Wallenstein E-Book

Flora Kimmich

• Herausgeber: Open Book Publishers
• Kategorie: Sachliteratur, Reportagen, Biografien
• Sprache: Englisch

Veröffentlichungsjahr: 2017

Beschreibung

By the time Frederich Schiller came to write the Wallenstein trilogy, his reputation as one of Germany’s leading playwrights was all but secured. Consisting of Wallenstein’s Camp, The Piccolomini and Wallenstein’s Death, this suite of plays appeared between 1798 and 1799, each production under the original direction of Schiller’s collaborator and mentor, Johann Wolfgang von Goethe. Across the three plays, which are now commonly performed and printed together, Schiller charts the thwarted rebellion of General Albrecht von Wallenstein. Based loosely on the events of the Thirty Years’ War, the trilogy provides a unique perspective on an army’s loyalty to their commander and the machinations and intrigues of international diplomacy, giving insight into the military hero who is placed on the threshold between these forces as they are increasingly pitted against one another.The Wallenstein trilogy, formally innovative and modern beyond its time, is a brilliant study of power, ambition and betrayal. In this new translation—the latest in a long line of distinguished English translations starting with Coleridge’s in Schiller’s lifetime—Flora Kimmich succeeds in rendering what is often a difficult source text into language that is at once accessible and enjoyable. Coupled with a complete and careful commentary and a glossary, both of which are targeted to undergraduates, it is accompanied by an authoritative introductory essay by Roger Paulin. Kimmich’s translation will be an invaluable resource for students of German, European literature and history, and military history, as well as to all readers approaching this important set of plays for the first time.

Leseprobe

WALLENSTEIN

Wallenstein

A Dramatic Poem

By Friedrich Schiller

Translation and Notes to the Text by Flora Kimmich

Introduction by Roger Paulin

https://www.openbookpublishers.com

Translation and Notes to the Text © 2017 Flora Kimmich.

Introduction © 2017 Roger Paulin.

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Friedrich Schiller. Wallenstein: A Dramatic Poem. Translation and Notes to the Text by Flora Kimmich. Introduction by Roger Paulin. Cambridge, UK: Open Book Publishers, 2017. http://dx.doi.org/10.11647/OBP.0101

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Open Book Classics Series, vol. 5 | ISSN: 2054-216X (Print); 2054-2178 (Online)

ISBN Paperback: 978-1-78374-263-9

ISBN Hardback: 978-1-78374-264-6

ISBN Digital (PDF): 978-1-78374-265-3

ISBN Digital ebook (epub): 978-1-78374-266-0

ISBN Digital ebook (mobi): 978-1-78374-267-7

DOI: 10.11647/OBP.0101

Cover image: Rolf Werner Nehrdich, Wallenstein standing between Max and Thekla (detail). Courtesy of Zentralinstitut für Kunstgeschichte Munich, CC BY 4.0.

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Contents

Translator’s Note

Flora Kimmich

1

Additional Resources

3

Introduction

Roger Paulin

5

Wallenstein’s Camp

17

Prologue

19

Characters

23

Act One

25

The Piccolomini In five acts

59

Characters

61

Act One

63

Act Two

80

Act Three

101

Act Four

120

Act Five

134

The Death of Wallenstein A tragedy in five acts

147

Characters

149

Act One

151

Act Two

172

Act Three

193

Act Four

235

Act Five

261

Notable Names

287

Notes to Wallenstein’s Camp

293

Notes to The Piccolomini

297

Notes to The Death of Wallenstein

305

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Translator’s Note

This attempt at Schiller’s Wallenstein seeks to bring that extraordinary trilogy to young people in college-level instruction and to the general reader. It joins Fiesco1 in a growing series of translations, with commentary, of Schiller’s major plays, which Open Book Publishers makes freely available to a wide readership.

Endnotes add brief information to clarify the many historical references in the text; they comment on the rare obscurities and repeatedly they call attention to a web of internal reference that draws a work of nearly eight thousand lines into a dense, capacious whole. These references are noted by act, scene, and line number to bring before the reader ever and again the economy that distinguishes drama from the other genres.

A glossary of Notable Names intends to give quick aid when the reader cannot keep all the Friedrichs and Ferdinands here entirely straight or quite remember where it was that Tilly met his end. It also offers a small amount of information beyond the endnotes, particularly on the historical dimension of figures whom Schiller has reinvented for the purposes of his great drama.

For both the endnotes and the glossary I am deeply indebted to Frithjof Stock, editor of the edition Deutsche Klassiker, Frankfurt am Main, 2000, the text on which the translation is based, and to the ever-concise and evergreen Columbia Encyclopedia, third edition, New York, 1963. Roger Paulin, generously, helped me rid the text of weighty Latin words and other blots. Alessandra Tosi presided over it all with patience and forbearance and a fund of good solutions. Christoph Kimmich’s conversation sustained me in this whole long labor, to say nothing of his resourcefulness in wrestling a typescript as thorny as was this one from an unyielding computer.

Additional Resources

Readers can freely access the original German text of Schiller’s Wallenstein (Stuttgart and Berlin: J. G. Cotta’sche Buchhandlung Nachfolger, 1911) at Project Gutenberg, http://www.gutenberg.org/ebooks/6518

A reading of the drama (in German) is freely available at LibriVox, https://librivox.org/wallenstein-ein-dramatisches-gedicht-by-friedrich-von-schiller

1 Friedrich Schiller, Fiesco’s Conspiracy at Genoa, edited by John Guthrie, translated by Flora Kimmich (Cambridge: Open Book Publishers, 2015), https://www.openbookpublishers.com/product/261

Gerhard von Kügelgen, Friedrich Schiller (1808–1809), oil on canvas, https://commons.wikimedia.org/wiki/File:Gerhard_von_Kügelgen_001.jpg. Image in the public domain.

