now I am bid to run and see what is 
 the tumult in the street. But look what a parcel of snot 
 is this ? Zounds, it is Tibalt, bleeding like a pig. Hollah, 
 
369 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 370 
 
 ment dafs ist Tipold, blut er doch alfs wie ein schwein, 
 holla Tipold, ich befehle dir bey des Herzogs Vngnad, 
 das du aufstekest vnd gehest mit mir, er will nicht andt- 
 wortten, ja er ist gahr todt, larmen larmen, Tipold ist 
 todt gestochen, gestorben vnd lebt nicht mehr. 
 
 SCENA 3 TIA . 
 H6RTZOG. CAPULET'S FRAW. 
 
 HORTZOG. Was ist difs vor ein Tumult vnd wer ist 
 Vrsach hieruon? 
 
 PICKL. Das weifs ich nicht Herr Hertzog, aber dafs 
 weifs ich wohl dafs ich hier Tipold todt ligend gefunden 
 hab, vnd hier ist der Mann, der so praff post bringen 
 kan. 
 
 HORTZOG. Kanst du auch wissen Narr wer disc 
 Mordthat begangen? 
 
 PICKL. Ich kan mir leicht einbilden weil er ge- 
 stochen, es wirts ein Degen gethan haben. 
 
 H6RTZOG. Schweig du bist ein Narr. 
 
 PICKL. Dafs kan wohl sein ich glaub es selber. 
 
 PENUOLIO. 
 
 PENUO. Gnadigster Fiirst vnd Herr, ich komme die 
 rechte wahrheit zu sagen wie sich difer vnglickseelige 
 Zuefall angefangen, alfs nemblichen Tipold defs Capulets 
 Vetter kam mit scheldtwortten an Mercutium, Mercutius 
 ergriff den Degen vnd wurde erstochen. 
 
 FRAW. Gnadigster Fiirst vnd Herr, wofern sie ge- 
 rechtigkeit lieben, so lasset das Jenige bluet widerumb 
 vergossen werden, der Meinen Vetter so jammerlich er- 
 mordet hat. 
 
 HORTZOG. Haltet ein Frau, wiir wollen erst die 
 griindliche warheit vernehmen, alfsdan der gerechtigkeit 
 ihren lauff lassen. 
 
 FRAW. Ach gnadigster Fiirst vnd Herr sie geben [?] 
 disen Mundagesen, dan er ist Partheiisch vnd vnsers 
 Haufs geschworner Feind. 
 
 HORTZOG. Wofern wiir nicht von ihme die warheit 
 wissen, so konnen wiir nicht richten, darumb sagen wiir 
 gebet gehor, vnd ihr Penuolio erzehlet den Verlauff dises 
 Mords bey eurem gewissen. 
 
 PENUO. Gnadigster Fiirst vnd Herr, Tipold kam in 
 einen hiitzigen Zorn, nannte Romio einen Schelm, Ro- 
 mio aber gantz sanfftmiithig ihm andtworttet, vnd batte, 
 er mochte dpch bedenkhen wie vnnottig diser streitt 
 wahre, dardurch Ihro Hochfiirstl. Gn. nicht beleidiget 
 wurde, aber alle dise gueten wordt kunten den erziirn- 
 ten Tipold nicht bewegen, sondern zuge alsobald sein 
 gewohr aufs vnd ging auf den tapfern Mercutium los, 
 welcher sein gewohr gleichmafsig gebraucht, Romio 
 
 Tibalt, by the Duke's displeasure I command thee to 
 get up and go with me. He won't answer; dear me, 
 he is dead! Alarm, alarm I Tibalt is stabbed to death, 
 is killed, and lives no more. 
 
 SCENE III. 
 
 DUKE. LADY CAPULET. 
 
 DUKE. What is this tumult about? Who gave rise 
 to it? 
 
 CLOWN. I don't know that, my Lord; but thus 
 much I know, that I found Tibalt lying here dead. And 
 here is the man to give you information about it. 
 
 DUKE. Can you surmise, fool, who did this murder? 
 
 CLOWN. I can easily imagine since he is stabbed. 
 I dare say a sword did it. 
 
 DUKE. Hold your tongue, you are a fool. 
 CLOWN. That may be; I believe so myself. 
 
 BENVOLIO. 
 
 BENVOL. Most gracious Prince and Lord! I come 
 to tell the truth how this fatal brawl began. Tibalt, 
 Capulet's cousin, accosted Mercutio with abuse; then 
 Mercutio took up the sword and was slain. 
 
 LADY. Most gracious Prince and Lord! As you 
 love justice, shed the blood of him who has so miserably 
 murdered my cousin. 
 
 DUKE. Hold, my Lady! We will first get to the 
 very truth of the matter, and then let justice take its 
 course. 
 
 LADY. Ah, gracious Prince and Lord! You give 
 ear to this Montague who is partial, and the sworn 
 enemy of our house. 
 
 DUKE. Unless we get the truth from him we can- 
 not judge. Therefore we say: give ear. And you, Ben- 
 volio, tell us how this bloody fray happened, upon your 
 conscience. 
 
 BENVOL. Most gracious Prince and Lord! Tibalt 
 got into a rage, and called Romeo a villain. Romeo spoke 
 him fair, bade him bethink how unnecessary this quarrel 
 was, and urged Your Grace's high displeasure. All these 
 good words had no effect upon the enraged Tibalt, for he 
 drew his sword, and rushed at bold Mercutio, who like- 
 wise used his weapon. Romeo cries aloud : Hold friends, 
 for heaven's sake! But it was done already: Mercutio had 
 got a deadly thrust and fell. Romeo, enraged by Mer- 
 
 24 
 
371 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 372 
 
 schrier laut, haltet ein vmb des Himmels willen, aber 
 es wahr geschehen, Mercutius hatte einen todtlichen stofs, 
 fiiele zur Erden, Romio welcher Mercutii todt nunmehro 
 auch erziirnet wahr, zucket sein gewohr geschwinder 
 alfs ein plitz, ich aber kunte sobald nicht retten, alfs 
 Tipold durch einen todtlichen stofs zur Erden fiille, 
 Romio saluirte sich, dises ist wahrhafftig die rechte 
 wahrheit wie es ergangen, vnd soil ichs auch mit mei- 
 nem leben beantwortten. 
 
 HORTZOG. Wollan, weil Tipold Mercutium erlegt, ist 
 sein todt durch Romio gerochen, aber dennoch solte 
 Romio nicht sein eigener Richter gewesen sein, weil er 
 aber Tipold erstochen, also verbannen wiir ihm von Ve- 
 rona, vnd wird er sich langer alfs 24 Stundt in Verona 
 befinden, so kostet es ihm sein leben, darumb last dises 
 publicirt werden, so geschicht der gerechtigkeit ein ver- 
 gniigen, vnd ihr fraw von Capulet werd darmit content 
 vnd zufriden leben. [gehen ab. 
 
 V 
 
 SCENA 4 TA . 
 JULIETA. AMMA. 
 
 JULI. Komb liebste Amma vnd saget mir wafs war 
 difs vor ein Tumult in dem Haufs meines Vatters, ist 
 etwan ein Vnglickh geschehen, dan ihr wiist der weiber 
 freyheit ist schlecht in Italia, sie seind eingesperrt gleich 
 den gefangenen, o verdriifsliche wollust. 
 
 AMMA. Ja freylich wahr larmen, aber nicht in cu- 
 res Vatters Haufs, sondern auf freyer strassen, ach ich 
 wolte ich wuste nichts darumb. 
 
 JULIE. Ist dan vnserem Haufs oder freundtschafft 
 ein vnglickh oder leid widerfahren? 
 
 AMMA. Ach wehe, ach Vnglickh, ach Romio Romio. 
 
 JULI. Wie, wafs sagt ihr mir von Romio? 
 
 PlCKLHARING. 
 
 PICKL. Ach Ellend, ach noth, ach barmhertzigkeit, 
 ach Vnglickh, was kan schlimmer sein in der welt alfs 
 zerrifsene Hofsen vnd nichts zu fressen, ich lauff her- 
 umb alfs wie ein Jag Hundt vnd sueche Julieta, o wer 
 weifs in wafs vor einen loch oder wiinkl sie steckt vnd 
 sich verborgen, vnd etwan weint rotz vnd wasser we- 
 gen defs grossen glicks so den Romio begegnet, weither 
 lauff ich nicht sie zu suechen, ich bin so miith von lauf- 
 fen vnd suechen, dafs ich kein Zahn in maul mehr riih- 
 ren kan, aber siehe da stehet vnser Amma, Ji Amma 
 was machet Ihr da? wo ist das freulein Julieta? ich 
 bring ihr kostliche Zeitung. 
 
 AMMA. Schweig Narr, thue deine Kalbsaugen auf, 
 bist du blind, siehst du nicht hier dafs frewlein Julieta? 
 
 cutio's death, draws his sword as quick as lightning; 
 and ere I could part them, Tibalt was mortally wounded 
 and fell. Romeo fled. This is the exact truth how it 
 all happened, as I am ready to answer for it with my 
 life. 
 
 DUKE. "Well, Mercutio is slain by Tibalt, bis death 
 revenged by Romeo. Yet Romeo ought not to have 
 taken the law into his own hands. As he has slain Ti- 
 balt, we banish him from Verona; if he is found in this 
 city in twenty four hours from this time, it shall cost 
 him his life. Let this be published. Thus justice will 
 be fulfilled, and you, Lady Capulet, will be content and 
 satisfied. 
 
 [Exeunt. 
 
 SCENE IV. 
 JULIET. NURSE. 
 
 JULIET. Come, dear nurse, tell me what the tumult 
 was in the house of my father? Has there been any 
 accident? You know it is a poor liberty women enjoy 
 in Italy; they are kept like prisoner's. Oh melancholy 
 desire ! 
 
 NURSE. To be sure there was a row, though not 
 at your father's house but in the open street. I wish I 
 knew nothing about it. 
 
 JULIET. Has any misfortune befallen our house or 
 friends ? 
 
 NURSE. Ah woe, ah calamity! Alas, Romeo, Romeo! 
 
 JULIET. What? what is it you say of Romeo? 
 
 CLOWN. 
 
 CLOWN. Oh misery! oh distress! oh pity! oh mis- 
 fortune! Can there be anything worse in the world than 
 torn trousers and nothing to eat? I am running about 
 like a hound seeking for Juliet. God knows in what 
 hole or corner she hides, shedding tears and snot be- 
 cause of that good luck of Romeo. I won't run any 
 farther to seek her. I am so tired with running and 
 searching, that I cannot move a tooth in my mouth. But 
 look, there is our nurse. I say, nurse, what are you 
 about? Where is your young lady? I bring her pre- 
 cious news. 
 
 NURSE. Hold thy tongue, fool. Open thy calfs-eyes. 
 Art thou blind? Dost thou not see Miss Juliet there? 
 
373 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 374 
 
 JULI. Der Himmel bewahre mich vor Vnglickh. 
 Wafs bringst du Pickl Haring? 
 
 PICKL. So warth, last mich erst zu athem konimen. 
 
 JULI. 1st etwan mein Herr Vatter oder fraw Muet- 
 ter iibel auf? 
 
 PICKL. Ein treckh, es 1st tausendtmahl schlimmer. 
 
 JULI. Ach Pickl Haring, halt mich nicht langer auf, 
 ist es ein vnglickh so sag mirs bald. 
 
 PICKL. Weither kein vnglickh alfs das er todt ist 
 wie ein stockfisch. 
 
 AMMA. Ja frewlein Julieta, dises ist eben was ich 
 nicht sagen wollen, ach Romio Romio. 
 
 JULI. Ach Himmel bewahre mich, ist Romio todt? 
 
 PICKL. Wan die Amma das sagt, so liegt sie alfs 
 wie ein aufsgestrichene Hex, ich bin der Mann der es 
 besser weifs. 
 
 JULI. Ach lieber Pickl Haring, so sage dan was 
 du weist. 
 
 PICKL. Dessenthalben bin ich her kommen dafs ichs 
 euch sagen will, Mercutius ist todt, Tipold gestorben, 
 weil ihn Romio todt gestochen, so ist er entloffen, vnd 
 weifs ihn kein Mensch zu finden. 
 
 JULIET. So ist meines lebens auch nicht mehr, o 
 du grausamber vnd vnbarmbhertziger Himmel, ach ich 
 Ellende vndt voller triibsaal, soil ich mich dan entlich 
 auch dem todt aufopffern? 
 
 PICKL. Gehet lieber nach Haufs vnd legt Euch ins 
 beth, ist gesunder als ste'rben. 
 
 AMMA. O du guter Tipold, wie jammerlich bist du 
 ermordt. 
 
 JULI. Wafs Tipold, ware nur Romio zu finden. 
 
 PICKL. Es ist wahr frewlein Julieta, Romio hat den 
 Tipold erstochen, aber der Hertzog hat ihn verbannt 
 aufs Verona sein Lebtag nicht mehr darein zu kommen. 
 
 JULI. Ach all zu vnglickseelige Julieta, ist Romio 
 verbannt so ist mein lebenslicht aufsgelescht, A 7 nd ich 
 mich selbst auch dieser weldt verbannen will. 
 
 AMMA. O verflucht sey Rumio, es ist kein Menschen 
 zu trawen wer wolte sagen, das er so falsch seye. 
 
 PICKL. O du alter flederwisch, lagst du auff ein 
 scheitter Hauffen, ich wolte selber anziinden vnd mit 
 frewden zueschawen wie du verbrennest. 
 
 JULI. Wie Amma, verfluechest du den Jenigen wel- 
 chen mein Hertz liebt? 
 
 AMMA. Wie frewlein Julieta, wollet ihr den Jenigen 
 lieben, der Euch Euren Vetter ermordet hat? 
 
 JULI. Wie solte ich den Jenigen hassen der mein 
 leben liebet, ach mein lieber ich will selber sterben. 
 
 AMMA. Ach Julieta, verlasset doch den Meineydigen 
 Romio, vnd nehmet graif Paris zu euren Mann. 
 
 JULIET. Heaven preserve me from misfortune ! What 
 news dost thou bring, clown? 
 
 CLOWN. Wait till I have first recovered my breath. 
 JULIET. Is my father or my mother unwell? 
 
 CLOWN. Nonsense! it is a thousand times worse. 
 
 JULIET. Don't keep me any longer in suspense; is 
 there any misfortune, tell me at once. 
 
 CLOWN. No misfortune except that he is as dead 
 as a stock-fish. 
 
 NURSE. Just the thing I did not like to tell you. 
 Ah, Romeo, Romeo! 
 
 JULIET. Heaven preserve me! Is Romeo dead? 
 
 CLOWN. An the nurse says that, she lies like an 
 arrant witch. I am the man to know better. 
 
 JULIET. Sweet clown, tell me what you know. 
 
 CLOWN. That is what made me come here to tell 
 you: Mercutio is dead, Tibalt is dead. Romeo has slain 
 Tibalt, and fled, and nobody knows where to find him. 
 
 JULIET. Then I have no business to live. Oh cruel, 
 unrelenting Heaven! Oh miserable, afflicted Juliet! Am 
 I too at last to sacrifice myself to death? 
 
 CLOWN. You had better go home and lie down; it 
 is far more wholesome than dying. 
 
 NURSE. O- dear Tibalt, how miserably art thou 
 slain! 
 
 JULIET. What of Tibalt, were but Romeo to be found! 
 
 CLOWN. It is a fact, Miss Juliet, Romeo did slay 
 Tibalt, and the Duke has banished him from Verona 
 never to return as long as he lives. 
 
 JULIET. Too miserable Juliet! If Romeo is banished, 
 then is the light of my life too extinguished, and I will 
 banish myself from this world. 
 
 NURSE. A curse upon Romeo! There is no faith 
 in any man; who should have thought him so false! 
 
 CLOWN. Oh you old goose-wing ! If you were lying 
 on a pile I myself would set fire to it, and joyfully 
 stand by to see you burn. 
 
 JULIET. Why, nurse, you curse the man whom my 
 heart loves? 
 
 NURSE. Why, Miss, would you love the man who 
 slew your cousin? 
 
 JULIET. How should I hate the man who loves my 
 life! Ah beloved one I will die myself. 
 
 NURSE. Juliet, leave the perjured Romeo, and take 
 Count Paris for your husband. 
 
 24* 
 
375 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 376 
 
 PICKL. Nein Julieta, ich will euch besser rathen, 
 nehmbt sie alle beide, gefallen sie euch, so nehmbt mich 
 vor euren breytigamb. 
 
 JULI. Schweig Pickl Haring, hier 1st keine Zeit zu 
 schertzen, auch nicht christlich 2 oder 3 Manner zu 
 nehmen. 
 
 PICKL. Warumb nicht? Hat doch der turkische Key- 
 ser so viel weiber welche nicht alle zu zehlen sein, vnd 
 worumb soil mir oder euch nicht erlaubt werden, 3, 4, 
 5, 6, 7, 8, 9, 10, weiber oder manner zu nehmen, ich 
 wolte nicht weith, wan ich suechen dorfft, welche in der 
 Stadt Kollschin, Budweifs, Gopplitz, Freystadt, Lintz vnd 
 hier, welche mehr alfs ein weib vnd ein weib mehr alls 
 einen Mann verlangen oder gahr haben. 
 
