THE PICCOLOMINI[598:1]

[139]of] onRemorse.

of] onRemorse.

[140-1]and stage-direction before142om. Remorse.

and stage-direction before142om. Remorse.

[145]'Tis but a pool amid a storm of rainRemorse.

'Tis but a pool amid a storm of rainRemorse.

[148]Stage-directionom. Remorse.

Stage-directionom. Remorse.

[149]lesser must needs] weaker needs mustRemorse.

lesser must needs] weaker needs mustRemorse.

[151-2]Inly-tortured man,This is the revelry of a drunken anguishRemorse.

Inly-tortured man,This is the revelry of a drunken anguish

Remorse.

Before160[Ordonioproffers the goblet.Remorse.

[160]Friendship and wineom. Remorse.

Friendship and wineom. Remorse.

[161]legs] limbsRemorse.

legs] limbsRemorse.

[164]life and thought] life, enjoymentRemorse.

life and thought] life, enjoymentRemorse.

[168]brink] brimRemorse.

brink] brimRemorse.

[169]I would remove it with an anxious pityRemorse.

I would remove it with an anxious pityRemorse.

[171-2]Thou hast guessed right; there's poison in the wine.There's poison in't—which of us two shall drink it?Remorse.

Thou hast guessed right; there's poison in the wine.There's poison in't—which of us two shall drink it?

Remorse.

Between174and176:Alvar.I know him not.And yet methinks, I have heard the name but lately.Means he the husband of the Moorish woman?Isidore? Isidore?Remorse.

Between174and176:

Alvar.I know him not.And yet methinks, I have heard the name but lately.Means he the husband of the Moorish woman?Isidore? Isidore?

Remorse.

[175]om. Remorse.

om. Remorse.

[180]Stage-direction [Alvartakes the goblet, and throws it to the ground.Remorse.My] MyRemorse.

Stage-direction [Alvartakes the goblet, and throws it to the ground.Remorse.

My] MyRemorse.

[196]Stage-directionom. Remorse.

Stage-directionom. Remorse.

[198]babe] babesRemorse.

babe] babesRemorse.

[207]Stage-directionom. Remorse.

Stage-directionom. Remorse.

[223]Stage-directionom. Remorse.

Stage-directionom. Remorse.

[224]Stage-directionom. Remorse.

Stage-directionom. Remorse.

[225-35]om. Remorse.

om. Remorse.

Between225and235Teresa (rushing out and falling onAlvar'sneck).Ordonio! 'tis thy brother![Ordonioruns uponAlvarwith his sword.Teresaflings herself onOrdonioand arrests his arm.Stop, madman, stop!Remorse.

Between225and235

Teresa (rushing out and falling onAlvar'sneck).Ordonio! 'tis thy brother!

[Ordonioruns uponAlvarwith his sword.Teresaflings herself onOrdonioand arrests his arm.

Stop, madman, stop!

Remorse.

[235]Stage-directionom. Remorse.

Stage-directionom. Remorse.

[238]trace] trialcorr. in MS. III; traitRemorse.

trace] trialcorr. in MS. III; traitRemorse.

[240-41]Spotless . . . guilty tooom. Remorse.

Spotless . . . guilty tooom. Remorse.

[242]shalt] shaltRemorse.

shalt] shaltRemorse.

After242stage-direction(Drawing back and gazing at Alvar)Remorse.

Between243and245Alvar.We will find means to save your honour. Live,Oh live, Ordonio! for our father's sake!Spare his gray hairs!Teresa.And you may yet be happyOrdonio.O horror, &c.Remorse.

Between243and245

Alvar.We will find means to save your honour. Live,Oh live, Ordonio! for our father's sake!Spare his gray hairs!Teresa.And you may yet be happyOrdonio.O horror, &c.

Alvar.We will find means to save your honour. Live,Oh live, Ordonio! for our father's sake!Spare his gray hairs!

Teresa.And you may yet be happy

Ordonio.O horror, &c.

Remorse.

After243struggle with]preventRemorse.

After251[Throws himself, &c.]KneelingRemorse.

[252]Curse] CurseRemorse.