Introduction1

Roger Paulin

© 2017 Roger Paulin, CC BY 4.0 http://dx.doi.org/10.11647/OBP.0101.01

Schiller first encountered the figure of Wallenstein as a subject during his work on his History of the Thirty Years’ War, published in 1792. There, it was a question of pitting King Gustavus Adolphus of Sweden against his main rival, Albrecht Wallenstein, duke of Friedland. According to Schiller’s scheme at the time, this involved contrasting the figures of the king, an “idealist” but not unmoved by political motives, with Wallenstein, the “realist,” power-hungry and following these aims pragmatically. Yet in the course of work on his History, Schiller developed a more nuanced view of Wallenstein, still unscrupulous and a victim of his own overweening ambition, but invested nevertheless with more admirable human qualities, such as generosity, always towering above his contemporaries as a figure in history.

The idea of treating this subject in dramatic form dates from as early as 1791, with work beginning in 1793. By 1796, he could confess to Goethe that the sheer mass of material was forcing him to think beyond the confines of conventional tragedy. His philosophical studies, and his close contact with Goethe, enabled him to envisage a subject that was rooted in the here and now—“realistic”—but which gained formal dignity through the ideal constraints of art. In this way, Schiller was able to create a tragic character, in moral terms blameworthy, but from whom paradoxically we cannot withhold our admiration.

By 1797, following Goethe’s advice, Schiller concluded that a play—a “dramatic poem,” as he eventually called it—of this density and complexity could not be contained in five acts of verse, nor indeed in two full-length dramas. By 1798, the play had assumed its present form, a trilogy, Wallenstein’s Camp in old-fashioned rhyming verse, then The Piccolomini and The Death ofWallenstein in the blank verse of the German classical high tragedy. At its first performances in Berlin and Weimar in 1798, a shortened version of parts Two and Three was presented. In 1800 appeared the full three-part version that we have today.

Critics and commentators are in general agreement that Wallenstein represents the pinnacle of Schiller’s achievement as a dramatist.2 Contemporaries like Goethe and Wilhelm von Humboldt sensed that this was a new high point in German tragedy. Goethe had followed the genesis of the play in his correspondence with Schiller and was even behind the idea of using a trilogy as the only aesthetically satisfactory means of presenting the vast panorama of history. Coleridge’s and Constant’s translations are an indication of its reception beyond Germany.3

Only those critics who identified one-sidedly with another tradition or with different notions of tragedy found fault with Wallenstein. Hegel around 1800 saw no religious sense behind the presence of fate in the drama, comparing it unfavorably with Greek tragedy.4 Tieck in 1826 found the love scenes superfluous and not organic to the action, making comparisons with Shakespeare’s very different technique in Romeo and Juliet.5Otto Ludwig in 1859 found Wallenstein’s “reflective” nature unheroic and untragic and—crucially—un-Shakespearean.6Wallenstein does not reduce so easily to the classic relations between free will and necessity that inform traditional tragic practice.

These criticisms indicate nevertheless that the modem writer of tragedy is bound to be subjected to the scrutiny of the two major traditions that go before him: Greek drama and Shakespeare, in German terms “fate” versus “character.” Anyone who cares to look will find elements of Sophocles or Shakespeare (especially Henry IV, Macbeth and Richard III)or even Racine in Wallenstein. We know that the reading of Shakespearean plays during the early stages of work on the play helped Schiller to resolve, to his own satisfaction, the questions of history, fate, and character. But we need to bear in mind that Schiller’s historical and aesthetic sense was that of his own age and its needs. He was deeply aware of the unique and irrevocable nature of classical antiquity, the “unrepeatability” of Sophocles. Similarly, his reading of Shakespeare recognized elements irreconcilable with his own dramatic practice. His dramatic development—from The Bandits to Fiesco to Don Carlos—shows a move away from Shakespearean characterisation to figures in the guise of the idealist. These act not so much out of the passions and emotions in themselves, but come to represent a kind of philosophical postulate (freedom in the case of Karl Moor, “freedom of thought” in the case of Marquis Posa). In that sense, Wallenstein,with its ambiguities, is hardly a continuation of Schiller’s dramatic practice of the 1780s.

There is another major difference. Schiller, between writing Don Carlos and Wallenstein,had been active on two fronts. He had been a practicing historian, and he had committed to writing abstract notions about the idea of human moral freedom in the work of art. Is Wallenstein therefore a demonstration in dramatic form of, say, Schiller’s reception of Kant? It has been common to test Wallenstein against some aspects of Schiller’s indebtedness to Kant: the categories of “sublime” and “beautiful,” of “realist” and “idealist,” of “moral” and “esthetic.” But none in practice gives secure purchase. The aim of theatre to create “the true artistic world of the poet,” the world of aesthetic “semblance,” of “free play” against the merely material, is only partially fulfilled in the sombre interplay of mankind and history.

We must always remember that Schiller is a dramatist to his fingertips, not a philosopher who thinks in dialogue. Yet it is right to seek a philosophical, theoretical and dramatic centre to this play, a problem around which it revolves. Goethe, so much involved in its genesis, believed he had put his finger on it in 1799: it was the “fantastic mind” associated with “the great and idealistic,” as against “base real life.”7 But how could one square those fairly abstract ideas with the material that underlies the whole action, the history of Wallensteinin his own age? Wilhelm Dilthey, looking back on the emergence of the genre in the nineteenth century, called Wallenstein the first German historical drama.8 That is certainly true in the sense that Schiller is in this play closer to his historical sources than in any other (despite the invention of Max and Thekla). It is also true in that Schiller agonized over the material he had expertly marshalled in his History of the Thirty Years’ War and its sources and over the best way to present it dramatically. We might question whether his deference to Goethe’s suggestion of a trilogy was the best solution, especially since Schiller was acutely aware of Goethe’s shortcomings as a dramatist.