 JULI. Wollan ich will es thuen, vnd deinen Rath fol- 
 gen, gehe mit meiner Amma Pickl Haring, vnd sage mein 
 Herr Vatter vnd fraw Muetter, ich liebe den Graff Paris. 
 
 AMMA. Dafs ist mir lieb, ich will also bald hingehen 
 vnd solches eurer Fraw Muetter andeuten. 
 
 PICKL. Zuruckh alte, dafs wa'hr ein schlechter brauch 
 wan ein Ambasator hinten nach vnd ein altes weib voran 
 gehen solte. [Amma gehet ab. 
 
 JULI. Verfluchte Amma, die du mir abradest mei- 
 nen Ehemann zu lieben, ach mein liebster Romio, discs 
 solle nimmermehr geschehen, aber ach, ach Romio, war- 
 umb hast du meinen Vetter ermord, aber recht hast du 
 gethan, weil er dich alfs meinen Ehemann ermorden 
 wollen, aber Romio dein Verbannung schmertzet mich, 
 mein Hertz blutet, vnd gehet mir sehr zu Hertzen, wollan 
 dan, ich will auf mittel vnd weeg bedacht sein, wie ich 
 kan zu ihm kommen, vnd von ihm einen schmertzlichen 
 abschid nehmen, komme hier Pickl Haring, ich weifs 
 du bist getrew vnd verschwigen, drumb vernehme mich 
 wafs ich sage, hier empfange diese etliche Dugaten, vnd 
 bemiihe dich den Romio zu finden, welcher noch in Ve- 
 rona wird zu finden sein, vnd kom mit mir in mein ge- 
 mach, ich will dich mit einem brieff an ihn abfertigen. 
 
 PICKL. Ja ia, ihr redt gar recht, frewlein Julieta, 
 ob meine fiiefs schon so miith dafs ich auf keinen Efsl 
 steigen kunt, so will ich doch den Dugaten zu gefallen 
 gantz Verona durchlauffen, alfs wann ich doll ware, bifs 
 ich Romio gefunden hab, vnd von Euch alfsdan mehr 
 Dugaten empfangen werde. [abeunt. 
 
 PATER. ROMIO. 
 
 PATER. Ich bitte liebster Sohn Rumio, er stelle sich 
 doch einmahl zufriden vnd lasse die trawrigkeit bey ihm 
 nicht gahr zu sehr uber Handt nehmen, dan es ist noch 
 ein gnadigstes Vrtheil von dem Hertzog aufsgesprochen 
 worden. 
 
 CLOWN. No, Juliet, I will give you better counsel. 
 Take them both if you like them; take me for your 
 bridegroom. 
 
 JULIET. Hold your tongue, clown; it is no time 
 for joking, nor is it christianlike to take two or three 
 husbands. 
 
 CLOWN. Why not? Has not the Turkish Emperor 
 more wives than you can count? Why should it not be 
 permitted to me or you to take three, four, five, six, 
 seven, eight, nine or ten wives or husbands? I should 
 not have far to go if in Kollschin, Budweiss, Gopplitz, 
 Freystadt, Linz, and in this town I would find out hus- 
 bands or wives who desire, nay who have, more than 
 one wife or husband. 
 
 JULIET. Well, I shall follow your advice, clown: 
 go with my nurse, and tell my father and mother I love 
 Count Paris. 
 
 NURSE. I am glad of it; I will go at once and in- 
 form your mother. 
 
 CLOWN. Keep back, old one! It would be a bad 
 custom for an ambassador to bring up the rear, and an 
 old woman to take the lead. [Exit Nurse. 
 
 JULIET. Accursed nurse ! To dissuade me from loving 
 my husband! My dearest Romeo, this is never to be. But 
 alas Romeo, why didst thou slay my cousin! Though thou 
 wast in thy right as he intended to slay thee, my hus- 
 band. Yet, Romeo, thy banishment pains me much, cuts 
 me to the heart; my heart is bleeding. Well, I will think 
 of ways and means to join him, and to take a painful 
 leave from him. Look here, clown, I know thou art faith- 
 ful and secret. Listen then to what I say. Take these 
 few ducats and try to find Romeo, who probably is still 
 to be met with in Verona. Come to my closet; I will 
 charge thee with a letter to him. 
 
 CLOWK. Just so, Miss Juliet; you are quite right. 
 Though my feet are so tired that 1 could not mount a 
 donkey, yet for the sake of your ducats 1 will run all 
 over Verona like a madman until I find Romeo, and 
 get some more ducats from you. 
 
 [Exeunt. 
 
 FRIAR. ROMEO. 
 
 FRIAR. Pray, my dear son Romeo, take comfort at 
 last. Do not allow sadness to get the better of you ; it 
 is a merciful judgment the Duke has given. 
 
377 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 378 
 
 ROMIO. Ach Pater ist es leben oder todt? ist es 
 todt so will ich billich leiden. 
 
 PATER. Nein mein liebes Kindt, das wordt todt ist 
 in ein gnadigstes verbannen verendert \vorden. 
 
 ROMIO. Ach Verbannen viel a'rger alfs der todt, o 
 grausamber Himmel, soil ich anietzo scheiden vnd Ju- 
 lieta verlassen? vnd ihrer holdseeligen gegenwarth be- 
 raubt sein? ach mehr alfs todtes Schmertzen. 
 
 PATER. Ich bitte mein Sohn horet mich. 
 
 ROMIO. Ach Pater wafs soil ich horen, ihr wolt 
 doch widerumb Verbannen sagen. 
 
 PICKL HARING klopfft inwendig. 
 
 PICKL. Holla, ist alles verspert? Niemandt zu 
 Haufs? macht die Thier auf. 
 
 PATER. Mein Kindt folge mir vnd verstecke dich, 
 die wacht mochte kommen vnd dich gefanglich nehraen. 
 
 ROMIO. Ich will nicht, sondern hier will ich mich 
 in meinen eigenen thranen ersauffen. 
 
 PATER. Ach Himmel, wafs vor ein Dolheit besitzet 
 seine Siinnen. 
 
 PICKL. Wo zum Krankheit, werde ich noch lang 
 warthen miissen, macht auf, oder ich werdt doll vnd 
 narrisch. 
 
 PATER. Ach Romio, verberget euch, die wacht ist 
 vorhanden. 
 
 ROMIO. Ich will nicht vnd kan auch nicht. 
 
 PATER. So stiirzt ihr euch selber in gefahr, wer 
 ist da? 
 
 PICKL. Der tausendt, macht auf dorch ein mahl auf, 
 ich bin gestanden, dafs mir die negel von den Zehen 
 bald weren abgefrohren, ich habe ein Post Herr Pater 
 abzulegen, vnd komme von Julieta. 
 
 PATER. Ach froliger bott, kommet herein. 
 
 PICKL. Quos gratias, Bonus dies Domine Pater. 
 
 PATER. Grossen Dankh Pickl Haring, wo kompt 
 man her? 
 
 PICKL. Aufs der gassen von vnsern Haufs, vnd wolte 
 den Herrn Patribus bitten, er wolle mir sagen, wo ist 
 der Romio? 
 
 PATER. Da ligt er vnd ist fast in lauther trawrig- 
 keit, vnd in sein eigenen thranen erstickt. 
 
 PICKL. Das sein Narrenbossen, Herr Romio stehet 
 auf, ich komme von Julieta. 
 
 ROMIO. Ach wer nennet den holdseeligen Nahmen 
 Julieta, ach Pickl Haring verfluecht sie mich nicht, dafs 
 ich ihren Vetter Tipold erstochen? 
 
 PICKL. Nein da hat sie mir nichts gesagt, ich glaube 
 wan ihr ihn hett gar aufgehenkt, erwiirgt, gradbrecht, 
 gespiefst, vnd gahr auf dem Efsl gesezt, sie fragte nichts 
 
 ROMEO. Ah, father, is it life or death? if death, I 
 will suffer as is reasonable. 
 
 FRIAR. No, my dear child, the word death has been 
 turned into merciful exile. 
 
 ROMEO. Exile is worse than death. Cruel heavens! 
 am I now to part from Juliet and leave her, and be 
 deprived of her lovely presence? That is more than 
 the .pangs of death. 
 
 FRIAR. Pray, my son, hear me. 
 
 ROMEO. What is the use of hearing! you will speak 
 again of banishment. 
 
 CLOWN, knocking within. 
 
 CLOWN. Hollah! everything shut up? nobody at 
 home? Open the door! 
 
 FRIAR. My child, follow me and hide yourself: the 
 watch might come and take you up. 
 
 ROMEO. I will not do that, but I will rather drown 
 myself in my own tears. 
 
 FRIAR. Good heavens, what madness has got pos- 
 session of his senses! 
 
 CLOWN. The plague! how long am I to wait? 
 Open the door, or I shall go crazy. 
 
 FRIAR. Romeo, hide yourself; the watch has come. 
 
 ROMEO. I will not, I cannot. 
 
 FRIAR. Then you are rushing into danger. Who is 
 there ? 
 
 CLOWN. The deuce, open the door at last. I have 
 been standing till the nails are frozen off my feet. I have 
 got a message for you, Sir, and come from Juliet. 
 
 FRIAR. Joyful messenger, come in! 
 
 CLOWN. Quos gratias, bonus dies Domine Pater. 
 
 FRIAR. Much thanks. Where does the clown come 
 from? 
 
 CLOWN. From the street, from our house, for the 
 purpose of begging the Patribus to tell me where Ro- 
 meo is. 
 
 FRIAR. There he lies, almost drowned in sadness 
 and his own tears. 
 
 CLOWN. That is fool's play, Mr. Romeo; get up; 
 I come from Juliet. 
 
 ROMEO. Who pronounces the lovely name of Juliet? 
 Ah, clown, does she not curse me for having killed her 
 cousin Tibalt? 
 
 CLOWN. She has said nothing of the kind. I dare 
 say if you had hanged him, strangled him, broken him 
 on the wheel, spitted him, nay put him on the ass, 
 
379 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 380 
 
 darnach, sondern sie hat mir befohlen euch zu suechen, 
 vnd wan ich euch gefunden hab zu sagen, sie last euch 
 bitten, dafs ihr dise nacht zu ihr wolt kommen, weil 
 ihr verbannet seit, dafs ualet vnd abschid von euch zu 
 nehmen. 
 
 Romo. Ach ist es moglich, vnd solte ich glauben 
 dafs Julieta allein voller Sanfftmuth vnd barmhertzig- 
 keit ist? 
 
 PICKL. Freilich ist es moglich, vnd dafs es wahr- 
 hafftig ist, so schickt euch Julieta durch ihren Amba- 
 sador, als meine persohn, diesen ring, wie auch disen 
 brieff, vnd ich glaube wan ihr nicht kommen wolt zu 
 ihr, sie wurde euch ein Schelmen in den buesen werffen. 
 
 ROMIO. Ach brieff! ach ring! seit mir willkommen, 
 dich mein ring will ich verehrt an meinem finger tra- 
 gen, bifs der blafse todt den faden meines lebens zer- 
 schneidt vnd enden wird, darumb gehe Pickl Ha'ring, 
 vermelte meiner Julieta dafs ich wan die nacht wird 
 anziehen ihr Schwartzes trauer kleid, will ich mich bey 
 ihr gehorsamb einfinden, vnd den lezten abschid neh- 
 men, hier Pickl Ha'ring empfange vor deine miihe dise 
 wenigen dobulonen vor dein tringgelt. 
 
 PICKL. Ich bedankhe mich Herr Romio vor discs 
 wenige, wan es mehr ware, war es noch besser. [abit. 
 
 PATER. Ich bitte ihn Herr Romio, er gehe vnd 
 nehme abschid von seiner liebsten, doch mit solcher 
 Vorsichtigkeit, das er mit anbrechendem tag noch aufs 
 der Statt kommen kan. 
 
 Romo. Hochgeehrter Herr Pater, ehe sich der 
 morgenstern retteriret vnd den grossen weldt liecht platz 
 machet, vnd den tag verkhundiget, will ich von hinnen 
 machen, aber mein Vertrawen Herr Pater stehet allein 
 zu ihm, dafs er mir nach Mantua schrufftlichen bericht 
 ertheile, wie es mit euch vnd meiner Julieta jeder Zeit 
 stehen moge. 
 
 PATER. Traget keine Sorg mein Sohn, wan ihr euch 
 in Mantua aufhaltet, solt ihr stets durch brieff ersuechet 
 werden. 
 
 ROMIO. Wollan dan, ich ergebe mich den vnglickh 
 meines Vnsterns, ich reifse zwar verbannt von hier, mein 
 Hertz aber lafs ich bey Julieta. [abit. 
 
 PATER. Der Himmel vnd alle Himlische macht ge- 
 ben ihn glickh auf seine Reifs, vnd Segnen mit solchen 
 glickh, das er bald mit frewden moge Verona sehen, 
 ich aber vnterdessen, will den Himmel frfihe vnd spat 
 vor seine wohlfarth bitten. [abit. 
 
 SCENE 6 TA . 
 
 ROMIO, JULIETA in der Kammer. 
 ROMIO. Siifse vnd fiber die Natur mildreicheste Ju- 
 
 she would not mind. No she has commanded me to. 
 seek for you, and when found, to tell you she desires 
 you, being banished, to come to see her to-night and 
 bid her adieu. 
 
 ROMEO. Is it possible? Can I believe that Juliet 
 alone is sweet and merciful? 
 
 CLOWN. To be sure it is possible ; and in proof of 
 it, Juliet sends you through her ambassador in my per- 
 son, this ring together with this letter: and I think, if 
 you would not go to her, she would throw a villain at 
 your face. 
 
 ROMEO. A letter, a ring! Be welcome both. Thee, 
 my ring, will I wear on my finger till pallid death cut 
 the thread of my life. Go, clown, inform my Juliet, that 
 when night has wrapped herself in her black mourning 
 dress, I shall in due obedience appear and take my 
 last farewell. There, clown, take these few doubloons 
 for thy trouble. 
 
 CLOWN. Thank you for this trifle ; if it were more, 
 I should like it better. [Exit. 
 
 FRIAR. Pray, Romeo, go and take leave of your 
 sweet-heart, but so cautiously that by the break of day 
 you may yet leave the town. 
 
 ROMEO. Reverend father, ere the morning-star re- 
 tires giving way to the world's great luminary, and he- 
 ralds in the day, I shall be from hence. But my confi- 
 dence is in you alone that you will send me news in 
 writing to Mantua from time to time how yourself and 
 my Juliet prosper. 
 
 FRIAR. Be under no anxiety for that, my son; while 
 you sojourn in Mantua, there shall never be a letter 
 wanting. 
 
 ROMEO. Well then, I yield to the fate of my un- 
 lucky stars. I go from hence on exile, but my heart I 
 leave with Juliet. [Exit. 
 
 FRIAR. May heaven and all heavenly powers grant 
 him good luck on his journey, and bless him with a joy- 
 ful return to Verona. Meantime I will pray to heaven 
 early and late for his well-being. 
 
 SCENE VI. 
 
 ROMEO and JULIET, in the chamber. 
 ROMEO. Juliet, sweet and more than in nature kind, 
 
 
381 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 382 
 
 lieta, vnd gebietterin meines Hertzens, darf ich mich 
 wol vndterstehen mit schamhafften augen dero holdsee- 
 ligen Schonheit anschawen? ich bin ein Ubelthatter, ich 
 bekhenn'es, mir dennoch vor dero Schonheit vnd bitte 
 vmb perdon, vnd den fahler, so ich gegen ihr begangen 
 mir zu uerzeihen. 
 
 JULIE. Ach Romio! 
 
 ROMIO. Muefs ich sterben? 
 
 JULIE. Nein, stehet auf werther Schatz, vnd em- 
 pfanget euere Julieta, euere gegenwarth raachet, dafs ich 
 euch zu gefallen noch lebe, wiewohlen ich von thranen, 
 vnglickh vnd Schmertzen fast verzehret bin, wafs ge- 
 schehen, kan man nicht mehr enderen. 
 
 ROMIO. Ach ist es moglich, das Schonheit, Tugendt 
 vnd barmhertzigkeit alle in einen solchen zarten Hert- 
 zen zu finden, o du all zu grausambes Vnglickh, war- 
 umb scheidest du mich von der Jenigen, der gleichen 
 auf den gantzen Erdtboden nicht zu finden. 
 
 JULI. Ach liebster Romio, Jammer vnd Hertzens- 
 angst wollen mein ermiidetes Hertz ersauffen, wan es 
 moglich ist, so lasse zue mir allein in disen bittern 
 Schmertzen vnd so viel iiberladene trubsalen, das ich 
 mein Hertz ein wenig trosten kan. 
 
 ROMIO. Ach Kummer vnd Vnmueth, ihr herschet 
 nunmehro vnd presset vollkomblich mein vnterdruckte 
 Sunnen, ach lasset nicht zue meine Schone, das dafs 
 Jenige Hertz mochte aufgeopiFert werden so euch zu 
 gefallen lebet, vnd haltet ein mit euren Seufftzen vnd 
 verursachet nicht den todt des Jenigen der euch liebet. 
 