Curse] CurseRemorse.

[253]my brother] OrdonioRemorse.

my brother] OrdonioRemorse.

[256]Stage-directionom. Remorse.

Stage-directionom. Remorse.

[258]Stage-directionom. Remorse.

Stage-directionom. Remorse.

[263]Stage-directionom. Remorse.

Stage-directionom. Remorse.

After266[The doors of the dungeon are broken open, and in rushAlhadra, and the band ofMorescoes.Alh.Seize first that man![Alvarpresses onward to defendOrdonio.Ord.Off, &c.Remorse.

After266

[The doors of the dungeon are broken open, and in rushAlhadra, and the band ofMorescoes.

Alh.Seize first that man!

[Alvarpresses onward to defendOrdonio.

Ord.Off, &c.

Remorse.

[274]Alvar and Teresa.O horribleRemorse.

Alvar and Teresa.O horribleRemorse.

[277]their] theirRemorse.

their] theirRemorse.

[283]Stage-directionom. Remorse.

Stage-directionom. Remorse.

[287]Stage-directionom. Remorse.

Stage-directionom. Remorse.

Between288and304:Teresa.He doth repent! See, see, I kneel to thee!O let him live! That aged man, his father——Alhadra.Why had he such a son?[Shouts from the distance of, Rescue! Rescue! Alvar! Alvar!and the voice ofValdezheard.Rescue?—and Isidore's spirit unavenged?—The deed be mine![Suddenly stabsOrdonio.Now take my Life!Ordonio (staggering from the wound).Atonement!Alvar (while withTeresasupportingOrdonio).Arm of avenging HeavenThou hast snatched from me my most cherished hope—But go! my word was pledged to thee.Ordonio.Away!Brave not my father's rage! I thank thee! Thou—[Then turning his eyes languidly toAlvar.She hath avenged the blood of Isidore!I stood in silence like a slave before herRemorse.

Between288and304:

Teresa.He doth repent! See, see, I kneel to thee!O let him live! That aged man, his father——Alhadra.Why had he such a son?

Teresa.He doth repent! See, see, I kneel to thee!O let him live! That aged man, his father——

Alhadra.Why had he such a son?

[Shouts from the distance of, Rescue! Rescue! Alvar! Alvar!and the voice ofValdezheard.

Rescue?—and Isidore's spirit unavenged?—The deed be mine![Suddenly stabsOrdonio.Now take my Life!Ordonio (staggering from the wound).Atonement!Alvar (while withTeresasupportingOrdonio).Arm of avenging HeavenThou hast snatched from me my most cherished hope—But go! my word was pledged to thee.Ordonio.Away!Brave not my father's rage! I thank thee! Thou—[Then turning his eyes languidly toAlvar.She hath avenged the blood of Isidore!I stood in silence like a slave before her

Rescue?—and Isidore's spirit unavenged?—The deed be mine![Suddenly stabsOrdonio.Now take my Life!

Ordonio (staggering from the wound).Atonement!

Alvar (while withTeresasupportingOrdonio).Arm of avenging HeavenThou hast snatched from me my most cherished hope—But go! my word was pledged to thee.

Ordonio.Away!Brave not my father's rage! I thank thee! Thou—[Then turning his eyes languidly toAlvar.She hath avenged the blood of Isidore!I stood in silence like a slave before her

Remorse.

[290-303]om. Remorse.

om. Remorse.

Affixed to300Alhadrasnatches it from him and suddenly stabsOrdonio.Alvarrushes towards him through theMoors,and catches him in his arms, &c.MS. III.

[303-4]'Tis well! thou hast avenged thyselfI have stood in silence like a slave before theeCorr. in MS. III.

'Tis well! thou hast avenged thyselfI have stood in silence like a slave before thee

Corr. in MS. III.

[305]spirit] heartRemorse.

spirit] heartRemorse.