Yet Schiller never regarded history as more than the quarry from which he drew the raw material for the finished work of art. History is a means to an end, nothing more. But he possesses nevertheless the historian’s sense of a great figure standing out from his own age, incorporating it, explaining its currents and impulses, part of it yet transcending it. He does not abandon the ability to document, but he has the capacity to sum up what is dramatically essential in history. “Thus Wallenstein fell, not because he was a rebel, but he rebelled because he fell,”9 is the proposition in History of the Thirty Years’ War. It is a philosophical paradox, and an aphorism, held together in the rhetorical figure of the chiasmus. It is stating that Schiller is not primarily concerned with the tradition of the rise and fall of the great, the pattern that informed Greek and Senecan tragedy. Wallenstein cannot be explained solely in terms of superbia, hubris, overweening ambition, although they are part of his character. Rather he displays a sense of the inadequacy of the material world, a will to change that glimpses beyond the world of the senses to some kind of ideal state. This is the aspect of Wallenstein which Schiller found most fascinating. He is not like Macbeth; we can clearly trace the steps leading up to his crime and the stages towards his downfall. Wallenstein’s dramatic graph is different. At the timeof the action, over a decade of the Thirty Years’ War is past, with Wallenstein’s greatest deeds of heroism and generalship, the years of Tilly and Gustavus Adolphus, the battle of Lützen, now over.

Rather it is the sense of an age that Schiller wishes to convey. Indeed his prologue had expressed the appropriateness of the work of art to sum up the essentials of his own times:

Not unworthy of the exalted

Moment, the time in which we live now

(Prologue,55f.)

Historical drama, as an esthetic exercise, may point to the great movements and commotions of its own age, in Schiller’s case the aftermath of the French Revolution (the reference is to the First Consul, Bonaparte). By the same token, the work of art is not bound to the limits of its own circumstances; art by its very nature raises and transcends:

[…] and rather give her thanks

That she would play the gloomy world of Truth

Over onto the serene world of Art,

That she herself undoes forthrightly the

Illusion that she has created, does

Not substitute its Seeming for that Truth.

Our lives are earnest and our art serene.

(Prologue,131–38)

How can “the gloomy world of Truth” and “the serene world of Art” be reconciled, and how can they be made to reflect both the historical moment and a transcendent ideal?

Schiller’s use of the trilogy to some degree reflects the resolution of this. Wallenstein’s Camp presents us with the great general’s power base, not the man himself; The Piccolomini centres on the conflict between father and son, Octavio and Max Piccolomini; The Death ofWallenstein brings us the act of rebellion and the downfall. Each part of the trilogy has its own terms of reference and “feel.” Schiller does not follow the Shakespearean pattern of alternation between high and low styles—a pattern that has consequences for nineteenth-century verse tragedy in general. The Piccolomini and The Death ofWallenstein are characterized by the interior setting of French tragedy, with its restricted numbers on stage, and use of verse (here blank verse). The Camp stands out formally through the use of “Knittelverse” and their “old German” or Faustian associations and the comic mode of the Capuchin’s Sermon. Wallenstein does not appear. For this is the army that is occupying Bohemia and draining its substance. It is characterized by venality, materialism, the forces of fortune and chance.

Schiller’s own commentary is “The camp alone explains his crime” [my translation]interpenetration of all spheres of the high tragedy by the Camp. We see this in the very first scene of The Piccolomini,where the generals, not the soldiery are assembled, with its military language, its use of foreign words in the original, and above all the accentuated theatricality of its stage directions (“lost in thought,” “with meaning,” “startled”). Buttler’s “We shall not go from here the way we came” (68) has an ominous ring—when we know of his later role in Wallenstein’s fall. We sense that Wallenstein’s power base is built not on high ideals but on mercenary service and plunder. The much-vaunted charismatic power of Wallenstein to raise armies—another reason why Buttler must murder him in the night before the Swedes are due to arrive—is based also on his power to pay (“this princely man” as the venal condottiere Isolani calls him, 87). Wallenstein is aware of this, as he stoically notes when Isolani deserts him for the Emperor (Death of Wallenstein,1967f.). It is the world of the Camp—but reflected in its highest officers—that enters into the proceedings at the banquet in The Piccolomini where Isolani and Illo brawl, that disturbs the action of The Death ofWallenstein,in the representatives of the Pappenheim regiment, that explains the mentality of Buttler and his hired assassins, and which ultimately underlies the punchline of the whole play, “It’s for Prince Piccolomini.”

We should not overlook that, at significant moments in the play, Wallenstein does fulfil the claims made about him in the Camp:he demonstrates an unsentimental and almost brutal attitude towards those in power and those close to him. We might cite here the scenes with Questenberg and Wrangel, his attitude to Thekla, and his insensitive dismissal of Max as a potential son-in-law. Instead, once his power to act is invoked—as at the end of The Death ofWallenstein I, 1—his personality shows a formidable and awesome aspect, confirming Max’s words at the end of The Piccolomini:

For this regal man, in falling,

Will bring a world down in the aftermath.

And like a ship on the high seas that flames

Up suddenly and, bursting, flies apart,

Flinging its crew out between sea and sky,

Just so will he take all of us, attached

As we are to his fortunes, down with him.

(The Piccolomini,23–91)

The first two lines suggest the Shakespearean analogy with Caesar; the image of ship and fortune—but with explosive power of expression—reminds us the century that produced both the historical Wallenstein and baroque drama.

Goethe, in the first important analysis of the play, contrasted the “base reality” of power and the “fantastic mind” of an ideal that this world cannot fulfil.10 We note in The Piccolomini and in the early scenes of The Death ofWallenstein the preoccupation with the word “time”: that it is not yet time to act, that things will be ordained in their own time. This is not merely the hubris of the Macbeth-like ruler (for hubris involves choosing the wrong time): Wallenstein also believes in a constellation of things beyond time. Think of the opening of The Death ofWallenstein:

WALLENSTEIN. Such favorable aspect! That great threesome

Converges fatefully; the two good stars,

Venus and Jupiter take spiteful Mars

Between them, force that vandal to serve me.

[…]

SENI. These two great lights unthreatened now by any

Star Melficus! Saturn rendered harmless,

Quite without power, in cadente domo.

WALLENSTEIN. His rule is over, Saturn’s is, the god who

Controls the birth of secret things in Earth’s

Dark womb and in the depths of our own hearts,

Disposes over all that shuns the light.

The time is past for brooding and reflecting,

For Jupiter, most brilliant, governs now

And draws a work prepared in darkness forth

With force into the realm of light. Quick! Time

To act, before the happy constellation

Above my head eludes me once again,

For change is constant on the dome of heaven.