 JULI. Ach vnuerhofftes Scheiden, ein kleine weil ist 
 noch dafs gesetz Euch anzuschawen, ach erfrewet doch 
 cure halblebende Julieta mit brieffen zu ersuechen, vnd 
 einen lebenden trost zu geben. 
 
 ROMIO. Aller Sufsestes Hertzens Kindt, euer ge- 
 trewer Romio soil verrichten wafs ihr ihm befehlet, aber 
 ach vnser Scheiden ist verhanden, der tag bricht an, 
 ich werde gezwungen, ach vnglickseelige Zeit, sie zu 
 uerlassen. 
 
 JULI. Werthester Schatz, es ist nicht der morgen, 
 der blafse Monschein. 
 
 ROMIO. Ach ware es moglich, das ich den Mon- 
 schein kunte hofFen ein gantzes Monath zu scheinen, so 
 wurden wiir erfrewet, dan der Schein der Sonnen vnfs 
 nichts alfs leid vnd Schmertzen bringt. 
 
 JULI. Ach leid, es ist die morgenroth vnd kompt 
 mein Hertz blutig zu fa'rben, ach Phoebus, ach tag, du 
 beraubest mich meines lebenstrosts, ach armseelige vnd 
 verlassene Julieta. 
 
 ROMIO. Stellet ein, werther Schatz, eure trawrigkeit, 
 der Himmel wird seinen gefasten Zorn wider vnfs der- 
 
 mistress of my heart, may I venture to look with bash- 
 ful eyes at your lovely beauty? I am a wretch, I con- 
 fess; yet I appear before you begging pardon and for- 
 giveness for the fault I have committed against you. 
 
 JULIET. Ah Romeo! 
 
 ROMEO. Must I die? 
 
 JULIET. No, rise, dearest, and take your Juliet. 
 Your presence makes me still live to please you, though 
 almost eaten up by tears, misery, and suffering. What 
 is done, cannot be undone. 
 
 ROMEO. Is it possible that beauty, virtue, and mercy 
 should be found united in such a tender heart! Oh 
 thou too cruel fate! why dost thou divide me from her 
 who has no equal on this globe! 
 
 JULIET. Dear Romeo, wretchedness and anguish 
 will overwhelm my worn-out heart. If you can, leave 
 me to these bitter pains and torture, that I may collect 
 myself in solitude. 
 
 ROMEO. Ah! ye Care and Despondency, ye have 
 sway over me now, and oppress my down-cast senses. 
 Ah my fair one, do not allow the heart to be sacrificed 
 that lives to please you ! Repress your lamentations, and 
 do not cause the death of your lover. 
 
 JULIET. Unexpected separation! A little while does 
 the law allow me to gaze at you still. Comfort your 
 Juliet who is now but half alive, with your letters, and 
 give her living consolation. 
 
 ROMEO. Sweet child, your faithful Romeo will per- 
 form what you command. But alas! our separation is at 
 hand; the day is breaking; I aln forced, oh hapless hour! 
 to leave you. 
 
 JULIET. Dearest, it is not the morning, it is the 
 pale moon. 
 
 ROMEO. Oh, could I but hope that that moon would 
 shine a whole month, it were a comfort to us ; for the sun 
 brings us nothing but grief and suffering. 
 
 JULIET. Alas, it is the dawn; it comes to stain my 
 heart with blood. Oh Phoebus! oh day! thou robbest 
 me of the comfort of my life! Ah poor, deserted Ju- 
 liet! 
 
 ROMEO. Restrain your sadness, beloved one; the 
 wrath of heaven will relent one day. I bid thee farewell 
 
383 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 384 
 
 mahleins lindern, hiemit nehme ich abschid mit disen 
 Kufs, vnd sie gedenkhe, das diser Kus die standhafftig- 
 keit vnd ewige trew euer Romio versigle. 
 JULI. Ach Lippen Kufs meines Hertzen, 
 
 Mich aufssaugen meine Schmertzen. 
 
 Meine bliicke vnd ihr Krafften, 
 
 Kumb lafs mich sie anhefften 
 
 An den SuTsen Zucker Mund 
 
 Dafs ich gehe nicht zu grand. 
 ROMIO. Ach wafs machen, wafs begiinnen? 
 
 Vnser Hertzen, die voll Schmertzen, 
 
 Meine Siinnen seind erfiilt, 
 
 Voller plagen; ach wer stillt 
 
 Solches Zagen, wafs mich truckt 
 
 Vnd beschwerdt auch gantz verzehrt. 
 JULI. Das lieben mit betruben 
 
 1st ein fewer, brennet mich, 
 
 Bifs auf den grundt, ach ach weh! 
 
 Vnd gantz verwund ich vergeh, 
 
 Kumb Seelen Schatz erlaube mir, 
 
 Zu Kussen eh du scheidst von mir. 
 ROMIO. Meiner Seelen Zuckher Speis, 
 
 Ich gehe zu begriefsen 
 
 Dich, o edle tugendt preifs, 
 
 Ich hoffe zu genussen 
 
 Deine trew vnd bstandigkeit, 
 
 Bifs vnfs beyd der todte scheid. 
 JULI. So will ich auch einsamb hier 
 
 Wie mir gebiihrt zu leben, 
 
 Vnd die turteltaube thuet 
 
 Auf durn aste so, 
 
 [Bis?] mit glickh wird wider geben 
 
 Dich mir meinen Romio. 
 ROMIO. Nun Verona fahre wohl, 
 
 Vnglickseeligs Vatterland ! 
 
 Erhalt mir nurTnein Schatz 
 
 Bifs ich nicht mehr verbannt 
 
 Mein Hertz voll Schmertz bleibt hier, 
 
 Ich aber bleib bestandig dir. 
 
 ACTUS QUINTUS. 
 
 SCENA PRIMA. 
 
 CAPOLET. JULIETA. PICKI/ HARING. 
 
 CAPUL. Geliebte Tochter Julieta, du weist das ich 
 
 das Jawordt dem Graff Paris gegeben habe, wie auch 
 
 schon alles zur Hochzeit bereith vnd verfertiget ist, 
 
 dennoch ist mein will, das du dem graffen mit aller 
 
 with this kiss, and remember that this kiss is the seal 
 to your Romeo's constancy and everlasting truth. 
 
 JULIET. When kissed by him who has my heart, 
 His lips at once suck out my smart. 
 My glances and their power too, 
 Come let me fix them, love, on you, 
 Hang on thy mouth in sweet delight, 
 That I may not perish quite. 
 
 ROMEO. Alas! what can we do, what try? 
 For our hearts are full of smarts, 
 And my senses too are filled 
 With sad distress; ah, who e'er stilled 
 Such wretchedness, as now on me 
 Its weight doth lay, wastes me away. 
 
 JULIET. To love so dear with many a tear 
 Is a fire that burneth me. 
 Aye more and more, ah, ah, alas, 
 Till wounded sore, away I pass. 
 Come my darling grant to me 
 To kiss thee ere thou part'st from me. 
 
 ROMEO. Sweet food, whereon my soul I feed. 
 To greet thee now I go, * 
 
 Thee, thee, O noble virtue's meed, 
 I hope that I may know 
 Thy truth and constancy of heart, 
 Till death's sure dart us two do part. 
 
 JULIET. So I then too, all lonely here, 
 As me beseems will live, 
 As doeth too the turtle-dove 
 On branch of leafless tree, 
 Till fortune once again shall give 
 My Romeo back to me. 
 
 ROMEO. Now Verona, fare thee well. 
 Most unhappy fatherland! 
 Only preserve my love 
 Till I no more am bann'd; 
 My heart will smart for ever, 
 But I to thee am faithless never. 
 
 ACT V. 
 
 SCENE I. 
 
 CAPULET. JULIET. CLOWN. 
 
 CAPUL. Beloved daughter Juliet, thou art aware 
 that I have promised thee to Count Paris and that 
 everything is ready for the wedding. Therefore I want 
 thee to meet the Count with becoming courtesy and to 
 
385 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 386 
 
 Hoffligkeit begegnest, dich schmuckest vnd ziihrest, wie 
 es einer brauth gebuhrt, dan morgen soil dein Hochzeit- 
 tag sein. 
 
 JULI. Ich weifs Herr Vatter, das ich den gehor- 
 samb meiner Eltern vnterworffen, aber ach! 
 
 PICKL. Huy zue, das Mensch bekompt das Zahn- 
 wehe. 
 
 CAPUL. Wafs seufFzest du tochter, in deme du voile 
 frewden geniissen kanst. 
 
 PICKL. Ein krankher Mensch kan nicht viel frewd 
 haben. 
 
 JULI. Ach die Jugendt meiner Jahren! 
 
 PICKL. Hab ichs nicht gesagt, sie forcht sich schon 
 vor den sterben. 
 
 CAPUL. Die Jugendt deiner Jahren, die du in lau- 
 ther glickh verzehren kanst. 
 
 PICKL. Wan sie viel gelt zu zehlen hat. 
 
 JULI. Ach das glickh spore t [storet?] meine lust! 
 
 CAPUL. In was? 
 
 PICKL. Weil sie das Zahnwehe hat. 
 
 JULI. Ach Herr Vatter, in anligenden Krankheiten 
 vnd andern Zuefallen die den Menschen plagen. 
 
 PICKL. Mich plagt der Hunger, weil der Koch nicht 
 anrichten will. 
 
 CAPOL. Wie Julieta, hast du ein anligen einer Krank- 
 heit, so sag es mir. 
 
 JULI. Ach es [ist] besser ich schweige. 
 
 CAPO. Wo schmerzt es dich. 
 
 JULI. In den Hertzen. 
 
 CAPO. In den Hertzen? 
 
 JULI. Ja vnd leide grofse qual. 
 
 PICKL. Herr, Ihr fragt auch narrisch, sie sagt euchs 
 ja, das ihre Schmertzen vmb die brust, bauch vnd na- 
 bel vnd umb die angranzenden lander am meisten re- 
 gieren. 
 
 CAPO. Schweig Pickl Haring, oder ich lasse dich 
 in die Kuchel fiihren, dich zu streichen. 
 
 PICKL. Vnd ich habe vermeindt, ihr wolt mir lassen 
 ein fruhestuckh geben. 
 
 CAPOL. Tochter, deinen Zuestandt muefs man den 
 Graffen wissen lassen. 
 
 JULI. Ach Herr Vatter, es ist besser der graff weifs 
 nichts von meinen anligen, ich bitte Herr Vatter, er 
 wolle mir zur gnad vmb den Pater schickhen, der sie 
 gewohnlich besuechen thuet, das er mir einen geistlichen 
 trost gebe, dan ich bin sehr krankh. 
 
 PICKL. Krankhe Leuth sollen lustig sein, wer weifs 
 wie lang sie leben. 
 
 CAPOL. Dein Zuestandt Tochter schmertzet mich, 
 doch verfiige dich in dein Zimmer, der Pater soil dich 
 
 array theeself in bridal pomp; for to-morrow is to be 
 thy wedding-day. 
 
 JULIET. I know I owe obedience to my parents: 
 but alas 
 
 CLOWN. Hulloa! the wench has got a toothache. 
 
 CAPUL. Why dost thou sigh, my dear daughter, 
 when thou mayest enjoy so many pleasures? 
 
 CLOWN. A sick man cannot have many pleasures. 
 
 JULIET. Ah, my tender years! 
 
 CLOWN. Did I not say so? She is already afraid 
 of dying. 
 
 CAPUL. Thy tender years? which thou canst spend 
 in unalloyed good fortune. 
 
 CLOWN. Provided she has plenty of money to spend. 
 
 JULIET. Alas, my good fortune destroys my happiness. 
 
 CAPUL. How so? 
 
 CLOWN. Because she has got a toothache. 
 
 JULIET. Dear father, in the diseases that may attack 
 me, and other accidents that torment mankind. 
 
 CLOWN. As to me hunger is my torment, since the 
 cook won't serve the dinner. 
 
 CAPUL. Why Juliet, if thou hast any complaint, 
 tell me. 
 
 JULIET. I had better keep silence: 
 
 CAPUL. Where hast thou any pain? 
 
 JULIET. In the heart. 
 
 CAPUL. In the heart? 
 
 JULIET. Yes, and I suffer great torture. 
 
 CLOWN. Sir, you put foolish questions. Does she 
 not tell you that her pains are principally in the neigh- 
 bourhood of her breast, belly, navel, and the adjacent 
 demesnes? 
 
 CAPUL. Be silent, fool, or I will have you led into 
 the kitchen for a whipping. 
 
 CLOWN. I fondly imagined you wanted to give me 
 a breakfast. 
 
 CAPUL. My daughter, the Count ought to be in- 
 formed of thy state. 
 
 JULIET. Father, it is better the Count knows nothing 
 of my complaint. For mercy's sake I beg you would 
 send for the father who is in the habit of visiting you, 
 to give me spiritual comfort, for I am very poorly in- 
 deed. 
 
 CLOWN. Invalids ought to be merry; who knows 
 how long they have still to live ! 
 
 CAPUL. Thy. state grieves me; go to thy chamber, 
 the father shall soon come to see you. Make haste to 
 
 25 
 
387 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 388 
 
 bald besuechen, gelange nur bald zue deiner gesundtheit, 
 damit du vnnfs erfrewest mit deinen Hochzeittag, ich 
 gehe vnd verlasse dich. [abit. 
 
 PICKL. Ich bleib auch nicht mehr da. [abit. 
 
 JULI. Er lebe wohl Herr Vatter. Ach armseelige 
 Julieta will dan das Verhangnufs raeines Vnsterns nicht 
 aufhoren, mich zu qualen? ich soil zwey Manner neh- 
 men, der eine ist verbannt, der andere mich qua'lt, wafs 
 Rath ? Der Hochzeittag ist vorhanden, ich liebe Romio 
 vnd nicht graff Paris, meine Siinnen sein verwiirt, ich 
 weifs mir nicht zu helffen, ach Pater niemahlen hab ich 
 Euren Rath besser von nothen gehabt alfs aniezo, aber 
 siehe zu alien glickh ist er verhanden. Ach willkom- 
 men Herr Pater. 
 
 PATER. 
 
 PATER. Ich bedankhe mich Julieta, wie stehet es 
 mit ihr, sie siehet sehr betriibt aufs, ist ihr wafs wider- 
 fahren? oder riihret es von Romio wegen her? 
 
 JULIET. Ach Pater, die (iberheuffige Schmertzen so 
 ich leide machen mich gantz verzweiflen, in deme mein 
 Vatter haben "will, ich solte Graff Paris zu einen Mann 
 haben, nun aber weifs er selber besser, Herr Pater, 
 wemb ich zuegehore, vnd mit pflicht verbunden bin. 
 
 PATER. (Ich will sie ein wenig auf die prob stellen.) 
 Hort mich Julieta, aufs zweyen ublen mufs man dafs 
 beste erwehlen, weilen ihr den Romio nicht zu theil, 
 sondern verbannet wisset, so vollbringet eurer Eltern 
 befelch, vnd nehmbt den Graff Paris, welcher vor ge- 
 wifs ein wackherer gaualier ist. 
 
 JULI. Wie Pater seit ihr ein geistlicher, vnd wolt 
 mit einem solchen Rath, dafs ich die Ehe vnd meine 
 Ehr befleckhen soil? Nein nein, Pater, nein, ehe 10 
 mahl gestorben alfs Romio verlassen. 
 
 PATER. Anietzo verstehe ich euer bestandigkeit, 
 Julieta verzeihet mir, es war nur meine meinung, euch 
 auf die prob zu stellen, weillen ich aber euer Hertz vn- 
 uerenderlich gegen Romio sehe, so habe ich ein werkh 
 ersunnen, wo ihr folgen wollet, euch aufs aller gefahr 
 zu helffen, damit ihr Romio erlangen moget. 
 
 JULI. Ach Pater, Vatter vnd Erretter meines le- 
 bens, wemb solte ich mehr gehorsamben alfs euch, weil- 
 len ich alles trosts beraubet bin, vnd mich in meinen 
 Ellend vnd Schmertzen nicht mehr zu trosten weifs. 
 
 PATER. So wisset Julieta, das es hochnothig euch 
 auf eine Zeit lang zu uerstellen, dardurch ihr nicht ge- 
 zwungen werdet den Graffen Paris zu eheligen, wisset 
 dafs ich in der Medicin sehr wohl erfahren, darumb 
 schmuckhet vnd ziehret euch auf das beste alfs ein 
 brauth, hernach will ich euch einen Schlafftrunkh be- 
 
 recover, that we may rejoice in thy wedding day. I will 
 now leave thee. [Exit. 
 
 CLOWN. Nor shall I stay. [Exit. 
 
 JULIET. Good bye, father. Ah, miserable Juliet, 
 will the fate of my unlucky star never cease to torment 
 me? I am to take two husbands: one is banished, the 
 other torments me; what counsel? My wedding-day is at 
 hand ; I love Romeo and not Count Paris. My mind is 
 bewildered; I know not what to do. Oh, father, I never 
 stood in greater need of your advice! But fortunately, 
 there he is. Welcome, father. 
 
 Enter the FRIAR. 
 
 FRIAR. Thank you, Juliet. How are you? You 
 look very sad. Has anything happened to you? or is it 
 about Romeo? 
 