After306Forgive me, Alvar! O couldst thou forgive thyself.Corr. in MS. III.Forgive me, Alvar!Oh!—couldst thou forget me![Dies.[AlvarandTeresabend over the body ofOrdonio.Alh.(to theMoors). I thank thee, Heaven! &c.Remorse.Shouts ofAlvar!Alvar!Noises heard; aMoorrushes in.Moor.We are surprised, away! away! the instant—The country is in arms. The old man heads themAnd still cries out, 'My son! My son is living'Haste to the shore! They come the opposite road.Alhadra(toAlvar).Thou then art Alvar! to my aid and safetyThy word stands pledged.Alvar.Arm of avenging Heaven!My word stands pledged nor shall it be retracted.(TheMoorssurroundAlhadra) and force her off. The stage fills with armed peasants.AliandValdezat their head.Valdezrushes intoAlvar'sarms and the Curtain drops.[Alternative ending in S. T. C.'s handwriting affixed to lines307-21,MS. III]

After306

Forgive me, Alvar! O couldst thou forgive thyself.

Corr. in MS. III.

Forgive me, Alvar!Oh!—couldst thou forget me![Dies.

[AlvarandTeresabend over the body ofOrdonio.

Alh.(to theMoors). I thank thee, Heaven! &c.

Remorse.

Shouts ofAlvar!Alvar!Noises heard; aMoorrushes in.

Moor.We are surprised, away! away! the instant—The country is in arms. The old man heads themAnd still cries out, 'My son! My son is living'Haste to the shore! They come the opposite road.

Alhadra(toAlvar).

Thou then art Alvar! to my aid and safetyThy word stands pledged.Alvar.Arm of avenging Heaven!My word stands pledged nor shall it be retracted.

Thou then art Alvar! to my aid and safetyThy word stands pledged.

Alvar.Arm of avenging Heaven!My word stands pledged nor shall it be retracted.

(TheMoorssurroundAlhadra) and force her off. The stage fills with armed peasants.AliandValdezat their head.Valdezrushes intoAlvar'sarms and the Curtain drops.

[Alternative ending in S. T. C.'s handwriting affixed to lines307-21,MS. III]

[320]him] herRemorse.

him] herRemorse.

After321[Alhadrahurries off with theMoors;the stage fills with armedPeasantsandServants,ZulimezandValdezat their head.Valdezrushes intoAlvar'sarms.Alvar.Turn not thy face that way, my father! hide,Oh hide it from his eye! Oh let thy joyFlow in unmingled stream through thy first blessing.[both kneel toValdez.Valdez.My Son! My Alvar! bless, Oh bless him, heaven!Teresa.Me too, my Father?Valdez.Bless, Oh, bless my children![both rise.Alvar.Delights so full, if unalloyed with grief,Were ominous. In these strange dread eventsJust Heaven instructs us with an awful voice,That Conscience rules us e'en against our choice.Our inward monitress to guide or warn,If listened to; but if repelled with scorn,At length as dire Remorse, she reappears,Works in our guilty hopes, and selfish fears!Still bids, Remember! and still cries, Too late!And while she scares us, goads us to our fate.Remorse.

After321

[Alhadrahurries off with theMoors;the stage fills with armedPeasantsandServants,ZulimezandValdezat their head.Valdezrushes intoAlvar'sarms.

Alvar.Turn not thy face that way, my father! hide,Oh hide it from his eye! Oh let thy joyFlow in unmingled stream through thy first blessing.[both kneel toValdez.Valdez.My Son! My Alvar! bless, Oh bless him, heaven!Teresa.Me too, my Father?Valdez.Bless, Oh, bless my children![both rise.Alvar.Delights so full, if unalloyed with grief,Were ominous. In these strange dread eventsJust Heaven instructs us with an awful voice,That Conscience rules us e'en against our choice.Our inward monitress to guide or warn,If listened to; but if repelled with scorn,At length as dire Remorse, she reappears,Works in our guilty hopes, and selfish fears!Still bids, Remember! and still cries, Too late!And while she scares us, goads us to our fate.

Alvar.Turn not thy face that way, my father! hide,Oh hide it from his eye! Oh let thy joyFlow in unmingled stream through thy first blessing.[both kneel toValdez.

Valdez.My Son! My Alvar! bless, Oh bless him, heaven!

Teresa.Me too, my Father?