(Loud knocking at the door.)

(The Death of Wallenstein,9–30)

Here Jupiter (majesty) and Venus (beauty) hold destructive Mars in check, and Saturn, the earth, is powerless. “The most brilliant” (27), not “all that shuns the light” (25), is in control. This alone gives Wallenstein the assurance that he can act. How different from Macbeth who trusts the witches. And yet he cannot act as he would wish. Note the stage directions (“Loud knocking at the door”); Terzky arrives, then Wrangel. In the next scene, the instruction (“He makes great strides through the room, then halts again, reflecting”) stresses the anguished necessity of acting within time. Political man does not enjoy the luxury of reflexion, of “when courage drove me/ Freely” (172f.), of “From a full heart” (l68), let alone the ideal esthetic freedom which Schiller sees as vested in “the beautiful.” This scene, relatively abstract in its language, trusting in trope, where the images do not come tumbling out as in Shakespeare, is in many ways the turning-point of the tragedy. But is everything programmed for downfall and disaster merely because Wallenstein has decided that his options are foreclosed and he must act? Rather, it talks of things that once seemed to be (“dream,” “hope” (143); a “full heart,” 168) and that no longer are. These are words connoting freedom from constraint, creations of the mind, imaginings indulged. They lifted him from time: now he must act in time. They raised him above the demeaning effects of “the commonplace” (199): he now must grapple with them.

This pivotal scene may tell us what the tragedy of Wallenstein is. Of course, Schiller calls only The Death ofWallenstein a “tragedy:” the whole play is “a dramatic poem,” the more neutral term that Lessing’s Nathan the Wise hadmade current. Does that mean that the world of Wallenstein’s Camp, as it spills over into The Piccolomini,is less tragic than the trilogy’s dénouement? The first two parts are more closely linked with the actual stuff of political power and the jostlings for supremacy in that world. Wallenstein’s great monologues, like the one in The Death of Wallenstein I, 4, seem hardly to form part of this, showing as they do a character too complex to be confined in categories of good generalship or a warlord’s fortune. He has always been complex: trusting moods, intuitions, signs, coincidences, as he chooses. Now, he is forced to act. That does not make him tragic, although there is a tragic irony underwriting all of his tactical decisions. Surely what makes the major characters in this play tragic, not just Wallenstein, but Max, Thekla or Octavio, is that they have identified something beyond the historical and political moment, to which they appeal—in vain. It is summed up in the abstract noun that occurs repeatedly in this play: “heart.” It signifies something different at each usage, and it is never uncontaminated with other, often baser, associations. It situates this play in both the lexis and self-awareness of idealism and the cult of feeling: not the grand deeds that spur on the action in Shakespeare, but the appeal to inner sentiments. It is one reason why Schiller, in his explicit stage directions, wishes us to experience the interplay of inner and exterior reactions. It is what always sets Schiller apart from Shakespeare, even when the sentiments, as with Karl Moor or Marquis Posa, are often stridently expressed or inadequately excogitated. Had Wallenstein been Macbeth, he would have said at Max’s death: “He should have died hereafter.” Instead, his pondering of what “the beautiful” in a human life might mean takes him into a moral sphere quite different from Macbeth’s. Had he been merely the “realist” of Schiller’s theory, he would not have allowed his mind to rise above the pragmatics of the situation. But “heart” is multivalent and ambiguous, like “remembrance” in Hamlet or “honest” in Othello. It means love, honour, probity, the integrated self; it helps to explain why loyalty can become a key issue in this historical drama, so unlike the naked struggles in Shakespeare’s Histories. But examining one’s heart means also consulting other interests: Octavio’s appeal to Max’s heart also involves imperial and dynastic loyalties; Wallenstein, similarly, but also Max’s “between you and the promptings of my heart” (Death of Wallenstein,696), which, as we know, means as much choosing Thekla as remaining loyal to Emperor Ferdinand. “Heart” also invites us to think, not in categories (such as “beautiful soul”) but according to human experience. Max’s desperate end cannot be read as “beautiful”: what is there left to live for? Wallenstein’s heart goes out to Max—it is in human terms the most convincing love in the play—but it cannot be divorced from retaining the Pappenheim regiment and it rules out Max as a son-in-law. Hence we are seized and moved by Wallenstein’s “heart” in the elegiac mode of Acts Four and Five of The Death ofWallenstein when there can be no more manoevrings and temporizings—and when thugs are planning his murder. Octavio is never more tragic than when he realises at the end that “heart” involves losing a son in the cause that he espouses.

The figure of Max distinguishes this play further from Shakespeare, a figure who represents “the beautiful,” while, as we saw, drawn into the world of reality by family affiliation and profession. Shakespeare’s technique is different: his villains, Richard or Macbeth, are so commanding that they steal the show from the powers of legitimacy (Richmond, Malcolm). Yet Schiller’s play is not just a conflict between, in his terms, the “idealist” and the “realist.” Max’s despair and death do not belong in the pure realm any more than Wallenstein’s actions. But it is Wallenstein who enunciates the principle of pragmatic action, while also looking beyond it. That is the sense of his famous speech in the second act of The Death ofWallenstein, “Young, one is quick to seize upon a word” (755ff.), with its awareness of the contrasting spheres of “wide” or “pure” as opposed to “crude,” “bad” or “deceitful,” its essential call for compromise, its opposition to what Max calls “heart.” Through an irony, it is only after Max’s death that Wallenstein can appreciate the “dream” of humanity he sees Max as representing:

To me he made real stuff into a dream (3324)

Max, as son, as the object of affection (“child/ Of my own house” 2089f.), brings out the inner side of the ruler, hidden from the world of the Camp (The Death of Wallenstein,III, 18). One thinks of Thomas Mann’s gloss on the line “my Max would ever leave me” (2092) [my italics],11 where Wallenstein’s little word sums up his moral dilemma. He is bound by forces of affection, but he also needs Max’s regiment as part of the retention of power.