 JULIET. Ah, my father, my overwhelming suffering 
 drives me to despair. My father wants me to take Count 
 Paris. You know best to whom I belong, to whom I 
 am in duty bound. 
 
 FRIAR. (Aside: I will try her a little.) Listen to me, 
 Juliet; of two evils one ought to choose the smaller. 
 As Romeo is banished, and cannot be yours, you had 
 better perform the command of your parents, and take 
 Count Paris, who is certainly a gallant cavalier. 
 
 JULIET. How so, my father? You, a minister, want 
 me to contaminate my wedlock and my honour? No, 
 no, father, no! sooner die a hundred times than give 
 up Romeo. 
 
 FRIAR. Now I perceive your constancy, Juliet. Par- 
 don me, it was but my intention to try you. But now 
 that I see your heart is unchanged towards Romeo, I 
 have contrived a plan to help you out of all danger, and 
 to win your Romeo, provided you will follow me. 
 
 JULIET. Ah, father, saviour of my life! to whom 
 should I pay more willing obedience than to you, be- 
 reaved, as I am, of every comfort, and not knowing 
 where to seek for consolation in my grief and misery ! 
 
 FRIAR. Know then, Juliet, that it is most necessary 
 you should dissemble for a time, to elude compulsion. 
 Understand that I am versed in medicine. Array your- 
 self in bridal attire. After that I will prepare a potion 
 which will make you appear dead for a certain time, 
 and will persuade your parents to have you deposited 
 
389 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 390 
 
 reithen, welcher euch ohne schaden auf gewisse Zeit 
 todt vorstellen solle, vnd euere Eltern uberreden, das 
 sie euch in dafs Monument legen lassen, das wird ein 
 Vrsach sein dafs beylager zu uerhindern, indessen aber 
 will ich den Romio schreiben, in Eyl verkleidter weifs 
 zu kommen euch zu entfuhren vnd also von alien Kum- 
 mer zu entledigen, ist difs euer meinung auch Julieta? 
 
 JULI. Ach Schmertz, mein Vnglickh ist zu grofs 
 dafs es mich hinwurfft wo es will, gleich einen ballen, 
 wafs braucht es weither mein Romio ist verbannt, ich 
 gezwungen noch einen zu nehmen, ach aber eher ster- 
 ben alfs discs gut heifsen, darumb Pater brauchet giifft 
 oder Schlafftrunkh, es ist mir beydes eins, wan ich nur 
 Romio einmahl sehen kunte. 
 
 PATER. Sie stelie sich zufriden Julieta, vnd lasset 
 cure Schmertzen bey euch nicht iiber Handt nehmen, 
 die Hilff ist verhanden, der SchlafFtrunkh kan Euch von 
 alien Ellend vnd Schmertzen erledigen. 
 
 JULI. Wollan es sey so, euren willen zu folgen ver- 
 fertiget den SchlafFtrunkh, ich bin bereit solchen zu neh- 
 men, es geschehe gleich zum todt oder leben. 
 
 PATER. Nein Julieta, sie entschlage sich solcher ge- 
 dankhen vnd der Himmel behiitte sie vor weithern Vn- 
 glickh, ich verhoffe durch discs vorgeschlagene Mittel, 
 wird sie alien Kummer vnd Hertzenleid von ihr wenden. 
 
 JULI. Pater auf euer Hilff stehet mein Vertrawen, 
 ich gehe euren Befehl zu volbringen. 
 
 PATER. Wollan so gehe ich den Schlafftrunkh zu 
 uerfertigen vnd alles zu ihren besten bereithen. [abit. 
 
 , JULI. 
 
 Der Himmel vnd sein Macht geb hiemit seinen Seegen, 
 Dafs aller Vnglickhfssturm damit sich moge legen. 
 
 SCENA 3 TIA . 
 FRAW. AMMA. PICKL HARING. 
 
 FRAW. Amma ! 
 
 AMMA. Wafs beliebt ihr gnaden? 
 
 FRAW. Saget mir, ist alles verfertiget vnd bereith 
 zu meiner tochter beylager? 
 
 AMMA. Ich weifs nicht anders gnadige fraw, alfs 
 dafs alles bereith vnd fertig""tst. 
 
 FRAW. So gehe nach meiner Tochter Zimmer vnd 
 frage sie ob sie geschmuckhet vnd geziehret ist, ihren 
 breytigamb zu empfangen. 
 
 AMMA. Es soil geschehen gnadige Fraw. 
 
 PICKL. Alte bleib da, Julieta ligt in Schlaff, vnd 
 traumet ihr von sachen, die Niemand wissen soil. 
 
 AMMA. Schaw der Narr da, hat viel zu sagen, ey 
 das man nicht thuet was der Herr haben will, Narren 
 
 in the vault. Thus will the wedding be delayed. Mean- 
 time I will write to Romeo to speed hither in disguise, 
 and to carry you off from this place and from your 
 grief. Do you agree to this, Juliet? 
 
 JULIET. Alas, my misfortune is so great that it 
 throws me hither and thither like a ball. There is no 
 need of further reflection : my Romeo is banished, they 
 are driving me to take another husband; I will sooner 
 die than give in. Therefore, my father, let us use poison 
 or the potion you mention, I don't care which, if I only 
 see my Romeo once more. 
 
 FRIAR. Make your mind easy, Juliet, and don't allow 
 yourself to be carried away by your grief. There is 
 help at hand; my potion can save you from all your 
 misery. 
 
 JULIET. Well, be it so. Prepare the potion, I am 
 ready to take it for life or for death. 
 
 FRIAR. No, Juliet, discard such thoughts; Heaven 
 will preserve you from further misfortune. I hope that 
 by the means I propose, you will deliver yourself from 
 your troubles. 
 
 JULIET. All my confidence is in your help; I am 
 going to do your bidding. 
 
 FRIAR. And I am going to prepare the potion, and 
 to arrange everything for your welfare. \Exit. 
 
 JULIET. 
 
 That Heaven and its power their blessing grant, I pray, 
 This tempest of misfortune and misery to lay! 
 
 SCENE III. 
 LADY CAPULET. NURSE. CLOWN. 
 
 LADY. Nurse ! 
 
 NURSE. What is Your Grace's pleasure? 
 
 LADY. Is everything prepared and ready for my 
 daughter's wedding? 
 
 NURSE. I don't know otherwise, my lady, but that 
 everything is quite ready. 
 
 LADY. Then go to my daughter's chamber, and ask 
 her if she is dressed to receive her bridegroom. 
 
 NURSE. It shall be done, my lady. 
 
 CLOWN. Stay, old girl; Juliet is asleep, and dream- 
 ing of things which no one is to know. 
 
 NURSE. Look at the fool ! He has got much to say. 
 Strange, that people should not do what their master 
 
 25* 
 
391 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 392 
 
 keren in die Kuchel, zu sehen ob das Essen fertig, vnd 
 nicht mit Frawen Zimmer zu reden. 
 
 PICKL. O monstrum horrendum, du ein Frawen 
 Zimmer, o altes Rib.eisen vnd altes waffelscheitt, du alte 
 abgeschabene ergotzlichkeit der lieb, was hast du mir 
 zu befehlen? 
 
 FRAW. Schweig Pickl Haring vnd zankhet Euch 
 nicht, ein Jedes verrichte was ihme befohlen. 
 
 AMMA. Gnadige Fraw der Narr. 
 
 PICKL. Gnadige Fraw die Narrin. 
 
 AMMA. Halts maul Holtzbockh. 
 
 PICKL. Halts maul alter strohsackh. 
 
 AMMA. Du bist halt ein Thue kein gut. 
 
 PICKL. Vnd du auf der welt nichts nutz. 
 
 AMMA. O du sauff aufs. 
 
 PICKL. O du alte fledermaufs. 
 
 FRAW. Pfuy schamet euch beyde, in gegenwarth 
 meiner solche wordt zu brauchen. 
 
 AMMA. Gnadige Fraw, es ist ja nicht zu leiden. 
 
 PICKL. Gnadige Fraw, die alte soil mich zufriden 
 lassen. 
 
 AMMA. Du werest mir nit gut genug meine Schuhe 
 zu butzen. 
 
 PICKL. Vnd du werst mir nicht guet genug wo 
 mein ruckhgrad ein End hat mich zu kiissen. 
 
 FRAW. Pfuy schamet euch beyde vnd vergesset 
 nicht den respect meiner persohn, gehet Amma, ver- 
 richtet was ich euch befohlen. 
 
 AMMA. Ich gehe dero Befehl zu uerrichten. 
 
 [obit. 
 
 FRAW. Hore Pickl Haring, du bist etwas grob wan 
 du mit Frawenzimmer redest. 
 
 PICKL. Was grob ist, ist auch starkh, ich trauet 
 mirs noch grober zu machen, wan ich die alte Bockh- 
 reiterin nicht wegen Eurer verschonete. 
 
 Aufs AMMA. 
 
 AMMA. Ach gnadige Fraw was Vnglickh! Julieta 
 ligt in ihrer besten Kleitung aufsgestrecket vnd todt. 
 
 PICKL. Das ist erstunkhen vnd erlogen, weil sie 
 aufsgestreckt ligt, so muefs ich gehen vnd sehen was 
 ihr schadt, dan ich verstehe mich trofflich auf die aufs- 
 gestreckte Krankheiten. [abit. 
 
 FRAW. Der Himmel bewahre mich, Amma, wafs 
 fiir ein schrocken hab ich eingenohmen. 
 
 AMMA. Ich wolte es wahre nicht gn. Fraw wafs 
 ich gesagt, aber ich wolt mir die Nasen abschneiden 
 lassen wan Julieta nicht todt ist, dan ich verstehs in 
 keine Kurtzweil mit den Kleidern in Beth zu ligen. 
 
 desires. Fools should look in at the kitchen, and see if 
 dinner be ready, not converse with ladies. 
 
 CLOWN. O monstrum horrendum! You a lady? 
 you old grater, you old wafer-iron, you worn-out in- 
 strument of pleasure, what business have you to com- 
 mand me? 
 
 LADY. Silence, don't quarrel; each of you do what 
 he is bidden to do. 
 
 NURSE. My lady, that fool of a fellow 
 
 CLOWN. My lady, that fool of a woman 
 
 NURSE. Hold your tongue, you wood-louse! 
 
 CLOWN. Hold your tongue, old pad of straw! 
 
 NURSE. You are a ne'er-do-weel! 
 
 CLOWN. And you of no possible use in the world. 
 
 NURSE. You fuddle-cap. 
 
 CLOWN. You old bat. 
 
 LADY. Fye, you ought to be ashamed to use words 
 like these in my presence. 
 
 NURSE. My lady, it is not to be borne. 
 
 CLOWN. My lady, why does not the old hag leave 
 me alone. 
 
 NURSE. I should not hold you good enough to 
 clean my shoes. 
 
 CLOWN. And I should not hold you good enough 
 to kiss me where my spine ends. 
 
 LADY. Fye, do not forget the respect due to my 
 person. Go, nurse, do what I told you. 
 
 NURSE. I am going to carry out your orders. 
 
 [Exit. 
 
 LADY. I tell thee, clown, thou art somewhat rude 
 when talking to a woman. 
 
 CLOWN. Rudeness is strength; I should trust my- 
 self to do it more rudely still, if I did not spare the 
 old goat-rider for your sake. 
 
 Re-enter NURSE. 
 
 NURSE. My lady, what a disaster! Juliet lies here 
 dressed out in her best, stretched out, and dead. 
 
 CLOWN. You lie in your throat. As she is stretched 
 out, I must go and see what is the matter with her; 
 I thoroughly understand stretching complaints. [Exit. 
 
 LADY. Heaven preserve me! Nurse, how you did 
 frighten me! 
 
 NURSE. 1 wish, my lady, what I told you were not 
 true ; but I will have my nose cut off if Juliet be not 
 dead. I do not take it for a pastime to lie in bed all 
 dressed. 
 
393 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 394 
 
 PICKL HARING. v 
 
 PICKL. O Ellend, o noth, o barmbhertzigkeit, o 
 mausericordia, Julieta hat sich zu todt gestorben, o er- 
 schrockliche bost Zeitung, sie ligt aufs gestreckt mit 
 Handt vndt Fiiefsen, vnd ist so steuff alfs ein gefrohr- 
 ner Stockhfisch. 
 
 FRAW. Wie wafs sagst du, Pickl Haring, Julieta 
 todt?. 
 
 PICKL. Das weifs ich nicht ob sie todt ist, aber sie 
 ligt vnd ruhrt sich nicht, vnd ihre Seel ist schon in den 
 24 Elementen. 
 
 FRAW. O Jammer, o Ellend, ist Julieta todt so hat 
 mein Frewd ein End, ach armer graff Paris, wafs wird 
 er dar zue sagen, aber hier kompt mein Herr, ach Ju- 
 lieta, armseelige Julieta. 
 
 CAPULET. PATER. 
 
 CAPOL. Wie ich gesagt, Herr Pater, darbey soil es 
 verbleiben, den wer eine sach vornimbt, soil es beschlei- 
 nig vollfiihren. 
 
 PATER. Nach dero Befelch, Herr Capolet, soil alles 
 mit hochstem Fleifs verrichtet werden. 
 
 CAPOL. Aber wafs hat difs zu bedeuten, dafs meine 
 gemahlin die thranen abthrukhnet, wie ists liebste ge- 
 mahlin? was vor eine traurigkeit presset thranen von 
 Euren augen vnd zwinget Euch zum weinen. 
 
 FRAW. Ach liebster Herr vnd Gemahl, Vnglickh 
 fiber Vnglickh. 
 
 CAPOL. Der Himmel bewahre vnfs alle vor Vn- 
 glickh, wafs soil discs bedeuten? 
 
 PICKL. Herr, der Marder ist ins Tauben Haufs kum- 
 men vnd hat 2 junge Tauben zu todt gebissen, ob ers 
 gar gefressen, das weifs ich nicht, vnd dafs ist ja vn- 
 glickhs genug? 
 
 FRAW. Ach liebster Herr vnd Gemahl, Julieta ist 
 todt. 
 
 PICKL. 1st dan das so grofse sach, das ein Mahl 
 ein Mensch stirbt. 
 
 CAPOL. Wie? Wafs? Julieta todt? Das seye der 
 Himmel vor. 
 
 FRAW. Es ist nicht anderst, dan die Amma vnd 
 Pickl Haring haben sie beyde todt gesehen. 
 
 CAPOL. Ist es wahr, Pickl Haring? 
 
 PICKL. Ich vermeine wohl, es wird wahr sein, dan 
 sie ligt vnd riihrt sich nicht, hort vnd sieht nicht, vnd 
 ligt aufsgestreckt wie ein Holtz Klotz, weither brauchts 
 nichts mehr, alfs dafs die Schueler kommen, tragen sie 
 hinwekh vnd singen : mit frid vnd frewd fahr ich dahin, 
 vnd reifse meine strafsen. 
 
 CLOWN. 
 
 CLOWN. Oh misery, oh distress, oh pity, o mause- 
 ricordia! Juliet is dead. Oh dreadful news! There she 
 lies, hands and feet stretched out, and as stiff as a 
 frozen stockfish. 
 
 LADY. What say you, fool, Juliet dead? 
 
 CLOWN. Whether dead or not, I don't know. But 
 the fact is she lies and does not budge, and her soul is 
 already in the twenty-four elements. 
 
 LADY. Oh woe, oh misery! If Juliet is dead, there 
 is an end to joy for me. Poor Count Paris, what will 
 he say to it. But there comes my Lord. Ah, Juliet, 
 poor Juliet 1 
 
 CAPULET. FRIAR. 
 
 CAPULET. As I said before, father, so shall it be 
 done; for whoever begins a thing ought to carry it out. 
 
 FRIAR. Pursuant to your orders, my lord, everything 
 shall be executed with the greatest promptness. 
 
 CAPULET. But what does it mean that my wife is 
 wiping her tears? What is the matter, dearest wife? 
 What sorrow brings the tears into your eyes, and makes 
 you weep? 
 
 LADY. Dearest lord and husband, misery upon mi- 
 sery! 
 
 CAPULET. Heaven preserve us all! what does this 
 mean? 
 
 CLOWN. The marten has broken into the dove-cote 
 and killed two young pigeons; I do not know whether 
 he has eaten them too. Is that not misfortune enough? 
 
 LADY. Dearest lord and husband, Juliet is dead. 
 
 CLOWN. Is it such a great thing that some one 
 dies? 
 
 CAPULET. What? Juliet dead? Heaven forbid! 
 
 LADY. It is so indeed; both nurse and jester have 
 seen her dead. 
 
 CAPULET. Is it true, clown? 
 
 CLOWN. I am indeed of opinion it is true. For she 
 is lying, and does not move, nor hear, nor see, and is 
 stretched out like a log. There is nothing wanting but 
 that the students come, carry her away, and sing: With 
 peace and joy I hie from hence, and travel on my way. 
 
395 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 396 
 
 FRAW. Ach wehe, es ist nur all zu wahr, helfFet, 
 ein ohnmacht uberfallet mich. 
 