Valdez.Bless, Oh, bless my children![both rise.

Alvar.Delights so full, if unalloyed with grief,Were ominous. In these strange dread eventsJust Heaven instructs us with an awful voice,That Conscience rules us e'en against our choice.Our inward monitress to guide or warn,If listened to; but if repelled with scorn,At length as dire Remorse, she reappears,Works in our guilty hopes, and selfish fears!Still bids, Remember! and still cries, Too late!And while she scares us, goads us to our fate.

Remorse.

It was my intention to have prefixed a Life of Wallenstein to this translation; but I found that it must either have occupied a space wholly disproportionate to the nature of the publication, or have been merely a meagre catalogue of events narrated not more fully than they already are in the Play itself. The recent translation, likewise, of Schiller'sHistory of the Thirty Years'Wardiminished the motives thereto. In the translation I endeavoured to render my Author literally wherever I was not prevented by absolute differences of idiom; but I am conscious that in two or three short passages I have been guilty of dilating the original; and, from anxiety to give the full meaning, have weakened the force. In the metre I have availed myself of no other liberties than those which Schiller had permitted to himself, except the occasional breaking-up of the line by the substitution of a trochee for an iambus; of which liberty, so frequent in our tragedies, I find no instance in these dramas.

S. T. Coleridge.

[598:1]First published in a single octavo volume, 1800: included in 1828, 1829, 1834, and inDramatic Works(one vol. 8vo) 1852. ThePiccolominiand theDeath of Wallensteinwere translated from MS. copies which had been acquired by the Messrs. Longman. The MS. copy of the original of theDeath of Wallensteinis in the possession of Mrs. Alexander Gillman. The MS. of the copy of the original of thePiccolominiwas at one time in the possession of Mr. Henry R. Mark of 17 Highbury Crescent. A note in Schiller's handwriting, dated 'Jena, 30. September 1799', attesting the genuineness of the copies, is attached to either play. The MS. copy ofWallenstein's Camp('Wallenstein's Lager'), which Coleridge did not attempt to translate, is not forthcoming. See two articles by Ferdinand Freiligrath, published in theAthenæum, July 15 and August 31, 1861. See, too,Die Wallensteinübersetzung von Samuel T. Coleridge und ihr Deutsches Original. . . vorgelegt von Hans Roscher. Borna-Leipzig, 1905. A copy of the translation which Macready marked for acting is in the Forster Library, which forms part of the Victoria and Albert Museum at South Kensington. See note by J. Dykes Campbell,P. W., 1893, p. 649. An annotated copy (in Coleridge's handwriting) of the translation of thePiccolominiand theDeath of Wallenstein, presented by Mr. Shadworth Hodgson, is in the Library of Rugby School [MS. R.]. The MS. contents of this volume are now published for the first time. Coleridge began his translation of the two plays at No. 21 Buckingham Street, Strand, in December, 1799, and finished the 'last sheet' at Town End, Grasmere, April 20, 1800.'These dramas have two grievous faults: they are prolix in the particular parts and slow in the general movement. But they have passion, distinct and diversified character, and they abound in passages of great moral and poetic beauty.'S. T. Coleridge.'The defects of these dramas are all of an instructive character; for tho' not the products of genius, like those of Shakespere, they result from an energetic and thinking mind. (1) The speeches are seldom suited to characters—the characters are truly diversified and distinctly conceived—but we learn them from the actions and from the descriptions given by other characters, or from particular speeches. The brutal Illo repeatedly talks language which belongs to the Countess, &c. (2)Astrology(an undramatic superstition because it inspires no terror, and its foundation of imagination is overbuilt and concealed by its scientific superstructure, with other cause from the imagery, is thus unpopular or swallowed up in more general and pleasing associations, as the Sun and Moon) is made prophetic, and yet treated ludicrously: the author as philosopher is in compleat discord with himself as Historian. This is a most grievous fault. (3) The assassins talk ludicrously. This is a most egregious misimitation of Shakespere—Schiller should not have attempted tragico-comedy, and none but Shakespere has succeeded. It is wonderful, however, that Schiller, who had studied Shakespere, should not have perceived his divine judgment in the management of his assassins, as in Macbeth. They are fearful and almost pitiable Beings—not loathsome, ludicrous miscreants. (4) The character of Thekla = O, the bold Heroine of any novel. Nothing of the Convent, no superstition, nothing of the Daughter of Wallenstein, nothing that her past life is represented by. (5) Wallenstein is a finer psychological than dramatic, and a more dramatic than a tragic character. Shakespere drawsstrengthas in Richard the Third, and even when he blends weakness as in Macbeth—yet it is weakness of a specific kind that leaves the strength in full and fearful energy—but Schiller has drawn weakness imposing on itself the love of power for the sense of strength (a fine conception in itself, but not tragic—at least for the principal character of a long drama).—Hence Wallenstein, with one exception (that of the Regimental Deputation to him in the Second Part) evaporates in mock-mysterious speeches. These are the chief defects, I think. On the other hand, the character of Butler is admirable throughout. Octavio is very grand, and Max, tho' it may be an easy character to draw, for a man of thought and lofty feeling—for a man who possesses all theanalogaof genius, is yet so delightful, and its moral influence so grand and salutary, that we must allow it great praise. The childish love-toying with the glove and Aunt Tertsky in the first act should be omitted. Certain whole scenes are masterly, and far above anything since the dramatists of Eliz. & James the first.'Note on fly-leaf of annotated copy (MS. R.).

