No More Learning

BUTLER (calling after him).
Governor, to your post!

GROOM OF THE CHAMBER (hurries in).
Who dares make larum here? Hush! The duke sleeps.

DEVEREUX (with loud, harsh voice).
Friend, it is time now to make larum.

GROOM OF THE CHAMBER.
Help!
Murder!

BUTLER.
Down with him!

GROOM OF THE CHAMBER (run through the body by DEVEREUX, falls at
the entrance of the gallery).
Jesus Maria!

BUTLER.
Burst the doors open.

[They rush over the body into the gallery--two doors are heard to
crash one after the other. Voices, deadened by the distance--clash
of arms--then all at once a profound silence:



SCENE VIII.

COUNTESS TERZKY (with a light).
Her bedchamber is empty; she herself
Is nowhere to be found! The Neubrunn too,
Who watched by her, is missing. If she should
Be flown--but whither flown? We must call up
Every soul in the house. How will the duke
Bear up against these worst bad tidings? Oh,
If that my husband now were but returned
Home from the banquet! Hark! I wonder whether
The duke is still awake! I thought I heard
Voices and tread of feet here! I will go
And listen at the door. Hark! what is that?
'Tis hastening up the steps!



SCENE IX.

COUNTESS, GORDON.

GORDON (rushes in out of breath)
'Tis a mistake!
'Tis not the Swedes; ye must proceed no further--
Butler! Oh, God! where is he?
[Observing the COUNTESS.
Countess! Say----

COUNTESS.
You're come then from the castle? Where's my husband?

GORDON (in an agony of affright).
Your husband! Ask not! To the duke----

COUNTESS.
Not till
You have discovered to me----

GORDON.
On this moment
Does the world hang. For God's sake! to the duke.
While we are speaking----
[Calling loudly.
Butler! Butler! God!

COUNTESS.
Why, he is at the castle with my husband.

[BUTLER comes from the gallery.

GORDON.
'Twas a mistake. 'Tis not the Swedes--it is
The imperialists' lieutenant-general
Has sent me hither--will be here himself
Instantly. You must not proceed.

BUTLER.
He comes
Too late.

[GORDON dashes himself against the wall.

GORDON.
Oh, God of mercy!

COUNTESS.
What, too late?
Who will be here himself? Octavio
In Egra? Treason! Treason! Where's the duke?

[She rushes to the gallery.



SCENE X.

Servants run across the stage full of terror. The whole scene
must be spoken entirely without pauses.

SENI (from the gallery).
Oh, bloody, frightful deed!

COUNTESS.
What is it, Seni?

PAGE (from the gallery).
Oh, piteous sight!

[Other servants hasten in with torches.

COUNTESS.
What is it? For God's sake!

SENI.
And do you ask?
Within the duke lies murdered--and your husband
Assassinated at the castle.

[The COUNTESS stands motionless.

FEMALE SERVANT (rushing across the stage).
Help! help! the duchess!

BURGOMASTER (enters).
What mean these confused
Loud cries that wake the sleepers of this house?

GORDON.
Your house is cursed to all eternity.
In your house doth the duke lie murdered!

BURGOMASTER (rushing out)
Heaven forbid!

FIRST SERVANT.
Fly! fly! they murder us all!

SECOND SERVANT (carrying silver-plate).
That way! the lower
Passages are blocked up.

VOICE (from behind the scene).
Make room for the lieutenant-general!

[At these words the COUNTESS starts from her stupor, collects
herself, and retires suddenly.

VOICE (from behind the scene).
Keep back the people! Guard the door!



SCENE XI.

To these enter OCTAVIO PICCOLOMINI with all his train. At the same
time DEVEREUX and MACDONALD enter from out the corridor with the
Halberdiers. WALLENSTEIN's dead body is carried over the back part
of the stage, wrapped in a piece of crimson tapestry.

OCTAVIO (entering abruptly).
It must not be! It is not possible!
Butler! Gordon!
I'll not believe it. Say no!

[GORDON, without answering, points with his hand to the body of
WALLENSTEIN as it is carried over the back of the stage. OCTAVIO
looks that way, and stands overpowered with horror.

DEVEREUX (to BUTLER).
Here is the golden fleece--the duke's sword----

MACDONALD.
Is it your order----

BUTLER (pointing to OCTAVIO).
Here stands he who now
Hath the sole power to issue orders.