 CAPUL. Helffet meiner gemahlin vnd bringet sie 
 von hier in ihr Zimmer sie zu laben [wurd weckh ge- 
 trageri]. Ach ist Julieta todt? ach ich armer mann, so 
 ist mein trost vnd frewd gestorben. Ach Paris, Paris, 
 dein lieben ist vmbsonst. 
 
 PATER. Mein Herr Capolet, er betriibe sich nicht 
 so sehr, wans des Himmels will, dessen Befelch mufs 
 man vollziehen. 
 
 CAPOL. Ach Pater, der Fall ist zu grofs, dafs an- 
 gesezte Beylager ist verhanden, wafs wird Graff Paris 
 sagen, wan er erfahren, das seine brauth gestorben, sein 
 lieben vmbsonst, anstatt des brauth Krantz soil er todte 
 Cypressen auf ihr grab strewen, ach trawer, Kummer 
 vnd Hertzensangst. 
 
 PATER. Mein Herr Capulet, wie schmertzlich es 
 ihme von Hertzen geht, ist leicht zu glauben, aber aufs 
 2 libel muefs vnd soil man das beste envehlen, weillen 
 es geschehen, wer kan es endern. Es wahre mein Rath, 
 man lasse es den Graff Paris wissen, Julieta aber in 
 ihr Monument legen, vnd anstatt des Frewden fest ein 
 trawrige leichbegangnufs halten, seine vnd dero Gemah- 
 lin bekiimmernufs wolle der Herr den himlischen willen 
 aufopffern. 
 
 CAPOL. Ach Pater, weillen es nicht anderst sein 
 kan, so geschehe des Himmels will, last Euch angelegen 
 sein auf dafs Julieta in dafs Monument geleget werde, 
 vnd das man ihr die lezte Ehr erzeigen kan, ich aber 
 gehe den Graffen solches schriifftlich zu berichten, wo- 
 fern mich nicht auch der Kummer vnd Hertzenleid in 
 daJjs grab leget. [abit. 
 
 PATER. Es soil alles verrichtet werden Gn. Herr, 
 wollan dan ich Romio geschrieben in hSchster Eyl zu 
 kommen, ich hoffe der anfang soil noch einen glicklichen 
 aufsgang erreichen, damit Julieta nicht zwey mahl ver- 
 heyrathet werde. [abit. 
 
 [Traurige Music, Julieta ligt in Monument] 
 PARIS mit ein Korb voll Blumen vnd JUNG. 
 PARIS. Hier ist der orth vnd platz, wo dafs Mo- 
 nument aufgericht vnd Julieta begraben ligt, auf Paris, 
 gehe Julieta zu besuechen, erzeige ihr die letzte Ehr, 
 weil du in ihren leben nicht gewiirdiget worden sie zu 
 bedienen, o grausamber vnd tyrannischer todt, wie bald 
 hast du mein gedachte frewd in dafs gro'ste leyd ver- 
 andert, wer hette jemahls gedacht, dafs du, liebste Ju- 
 lieta, vor Genussung meiner getrewen lieb soltest dei- 
 nen Geist aufgeben, o meineidiges glickh! der ich ver- 
 
 LADY. Ah woe, it is but too true ! Help, I am going 
 to faint. 
 
 CAPULET. Assist my wife, bring her to her cham- 
 ber, give her some cordial. [They carry her out.~\ Ju- 
 liet dead? Alas, wretched man that I am! With her 
 mv J ov an d comfort are dead too. Ah Paris, Paris, thy 
 love is in vain. 
 
 FRIAR. My lord, do not be so afflicted. What God 
 ordains must be fulfilled. 
 
 CAPULET. Ah, my father, the case is too hard. The 
 wedding is fixed. What will Count Paris say on learn- 
 ing that his bride is dead, his love in vain, that instead 
 of the bridal wreath he is to strew cypresses on her 
 tomb? Oh sadness, grief, and anguish! 
 
 FRIAR. Sir, I can readily believe how this cuts you 
 to the heart. But of two evils one ought always to choose 
 the least. The thing has happened; who can alter it? 
 I should advise you to inform Count Paris, have Juliet 
 deposited in her monument, and hold a mournful funeral 
 instead of a joyous /east. Your and your lady's sorrow, 
 mylord, must be sacrificed to the will of heaven. 
 
 CAPULET. As there is no help the will of Heaven 
 be done. Make it your business to have Juliet depo- 
 sited in the monument, and everything prepared to show 
 her the last honours. I will go and write to the Count, 
 unless sorrow sends me too to the grave. 
 
 [Exit. 
 
 FRIAR. Everything shall be done, my gracious lord. 
 And now I am off to write to Romeo to hurry hither. 
 I hope what is begun will end well, and Juliet not be 
 married twice. 
 
 [Exit. 
 
 [Doleful music. Juliet is seen lying in the vault.] 
 PARIS, with a basket of flowers. PAGE. 
 
 PARIS. This is the place where the monument is 
 erected, and where Juliet is buried. Now Paris go and 
 visit her, and show her the last honours as thou wast not 
 found worthy of serving her in life. Cruel, tyrant death, 
 how quickly hast thou changed my anticipated joys to the 
 deepest grief! Who would have ever imagined that you. 
 beloved Juliet, wouldst depart from this world before 
 enjoying my true love. Perjured fate! Having dreamt of 
 all happiness, I come to see this miserable end of my 
 
397 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 398 
 
 meint alle glickhseeligkeiten zu geniissen, so sehe ich 
 dafs erbarmliche Endt meiner Liebe! 1st difs kostliche 
 Hochzeitfest meiner frewde, ist difs der Lust Saal, darin 
 ich mich soil ergotzen? wo bleibt der wohl gezierte 
 brauth Crantz? wo die Stein vnd perlen? wo der Klei- 
 der Pracht? Ach ach, es ist leider nichts von nothen, 
 alfs dafs schwahre SeufFzen vnd Clagen. Komme hier, 
 Diener, reiche mir die Blumen, vnd gehe nicht zu weith, 
 damit so Jemand kompt mir ein Zeichen gebest. 
 
 JUNG. Es soil geschehen, gnadiger Herr. 
 
 PARIS. Ach vnbarmbhertziges Glickh! warumb hast 
 du mir das Jenige entzogen, welches mein Hertz so 
 inniglich geliebet? Wohl, liebste Julieta, also will ich 
 alle tag dir zu Ehren deinen leichnamb mit Blumen 
 ziehren. \_Strdut die blumen auff sie. 
 
 ROMIO mit DIENER. 
 
 ROMIO. Hier bin ich angelangt, weil mir der Pater 
 geschriben, ich soil so schnell alfs es moglich alhier an- 
 langen, aber ey lafs, von alien Vnglick ubertroffen, 
 weillen Julieta todt, o betrugliche Hoffnung, die du die 
 Menschen zu lockhen weist, vnd versprichst sie nimmer 
 zu uerlassen, wo ist Julieta hinkommen? o grausambe 
 Scheidung! Die vollkombneste Ehe, so jemahls gewe- 
 sen. Julieta ist todt ! vnd alle ihre Schonheiten, Hold- 
 seeligkeiten, Siifs vnd liebligkeiten, alle ihr Zucht vnd 
 Keuschheit seint zugleich mit ihr gestorben. Julieta 
 todt? vnd ich schame mich nicht, langer ein vnglickh- 
 seeKges leben auf Erden zu fiihren? Juljeta todt! o 
 todtliche wordt, weil in disen wenigen wordten all mein 
 vnglickh, Jammer vnd noth begriffen vnd mit der Zeit 
 auch fiber den armen Romio sollen gesprochen werden, 
 so verstehe mich, Diener, gib her die fackl vndt ver- 
 lasse mich, dan ich will dafs Monument besehen, vnd 
 den Ehering von Julieta nehmen. 
 
 DIENER. Ach gnadiger Herr, ich will hier verblei- 
 ben, vielleicht haben Sie meiner von nothen. 
 
 ROMIO. Nein verlasse mich, envarthe meiner bey 
 dem Pater vnd zeige ihm meine Ankunfft an, dan ich 
 will alhier Julieta beehren. 
 
 DIENER. So gehe ich auf Ihr Gn. Befehl. [abit. 
 [Defs Paris Jung pfei/t. 
 
 PARIS. Mein Jung gibt mir dafs Zeichen, das Je- 
 mand muefs vorhanden sein, wer soil sich wohl vnter- 
 stehen, vmb dise Zeit in dafs Monument zu gehen? ich 
 sehe ein fackl, ich will mich etwas auf die Seyth be- 
 geben, vnd sehen was der anfang sey. 
 
 [Romio geht zum Monument. 
 
 Holla, weiche zuruckh, Vermessener, wer gibt dir 
 Befehl, disen orth zu betretten? 
 
 love. Is this the delicious marriage-feast of my joy, this 
 the hall of my revel? Where is the richly ornamented 
 bridal wreath? where are the jewels and the pearls? where 
 the splendid dresses ? Alas, nothing is required but heavy 
 sighing and lamenting. Come here, boy, hand me the 
 flowers and stand aloof, but do not go too far, and give 
 me a sign as soon as any one approaches. 
 
 PAGE. I will do as you bid, my lord. 
 
 PARIS. Ah merciless fate! why hast thou robbed 
 me of what my heart loved so tenderly! Dearest Ju- 
 liet, thus will I daily strew flowers on thy body in thy 
 honour. 
 
 [Scatters the flowers over her. 
 
 ROMEO. SERVANT. 
 
 ROMEO. Here I am, because the friar wrote to me 
 to come as quickly as possible, but alas, overwhelmed 
 by misfortune, for Juliet is dead. Oh deceitful hope ! that 
 allures man and promises never to fail him! Where is 
 Juliet? Oh cruel separation! The most perfect marriage 
 that ever was ! Juliet dead ! and with her all her beauty, 
 charm, sweetness, and loveliness, all her modesty and 
 chastity are dead too! Juliet dead? And I am not 
 ashamed to protract a miserable existence! Juliet dead? 
 Oh deadly word, comprising within itself all my misery, 
 and destined to be pronounced one day also over poor 
 Romeo! Heed what I say, boy! Give me the torch and 
 leave me. I am going to visit the monument, and take 
 the wedding-ring from Juliet. f- 
 
 SERVANT. Sir, I had better stay; perhaps you may 
 need me. 
 
 ROMEO. No, leave me and wait for me at the friar's. 
 Tell him I have arrived, while I remain here to honour 
 Juliet. 
 
 SERVANT. I go at your command. [Exit. 
 
 [The boy of Paris whistles. 
 
 PARIS. The boy gives me warning that something 
 is approaching. Who dares enter the vault at this 
 time? 1 see a torch; I will retire a little, and watch 
 what happens. 
 
 [Romeo goes towards the monument. 
 Hollah, keep off, audacious man ! who gave thee 
 authority to enter this place? 
 
399 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 400 
 
 ROMIO. Freundt, wer ihr seit, last mich zufriden, 
 vnd saget das ein verzweifelter Mensch Euch Euer le- 
 ben geschenkhet. 
 
 PARIS. Ich sage weiche, verlasse disen orth oder 
 gib dich gefangen. 
 
 ROMIO. Diser orth gebiihrt mir mit recht zu be- 
 tretten, vnd weil du die Verhindernufs bist mich zu uer- 
 hinderen, so nihme difs vnd fahre nach der Hollen zue. 
 
 [Ersticht Paris. 
 
 PARIS. Ach Verrather, was thuest du? 
 Ach wehe ich sterbe hier, 
 Julieta, liebste brauth, 
 Jezt komm ich auch zu dir, 
 Weil du mir warst vertraut. [Stirbt. 
 
 ROMIO. Ich mufs gleichwohl sehen wer es ist 
 ach Himmel es ist der vnglickseelige Graff Paris, ich 
 glaube dafs diser Corper auch von alien Vnglickh zu- 
 sammen gemacht, aber o ihr meine vnglickhseelige au- 
 gen, sehet hier ein rechtes Todten Spectacul, o Julieta, 
 werther Schatz, viel lieber hette ich den todt leiden 
 sollen, alfs dich todt vor mir sehen. Ach bifs in todt 
 geliebste Julieta, weil ich keinen trost mehr weifs vnd 
 deine Seel schon nach dem Himmel geflogen, ich nur 
 mein Vnglickh alhier beweinen soil,- ach nein ich senne 
 mich nach dir, liebste Seele, ey lafs, dein verblichener 
 leichnamb ligt nunmehro ohne gehor, wordt vnd reden, 
 ach warumb verlast du mich mitten in solchen Ellend, 
 o wie komb ich mir selbsten so vngh'ckseelig vor, vnd 
 wafs? Julieta ist todt vnd ich soil noch leben? Nein, 
 nein, Romio, nein! Nimb den lezten Abschids Kufs von 
 Julieta vnd bereitte dich zum sterben. Komme, mein 
 gewohr, durchdringe mein abgemattetes Hertz vnd bringe 
 mich zu meiner Julieta. 
 
 Himmel, verzeihe mir, 
 
 Wafs ich hier hab gethan. 
 
 Ich sterbe willig gahr 
 
 Als Julieta Mann. [Stirbt. 
 
 Music. Julieta erwacht im Monument. 
 
 JULI. O ihr Gotter, was ist das? wo befindt ich 
 mich? in einen todten Sarg oder todten Gefangnufs. 
 Wie muefs das zuegehen, es brennen liechter alfs ob 
 man mich begraben hette, disc anordtnung ist gewifs 
 von Pater gestellet, dardurch zu glauben, ich seye ge- 
 storben, der Schlafftrunkh hat seine wiirkhung gethan, 
 darumb muefs ich sehen, das ich den Pater antreffe vnd 
 wafs mein wunder Hochzeit noch vor ein Ende gewiin- 
 nen werde. Aber ihr gotter bewahret mich, wafs ligen 
 hier todter leuth? Julieta, fafs ein Hertz vnd sehe wer 
 
 ROMEO. Friend, whoever you are, leave me alone, 
 and say, that a desperate man spared your life. 
 
 PARIS. I say to thee, give way, leave this spot or 
 give thyself up. 
 
 ROMEO. It belongs to me by right to tread this 
 spot: and since you interfere take this and go to hell. 
 
 [Stabs him. 
 
 PARIS. Oh traitor, what hast thou done? 
 Alas I'm dying here! 
 Now I too, Juliet, come to thee, 
 To thee, my bride so dear, 
 For thou belong'st to me. [He dies. 
 
 ROMEO. However I must see who it is good 
 Heavens, it is the unfortunate Paris. I think, this body 
 too was made up of misfortune. What a spectacle of 
 death are my hapless eyes doomed to see! Juliet, thou 
 treasure of my life, far sooner would I have died myself 
 than see thee a corpse. Ah, Juliet, thou most loved one 
 till death! for I know no consolation more, and thy 
 soul has flown up to heaven. I must bewail my misery 
 here alone. Ah no; I yearn for thee, dearest soul. Alas, 
 thy pale corpse lies now for evermore without hearing, 
 word, or speech! Why dost thou leave me in the midst 
 of so much misery? How wretched do I appear to 
 myself! What? Juliet dead, and I shall still live? No, 
 no, Romeo, no! Take Juliet's last paring kiss, and 
 prepare to die. Out my trusty weapon, pierce my weary 
 heart, and bring me to my Juliet. 
 
 Mercy for what I did 
 
 In heaven's eye! 
 
 Husband of Juliet 
 
 Willing I die. [He dies. 
 
 Music. Juliet wakes. 
 
 - JULIET. Oh ye gods, what is this? Where am I? 
 Is it a coffin or a charnel-house? How could this 
 happen? There are tapers as if they had buried me. 
 Certainly this is the friar's contrivance to make people 
 believe I am dead. That potion did its work well. I 
 must try to see the friar, and find out what is to be 
 the end of this wondrous wedding. But ye gods preserve 
 me ! what dead men are lying here ? Juliet, take heart, 
 see who they are; no greater evil can befall thee than 
 thou art accustomed to bear. 
 
4U1 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 402 
 
 es ist, dan es kan dir kein vnglickh begegnen, das du 
 nicht gewahnet bist aufszustehen. 
 
 \_Nimbt ein liecht geht zu Paris. 
 HilfF Himmel, hilff, wafs ist dafs ? ist das nicht Graff 
 Paris ? Ja er ist es, ach er hat sich gewifs ermord vmb 
 meinetwillen, weillen seine muethmafsung gewesen, ich 
 sey gestorben, ach armer liebhaber ich beklage deinen 
 todt mit Seufftzen, weil du vmb meinetwillen gestorben 
 aber wafs ligt hier vor einer ach gerechter Him- 
 mel bewahre mich, wafs sehen meine Augen? ach ihr 
 goiter, es ist Romio vnd liget auch ermordet, ach pein, 
 Martter, angst vnd qual, wie muefs discs zuegehen, ich 
 weifs kein andere aufslegung alfs dafs sie sich beyde 
 vmb meinet willen geschlagen vnd todt verbliben, ach 
 Romio bist du gestorben? so muefs ich dir alfs meinen 
 Mann billich folgen. 
 
 Ach Vatter, Muetter, Freundt, 
 
 Ich nehmb von Euch Valet, 
 
 Ich sterbe voller Schmertz, 
 
 Ihr wiist nicht wie mirs geht, 
 
 Ach Romio, mein Schatz! 
 