'These dramas have two grievous faults: they are prolix in the particular parts and slow in the general movement. But they have passion, distinct and diversified character, and they abound in passages of great moral and poetic beauty.'S. T. Coleridge.

'The defects of these dramas are all of an instructive character; for tho' not the products of genius, like those of Shakespere, they result from an energetic and thinking mind. (1) The speeches are seldom suited to characters—the characters are truly diversified and distinctly conceived—but we learn them from the actions and from the descriptions given by other characters, or from particular speeches. The brutal Illo repeatedly talks language which belongs to the Countess, &c. (2)Astrology(an undramatic superstition because it inspires no terror, and its foundation of imagination is overbuilt and concealed by its scientific superstructure, with other cause from the imagery, is thus unpopular or swallowed up in more general and pleasing associations, as the Sun and Moon) is made prophetic, and yet treated ludicrously: the author as philosopher is in compleat discord with himself as Historian. This is a most grievous fault. (3) The assassins talk ludicrously. This is a most egregious misimitation of Shakespere—Schiller should not have attempted tragico-comedy, and none but Shakespere has succeeded. It is wonderful, however, that Schiller, who had studied Shakespere, should not have perceived his divine judgment in the management of his assassins, as in Macbeth. They are fearful and almost pitiable Beings—not loathsome, ludicrous miscreants. (4) The character of Thekla = O, the bold Heroine of any novel. Nothing of the Convent, no superstition, nothing of the Daughter of Wallenstein, nothing that her past life is represented by. (5) Wallenstein is a finer psychological than dramatic, and a more dramatic than a tragic character. Shakespere drawsstrengthas in Richard the Third, and even when he blends weakness as in Macbeth—yet it is weakness of a specific kind that leaves the strength in full and fearful energy—but Schiller has drawn weakness imposing on itself the love of power for the sense of strength (a fine conception in itself, but not tragic—at least for the principal character of a long drama).—Hence Wallenstein, with one exception (that of the Regimental Deputation to him in the Second Part) evaporates in mock-mysterious speeches. These are the chief defects, I think. On the other hand, the character of Butler is admirable throughout. Octavio is very grand, and Max, tho' it may be an easy character to draw, for a man of thought and lofty feeling—for a man who possesses all theanalogaof genius, is yet so delightful, and its moral influence so grand and salutary, that we must allow it great praise. The childish love-toying with the glove and Aunt Tertsky in the first act should be omitted. Certain whole scenes are masterly, and far above anything since the dramatists of Eliz. & James the first.'Note on fly-leaf of annotated copy (MS. R.).

An old Gothic Chamber in the Council House at Pilsen, decorated with Colours and other War Insignia.