[DEVEREUX and MACDONALD retire with marks of obeisance. One drops
away after the other, till only BUTLER, OCTAVIO, and GORDON remain
on the stage.

OCTAVIO (turning to BUTLER).
Was that my purpose, Butler, when we parted?
Oh, God of Justice!
To thee I lift my hand! I am not guilty
Of this foul deed.

BUTLER.
Your hand is pure. You have
Availed yourself of mine.

OCTAVIO.
Merciless man!
Thus to abuse the orders of thy lord--
And stain thy emperor's holy name with murder,
With bloody, most accursed assassination!

BUTLER (calmly).
I've but fulfilled the emperor's own sentence.

OCTAVIO.
Oh, curse of kings,
Infusing a dread life into their words,
And linking to the sudden, transient thought
The unchanging, irrevocable deed.
Was there necessity for such an eager
Despatch? Couldst thou not grant the merciful
A time for mercy? Time is man's good angel.
To leave no interval between the sentence,
And the fulfilment of it, doth beseem
God only, the immutable!

BUTLER.
For what
Rail you against me? What is my offence?
The empire from a fearful enemy
Have I delivered, and expect reward.
The single difference betwixt you and me
Is this: you placed the arrow in the bow;
I pulled the string. You sowed blood, and yet stand
Astonished that blood is come up. I always
Knew what I did, and therefore no result
Hath power to frighten or surprise my spirit.
Have you aught else to order; for this instant
I make my best speed to Vienna; place
My bleeding sword before my emperor's throne,
And hope to gain the applause which undelaying
And punctual obedience may demand
From a just judge.

[Exit BUTLER.



SCENE XII.

To these enter the COUNTESS TERZKY, pale and disordered.
Her utterance is slow and feeble, and unimpassioned.

OCTAVIO (meeting her).
Oh, Countess Terzky! These are the results
Of luckless, unblest deeds.

COUNTESS.
They are the fruits
Of your contrivances. The duke is dead,
My husband too is dead, the duchess struggles
In the pangs of death, my niece has disappeared;
This house of splendor, and of princely glory,
Doth now stand desolated: the affrighted servants
Rush forth through all its doors. I am the last
Therein; I shut it up, and here deliver
The keys.

OCTAVIO (with a deep anguish).
Oh, countess! my house, too, is desolate.

COUNTESS.
Who next is to be murdered? Who is next
To be maltreated? Lo! the duke is dead.
The emperor's vengeance may be pacified!
Spare the old servants; let not their fidelity
Be imputed to the faithful as a crime--
The evil destiny surprised my brother
Too suddenly: he could not think on them.

OCTAVIO.
Speak not of vengeance! Speak not of maltreatment!
The emperor is appeased; the heavy fault
Hath heavily been expiated--nothing
Descended from the father to the daughter,
Except his glory and his services.
The empress honors your adversity,
Takes part in your afflictions, opens to you
Her motherly arms. Therefore no further fears.
Yield yourself up in hope and confidence
To the imperial grace!

COUNTESS (with her eye raised to heaven)
To the grace and mercy of a greater master
Do I yield up myself. Where shall the body
Of the duke have its place of final rest?
In the Chartreuse, which he himself did found
At Gitschin, rests the Countess Wallenstein;
And by her side, to whom he was indebted
For his first fortunes, gratefully he wished
He might sometime repose in death! Oh, let him
Be buried there. And likewise, for my husband's
Remains I ask the like grace. The emperor
Is now the proprietor of all our castles;
This sure may well be granted us--one sepulchre
Beside the sepulchres of our forefathers!

OCTAVIO.
Countess, you tremble, you turn pale!

COUNTESS (reassembles all her powers, and speaks with energy and
dignity).
You think
More worthily of me than to believe
I would survive the downfall of my house.
We did not hold ourselves too mean to grasp
After a monarch's crown--the crown did fate
Deny, but not the feeling and the spirit
That to the crown belong! We deem a
Courageous death more worthy of our free station
Than a dishonored life. I have taken poison.

OCTAVIO.
Help! Help! Support her!

COUNTESS.
Nay, it is too late.
In a few moments is my fate accomplished.