Max, too, is linked with that other aspect of Wallenstein’s belief in some higher awareness. The well-known speech in The Death ofWallenstein,II, 3 (“My dream took me into the thick of battle,” 896ff.), where Wallenstein’s vision is written off by pragmatists as “chance”, is in fact a defence of Max’s father Octavio. Wallenstein’s belief is guaranteed by an inner sense of security and wellbeing. But we note that Max, by an irony in the economy of the action, finds his death in a scene (IV, 10) which echoes Wallenstein’s original dream vision.

Thus in the last scenes of the play, as Wallenstein accepts the guilt for Max’s death, we sense almost a sublimity, (in Schiller’s sense) entering in. It is not real, but dramatically devised. Wallenstein has not so much changed; he is not on an ascendant moral curve. But our esthetic satisfaction demands that his end be different from Macbeth’s or Richard’s. Think of the moving scene V, 3, with its renunciation of “baleful planets that deceive us” (3309). It contrasts with the tragic sense of impending catastrophe and end, and rises above the sphere of the brutal Buttler and his henchmen. The heavens are darkened; the atmosphere is lyrical; Max is the light of his life, not extinguished, but safe from the things that have held Wallenstein in their thrall, fate,’ “planets,” “misfortune” and “hour” (3603ff.). Yet for all that, Wallenstein has not entirely abandoned his hopes for the coming day, which for him will never dawn. It takes us back to his earlier monologue in the first act (I, 4). His ambition is not just to rule, but to fulfil a vision of change, to set new values against

The commonplace, eternal Yesterday,

What’s always been, is always coming back

Tomorrow will be good since it was good today.

[...]

Precious old hoardings, got from his ancestors! (199ff.)

It is a vision, not of habitual recurrence, but of change. It lifts us—momentarily only—above intrigue. It deludes Wallenstein into thinking that ambition, double-dealing, and the naked exercise of power may be justified if the end is worthwhile. It is this vision which constitutes the major difference between Octavio (and by extension the Emperor) and Wallenstein, between the old order and a glimpse of the new. It is related to Max’s vision of peace and “humanity” in The Piccolomini I, 4. But Wallenstein is too taken up with the present, with the ambition of a crown, a dynasty, a pax romana, to grasp the full implications of this “humanity.” He sees fulfilment in the other, Max, not in himself. Wallenstein still sets his face against the real future, which we know will bring his demise and the tragic denouement for Max there is no future to fear:

For him no future waits, for him no fate

Spins treachery; his life now lies laid out

Without a fold or wrinkle, and it shines,

Immaculate, it lies beyond time’s reach,

And he’s beyond both hope and fear, beyond

Unsteady, baleful planets that deceive us.

His lot is happy!

(The Death of Wallenstein,3301–10)

1 This Introduction is largely based on my ‘Schiller, Wallenstein,’ in Peter Hutchinson (ed.), Landmarks in German Drama (Bern, 2002), pp. 47–57 (by kind permission of the publisher, Peter Lang).

2 For an account of the reception of Wallenstein, with an extensive bibliography, see Schillers ‘Wallenstein,’ed. by Fritz Heuer and Werner Keller, Wege der Forschung 420 (Darmstadt, 1977). See also Friedrich Schiller: ‘Wallenstein:’ Erläuterungen und Dokumente,ed. by Kurt Rothmann, Reclams Universal Bibliothek 8136 [3] (Stuttgart, 1982). Recent studies in English include T.J. Reed, The Classical Centre. Goethe and Weimar 1775–1832 (Oxford, 1980), pp. 136–49; also Schiller,Past Masters (Oxford and New York, 1991), pp. 80–85; Lesley Sharpe, Schiller and the Historical Character. Presentation and Interpretation in the Historiographical Works and in the Historical Dramas (Oxford, 1982), pp. 72–105; and Friedrich Schiller, Drama, Thought and Politics (Cambridge, 1991), pp. 217–50; F.J. Lamport, ‘Wallenstein on the English Stage,’ German Life and Letters,48 (1995), 124–47.

3 Colerige's translation of the play (1891 edition) is available at https://archive.org/details/dramaticworksoff00schiuoft; Constant's (1809 edition) at https://fr.wikisource.org/wiki/Livre:Constant_-_Wallstein,_1809.djvu

4 G.W.F. Hegel, ‘Uber Wallenstein,’included in Schillers ‘Wallenstein,’ed. by Heuer and Keller, pp. 15f.

5 Ludwig Tieck, ‘Die Piccolomini. Wallensteins Tod,’ ibid., pp. 21–40.

6 Otto Ludwig, ‘Schillers Wallenstein,’ ibid., pp. 47–52.

7 Goethe, ‘Die Piccolomini. Wallensteins erster Teil,’ ibid., pp. 3–9 (p. 9).

8 Wilhelm Dilthey, ‘Wallenstein,’ ibid., pp. 74–103 (p. 76).

9 All German quotations from Schiller are taken from Sämtliche Werke,ed. by Gerhard Fricke, Herbert G. Gopfert and Herbert Stubenrauch, 5 vols (Munich, 1960), here IV, 688. Wallenstein translationquoted in text with part and line number.

10 Goethe, ‘Die Picolomini,’ in Schillers ‘Wallenstein,’ed. by Heuer and Keller, p. 8f.

11 Thomas Mann,included in Schillers ‘Wallenstein,’ed. by Heuer and Keller, pp. 139–56 (p. 141).

WALLENSTEIN’S CAMP

Translation © 2017 Flora Kimmich, CC BY 4.0 http://dx.doi.org/10.11647/OBP.0101.02

A Mounted Croatian Pikeman

How many stranger troops one doesn’t see today

In many a German town, and mostly with dismay.

Their curious outfits are cause for wide alarm;

We wish them home again, not in our house and barn.

Seventeenth-century image of a mounted Croat, armed with a pike, https://commons.wikimedia.org/wiki/File:Zeitgenössische_Abbildung_eines_Kroatischen_Reiters.JPG. Image in the public domain.

Prologue*

Spoken at the reopening of the Weimar Playhouse, October 1798

The play of smiling and of weeping masks

To which you’ve often lent a willing eye

And ear, devoted raptly your attention

Unites us once again within this Hall.