 So bist du nun so g'storben, 
 
 Du hast durch deinen todt 
 
 Mir auch mein todt erworben. 
 
 Nimb hin, o Jupiter, [stost 
 
 Mein Seel von disen leib, 
 
 Damit ich nicht alhier 
 
 In stetten Jammer bleib. [stirbt. 
 
 Au/s PATER. 
 
 PATER. Nunmehro ist es Zeit, dafs ich mich in das 
 Monoment verfuge, dan der schlafftrunkh wird seine 
 wiirckung verrichtet haben, wan Julieta wider erwacht, 
 dafs ich sie aufs dem Monoment fiihre vndt errette, da- 
 mit sie heimlich mit Rumio, ihren Eheman, entvveichen 
 kan. 
 
 [Gehet gegen den Monoment. 
 
 Aber gerechter Himmel, wafs ligt hier auf der Er- 
 dten, todte Leichnam? Ach weh, ich sehe Julieta todt, 
 Rumio entleibt, Paris in seinen Bluth ligen, ach Frete- 
 rey, Freterey. 
 
 Aufs FURST, CAPULET vnd PATER. 
 
 JUNG. Es ist nicht anderst, gnadigster Fiirst vnd 
 Herr, wie ich berichtet, so wird sich alles fiindten. 
 
 FURST. Holla! Wafs sehen wir, wafs macht der 
 Pater in dem Monoment? 
 
 PATER. Ach gnad, gnadigster Fiirst vndt Herr, 
 gnadt. 
 
 CAPULET. Wie Pater, wafs bittet ihr vmb Gnadt? 
 
 [Takes a candle, and approaches Paris. 
 Help, Heaven, help! what is this? Is this not Count 
 Paris ? Yes, it is he. No doubt, he has destroyed him- 
 self and for my sake, thinking me dead. Poor lover, I 
 bewail thy death, because thou hast died for my sake. 
 But there is another. Ah just Heaven defend me! What 
 do my eyes behold? Ah ye gods, it is Romeo, and he 
 also lies here, murdered! Oh torment, fear, and anguish! 
 How could this happen? No other solution do I know 
 than that they fought on my account, and both have 
 fallen! Romeo, art thou dead? Then it is right that 
 I follow thee as my husband. 
 
 Ah father, mother, friends! 
 
 I bid you here adieu. 
 
 1 die oppressed with grief; 
 
 My state ye little knew. 
 
 Ah Romeo, my love! 
 
 As now thy spirit's flown, 
 
 Thy death has been the means 
 
 Of bringing me my own. 
 
 Take from this frame, I pray, 
 
 O Jove, my soul again, [Stabs 
 
 That I may not alway 
 
 In endless woe remain ! 
 
 herself 
 [Dies. 
 
 Enter FRIAR. 
 
 FRIAR. The time has arrived to visit the monument. 
 The potion will have had its effect. When Juliet awakes 
 I must lead her from here to some safe place, whence 
 she may fly with her husband Romeo. 
 
 [Approaches the monument. 
 
 But, gracious Heaven, what is this lying here on 
 the ground? Dead bodies! Alas, I see Juliet dead, Ro- 
 meo slain, Paris weltering in his blood! O treachery, 
 treachery ! 
 
 PRINCE. CAPULET. FRIAR. 
 
 PAGE. It is exactly, my gracious Prince and Lord, as 
 I have said. You will find everything as I told you. 
 
 PRINCE. Hollah! What do I see? What is the friar 
 about in the monument? 
 
 FRIAR. Most gracious Prince, mercy! 
 
 CAPULET. What, friar, are you begging for mercy? 
 
 26 
 
403 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 404 
 
 Habt ihr Wisenschafft vmb dise mord, oder selbsten in- 
 teressirt, saget, redt die wahrheit, damit \vir aufs disen 
 Irrthumb kommen. 
 
 PATER. Ach gnadigster Fiirst vndt Herr, wie auch 
 Herr Capulet, mir als einen geistlichen gebiihret nicht 
 zu ligen oder mit der Vnwahrheit vmbzugehen. 
 
 FURST. Wer mit der Wahrheit handlet, hat sich 
 keiner straff zu befurchten, wir begehren nur zu wissen, 
 wafs Ewere Verrichtung vnd wafs ihr vmb dise Zeit in 
 den Monoment zu thun habet. 
 
 PATER. So wissen Sie dan, gnadigster Fiirst vndt 
 Herr, wie auch Herr Graff Capulet, dafs Rumio, des 
 Graffen Mundige leiblicher Sohn, sterblich sich in Julieta, 
 Ewere tochter, verliebt, wie auch nicht weniger die Ju- 
 lieta in Rumio, vnd eben damals als Herr Capulet dafs 
 pancket gehalten, vndt Rumio mit Julieta getanzet hat, 
 die Liebe bey ihnen beyden der massen zu genohmen, 
 dafs sie zu mir kommen, vndt vorgaben, wan ich sie 
 nicht in geheimb copuliren wolle, wollen sie ihre er- 
 hizte Liebe ohne Ehestandt vollfiihren. Ich truge ihnen 
 vor die gefahr, darinn sie sich stiirzen wurden, aber 
 mein Vermahnen war vmbsonst, endlichen wolte mir als 
 einen Prister gebiihren aus zweyen Ubeln das beste zu 
 erwehlen, vndt hielte den Ehestandt vor billicher als die 
 vnverheyrate Liebe, gab sie zusammen: Aufs diser 
 Liebe ist leyder dafs erbarmliche Vnglickh erwachsen. 
 
 CAPULET. Pater, Ewere Meinung ist nicht in Bosen 
 geschehen, aber leyder ubel ausgeschlagen, indeme Nie- 
 mandt nichts von diser verborgenen Liebe gewust. 
 
 PATER. Gnadiger Herr, dafs ich dises gethan ist 
 geschehen, weillen ich wuste die grosse Feindschafft bey- 
 der Hauser, nemlichen Mundige vnd Capulet, dafs der 
 Himmel dermaleines durch solche Verbiindnufs der Ehe 
 des Rumio vndt Julieta mochte zertrennt[?], vnd die Feind- 
 schafft in ewige Freindschafft verkheret werden, weillen 
 es aber leyder anderst ausgeschlagen, bitte ich mich vor 
 entschuldigt zu halten. 
 
 FURST. Pater, die Faller der Menschen seindt wun- 
 derbahr, wie leicht die Jugend genaygt zu fellen, ist 
 weltkiindig, darumb haben die faller Rumio, Paris vnd 
 Julieta ins grab gelegt, Herr Graff Capulet, was hier 
 geschehen, ist nicht mehr zu endern, er lege ab seine 
 Schmertzen vnd denckhe: 
 
 Was hier der Himmel nimbt das kan er widergeben, 
 Wir miissen sein bedacht dort vor das ewig leben. 
 
 CAPULET. Gnadigster Fiirst vndt Herr, meine grawe 
 Haar des Alters schmertzen mich nicht so sehr, als diser 
 todtliche Fall, welcher mich selber zu grabe ziehen soil, 
 aber meine sinnen zeichen mir, das ich disen trawer 
 
 Have you cognizance of this murder, or any part in it? 
 Speak, tell us the truth, that we may at last get out of 
 this bewilderment. 
 
 FRIAR. Most gracious Lord and you, Sir Capulet, 
 it does not behove me, a man of the church, to lie and 
 deal with untruth. 
 
 PRINCE. He who acts with truth, need fear no pu- 
 nishment. All w r e want to know is, what business you 
 have in the monument at this time of night. 
 
 FRIAR. Know then, gracious Prince and you, Count 
 Capulet, that Romeo, Count Montague's son, was en- 
 amoured with your daughter Juliet, and Juliet not less 
 enamoured with Romeo. At the time of your banquet, 
 where Romeo danced with Juliet, love waxed so strong 
 in both, that they came to me to tell me that, unless I 
 would unite them in wedlock, they would obey their 
 burning love without matrimony. I represented to them 
 the danger they were going to incur; but my exhortation 
 were in vain. At last, being a priest I had to choose 
 the least of two evils, and prefering matrimony to love 
 without it, I united them. Out of that love has this 
 dire calamity arisen. 
 
 CAPULET. What you did was not ill meant, but un- 
 fortunately it has turned out badly, because nobody knew 
 anything of this secret love. 
 
 FRIAR. Gracious Sir, I did what I did knowing what 
 great enmity existed between the houses of Montague 
 and Capulet, and hoping by this marriage of Romeo's 
 and Juliet's to clear the sky and turn enmity into ever- 
 lasting friendship. Since, unfortunately, it has turned 
 out otherwise, I crave for mercy. 
 
 PRINCE. Father! The ways in which men come to 
 their fall are wonderful. How prone youth is to fall is 
 known to all. Thus have their sad fates laid Romeo, 
 Paris, and Juliet in the grave. Count Capulet, what has 
 happened here cannot be undone; lay aside your grief, 
 and bear in mind : 
 
 What Heaven may take here, again can Heaven give, 
 We must remember that we shall for ever live. 
 
 CAPULET. Most gracious Prince and Lord! My gray 
 hairs do not press so heavily upon me as this fatal 
 accident which will drag me to the grave. But reason 
 teaches me to submit to the justice of heaven. I shall 
 
405 
 
 TRAGEDY OF ROMEO AND JULIET. 
 
 406 
 
 Fall dem gerechten Himmel heimbstellen solle, darum 
 will ich ihnen zu ehren anstalt machen, dafs sie nach 
 ihren standt zur erden beygelegt werdten. 
 
 O jammervoller Schmertz! Julieta ist gestorben; 
 O wunderschone blum ! du bist zu fruh verdorben. 
 
 HERTZOG. 
 
 O groser Trawers Fall ! Wie hart gehst du zu Hertzen ! 
 Der hier sie ligen sicht, sicht nichts als lauter Schmertzen. 
 
 CAPULET. 
 
 Du Liebe bast's gethan! Seind alle drey gefallen, 
 Die Liebe hat die Schuldt. Seind dafs nicht Hertzens- 
 
 quallen ? 
 PATER. 
 
 Die Jugend ist nicht klug, sie liebet vnbedacht; 
 Die lieb hat sie gar offt zu solchen Fall gebracht. 
 
 CAPULET. 
 
 Kunt Paris nicht mein Kiindt in seinen Leben krigen, 
 So soil er nach dem todt in ihren grabe liegen. 
 O werthe schawer Zahl, heist difs nicht recht betriiben, 
 Ein ieder hu'tte sich vor solchen Vnglicks Lieben. 
 
 ENDE. 
 
 prepare the last honours for them, that they may be 
 buried according to their rank. 
 
 O miserable woe! My Juliet is dead. 
 
 loveliest of flowers! Too early droops thy head. 
 
 PRINCE. 
 
 O mournful spectacle! Thou to my heart dost go; 
 Who sees them lying here, sees nought but pain and woe. 
 
 CAPULET. 
 
 Thou hast done this, love ! The death of all these three 
 Is fault of love alone. Is not that misery. 
 
 FRIAR. 
 
 Youth is not wise at all, it loves without a thought, 
 And often love on youth has such destruction brought. 
 
 CAPULET. 
 
 If Paris during life my daughter could not wed, 
 In one grave shall he lie with her now that he's dead. 
 Is't not a sorry sight, O ye spectators all, 
 Beware that none of you, such ill-starred love befall. 
 
 THE END. 
 
 26* 
 
INDEX. 
 
 Aaron, a dancer xcvii 
 
 Actor, Flemish, at Vienna. 1560 xxi 
 
 Actors by profession, earlier in England than 
 
 in Germany vii 
 
 English in Germany etc. see Comedians. 
 
 Flemish, xxix; Foreign, in England. . xi 
 
 " Adulteress", The, a tragedy xliii, xlvii 
 
 "Ahasverus and Esther", a play cix 
 
 Albrecht Frederick, Prince of Prussia. . . . Ixxxiv 
 
 Allegorical characters in Prologues cxx 
 
 Alleyn, Edward, founder of Dulwich college, xxviii, xxxi 
 
 Alleyn, Edward, a player xxvii, xxxi 
 
 Alphonsus, Cardinal xxiii 
 
 Altorf, University of. xxxv 
 
 "Amadis", a comedy Ixxxiii 
 
 Ambassadors, foreign, at the court of Elisabeth. xvii 
 
 "Amphitrion", a German play cxv 
 
 Amsterdam, English Comedians in. Ixxvi, xc; 
 incident at a play, acted there by English 
 
 Comedians cxxii 
 
 Ancilla, a character in the "Jew of Venice", a 
 
 German play cxviii 
 
 Andreae, Valentine cvi 
 
 Andrewes, Richard, a player xxx 
 
 "Angiers, Count of, a German play. . . . cxvi 
 
 "Angry Catharine", The, a German play. . . cxix 
 Anhalt, see Ludwig, Prince of, and Hans Ernst, 
 Prince of. 
 
 Anna, Princess of Denmark xxxix 
 
 "Antonio and Malcida", a play by Marston. . cxx 
 
 Antwerpe, city of. " . xxiii 
 
 Apology for actors, by Thorn. Heywood. . . xxiii 
 Aptitude of the English for dramatic enter- 
 tainments, ix 
 
 Archibold, a Capucin friar : . . xci 
 
 Arcial, a King in a play ex 
 
 "Ariodante and Geneuora", a play Ixxiii 
 
 "Arrival of the Saints", a play. ..... x 
 
 "Art above all arts 7 ', a German play. . cxxiv, cxxx 
 
 j Arzschar [Archer?], a player Ixxxviii 
 
 i Athletes, English, abroad xxi 
 
 ! Augsburg, Theatres at vii 
 
 ! Austrian Minstrels in England xi 
 
 Authorities, Civil and Municipal, the patrons 
 
 of the stage vii 
 
 Ayrer, Jacob, xlii, Ivii, Ixi Ixxvii; his comedy 
 of the Beautiful Sidea, Ixviii, Part II, 1; 
 his comedy of the Beautiful Phaenicia, Ixxi. 
 Part II, 77. 
 
 Bale, John, his plays printed abroad. ... xi 
 
 Balge, English Comedians in xcii 
 
 Bamberg, city of. Ixi, Lxii 
 
 Bandello Ixvi, Ixxii, cxxxii 
 
 "Barrabas, Jew of Malta", a German play. . cxvi 
 
 "Bartholomew Fair", a play by Ben Jonson. . cxiii 
 
 Basle, English Comedians in cii 
 
 "Battle of the senses", a German play. . . . cvii 
 
 Bautin, John xii 
 
 Bavarian Minstrels in England xi 
 
 Bear-baiting in London xvi, xvii 
 
 Beaumont and Fletcher, his "Prophetess". . . cxviii 
 
 Beauvois, De, French Ambassador xii, xiv 
 
 Ben Jonson, cxiii; his ,,Every Man". . . . xxvii 
 
 Bentley, George, a dancer xcvii 
 
 Berlin, English Comedians in, xxiv, xxvii, Ixxx, Ixxxiii 
 
 Ixxxviii, xcii 
 
 Betulius, Xystus cvii 
 
409 
 
 INDEX. 
 
 410 
 
 Beyzandt [Bryan], George, a player .xxv 
 
 Bible, dramatic subjects taken from the. . . vi 
 
 "Birth of the Saviour", a play x 
 
 Bishops, English, at Constance x 
 
 Blackfriar's Theatre. xxvi, xxvii 
 
 "Blanket-washer", a German Droll cix 
 
 Boccaccio xxxvii, cxxxiii 
 
 Bodmer cxxxvi 
 
 Bora, Ka'the von, Luthers wife, ridiculed on 
 
 the stage in London xii 
 
 Borck, Baron von, his translation of "Julius 
 
 Caesar" cxxxvi 
 
 Bosslin, John cii 
 
 "Bottom the Weaver", a play cxxxi 
 
 Bouset, John, the clown xliii, liii 
 
 Brakel, an English, merchant in Elbing. . . . Ixxxii 
 Brandenburg, John Sigismund Elector of. . . xcii 
 
 - George William Elector of. ... xcii 
 Christian William of, Administrator 
 
 of Magdeburg xc 
 
 Breadstreet, John, a player, xxviii, xxxiii xxxv, cxxxv 
 
 Brederode, G. A xc 
 
 Breitstrass, see Breadstreet. 
 
 Bremen, city of. xv 
 
 Breslau, English Comedians in xciii 
 
 Breuningen von Buchenbach, Hans Jacob. . . xiv 
 
 "British Kings at war", the two, a German play. Iviii 
 
 Browne, Edw., a player xxx, xxxii 
 
 _ Robert, a player. . . xxviii, xxx to xxxiii 
 
 _ Mrs xxxi 
 
 Brone, Robert, see Browne. 
 