IllowithButlerandIsolani.

Illo.Ye have come late—but ye are come! The distance,Count Isolan, excuses your delay.Isolani.Add this too, that we come not empty-handed.At Donauwert[600:2]it was reported to us,A Swedish caravan was on its way5Transporting a rich cargo of provision,[601]Almost six hundred waggons. This my CroatsPlunged down upon and seized, this weighty prize!——We bring it hither——Illo.Just in time to banquetThe illustrious company assembled here.10Butler.'Tis all alive! a stirring scene here!Isolani.Ay!The very churches are all full of soldiers.And in the Council-house, too, I observe,You're settled, quite at home! Well, well! we soldiersMust shift and suit us in what way we can.15Illo.We have the Colonels here of thirty regiments.You'll find Count Tertsky here, and Tiefenbach,Kolatto, Goetz, Maradas, Hinnersam,The Piccolomini, both son and father——You'll meet with many an unexpected greeting20From many an old friend and acquaintance. OnlyGalas is wanting still, and Altringer.Butler.Expect not Galas.Illo.How so? Do you know——Isolani.Max Piccolomini here?—O bring me to him.25I see him yet, ('tis now ten years ago,We were engaged with Mansfeld hard by Dessau)I see the youth, in my mind's eye I see him,Leap his black war-horse from the bridge adown,And t'ward his father, then in extreme peril,30Beat up against the strong tide of the Elbe.The down was scarce upon his chin! I hearHe has made good the promise of his youth,And the full hero now is finished in him.Illo.You'll see him yet ere evening. He conducts35The Duchess Friedland hither, and the Princess[601:1]From Carnthen. We expect them here at noon.Butler.Both wife and daughter does the Duke call hither?He crowds in visitants from all sides.Isolani.Hm!So much the better! I had framed my mind40[602]To hear of nought but warlike circumstance,Of marches, and attacks, and batteries:And lo! the Duke provides, that something tooOf gentler sort, and lovely, should be presentTo feast our eyes.45Illo (aside to Butler).And how came you to knowThat the Count Galas joins us not?Butler.BecauseHe importuned me to remain behind.Illo.And you?—You hold out firmly?Noble Butler!Butler.After the obligation which the Duke50Had laid so newly on me——Illo.I had forgottenA pleasant duty—Major-General,I wish you joy!Isolani.What, you mean, of his regiment?I hear, too, that to make the gift still sweeter,55The Duke has given him the very sameIn which he first saw service, and since then,Worked himself, step by step, through each preferment,From the ranks upwards. And verily, it givesA precedent of hope, a spur of action60To the whole corps, if once in their remembranceAn old deserving soldier makes his way.Butler.I am perplexed and doubtful, whether or noI dare accept this your congratulation.The Emperor has not yet confirmed the appointment.65Isolani.Seize it, friend! Seize it! The hand which in that postPlaced you, is strong enough to keep you there,Spite of the Emperor and his Ministers!Illo.Ay, if we would but so consider it!—If we would all of us consider it so!70The Emperor gives us nothing; from the DukeComes all—whate'er we hope, whate'er we have.Isolani (to Illo).My noble brother! did I tell you howThe Duke will satisfy my creditors?Will be himself my banker for the future,75[603]Make me once more a creditable man!—And this is now the third time, think of that!This kingly-minded man has rescued meFrom absolute ruin, and restored my honour.Illo.O that his power but kept pace with his wishes!80Why, friend! he'd give the whole world to his soldiers.But at Vienna, brother! here's the grievance!—What politic schemes do they not lay to shortenHis arm, and, where they can, to clip his pinions.Then these new dainty requisitions! these,85Which this same Questenberg brings hither!—Butler.Ay,These requisitions of the Emperor,—I too have heard about them; but I hopeThe Duke will not draw back a single inch!90Illo.Not from his right most surely, unless first—From office!Butler.Know you aught then? You alarm me.Isolani (at the same time with Butler, and in a hurrying voice).We should be ruined, every one of us!Illo.No more!Yonder I see our worthy friend[603:1]approachingWith the Lieutenant-General, Piccolomini.Butler.I fear we shall not go hence as we came.95

Illo.Ye have come late—but ye are come! The distance,Count Isolan, excuses your delay.