[Exit COUNTESS.

GORDON.
Oh, house of death and horrors!

[An OFFICER enters, and brings a letter with the great seal.
GORDON steps forward and meets him.

What is this
It is the imperial seal.

[He reads the address, and delivers the letter to OCTAVIO with
a look of reproach, and with an emphasis on the word.

To the Prince Piccolomini.

[OCTAVIO, with his whole frame expressive of sudden anguish,
raises his eyes to heaven.

The Curtain drops.



FOOTNOTES.


[1] A great stone near Luetzen, since called the Swede's Stone, the body
of their great king having been found at the foot of it, after the
battle in which he lost his life.

[2] Could I have hazarded such a Germanism as the use of the word
afterworld for posterity,--"Es spreche Welt und Nachwelt meinen
Namen"--might have been rendered with more literal fidelity: Let
world and afterworld speak out my name, etc.

[3] I have not ventured to affront the fastidious delicacy of our age
with a literal translation of this line,

werth
Die Eingeweide schaudernd aufzuregen.

[4] Anspessade, in German, Gefreiter, a soldier inferior to a corporal,
but above the sentinels. The German name implies that he is exempt
from mounting guard.

[5] I have here ventured to omit a considerable number of lines. I fear
that I should not have done amiss had I taken this liberty more
frequently. It is, however, incumbent on me to give the original,
with a literal translation.

"Weh denen, die auf Dich vertraun, an Dich
Die sichre Huette ihres Glueckes lehnen,
Gelockt von deiner geistlichen Gestalt.
Schnell unverhofft, bei naechtlich stiller Weile,
Gaehrts in dem tueckschen Feuerschlunde, ladet,
Sich aus mit tobender Gewalt, und weg
Treibt ueber alle Pflanzungen der Menschen
Der wilde Strom in grausender Zerstoerung. "

WALLENSTEIN.
"Du schilderst deines Vaters Herz. Wie Du's
Beschreibst, so ist's in seinem Eingeweide,
In dieser schwarzen Heuchlers Brust gestaltet.
Oh, mich hat Hoellenkunst getaeuscht! Mir sandte
Der Abgrund den verflecktesten der Geister,
Den Luegenkundigsten herauf, und stellt' ihn
Als Freund an meiner Seite. Wer vermag
Der Hoelle Macht zu widersthn! Ich zog
Den Basilisken auf an meinem Busen,
Mit meinem Herzblut naehrt' ich ihn, er sog
Sich schwelgend voll an meiner Liebe Bruesten,
Ich hatte nimmer Arges gegen ihn,
Weit offen liess ich des Gedankens Thore,
Und warf die Schluessel weiser Vorsicht weg,
Am Sternenhimmel," etc.

LITERAL TRANSLATION.

"Alas! for those who place their confidence on thee, against thee
lean their secure hut of their fortune, allured by thy hospitable
form. Suddenly, unexpectedly, in a moment still as night, there is
a fermentation in the treacherous gulf of fire; it discharges
itself with raging force, and away over all the plantations of men
drives the wild stream in frightful devastation. "

WALLENSTEIN. --"Thou art portraying thy father's heart; as thou
describest, even so is it shaped in its entrails, in this black
hypocrite's breast. Oh, the art of hell has deceived me! The abyss
sent up to me the most the most spotted of the spirits, the most
skilful in lies, and placed him as a friend by my side. Who may
withstand the power of hell? I took the basilisk to my bosom, with
my heart's blood I nourished him; he sucked himself glutfull at the
breasts of my love. I never harbored evil towards him; wide open
did I leave the door of my thoughts; I threw away the key of wise
foresight. In the starry heaven, etc. " We find a difficulty in
believing this to have been written by Schiller.

[6] This is a poor and inadequate translation of the affectionate
simplicity of the original--

Sie alle waren Fremdlinge, Du warst
Das Kind des Hauses.

Indeed the whole speech is in the best style of Massinger.
O si sic omnia!

[7] It appears that the account of his conversion being caused by
such a fall, and other stories of his juvenile character, are not
well authenticated.

[8] We doubt the propriety of putting so blasphemous a statement in the
mouth of any character. --T.

