In 1773 he made a careful
revision
and
published it anonymously under the title of "Goetz von Berlichingen of
the Iron Hand"; it is in this form we possess the work now.
published it anonymously under the title of "Goetz von Berlichingen of
the Iron Hand"; it is in this form we possess the work now.
World's Greatest Books - Volume 17 - Poetry and Drama
Selbitz is dead, and the good emperor, and my George.
Give me some water! Heavenly air! Freedom!
[_He dies_.
ELIZABETH: Freedom is only above--with thee; the world is a prison.
LERSE: Noble man! Woe to this age that rejected thee! Woe to the
future that shall misjudge thee!
FOOTNOTES:
[A] The story of "Goetz von Berlichingen" was founded on
the life of a German soldier of fortune who flourished between 1480
and 1562. The possibilities of his biography inspired Goethe (Vol.
IV, p. 253) with the idea of doing for Germany what Shakespeare had
done for mediaeval England. In a few weeks he had turned the life into
a series of vivid dramatic pictures, which so engrossed him that he
"forgot Homer, Shakespeare, and everything. " For the next two years
the manuscript lay untouched.
In 1773 he made a careful revision and
published it anonymously under the title of "Goetz von Berlichingen of
the Iron Hand"; it is in this form we possess the work now. At a still
later period, in 1804, Goethe prepared another version of the play
for the stage. The subject-matter of "Goetz" is purely revolutionary.
Goetz, the hero himself, is a champion of a good cause--the cause
of freedom and self-reliance. He is the embodiment of sturdy German
virtues, the Empire and the Church playing the unenviable role of
intrigue and oppression. As a stage play, "Goetz" is ill-constructed,
but otherwise it stands a veritable literary triumph, and a worthy
predecessor to "Faust. " This epitome has been prepared from the German
text.
Iphigenia in Tauris[B]
_Persons in the Drama_
IPHIGENIA ORESTES
THOAS, _King of Tauris_
PYLADES ARKAS
_The scene throughout is laid in a grove before_ DIANA'S _temple in
Tauris_.
ACT I
IPHIGENIA _and_ THOAS.
THOAS: To-day I come within this sacred fane,
Which I have often entered to implore
And thank the gods for conquest. In my breast
I bear an old and fondly-cherish'd wish,
To which methinks thou canst not be a stranger:
I hope, a blessing to myself and realm,
To lead thee to my dwelling as my bride.
IPHIGENIA: Too great thine offer, king, to one unknown,
Who on this shore sought only what thou gavest,
Safety and peace.
THOAS: Thus still to shroud thyself
From me, as from the lowest, in the veil
Of mystery which wrapp'd thy coming here,
Would in no country be deem'd just or right.
IPHIGENIA: If I conceal'd, O king, my name, my race,
It was embarrassment, and not mistrust.
For didst thou know who stands before thee now,
Strange horror would possess thy mighty heart,
And, far from wishing me to share thy throne,
Thou wouldst more likely banish me forthwith.
THOAS: Whate'er respecting thee the gods decree,
Since thou hast dwelt amongst us, and enjoy'd
The privilege the pious stranger claims,
To me hath fail'd no blessing sent from heaven.
Give me some water! Heavenly air! Freedom!
[_He dies_.
ELIZABETH: Freedom is only above--with thee; the world is a prison.
LERSE: Noble man! Woe to this age that rejected thee! Woe to the
future that shall misjudge thee!
FOOTNOTES:
[A] The story of "Goetz von Berlichingen" was founded on
the life of a German soldier of fortune who flourished between 1480
and 1562. The possibilities of his biography inspired Goethe (Vol.
IV, p. 253) with the idea of doing for Germany what Shakespeare had
done for mediaeval England. In a few weeks he had turned the life into
a series of vivid dramatic pictures, which so engrossed him that he
"forgot Homer, Shakespeare, and everything. " For the next two years
the manuscript lay untouched.
In 1773 he made a careful revision and
published it anonymously under the title of "Goetz von Berlichingen of
the Iron Hand"; it is in this form we possess the work now. At a still
later period, in 1804, Goethe prepared another version of the play
for the stage. The subject-matter of "Goetz" is purely revolutionary.
Goetz, the hero himself, is a champion of a good cause--the cause
of freedom and self-reliance. He is the embodiment of sturdy German
virtues, the Empire and the Church playing the unenviable role of
intrigue and oppression. As a stage play, "Goetz" is ill-constructed,
but otherwise it stands a veritable literary triumph, and a worthy
predecessor to "Faust. " This epitome has been prepared from the German
text.
Iphigenia in Tauris[B]
_Persons in the Drama_
IPHIGENIA ORESTES
THOAS, _King of Tauris_
PYLADES ARKAS
_The scene throughout is laid in a grove before_ DIANA'S _temple in
Tauris_.
ACT I
IPHIGENIA _and_ THOAS.
THOAS: To-day I come within this sacred fane,
Which I have often entered to implore
And thank the gods for conquest. In my breast
I bear an old and fondly-cherish'd wish,
To which methinks thou canst not be a stranger:
I hope, a blessing to myself and realm,
To lead thee to my dwelling as my bride.
IPHIGENIA: Too great thine offer, king, to one unknown,
Who on this shore sought only what thou gavest,
Safety and peace.
THOAS: Thus still to shroud thyself
From me, as from the lowest, in the veil
Of mystery which wrapp'd thy coming here,
Would in no country be deem'd just or right.
IPHIGENIA: If I conceal'd, O king, my name, my race,
It was embarrassment, and not mistrust.
For didst thou know who stands before thee now,
Strange horror would possess thy mighty heart,
And, far from wishing me to share thy throne,
Thou wouldst more likely banish me forthwith.
THOAS: Whate'er respecting thee the gods decree,
Since thou hast dwelt amongst us, and enjoy'd
The privilege the pious stranger claims,
To me hath fail'd no blessing sent from heaven.