Isolani.Add this too, that we come not empty-handed.At Donauwert[600:2]it was reported to us,A Swedish caravan was on its way5Transporting a rich cargo of provision,[601]Almost six hundred waggons. This my CroatsPlunged down upon and seized, this weighty prize!——We bring it hither——

Illo.Just in time to banquetThe illustrious company assembled here.10

Butler.'Tis all alive! a stirring scene here!

Isolani.Ay!The very churches are all full of soldiers.And in the Council-house, too, I observe,You're settled, quite at home! Well, well! we soldiersMust shift and suit us in what way we can.15

Illo.We have the Colonels here of thirty regiments.You'll find Count Tertsky here, and Tiefenbach,Kolatto, Goetz, Maradas, Hinnersam,The Piccolomini, both son and father——You'll meet with many an unexpected greeting20From many an old friend and acquaintance. OnlyGalas is wanting still, and Altringer.

Butler.Expect not Galas.

Illo.How so? Do you know——

Isolani.Max Piccolomini here?—O bring me to him.25I see him yet, ('tis now ten years ago,We were engaged with Mansfeld hard by Dessau)I see the youth, in my mind's eye I see him,Leap his black war-horse from the bridge adown,And t'ward his father, then in extreme peril,30Beat up against the strong tide of the Elbe.The down was scarce upon his chin! I hearHe has made good the promise of his youth,And the full hero now is finished in him.

Illo.You'll see him yet ere evening. He conducts35The Duchess Friedland hither, and the Princess[601:1]From Carnthen. We expect them here at noon.

Butler.Both wife and daughter does the Duke call hither?He crowds in visitants from all sides.

Isolani.Hm!So much the better! I had framed my mind40[602]To hear of nought but warlike circumstance,Of marches, and attacks, and batteries:And lo! the Duke provides, that something tooOf gentler sort, and lovely, should be presentTo feast our eyes.45

Illo (aside to Butler).And how came you to knowThat the Count Galas joins us not?

Butler.BecauseHe importuned me to remain behind.

Illo.And you?—You hold out firmly?Noble Butler!

Butler.After the obligation which the Duke50Had laid so newly on me——

Illo.I had forgottenA pleasant duty—Major-General,I wish you joy!

Isolani.What, you mean, of his regiment?I hear, too, that to make the gift still sweeter,55The Duke has given him the very sameIn which he first saw service, and since then,Worked himself, step by step, through each preferment,From the ranks upwards. And verily, it givesA precedent of hope, a spur of action60To the whole corps, if once in their remembranceAn old deserving soldier makes his way.

Butler.I am perplexed and doubtful, whether or noI dare accept this your congratulation.The Emperor has not yet confirmed the appointment.65

Isolani.Seize it, friend! Seize it! The hand which in that postPlaced you, is strong enough to keep you there,Spite of the Emperor and his Ministers!

Illo.Ay, if we would but so consider it!—If we would all of us consider it so!70The Emperor gives us nothing; from the DukeComes all—whate'er we hope, whate'er we have.

Isolani (to Illo).My noble brother! did I tell you howThe Duke will satisfy my creditors?Will be himself my banker for the future,75[603]Make me once more a creditable man!—And this is now the third time, think of that!This kingly-minded man has rescued meFrom absolute ruin, and restored my honour.

Illo.O that his power but kept pace with his wishes!80Why, friend! he'd give the whole world to his soldiers.But at Vienna, brother! here's the grievance!—What politic schemes do they not lay to shortenHis arm, and, where they can, to clip his pinions.Then these new dainty requisitions! these,85Which this same Questenberg brings hither!—

Butler.Ay,These requisitions of the Emperor,—I too have heard about them; but I hopeThe Duke will not draw back a single inch!90

Illo.Not from his right most surely, unless first—From office!

Butler.Know you aught then? You alarm me.

Isolani (at the same time with Butler, and in a hurrying voice).We should be ruined, every one of us!