And see! It has made itself young again. Art,

With ornament, has made it a bright temple,

And a harmonious spirit speaks to us

In all these noble columns’ orderly ranks

And turns our senses and our feelings festive.

And yet this still remains our old playhouse, 10

The cradle of so many young men’s gifts,

A field of exercise for growing talents.

We are the Old Guard; long before your time

We formed ourselves here, fervent, full of longing.

A noble master once stood in this place,

Where his creative genius lifted you,

Enchanted, to the clear heights of his art.

Oh, may the worth of this renewed space draw

Into our midst the worthiest of talents

And bless us with the brilliant realization 20

Of hopes that we’ve long carried in our hearts.

A grand example rouses emulation

And raises judgment to a higher standard.

Thus may this circle, may this new stage stand

As witnesses of talent brought to perfection.

Where would it rather want to try its powers,

Refresh, renew acclaim of long ago

Than here before this chosen circle that,

Susceptible to every magic Art makes,

With feelings lightly prompted into motion 30

Seeks after Mind in its most fleeting form.

For, quick and traceless, mimic art, a wonder,

Escapes, goes past, evades the senses, while

The image made by hammer and by chisel,

The song made by the poet live for millennia.

The magic made here dies out with the artist;

The fleet creation of the moment fades away

The way that resonance dies in the ear,

Its fame preserved by no work that will last.

For Art is hard and praise of it will pass, 40

Posterity weaves no garlands for the Mime.

And so he must be chary with the present,

Must fill the moment that is his entirely,

Assure himself of his contemporaries’ favor,

And in the feelings of the Best and Worthiest

Erect a living monument to himself.

Thus he anticipates his name’s eternity,

For one who’s done enough to satisfy

The Best of his own time has lived for all time.

The era that the art of Thalia opens 50

Upon this stage today emboldens also

The poet, leaving accustomed things behind,

To lift you from the narrow circles of

Quotidian life onto a higher scene

Of spectacle not unlike the exalted

Moment, the time in which we live now, striving.

For only a grand object has the power

To move man in his deepest human depths;

In narrow circles thinking also narrows,

And mankind grows, expands with larger purpose. 60

Here at the grave end of our century, where

Even reality has turned to poetry,

Where we see mighty natures struggle and

Perceive a weighty goal before us, and

Where the great objects of humanity,

Where rule and freedom are contested mutually,

There, too, may Art upon a shadow stage

Attempt a higher flight, indeed she must,

If she’s not to be shamed by Life’s great stage.

In tatters we see lying these days an 70

Old solid form once given Europe’s kingdoms

By peace one hundred fifty years ago,

The precious fruit of thirty years of war.

Now let the poet’s fantasy once more

Bring this dark time before your inner eye,

That you may look more happily upon the

Present and to the future’s hope-filled distance.

Into the midst of that war now the poet

Places you. Sixteen years of laying waste,

Of robbing, snatching, misery have flown by. 80

Over the earth dark masses swarm and seethe;

No hope of peace glows even from a distance;

The realm’s a no-man’s-land of arms and weapons;

The cities are a desert, Magdeburg

Is rubble, trade and manufacture dead;

The citizen is nothing, the soldier everything;

Unpunished, insolence despises mores;

Raw hordes encamp themselves, gone wild in endless

Fighting, about us on the ruined earth.

Against this gloomy ground an undertaking 90

Of bold exuberance and a dauntless, rash,

And daring character stand out in contrast.

You know him: the man who made brave armies,

The idol of his men, scourge of the countryside,

The Kaiser’s best man and his nemesis,

The child of Fortune, her adventurous son, who,

Exalted by the favor of the times,

Ascended quickly to the highest honor

And, unappeased, still striving onward, upward,

Fell victim to his ravenous ambition. 100

Observed by partisan love and hate, his profile

Remains uncertain in the gaze of History.

For your eyes now and for your hearts let Art

Make him more human here and bring him closer.

For Art, which binds and limits, leads all things,

Also the most extreme ones, back to Nature.

It sees the man embattled in the press

Of life and rolls the better half of his guilt

Over onto the luckless constellations.

He’s not the one who comes before you on 110

This stage today. But in the countless armies

That his command leads mightily, his spirit

Inspires, his shadow image will come out

To meet you. The shy Muse then will dare to

Present him to you as a living figure,

Because it is his power that misleads

His heart; his Camp casts light upon his crime.

Therefore forgive the poet if it’s not

Directly and at once that he would lead you

To reach the goal of this great action, if he 120

Dare only to develop that grand object

Before you in a series of tableaux.

Thus may the play we give today win your ear

And heart for unaccustomed sounds and voices,

May it transport you back to that far time,

Back onto that far theater of war that

Our hero will soon fill with deeds.

And if

The Muse today, unhampered goddess of

Both dance and song, should modestly lay claim

To her old German right to play with rhyme, 130

Spare her your blame and rather give her thanks

That she would play the gloomy world of Truth

Over onto the sparkling world of Art,

That she herself undoes forthrightly the

Illusion that she has created, does

Not substitute its Seeming for that Truth.

Our lives are earnest and our art serene.

Characters

SERGEANT TRUMPETER } from Terzky’s regiment of Carabiniers

MASTER-GUNNER

SHARPSHOOTERS

Two HOLK HORSEMEN

DRAGOONS from Buttler’s regiment

ARQUEBUSIERS from the Tiefenbach regiment

CUIRASSIERS from a Walloon regiment

CUIRASSIERS from a Lombard regiment

CROATS

UHLANS

RECRUIT

CITIZEN

PEASANT

PEASANT BOY

CAPUCHIN FRIAR

ARMY SCHOOLMASTER

CANTEEN KEEPER

A WAITRESS

ARMY CHILDREN

OBOISTS

Before the city of Pilsen in Bohemia

Scene One

A Canteen Keeper’s Tent with a booth selling small wares standing before it. Soldiers wearing all colors and insignia throng the scene; all the tables are full. Croats and Uhlans cook over a charcoal fire; the Canteen Keeper pours wine; Camp Children roll dice on a drumhead; singing in the Tent.

A Peasant and his Son.

PEASANT BOY. Father, this will come to a rough end,

Let’s stay clear of these tough men.