[9] [This soliloquy, which, according to the former arrangement,
constituted the whole of scene ix. , and concluded the fourth act,
is omitted in all the printed German editions. It seems probable
that it existed in the original manuscript from which Mr. Coleridge
translated. --ED. ]

[10] The soliloquy of Thekla consists in the original of six-and-twenty
lines twenty of which are in rhymes of irregular recurrence. I
thought it prudent to abridge it. Indeed the whole scene between
Thekla and Lady Neubrunn might, perhaps, have been omitted without
injury to the play. --C.

[11] These four lines are expressed in the original with exquisite
felicity:--

Am Himmel ist geschaeftige Bewegung.
Des Thurmes Fahne jagt der Wind, schnell geht
Der Wolken Zug, die Mondessichel wankt
Und durch die Nacht zuckt ungewisse Helle.

The word "moon-sickle" reminds me of a passage in Harris, as quoted
by Johnson, under the word "falcated. " "The enlightened part of the
moon appears in the form of a sickle or reaping-hook, which is while
she is moving from the conjunction to the opposition, or from the
new moon to the full: but from full to a new again the enlightened
part appears gibbous, and the dark falcated. "

The words "wanken" and "schweben" are not easily translated. The
English words, by which we attempt to render them, are either vulgar
or antic, or not of sufficiently general application. So "der
Wolken Zug"--The Draft, the Procession of Clouds. The Masses of the
Clouds sweep onward in swift stream.

[12] A very inadequate translation of the original:--

Verschmerzen werd' ich diesen Schlag, das weiss ich,
Denn was verschmerzte nicht der Mensch!

LITERALLY.

I shall grieve down this blow, of that I'm conscious:
What does not man grieve down?






WILHELM TELL.

By Frederich Schiller



DRAMATIS PERSONAE.

HERMANN GESSLER, Governor of Schwytz and Uri.
WERNER, Baron of Attinghausen, free noble of Switzerland.
ULRICH VON RUDENZ, his Nephew.

WERNER STAUFFACHER, |
CONRAD HUNN, |
HANS AUF DER MAUER, |
JORG IM HOFE, | People of Schwytz.
ULRICH DER SCHMIDT, |
JOST VON WEILER, |
ITEL REDING, |

WALTER FURST, |
WILHELM TELL, |
ROSSELMANN, the Priest, |
PETERMANN, Sacristan, | People of Uri.
KUONI, Herdsman, |
WERNI, Huntsman, |
RUODI, Fisherman, |

ARNOLD OF MELCHTHAL, |
CONRAD BAUMGARTEN, |
MEYER VON SARNEN, |
STRUTH VON WINKELRIED, | People of Unterwald.
KLAUS VON DER FLUE, |
BURKHART AM BUHEL, |
ARNOLD VON SEWA, |

PFEIFFER OF LUCERNE.
KUNZ OF GERSAU.
JENNI, Fisherman's Son.
SEPPI, Herdsman's Son.
GERTRUDE, Stauffacher's Wife.
HEDWIG, Wife of Tell, daughter of Furst.
BERTHA OF BRUNECK, a rich heiress.

ARMGART, |
MECHTHILD, | Peasant women.
ELSBETH, |
HILDEGARD, |

WALTER, | Tell's sons.
WILHELM, |

FRIESSHARDT, | Soldiers.
LEUTHOLD, |

RUDOLPH DER HARRAS, Gessler's master of the horse.
JOHANNES PARRICIDA, Duke of Suabia.
STUSSI, Overseer.
THE MAYOR OF URI.
A COURIER.
MASTER STONEMASON, COMPANIONS, AND WORKMEN.
TASKMASTER.
A CRIER.
MONKS OF THE ORDER OF CHARITY.
HORSEMEN OF GESSLER AND LANDENBERG.
MANY PEASANTS; MEN AND WOMEN FROM THE WALDSTETTEN.





WILHELM TELL.




ACT I.

SCENE I.

A high, rocky shore of the lake of Lucerne opposite Schwytz.
The lake makes a bend into the land; a hut stands at a short
distance from the shore; the fisher boy is rowing about in his
boat. Beyond the lake are seen the green meadows, the hamlets,
and arms of Schwytz, lying in the clear sunshine. On the left
are observed the peaks of the Hacken, surrounded with clouds; to
the right, and in the remote distance, appear the Glaciers. The
Ranz des Vaches, and the tinkling of cattle-bells, continue for
some time after the rising of the curtain.