Illo.No more!Yonder I see our worthy friend[603:1]approachingWith the Lieutenant-General, Piccolomini.

Butler.I fear we shall not go hence as we came.95

[600:1]In 1800 the following table ofDramatis Personaewas prefixed to Act I ofThe Piccolomini, or The First Part of Wallenstein. In 1828, 1829, and 1834 this table was omitted.DRAMATIS PERSONAEWallenstein, Duke of Friedland, Generalissimo of the Imperial Forces in The Thirty-years' War.Octavio Piccolomini, Lieutenant-General.Max Piccolomini, his son, Colonel of a Regiment of Cuirassiers.Count Tertsky, the Commander of several Regiments, and Brother-in-law of Wallenstein.Illo, Field Marshal, Wallenstein's Confidant.Isolani, General of the Croats.Butler, an Irishman, Commander of a Regiment of Dragoons.Tiefenbach,Don Maradas,Goetz,Kolatto,Generals under Wallenstein.Neumann, Captain of Cavalry, Aide-de-Camp to Tertsky.The War Commissioner,Von Questenberg, Imperial Envoy.General Wrangel, Swedish Envoy.Baptista Seni, Astrologer.Duchess of Friedland, Wife of Wallenstein.Thekla, her Daughter, Princess of Friedland.TheCountess Tertsky, Sister of the Duchess.A Cornet.SeveralColonelsandGenerals.PagesandAttendantsbelonging to Wallenstein.AttendantsandHoböistsbelonging to Tertsky.TheMaster of the Cellarto Count Tertsky.Valet de Chambreof Count Piccolomini.

[600:1]In 1800 the following table ofDramatis Personaewas prefixed to Act I ofThe Piccolomini, or The First Part of Wallenstein. In 1828, 1829, and 1834 this table was omitted.

Wallenstein, Duke of Friedland, Generalissimo of the Imperial Forces in The Thirty-years' War.

Octavio Piccolomini, Lieutenant-General.

Max Piccolomini, his son, Colonel of a Regiment of Cuirassiers.

Count Tertsky, the Commander of several Regiments, and Brother-in-law of Wallenstein.

Illo, Field Marshal, Wallenstein's Confidant.

Isolani, General of the Croats.

Butler, an Irishman, Commander of a Regiment of Dragoons.

Neumann, Captain of Cavalry, Aide-de-Camp to Tertsky.

The War Commissioner,Von Questenberg, Imperial Envoy.

General Wrangel, Swedish Envoy.

Baptista Seni, Astrologer.

Duchess of Friedland, Wife of Wallenstein.

Thekla, her Daughter, Princess of Friedland.

TheCountess Tertsky, Sister of the Duchess.

A Cornet.

SeveralColonelsandGenerals.

PagesandAttendantsbelonging to Wallenstein.

AttendantsandHoböistsbelonging to Tertsky.

TheMaster of the Cellarto Count Tertsky.

Valet de Chambreof Count Piccolomini.

[600:2]A town about 12 German miles NE. of Ulm.

[601:1]The Dukes in Germany being always reigning powers, their sons and daughters are entitled Princes and Princesses.1800,1828,1829.

[603:1]Spoken with a sneer.1800,1828,1829.

[1]are1800.

are1800.

After12[Casts his eye round.1817,1828,1829.

[24]Illo (hesitating).How so?1817,1828,1829.you1800,1828,1829.

Illo (hesitating).How so?1817,1828,1829.you1800,1828,1829.

Before25Isolani (interrupting him).1817,1828,1829.

[45]Illo (who has been standing in the attitude of meditation, to Butler, whom he leads a little on one side).And how, &c.1817,1828,1829.

Illo (who has been standing in the attitude of meditation, to Butler, whom he leads a little on one side).And how, &c.1817,1828,1829.

[48]me1800,1828,1829.

me1800,1828,1829.

[49]Illo (with warmth).And you?—You hold out firmly?[Grasping his hand with affection.1817,1828,1829.

Illo (with warmth).And you?—You hold out firmly?[Grasping his hand with affection.

1817,1828,1829.

[70]all1800,1828,1829.

all1800,1828,1829.

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