That’s no company for you;

They could harm us through and through.

PEASANT. Pooh! They won’t eat us up for lunch,

Though they are a rowdy bunch.

Look there! New troops to join the line,

Fresh from the Saale and the Main,

Bringing booty, the rarest treasure;

It’s ours if we take good measures. 10

A captain whom another knifed

Left me with these lucky dice.

I aim to try them out today,

See if their old magic’s still in play.

Just pretend you’re poor and dumb,

They’ll be your best pals and chums.

They like to be flattered, to hear praise flow—

It’s easy come and easy go.

When they rob us by the roomful,

We claw it back from them by the spoonful; 20

And while they’re gross with their big swords,

We’ll be fine with tricks and words.

(Singing and laughter from the Tent.)

What a racket! Faith abide!

It all comes out of the peasant’s hide.

For eight months now that greedy swarm

Lies in our bed and in our barn;

For miles around, on every place,

Of flesh or fowl they’ve left no trace,

So that for hunger and wretchedness

We have to gnaw on our own fists. 30

I swear to God it was no worse

With Saxon fingers in our purse.1

And they say they’re the Kaiser’s best!

PEASANT BOY. Oh, here’s a bunch who’ve left the rest

But don’t look like there’s much to take.

PEASANT. They’re locals, that’s Bohemia’s make,

Belong to Terschka’s2 Carabiniers

And have long been quartered here.

They’re the worst of the whole pack,

Stick out their elbows, arch their back, 40

And make as if they are too fine

To share with us a glass of wine.

But I see three Sharpshooters there

On the left around the fire.

Tiroleans is what they seem to me.

Emmerich, come! Let’s go and see

Those jolly fellows, as good as any,

And in their pockets, a pretty penny.

(They go toward the tents.)

Scene Two

As above. Sergeant. Trumpeter. Uhlan.

TRUMPETER. Who’s that peasant? Out, you thieving sneak!

PEASANT. My lords, a little bite to eat! 50

We’ve had nothing warm these last two days.

TRUMPETER. Oh, they must always feed their face.

UHLAN (with a glass). Let me! I’ll take him off your hands.

(He leads the Peasant toward the Tent; the others come forward.)

SERGEANT (to the Trumpeter).

Do you think it’s just by chance

We’re paid a double wage today?

Just so we can live this way?

TRUMPETER. Today the Duchess comes to us

With the Princess—3

SERGEANT. That’s just fuss.

It’s the troops from foreign lands

Who’ve met here at Pilsen in fighting bands— 60

It’s to lure them, don’t you think,

With something good to eat and drink,

So that they’re quickly satisfied

And our alliance ratified.

TRUMPETER. For sure, they’re cooking something up!

SERGEANT. The generals and commandants—

TRUMPETER. A show of brass you cannot top!

SERGEANT. Who swarm through camp like busy ants—

TRUMPETER. Have not come here to answer roll.

SERGEANT. The back-and-forth, the whirligig— 70

TRUMPETER. Oh, yes!

SERGEANT. And from Vienna, that big-wig,4

Who drifts through camp, out on a stroll,

Him with that little chain of gold,

Is here for something, I make bold—

TRUMPETER. Another bloodhound, and no fluke,

To sniff out our loyal Duke.

SERGEANT. They don’t trust us, plain to see,

And fear Friedland’s plans-to-be;

He has climbed too high for them,

They’re sent here to saw off his limb. 80

TRUMPETER. We’ll stand by him, we two and more.

SERGEANT. Our regiment, with the other four

That Terschka leads, by marriage his brother,5

Are resolute and like none other;

We hold to him, to him we’re suited,

The one by whom we were recruited.

All his captains he installs,

And they are his as in a thrall.

Scene Three

A Croat with a necklace, trailed by a Sharpshooter. As above.

SHARPSHOOTER. You, Croat! That necklace you stole—

I’ll trade you for it; you can’t use’t. 90

I’ll trade this pair of terzeruole.6

CROAT. Nix, nix. You cheat me, you Sharpshoot.

SHARPSHOOTER. I’ll throw my blue cap in, to boot—

From roulette, the one that I just won.

You see? The grandest in the world!

CROAT (letting the sunlight play on the necklace).

You see? She’s garnet and she’s pearl.

You see? She sparkles in the sun!

SHARPSHOOTER (taking the necklace).

You’ll get my water bottle, too;

(examining the necklace)

It’s just for the sparkle—this to-do.

TRUMPETER. Look how that Croat’s getting took! 100

Halfies, Sharpshoot, and I’ll keep quiet.

CROAT (putting the cap on).

I like your cap. I like the look.

SHARPSHOOTER (signaling the Trumpeter).

We trade now! (To the others.) You see me buy it!

Scene Four

As above. Master-Gunner.

MASTER-GUNNER (approaching the Sergeant).

How is it, Brother Carabinier?

How long do we stay and warm our hands,

Now the foe’s in the field in every land?

SERGEANT. What’s your hurry, Gunning Master?

The muddy roads are still a disaster.

MASTER-GUNNER. No hurry. Me? I’m content to be here;

But an express has come in, to our cost, 110

To tell us Regensburg’s been lost.

TRUMPETER. Aha! That means we’re soon in the saddle.

SERGEANT. Oh, sure! To take up that Bavarian’s battle?7

Who hates and harries our General so?

For him our swords will never rattle.

MASTER-GUNNER. Is that so? What-all you don’t know!

Scene Five

As above. Two Horsemen. Then a Canteen Keeper. Camp Children.

Schoolmaster. Waitress.

FIRST HORSEMAN.8 Now isn’t that a sight to see!

The very best of company!

TRUMPETER. What kind of Greencoats can they be?

Look sleek and proud and pleased to me. 120

SERGEANT. Holk’s Horse. Those silver trappings there

Did not get bought at the Leipzig Fair.9

CANTEEN KEEPER (bringing wine).

Gentlemen, welcome!

FIRST HORSEMAN. Why, I’m blown to bits!

If it isn’t our Gustel from Blasewitz!10

CANTEEN KEEPER. Indeed it is! And this Misseu

Is long tall Peter from Itzehoe?

