In jenes Krieges Mitte stellt Euch jezt Ist Schutt,5 Gewerb und Kunstfleiß liegen nieder,6 9 8 Im langen Krieg, auf dem verheerten Boden. X Auf diesem finstern Zeitgrund malet sich 10 Ein Unternehmen kühnen Uebermuths Und ein verwegener Charakter ab.10 Ihr kennet ihn den Schöpfer kühner Heere,11 12 Der von der Zeiten Gunst emporgetragen,1 - 1 find - geflohn, have elapsed. 2 In-Massen, in a chaotic mass. 3 Friedenshoffnung, hope of peace. 4 Tummelplay, arena. 5 Schutt, in ruins. See Int. I. 6 Gewerb nieder, commerce and industry lie prostrate. 7 gilt, counts for. 8 Frechheit, license. 9 verwildert im, brutalized by a. 10 Auf- fich ab, upon the gloomy background of these times stands forth. 11 i. e. Wallenstein. See Int. I. 14 ungesättigt, insatiate. 17 Schwankt sein Charakterbild, the representation of his character stands doubtful. Doch Euren Augen soll ihn jezt die Kunst, 5 Nicht er ist's, der auf dieser Bühne heut Denn seine Macht ist's, die sein Herz verführt; 9 Darum verzeiht dem Dichter, wenn er Euch Vor Euren Augen abzurollen 14 wagt. Und Euer Herz den ungewohnten Tönen;1 Und wenn die Muse heut, Des Tanzes freie Göttin und Gesangs, 3 Ja3 danket ihr's, daß sie das düstre Bild Der Wahrheit in das heitre Reich der Kunst 7 1 Nearly all the German plays were, till the production of,,Wallenstein's Lager," written in prose, and a play in verse was equally new to the public and the actors. It is interesting to read in the literary annals of Germany, what pains her two greatest poets took to teach the actors how to recite the verses in the present drama. 2 The old German poems were chiefly written in rhymed distichs. 3 Ja, rather. 4 hinüberspielt, transfers. The author expresses here the idea, that we ought to be thankful to the Muse of poetry for enlivening the gloomy picture of the reality of those times, by shedding over it a tint of artistic beauty, and thus reminding us of the fictitious character of the action. 5 aufrichtig, frankly. for. THE misery and demoralization of the peasantry during the Thirty Years' War are forcibly painted in the opening scene, where the wretched and wily peasant does not shrink from corrupting his own son. Some soldiers approach, and one of them takes the poor rustics to the Sutler's tent. The Trumpeter and Sergeant-Major now gravely discuss the state of affairs, and express their apprehension, that mischief is brewing against the Generalissimo. They are interrupted by the knavish bartering between a Sharpshooter and a Croat, which incident is followed by the communication of the Artilleryman, that Ratisbon has been taken by the enemy. This news, which is received in a lukewarm manner, is soon forgotten in the merry meeting between the First Chasseur and the Sutler Woman. The latter startles her old friend by the graphic account of her warlike expeditions, and when she is called back to her tent, a lively conversation arises among the troopers as to the merits of their respective corps, and the true purpose of a soldier's life. The First Chasseur, by relating the story of his adventures, presents a vivid picture of the various contending armies, in the ranks of all of which he had tried his fortune. A young recruit is now brought forward, who, by his stubborn resistance to the warnings of a citizen friend, shows the demoralizing influence which those unsettled times exercised on the young. The general mirth which is produced by the arrival of the musicians of Prague, is suddenly interrupted by a Capuchin, who rushes into the company and delivers a vehement sermon to the soldiers, rebuking them for their riotous and wicked life. He is patiently listened to, but as soon as he attacks the Generalissimo himself, he is forced to beat a retreat. The Sergeant-Major enlightens his comrades on the Capuchin's allusions to Wallenstein's mysterious character, when a tumultuous scene arises. The peasant, whose false play has been discovered, is dragged forward amidst the ominous threats of the soldiers. The humane Arquebusiers take his part, and a general quarrel would have ensued but for the energetic interference of the First Cuirassier. The minds of the soldiers are now turned on more serious matters: they have learnt that some regiments are to be separated from the body of the army, and sent into the Netherlands, and they cannot help agreeing with the Sergeant-Major, that this demand is only the prelude to Wallenstein's final dismissal, and the disbanding of the army. The admonitions of the Arquebusiers, that the Emperor's orders must be obeyed, find little favour with the adherents of the Generalissimo, and the malcontent troopers resolve to protest against a separation from Wallenstein, and to make young Piccolomini their spokesman. The soldiers are in high glee at the bold resolution, and join in a spirited, warlike chorus. |