 Briinighofen, Hans Georg von. ......' xii 
 
 Brunswick, city of. xxxv 
 
 - English Comedians in. . . xxxiv, Ixxxviii 
 
 - Dorothea, Princefs of. xc 
 
 a Prince of, at the court of James I. xix 
 
 Brussels, English Comedians at xc 
 
 Bryan, George, a player. . . . xxiii, xxv, xxvii, Ixxvi 
 
 Bull -baiting in London xvi, xvii 
 
 Burger, G. A Ivi 
 
 Butzbach, Landgrave Philip of. Ixxxix 
 
 Buwinghausen, Benjamin von xiv, xix 
 
 Cams, Dr., a character in the "Merry Wives 
 
 of Windsor" liii 
 
 Cambridge, Count Frederick of Mompelgard at, 
 
 xiii; Prince Ludwig of Anhalt at xv 
 
 Canterbury xii, xv 
 
 Capitano, a typic character of the old Italian 
 
 stage xlvi 
 
 Casse, Robert, a player ......... c 
 
 Cassel, English Comedians at ...... xviii, Ivii 
 
 "Catharina, die bose," a German play. . . . cxxx 
 
 Catharine of Navarre .......... xxxix 
 
 "Celide and Sedea", a play ....... Ixxxvii 
 
 Cellarius, Johannes .......... xxxv 
 
 Cervantes, his "Curioso impertinente". . . . cxiv 
 
 Chalmers ............. xxvii, lii 
 
 Charles, Archduke and Bishop of Breslau. . xciii 
 
 Characters, number of, in early Plays. . . . vii 
 
 Chaucer ............... x 
 
 "Christabella", a German play ...... cxv 
 
 Christian I, Elector of Saxony. . . . xxiii, Ixxvi 
 
 His letters to King Fre- 
 derick II. of Denmark and Hans Thilo, his 
 
 Steward ............. xxiv 
 
 His appointement of the 
 
 English Comedians .......... xxv 
 
 Christian IV, King of Denmark. . . . xxiii, xxxix 
 
 Christian William of Brandenburg, Administra- 
 
 tor of Magdeburg .......... xc 
 
 Church questions connected with Plays. . . vii 
 
 Citizens as actors ........ ... xii 
 
 Clant, John, the clown ......... xlii 
 
 Classical antiquity revived ........ iv 
 
 Clown, the, in Ayrer's plays ....... Ixv 
 
 Cockfights in London .......... xvi 
 
 Cologne, English Comedians in ...... xci 
 
 Comedians, English, on the Continent in 1417, x; 
 conjectures respecting them, xx; their wan- 
 derings to the Continent, xxii; the earliest 
 actors by profession in Germany, xxxvi; char- 
 ged with corrupting the taste in Germany, 
 xxxviii; not allowed to act at Zurich, ciii; 
 their Repertoire, civ; the language in which 
 
 they performed, cxxxiv; their costume. . . cxxxv. 
 
 Comedians, English, in Amsterdam. . 
 - in Balge. . . 
 - - in Basle. 
 
 Ixxvi, xc, cxxii 
 . . . xcii 
 . . . cii 
 
 in Berlin. Ixxvi, Ixxvii, Ixxx, Ixxxiii, 
 Ixxxviii, xcii 
 
 in Breslau xciii 
 
 in Brunswick. . . xxxiv, Ixxxviii 
 
 in Brussels xc 
 
 in Cassel xviii, Ivii 
 
 in Cologne xci 
 
 in Copenhagen .... xxxix 
 
 in Danzig xci 
 
 in Denmark xxiii 
 
 in Dordrecht. , ciii 
 
411 
 
 INDEX. 
 
 412 
 
 Comedians, English, in Dresden, xxiv, xxvii, Ixxvi, Ixxxiii, 
 Ixxxvii, xcv, xcvii, cxiv cxvi, cxxxv 
 
 - in Elbing. . . Ixxix, Ixxxii, xcii 
 
 - in Frankfort. . . lix, xc, cxxxviii 
 
 - in Gratz. . . . . Ixxxiii, xciii 
 
 - in the Hague. Ixxix, Ixxxi, Ixxxiv, 
 
 Ixxxix, xcviii, xcix 
 
 - in Hildesheim. . . . Ixi, cxxxv 
 in Konigsberg. Ixxix, Ixxxiv, xcii, 
 
 xcviii 
 
 - in Leiden. . . Ixxvii, Ixxxiii, xc 
 
 - in Memmingen Ixxvi 
 
 - in Miinster cxxxiv 
 
 - in Nuremberg. Ixi, Ixxxvii, xcviii 
 
 - in Osnabriick xcix 
 
 - in Poland . xciii 
 
 - in Prague Iviii, xcvi, cii 
 
 - in Regensburg Ixxxviii 
 
 - in Rostock Ixxx 
 
 in Strasburg cii, cxxiii 
 
 - in Stuttgart. . xiv, Ixxvii, Ixxxiii, 
 
 cxxxviii 
 
 - in Torgau xcvii 
 
 - in Ulm . ... Ixxvi 
 
 in Vienna xcv, cii, ciii 
 
 - in Windsheim ciii 
 
 - in Wolfenbuttel. xxxiii, xliii, Ixxxviii 
 
 - in Zittau. ...... c, ciii 
 
 - Italian, at Vienna xxi 
 
 Comedies and Tragedies, English, in the Ger- 
 man language Ixvii, civ 
 
 Comic element, the, in biblical dramas. ... x 
 
 Constance, Council of, x; Plays acted at. . . x, xi 
 
 Cook, William, a player xcix 
 
 Cooke, Thomas, a player xxx 
 
 Copenhagen, English Comedians in xxxix 
 
 Corambus, the Polonius of the German Hamlet. cxx 
 
 Court- Fools viii 
 
 Court-theatres, the first, in Germany. . . . xxxvii 
 
 Cox, Rob. cix 
 
 Crause, Alex. Ixxxvi 
 
 "Crysella", a German play cxv 
 
 Cupid in Ayrer's "Phaenicia" Ixxiii 
 
 'Daniel, The prophet", a German play. . . xlii 
 
 "'Daniel and Susanna", a German play. . . Ixxvi 
 
 Danzig, English Comedians in xci 
 
 "Daphne", an opera xcvii 
 
 Dekker, Thomas, his "Fortunatus", cix; his 
 "Honest Whore", cxxxiv; his "Jew of Ve- 
 
 nice", Ixxxix; his "Phaeton", cxxxiv; his 
 
 "Rod for Runaways" xcvi 
 
 Denmark, English Comedians in xxiii 
 
 Dethick, Sir Will xiv, Ixxvi 
 
 "Dexterous thief, a German play. .... cxvi 
 
 Dietrich, Master Ixxxvi 
 
 Dietrichstein, Cardinal von xciii, cii 
 
 "Dioclesian", an English play cxviii 
 
 "Diocletian and Maximinus", a German play. cxviii 
 
 Dixon, John, an Instrumentalist xcvii 
 
 Dixon, John, a player. cxxxviii 
 
 Docourt, Johann xii 
 
 Dordrecht, English Comedians in ciii 
 
 Dorothea of Brunswick xc 
 
 "Dorothea the Martyr", a German play. . . cxv 
 
 Dosin, Christopher Ixxxvi 
 
 Dover, city of. xii, xv 
 
 Dowland, John xxxv xxxvi 
 
 Drama, the earliest German iii 
 
 in six languages performed at Cassel. Ivii 
 
 Dresden, English Comedians in. . xxiv, xxvii, Ixxvi, 
 
 Ixxxiii, xcv, cxiv cxvii 
 
 Drolls in German from the English cviii 
 
 Dryden, John, his "Amphytrion" cxvii 
 
 "Duke of Florence", a German play. . . . cxv 
 
 "Duke of Ferrara", a German play cxv 
 
 "Duke of Venice", a German play cxvi 
 
 "Dukes of Mantua and Verona", a German 
 
 comedy cxv 
 
 "Dumb knight", by Machin and Markham. . Ixvi 
 Duyck, A Ixxix 
 
 Eckard, L cxvii 
 
 Edinburgh xxxix 
 
 "Edward III", a German comedy by Ayrer. . Ixvii 
 
 Egg, Baron von xxxv 
 
 Elbing, English Comedians in. . . Ixxix, Ixxxii, xcii 
 Elisabeth, Princess of Denmark xxxviii 
 
 - of England xcvii 
 
 - of Hesse xxxii 
 
 Elisabeth, Queen xii, xiv, xxii 
 
 Ellidor, a King in a play ex 
 
 Embden, town of. xii 
 
 English talent appreciated on the Continent. . xxi 
 
 Essex, Earl of. xiii, xiv 
 
 "Esther and Haman", a German play. . . cviii, cxv 
 "Eucasto" (Hecastus) a German comedy. . . cxviii 
 
 Eva Christine, Princess of Saxony Ixxxiii 
 
 Eydtwartt [Edward?] John, a player. . . . xcvii 
 
413 
 
 INDEX. 
 
 414 
 
 : Falckenberg, Dietrich von xviii 
 
 Falstaff, his love-adventures liii 
 
 "Faustus", a German play cxv 
 
 Feind, Barthold cxxxvi 
 
 '"Felismena", by Montemayor cxi 
 
 Fencers, foreign, at Wolfenbiittel , xl 
 
 Ferdinand II, Emperor of Austria xcv 
 
 Ferdinand III, Emperor of Austria. . . . . xcix 
 
 Fiddlers, English, abroad xxi 
 
 Fiorentino, Giovanni, his "II Pecorone". . . lii 
 
 Flushing xix 
 
 Flutists, English, abroad xxi 
 
 i Foltz, Hans, his Shrovetide Plays iii 
 
 Fools, on the early German stage xlii 
 
 Ford, John cxxxiv 
 
 "Fortunatus", an English play. ...... cix 
 
 "Fortunatus", a German play. cviii, cxv 
 
 "Four resembling brothers", a German play. . cxix 
 "'Four Royal brothers in England", a German 
 
 play. cxviii 
 
 "Four Sons of Aymon", an English play. . . cxxii 
 
 Frankfort, English Comedians in lix, xc 
 
 Frederick, King of Bohemia (previously Frede- 
 rick V, Prince Palatine) xcvii 
 
 - Ulric, Duke of Brunswick xxxv 
 
 - II, King of Denmark. . . . xxiii, xxxix 
 
 - of Mompelgard, Count xii, xiii 
 
 - Duke of Wirtemberg. xxviii, xxxix, lii, Ixxvi, 
 
 cxxxviii 
 
 Friesland xxviii 
 
 Frischlin, N xxxviii 
 
 "Fryer Francis", an English play. .... cxxii 
 
 Fuller, his "Worthies" xxxi 
 
 Gallicho'raea, the cuckold xlvii 
 
 Garter, Thomas, his comedy of "Susanna". . xli 
 
 George, Landgrave of Hesse-Darmstadt. Ixxxix, xcvii 
 
 George William, Elector of Brandenburg. . . xcii 
 
 : Gerando, in Ayrer's "Phaenicia" Ixxiii 
 
 Gerwalt, in Ayrer's "Phaenicia" Ixxiv 
 
 Giles (Gellius), Gedeon, a player c 
 
 Globe Theatre xxxiii 
 
 "Godfather, The", a German play. . . . . cxvi 
 
 Gosslin, John cii 
 
 Gottsched cxxxvi, cxxxvii 
 
 Gower cxxi 
 
 Gratz. English Comedians in Ixxxiii, xciii 
 
 ! Gravesend xii, xv, xix 
 
 Green, John, a player xcv 
 
 Greenwich xv, xviii 
 
 Grimmelshausen, H. J. Chr. v .' ciii 
 
 Gryphius, Andr cxxx, cxxxvi 
 
 Gumpelsheimer cvii 
 
 Guestrow, town of. cxix 
 
 Gustavus Adolphus, King of Sweden. ... xx 
 
 - Duke of Mecklenburg. cxix 
 
 Hague, The, English Comedians at. Ixxix, Ixxxi, Ixxxiv, 
 
 Ixxxix, xcviii, xcix 
 
 Hailsbrunn Court at Nuremberg Ixxxvii 
 
 Halberstadt, bishopric of. . . '. xxxviii 
 
 Halle, The "Jew of Venice" acted in. ... Ixxxix 
 "Hamlet", a German play, cxv, cxix, cxxx, Part II, 237. 
 
 Hampton Court xiii, xv, Ixvii 
 
 Hanover cxxx 
 
 Hansa company . xx 
 
 Hans Ernst, Prince of Anhalt xv 
 
 Hardy dardy, a jester. . cix 
 
 Harryson, William, a player xxx 
 
 Hathwaye, Richard Ixvii 
 
 Helmstedt, University of. xxxvi, xxxviii 
 
 Helsingor, John Dowland at xxxvi 
 
 Heming, John xxvii 
 
 Henry IV, of France xviii 
 
 Henry V and the Emperor Sigismund. ... x 
 Henry VI, professional actors in his reign. . xi 
 Henry VIII, foreign Minstrels at his court. . xi 
 Henry Julius, Duke of Brunswick. . xxxiii, xxxviii, Iv 
 his tragi- comedy of "Su- 
 
 sanna 
 
 John Dowland at his court. 
 
 xl 
 xxxvi 
 
 Henry, Prince of Wales xviii, xix, xcvii 
 
 Henslowe, Philip. . . xxxi, xxxii, xxxiii, cix, cxiii 
 Hentzner, Paul, his description of England. . xvi 
 
 Hereswida, Hilda, a British Poetess i 
 
 Hertlein, Christ Ixxxvi 
 
 Hes, Henryke, a Minstrel 
 
 Hesse-Darmstadt, George II, Landgrave of. 
 
 Hesse, William of, Landgrave 
 
 "Hester and Ahasverus", an English play. 
 
 - See Queen Hester. 
 
 - See Ahasverus and Esther. 
 
 Heugel, treasurer 
 
 "Heurath (die wunderbare) Petruvio mit der bo- 
 sen Catharine", a German play cxxiv 
 
 Heywood, Thomas xxiii, xxxix, Ixxvi, cxxii 
 
 "Hieronymus, Marshal of Spain", a German play. cxv 
 
 Hilda Heresvida, a British poetess i 
 
 Hildesheim, English Comedians in Ixi 
 
 "Historic of Errors", a play Ixvii 
 
415 
 
 INDEX. 
 
 416 
 
 Holzhew [Woodhew?] a player Ixxxviii 
 
 "Honest Mistress" the, a German play. . . . cxxxiv 
 "Honest Whore" the, a play by Dekker. . . cxxxiv 
 
 Hout, J. van Ixxviii 
 
 Howard, C. ........ xxix, xxxiii, xxxiv 
 
 Hrotsvita 
 
 Humphrey, Laurence. . i 
 
 "Innocentia", a German play, by M. Kongehl. cxxxiii 
 
 Interludes 
 
 Instrumentalists, English, abroad xxiii 
 
 "Isabella, Queen of Little Britain", a German 
 
 play xcvii 
 
 Italian players in France and Spain, xxii; in 
 
 London XX11 
 
 Jacob, Hans , . . . . Ixxxvi 
 
 James I, King of England. . . xiv, xviii, xxxix, xcvii 
 
 James, the Hessian, a player xcvii 
 
 Jeliphur, George, a player ciii 
 
 Jena, University of. xxxv 
 
 "Jew of Venice", a German play. . . Ixxxix, cxviii 
 Jocher, his knowledge of Shakespeare. . . cxxxvii 
 John Frederick of Wirtemberg, Duke. . . . xix 
 
 John George, Markgrave of Brandenburg. Ixxvi, Ixxxiii 
 
 John George I, Elector of Saxony xcv 
 
 John Sigismund, Elector of Brandenburg, lix, Ixxxiv, xcii 
 
 Johnson, Samuel Hi 
 
 Jolifus, Joris, a player cii 
 
 Jones, Richard, a player xxviii, xxxto xxxiii 
 
 "Josepho, the Jew of Venice", a German play. cxv 
 
 "Julius Caesar", a German play cxv 
 
 Julius and Hippolyta, a German play. . . cxi, cxxx, 
 
 Part II, 113. 
 