FISHER BOY (sings in his boat).
Melody of the Ranz des Vaches.

The clear, smiling lake wooed to bathe in its deep,
A boy on its green shore had laid him to sleep;
Then heard he a melody
Flowing and soft,
And sweet, as when angels
Are singing aloft.
And as thrilling with pleasure he wakes from his rest,
The waters are murmuring over his breast;
And a voice from the deep cries,
"With me thou must go,
I charm the young shepherd,
I lure him below. "

HERDSMAN (on the mountains).
Air. --Variation of the Ranz des Vaches.

Farewell, ye green meadows,
Farewell, sunny shore,
The herdsman must leave you,
The summer is o'er.
We go to the hills, but you'll see us again,
When the cuckoo is calling, and wood-notes are gay,
When flowerets are blooming in dingle and plain,
And the brooks sparkle up in the sunshine of May.
Farewell, ye green meadows,
Farewell, sunny shore,
The herdsman must leave you,
The summer is o'er.

CHAMOIS HUNTER (appearing on the top of a cliff).
Second Variation of the Ranz des Vaches.

On the heights peals the thunder, and trembles the bridge,
The huntsman bounds on by the dizzying ridge,
Undaunted he hies him
O'er ice-covered wild,
Where leaf never budded,
Nor spring ever smiled;
And beneath him an ocean of mist, where his eye
No longer the dwellings of man can espy;
Through the parting clouds only
The earth can be seen,
Far down 'neath the vapor
The meadows of green.

[A change comes over the landscape. A rumbling, cracking
noise is heard among the mountains. Shadows of clouds sweep
across the scene.

[RUODI, the fisherman, comes out of his cottage. WERNI, the
huntsman, descends from the rocks. KUONI, the shepherd, enters,
with a milk pail on his shoulders, followed by SERPI, his assistant.

RUODI.
Bestir thee, Jenni, haul the boat on shore.
The grizzly Vale-king [1] comes, the glaciers moan,
The lofty Mytenstein [2] draws on his hood,
And from the Stormcleft chilly blows the wind;
The storm will burst before we are prepared.

KUONI.
'Twill rain ere long; my sheep browse eagerly,
And Watcher there is scraping up the earth.

WERNI.
The fish are leaping, and the water-hen
Dives up and down. A storm is coming on.

KUONI (to his boy).
Look, Seppi, if the cattle are not straying.

SEPPI. There goes brown Liesel, I can hear her bells.

KUONI.
Then all are safe; she ever ranges farthest.

RUODI.
You've a fine yoke of bells there, master herdsman.

WERNI.
And likely cattle, too. Are they your own?

KUONI.
I'm not so rich. They are the noble lord's
Of Attinghaus, and trusted to my care.

RUODI.
How gracefully yon heifer bears her ribbon!

KUONI.
Ay, well she knows she's leader of the herd,
And, take it from her, she'd refuse to feed.

RUODI.
You're joking now. A beast devoid of reason.

WERNI.
That's easy said. But beasts have reason too--
And that we know, we men that hunt the chamois.
They never turn to feed--sagacious creatures!
Till they have placed a sentinel ahead,
Who pricks his ears whenever we approach,
And gives alarm with clear and piercing pipe.

RUODI (to the shepherd).
Are you for home?

KUONI.
The Alp is grazed quite bare.

WERNI.
A safe return, my friend!

KUONI.
The same to you?
Men come not always back from tracks like yours.

RUODI.
But who comes here, running at topmost speed?

WERNI.
I know the man; 'tis Baumgart of Alzellen.

CONRAD BAUMGARTEN (rushing in breathless).
For God's sake, ferryman, your boat!

RUODI.
How now?
Why all this haste?

BAUMGARTEN.
Cast off! My life's at stake!
Set me across!

KUONI.
Why, what's the matter, friend?

WERNI.
Who are pursuing you? First tell us that.

BAUMGARTEN (to the fisherman).
Quick, quick, even now they're close upon my heels!
The viceroy's horsemen are in hot pursuit!
I'm a lost man should they lay hands upon me.

RUODI.
Why are the troopers in pursuit of you?

BAUMGARTEN.