 Jumpers and Dancers at Dresden xxvi 
 
 Junger, Michael, a Minstrel xi 
 
 Keimann, Christian cxxv 
 
 Kid's "Spanish Tragedy" cxx 
 
 "King of Arragon", a German play cxv 
 
 " of Denmark and Sweden", a German 
 
 play. . cxv 
 
 " of England and King of Scotland", a 
 
 German play cxv 
 
 " of Spain and Viceroy of Portugal", a 
 
 German play cxv 
 
 King (Konigk), Thomas, a player xxv 
 
 Kirkmann, his ,,Wits or Sport upon Sport". . cix 
 
 Kite, Jeremias, a player. . xcix 
 
 Klehe, Henry Ixxxvii 
 
 Konigsberg, English Comedians in. Ixxix, Ixxxiv, xcii, xcviii 
 
 Koerner, Andrew Ixxxvi 
 
 Kongehl, Michael cxxxiii 
 
 Kronenburg, palace of. xxxix 
 
 Krosigk, Bernhard von xi 
 
 "Kunst fiber alle Kiinste", a German play, cxxiv, cxxx 
 
 "Lear, King of England", a German play. . cxvi 
 
 Leicester, City of xxx 
 
 Earl of. xxii, xxiii 
 
 Leiden, English Comedians in. . . Ixxvii, Ixxxiii, ex 
 
 Leipsic , xxxiv 
 
 Leopold, Archduke of Austria cii 
 
 Lessing ....;.... cxxxvii 
 
 Leudegast, Prince of the Wiltau Ixviii 
 
 Leupold, Duke Ixix 
 
 Lewkenor, Sir Lewis xix 
 
 Lincoln, Earl of, his embassy to Cassel. . . xxxii 
 
 Lindner, Michael liv 
 
 Linne in Norfolk, incident in a play acted there. cxxii 
 
 "Locrine", a play cxxi 
 
 London, visited by German travellers, xii xx; 
 English actors leaving it, xxi; Danish em- 
 bassy at, xxxix; mentioned in the German 
 "Fortuuatus", ex; ,,London Merchant", The, 
 
 a play by John Ford cxxxiv 
 
 Louis Frederick of Wirtemberg, Duke. . . . xix' 
 
 Louis of Marburg, Landgrave xviii 
 
 Loveday, Thomas, a player xcix 
 
 "Lovers of Pisa", Two, a tale lii 
 
 "Love's Sweetness" etc., a German play. . .. xcviii 
 
 Lucanus, John Iviii 
 
 Ludolff, Prince of Lithuania Ixviii 
 
 Ludwig, Prince of Anhalt, his visit to England. xiv 
 present at represen- 
 tations of Shakespeare's plays xv 
 
 - the description of 
 
 his travels to England xv 
 
 Duke of Wirtemberg. ..... xii 
 
 "Lust's Dominion", a play cxxi 
 
 Luther, his pamphlets against Henry VIH. . . vii, xi 
 
 - ridiculed on the stage in London. . . xii 
 
 Lydgate, John cxxxiv 
 
 Machin, Lewis. Ixvi 
 
 Magdeburg, Administrator of Ixxxix 
 
 "Mahomet", an English play Ixvii 
 
 -", a tragedy by Ayrer Ixvii 
 
 " and Hiren", by G. Peele. . . . Ixvii 
 
 Marburg, Landgrave Louis of. xviii 
 
 Markham, Gerwase Ixvi 
 
417 
 
 INDEX. 
 
 418 
 
 Malone, Edmund lii 
 
 Marlowe, Christ., his "Doctor Faustus". . . cxvii 
 
 - his "Jew of Malta". . . . cxviii 
 
 Marston's "Antonio and Malcida" cxx 
 
 Mary Eleanor, Duchess of Prussia Ixxx 
 
 ; 'Mary, the beautiful, and the old cuckold", a 
 
 German play. cviii 
 
 Maurice, Landgrave of Hesse, xviii, xxx, xxxii, xxxvi, 
 
 Ivii, cxxxv 
 
 - of Orange xviii 
 
 Memmingen, English Comedians in Ixxvi 
 
 "Merchant of London", a German play. . . cxxxiv 
 
 - of Padua", a German play. . . . Ivii 
 ' Merck, John Cam cvii 
 
 Mercoeur, Duke of. xv 
 
 Meres, Francis Ixxiv 
 
 Merry andrews on the German stage. . . . xlii 
 
 Minstrels, foreign, in England xi 
 
 Moliere cxiv 
 
 Mompelgard, Count of. xii 
 
 Montemayor, his "Felismena" cxi 
 
 "Moor of Venice", The, a German comedy. . cxix 
 
 Moralities x 
 
 Morell, John and David, players i . cxxxviii 
 
 Morhoff. cxxxvi 
 
 "Mortje", a Dutch play by Brederode. . . ". xc 
 
 Miilnheim, Hans Jacob von xii 
 
 Munster, English Comedians in cxxxiv 
 
 Munday, Anthony, his "Valentin and Orson". Ixvii 
 
 Musician^, English, abroad xxi 
 
 - and actors, English, at Stuttgart. . xiv 
 i - - English, in Stuttgart Ixxvi 
 
 Nassau, Count of. Ixxviii 
 
 Nobility, the German and Dutch, their visits 
 
 to England xii 
 
 Nonsuch, town of. xv 
 
 Norway xxxix 
 
 Nottingham, Earl of, his players xxxiii 
 
 Nugent, friar Francis xci 
 
 Nuremberg, town of. xxxv 
 
 - English Comedians in. . Ixi, Ixxxvii, xcviii 
 
 - theatres at vii 
 
 Oldenburg, city of. xv 
 
 Opslo, town of, in Norway. xxxix 
 
 Orange, Maurice of. xviii 
 
 Origin of the German Drama iii 
 
 "Orlando Furioso", a German play cxv 
 
 Ortelsburg, English Comedians in Ixxxiv 
 
 Osnabru'ck, English Comedians in. 
 Osterhausen, Hans George von. . , 
 
 Otto, Prince of Hesse 
 
 Oxford 
 
 - Prince Ludwig of Anhalt at. 
 
 xcix 
 xcv 
 
 xviii 
 xiii 
 
 XV 
 
 Pageants at Antwerpe xxiii 
 
 Pamphilus, a character in the "Adulteress". . liii 
 
 Papst [Pope], Thomas, a player xxv 
 
 Passion Plays iv 
 
 Pate, Nathan, a player. xcix 
 
 Pedel, "William, a player Ixxxiii 
 
 William, Abraham and Jacob, players, xxxviii 
 
 Peele, George, his play "Mahomet and Hiren". Ixvii 
 
 Perst or Pierst, a player. . xxv 
 
 "Peter Squenz", a comedy acted at Dresden. . cxix 
 
 ", a German play by A. Gryphius. cxxx 
 
 "Petruvio and Catharine", a German play. . . cxxiv 
 
 Pflugbeil, August, a player Ixxxviii 
 
 "Phaenicia, the beautiful", a comedy by Ayrer. Ixxi, 
 
 Part H, 77 
 
 "Phaeton", a play, by Th. Dekker cxxxiv 
 
 Philip of Butzbach, Landgrave Ixxxix 
 
 "Philolis and Mariana", a German play. . . Ixxxvii 
 
 "Phoenicia", a German play by M. Kongehl. . cxxxiii 
 
 Plautus Ixvii 
 
 Poland, English Comedians in xciii 
 
 Politics connected with Plays vii 
 
 Pope, Thomas, a player Ixxvi 
 
 Praetorius, Michael cxxxv 
 
 Prague, English Comedians in Iviii, xcvi, cii 
 
 Price, John, a musician xcvii, cxxxviii 
 
 Princes, German and Dutch, their visits to 
 
 England. . xii 
 
 - the German, their taste for dramatic 
 
 art viii 
 
 Processions on the stage . 
 
 "Proculus, old", a German play 
 
 "Prodigal child", The, a play 
 
 - Son", a German play 
 
 "Prodigality", a play 
 
 Profane scenes in eclesiastical dramas. . . . 
 
 "Profligate Son", The, a comedy 
 
 "Prophetess", The, by Beaumont and Fletcher. cxviii 
 
 "Pyramus and Thisbe", a German farce. . . cxviii 
 
 vin 
 cxvi 
 
 cix 
 cviii 
 
 cix 
 
 iii 
 
 xliv 
 
 "Queen Hester", an enterlude. 
 
 Rathgeb, Jacob. . 
 Reading, town of. 
 
 cix 
 
 xn 
 xii 
 
 27 
 
419 
 
 INDEX. 
 
 420 
 
 Reformation, the, its influence on the drama. v 
 
 Regensburg, English Comedians in Ixxxviii 
 
 Rehdiger, Christoph v xvi 
 
 - Thomas von xvi 
 
 Religious disputes on the stage xi 
 
 Reynolds, John cxiv 
 
 Rheinfelden, Hans Christoph von xii 
 
 Rhenanus, John cvii 
 
 Richard III., entertains foreign Minstrels at his 
 
 court xi 
 
 "Rich man", The, a German play cxvi 
 
 Riders, English, abroad. . . . . . . . . xxi 
 
 Robert, a player xcvii 
 
 Roberts, James Ixxxix 
 
 Rochell, his chronicle of Miinster cxxxiv 
 
 Rochester. . ......... . . . xii, xv 
 
 Roe, "William, a player . c 
 
 "Romeo and Juliet", a German play. . cxvi, cxxiii, 
 
 Part II, 305 
 
 Rose, David, a painter Ixxxv, Ixxxvi 
 
 Rose Theatre 
 
 Rosenblut, Hans, his Shrove-tide Plays. 
 
 Rostock, English Comedians in 
 
 Rotterdam. 
 
 Runcifax . . . . 
 
 Runzifall, the devil 
 
 Sachs, Hans iv vi, xxxviii, 
 
 Sackville[Saxfield] Thomas, a player, xxviii, xxxiii 
 
 Saige, Captain 
 
 "St. George of Cappadocia", a play 
 
 Salbert, Christ., a cuttler 
 
 Schampitache, a clown 
 
 Schetzel, Burkard 
 
 Schlegel, John Elias . i 
 
 Schmidt, Conrad, a Minstrel 
 
 Scholars as actors 
 
 Schramgen, a clown 
 
 Schiitz, Heinrich 
 
 Schwartzenberg, Count Adam of. 
 
 Schwenter, Daniel . . 
 
 Scortum, a character in the "Adulteress". . . 
 
 Scottwell. Edward, a player 
 
 "Senile and Astrea", a German play. . . . 
 - and Hyppolita", a German play. . . 
 
 Shakespeare, the London theatres increased by 
 his impulse, xxi; a member of the Blackfriars 
 theatre, xxvii; his connection with Thomas 
 Pope and George Bryan, xxvii; his connec- 
 
 cxvni 
 iii 
 
 Ixxx 
 xcvi 
 ex 
 Ixx 
 
 Ivii, Ixii 
 
 XXXV, 
 
 cxxxv 
 
 xii, xiii 
 
 x 
 
 Ixxxvi 
 
 cxiv 
 
 xviii 
 
 cxxxvi 
 
 xi 
 
 vii 
 
 cxiv 
 
 xcvii 
 
 xcii 
 
 cxxxi 
 
 xlviii 
 
 xcix 
 
 cviii 
 
 cxviii 
 
 don with Richard Jones, xxxiii; his name 
 
 unknown in Germany cxxxvi 
 
 Shakespeare, his "Comedy of Errors". . . . Ixvii 
 
 - his "Cymbeline". . . . . . Ivii, cxxxiii 
 
 - his "Hamlet". . . xix, Ixxxix, Part II, 239 
 
 - his "Henry VI" cxxi 
 
 - his "Julius Caesar" cxxxvi 
 
 - his "Macbeth" cxxi 
 
 - his "Merchant of Venice". . . Ixxxix, cxviii 
 
 - his "Merry Wives of Windsor". . . xlvii, li 
 his "Midsummernigth's Dream". . . cxxx 
 
 - his "Much ado about nothing". xliv,lxxi, cxxxiii, 
 
 Part II, 79 
 
 - his "Othello" xix 
 
 - his "Passionate Pilgrim" xxxv 
 
 - his "Pericles" cxxi 
 
 - his "Romeo and Juliet", xcviii, Part II, 307 
 
 - his "Taming of the Shrew". . . cxix, cxxiv 
 
 - his "Tempest". . . . xix, Ixviii, Part II, 3 
 
 - his "Titus Andronicus". . . xix, Part II. 15H 
 
 - his "Two Gentlemen of Verona", cxi, Part II, 115 
 
 - his "Winter's tale" . . . . xix, cxxxiv 
 Shrove-tide plays, at Nuremberg, iii; their cha- 
 racter, iv; obscenities in xxxvii 
 
 "Sidea, the beautiful", a comedy by Ayrer. Ixviii, Part II, 1 
 "Sidonia and Theagene", a German play. . 
 Sigismund, Emperor of Germany. . . . 
 "Silvia and Aminta, a German play". 
 
 Simplicissimus 
 
 Skeydell, Peter, a Minstrel 
 
 Smyth, Conrad, a Minstrel 
 
 Solms, Count Hans Ernst von 
 
 cvm 
 x, xi 
 
 cxiii 
 cm 
 xi 
 xi 
 xviii 
 
 Count Philip von xiv, xviii 
 
 "Somebody and Nobody", a German play. cviii. cxv 
 
 Sommer, John cxxxv 
 
 Sophia, Electress of Saxony. . . . . . . Ixxvi 
 
 Princess of Saxony xcvii 
 
 "Spanish Tragedy", by Thomas Kyd. . . . Ixvi 
 Spencer, John, a player. Ixxviii, Ixxxiii, Ixxxiv, Ixxxvi, 
 
 Ixxxvii, xci 
 
 Spencer, Sir Robert xiv, Ixxvi 
 
 Starschedel, Otto von xviii 
 
 Starter, a Dutch dramatist Ixxv 
 
 Stephen [Stephan], Thomas, a player. . . xxv, xxvi 
 
 Stockfisch, Hans von. . xcii 
 
 Straparola xxxvii, Iii, cxxx 
 
 Strasburg, English Comedians in cii, cxxiii 
 
 Stuart, Madam Arabella xix 
 
 Stuttgart, English Comedians in. . xiv, Ixxvii, Ixxxiii 
 "Susanna", a play xii, xlii, Ivi, Ixi 
 
4-21 
 
 INDEX. 
 
 422 
 
 Sussex, Earl of, 'his. players. ...... cxxii 
 
 Sydney, Sir Philip xxii 
 
 Taborino, a player xxi 
 
 Tanapfel, Hans, a carver Ixxxvi 
 
 Tarlton, his play of the "Seven Deadly Sins." xxvi 
 
 Tarleton's "Newes out of Purgatory". ... lii 
 
 Tasso, his "Aminta" cxiv 
 
 Thalmiiller, Hermann. . . . .. xviii 
 
 "Theagines and Chariclea", a play ex 
 
 Theatre in Germany, its state at the end of the 
 
 sixteenth cent. . . . . ; ,^. , . '.' . . . ix 
 
 Theatres in London increased xxi 
 
 Thilo, Hans, Steward xxiii 
 
 Thomas, a player xcvii 
 
 Thouwasen [?], Edward, a merchant. . ' . . xxxiv 
 
 Tieck, Ludwig Ixviii, Ixix, Ixxi, cix 
 
 Timbreo, in Ayrer's "Phaenicia" Ixxii 
 
 "Titus Andronicus", a German play, cv, cxii, Part II, 157 
 
 "Titus and Vespasian", an English play. . . cxii 
 
 Torgau, English Comedians in. . . ' . . . . xcvii 
 
 Travellers, foreign, to England xii 
 
 Treu, a stage - manager xcvii 
 
 "Troy and Constantinople, Destruction of", a 
 
 German play Ixxxvi i 
 
 Trumpeters, English, abroad xxi 
 
 Tunstall, James, a player xxx 
 
 "Two Kings of Britain at war", a German 
 
 play cxvii 
 
 Ulm, English Comedians in. 
 
 Union, Protestant, of the German Princes. 
 
 Utrecht, city of. , 
 
 Ixxvi 
 xix 
 xxii 
 
 "Valentine and Orson", a play. . . . . . Ixvii 
 
 Variscus, Joh. Olorinus cxxxv 
 
 Veltheim, a stage-manager cxx 
 
 "Vincentius", by Duke Henry Julius. . . xliv, Ixxi 
 
 Vienna, English Comedians in. ... xcv, cii, ciii 
 
 Voelkerling, Pastor. xl 
 
 Vulcan in Ayrer's "Phaenicia" Ixxiii 
 
 Waide or Wayde, John, a player c, cxix 
 
 Wakefield, Edward, a player xxxiv 
 
 Wales, Henry Prince of. xviii 
 
 Walpole, Sir Horace xvii 
 
 "War of Wartburg", the first German drama. iii 
 
 "Warning for fair women", a play cxxii 
 
 Weise, Christian cxxx 
 
 Wensin, Daniel von cxxxviii 
 
 Whitehall xix 
 
 Shakespeare's plays acted at. . . . xcvii 
 
 Widemarkter, Caspar von xviii 
 
 Will, a player xxii 
 
 William of Hesse, Landgrave xii 
 
 "Wily beguiled", a play cxxi 
 
 Windsheim, English Comedians in ciii 
 
 Windsor, Count Frederick of Mompelgard at. xiii 
 
 - Prince Ludwig of Anhalt at. . . . xv 
 
 Wobersnow [?] Arnd von xxxiv 
 
 Wodroff, Vincent, a shoemaker xcix 
 
 Wolffenbiittel, English Comedians in. xxxiii, xliii, Ixxxviii 
 
 - Theatre at xxxix 
 
 Wolframb, Michael xxxiv 
 
 Women, performing on the German stage. . . ciii 
 
 Wood, John, a player Ixxvii 
 
 AVoodhQW [Holzhew], Behrendt, a player. . . Ixxxviii 
 
 Worcester, Earl of, his players xxx, xxxii 
 
 Worms, city of. cxxx 
 
 Wurmser von Vendenheym, Jacob xix 
 
 Wutenau, Albrecht von xv 
 
 Yonger, Mykell [Michael Jiinger?], a Minstrel. xi 
 
 York, Duke of. . ,. xix 
 
 Zedler, his knowledge of Shakespeare. . . . cxxxvii 
 
 Zeland xxviii 
 
 Zittau, English Comedians in c, ciii 
 
 a German version of the "Taming of 
 
 the Shrew" represented at cxxv 
 
 Zorn von Bulach, Franz Ludwig xii 
 
 Zurich, city of. ciii 
 
Berlin, printed by A. W. SCHADE, Stallschreiberstr. 47. 
 
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