Who went through many a golden fox11

Of his father’s—why, he emptied his socks—

At Glückstadt at the equinox—

FIRST HORSEMAN. Now I’ve traded my pen for the cartridge box. 130

CANTEEN KEEPER. Well, well! If we two aren’t old friends!

FIRST HORSEMAN. And meet again in Bohemian lands.

CANTEEN KEEPER. One day this place, tomorrow another,

The way the bristly broom of war

Sweeps us one way, then the other,

I’ve gotten around, both near and far.

FIRST HORSEMAN. I can believe it—that and more.

CANTEEN KEEPER. All the way to Timisoar

I pulled that cart and all it held

When we were chasing that Mansfeld.12140

Held out with Friedland before Stralsunde—13

It was there my business went under—

With the relief to Mantua,

Pulled out again with Feria,14

And with a Spanish regiment

I made a detour back to Ghent.

Here in Bohemia I pursue it,

Try and collect what I have lent,

See if the Prince will help me do it.

And that there is my canteen tent. 150

FIRST HORSEMAN. It’s all together on one spot.

But what have you done with that Scot

Who went around with you back then?

CANTEEN KEEPER. A rascal! How he took me in!

He’s gone! Took with him all the savings

I’d scraped together from life’s leavings

And left me with that worthless moppet—

CAMP CHILD (comes bouncing up).

Mama! Are you talking about my papa?

FIRST HORSEMAN. Oh, he’s fed from the Kaiser’s purse, it’s

To renew the army, reimburse it.15160

SCHOOLMASTER (entering).

Off, you scamps! Back to the schoolroom!

FIRST HORSEMAN. For them, too, it’s the voice of doom.

WAITRESS (entering). Aunt, they’re leaving.

CANTEEN KEEPER. Right away!

FIRST HORSEMAN. Well! Who is that charming little piece?

CANTEEN KEEPER. My sister’s child. Has come to stay.

FIRST HORSEMAN. Oh, she’s your pretty little niece?

(The Canteen Keeper goes off.)

FIRST HORSEMAN (stopping the Girl).

Stay a minute, charming child.

WAITRESS. But guests are waiting this long while.

(She escapes and goes off.)

FIRST HORSEMAN. That little girl—she’s an ace,

And her aunt, by the Sacrament! 170

How all the gents from the regiment

Wanted to kill for her pretty face!

Oh, the people one meets and how time flies!

What I’ll yet see with my own eyes!

(To the Sergeant and the Trumpeter.)

My worthy lords, I drink to you.

Come! Let’s sit and talk a bit.

Scene Six

Horsemen. Sergeant. Trumpeter.

SERGEANT. To sit with you is only fit.

Bohemia welcomes your brave crew.

FIRST HORSEMAN. Nice here. Out there among the foe

We found our pleasures mighty few. 180

TRUMPETER. Who’d know, to see you turned out so?

SERGEANT. In Meissen, Saale,16 all the same,

You don’t enjoy a spotless fame.

SECOND HORSEMAN. Quiet, you! Attack our name?

The Croat was something else again—

Left us just gleanings to bring in.

TRUMPETER. On your collar, that’s Breton lace!

And how your trousers stay in place!

Finest linen and plumed hat!

Who can take it up with that! 190

That the likes of you should have such luck,

And we get nothing for all our pluck!

SERGEANT. We, who are Friedland’s own regiment!

We are owed respect and honor.

FIRST HORSEMAN. We don’t think that’s kindly meant!

We, too, carry his name in our banner.

SERGEANT. But you belong to the common creed.

FIRST HORSEMAN. And you think you’re a special breed?

The only difference is our dress,

And mine is better than the rest. 200

SERGEANT. Lord Ranger, why be so unpleasant?

It’s living out there with the peasant.

Perfect manners, proper tone—

They’re learned from the General’s example alone.

FIRST HORSEMAN. And what has that example shown?

How he hawks and how he spits—

For you that’s a perfect fit.

But his smarts and his sharp wits—

They don’t fit in barracks kit.

SECOND HORSEMAN. Just ask about us from a stranger: 210

You’ll hear we are Friedland’s Rangers

And to the name are no disgrace!

March past friend and foe, keep pace

Across the planted fields of corn,

Where they all know Holk’s hunting horn!

In an instant, far and near,

Like the torrent, we are there,

The way that hot flames in the night

Strike a house and put to flight.

There’s no escape and no defense, 220

There’s no more order, no more sense.

Our strong arms tame the struggling maid—

War spares no one, gives no aid.

Ask around—this is no boast—

In Bayreuth, Vogtland, and a host

Of other lands that we’ve passed through

Children’s children will tell you

For centuries yet of Holk’s Horse

And how we are a mighty force.

SERGEANT. There you have it: all that clatter— 230

Is that what makes the soldier matter?

His timing makes him, good sense, glance,

His thinking, understanding, stance.

FIRST HORSEMAN. It’s freedom makes him. With you who doubt it

Why do I even talk about it?

Did I leave training, bolt from school

Just to sit on that same stool,

Scribble, copy, play the clerk

In camp here, where there’s real man’s work?

I’ll live high, I’ll work and play, 240

Have new adventures every day,

Not think past this very minute

And the fun and freedom in it.

That’s why I went and made the trade:

The Kaiser gets me, I get paid.

Lead me to the firing line

Or over the ripping, racing Rhine,

Where every third man’s left behind:

I’ll not give you trouble there.

But I’ll not stand it anymore 250

To be thwarted anywhere.

SERGEANT. Nothing else you’re asking for?

We’d find it tucked into your doublet.17

FIRST HORSEMAN. What a nuisance, how much trouble it

Was with Gustav18—made a chapel

Of his camp. At every appel—

At reveille, again at taps—

He made us pray, take off our caps.

If we would not pull a long face,

Himself, he’d put us in our place. 260

SERGEANT. Oh, he was a God-fearing man.

FIRST HORSEMAN. No fun with girls, no chance to falter,

We had to lead them to the altar.

Too much for me! I cut and ran.

SERGEANT. I’d bet they’ve now removed that ban.

FIRST HORSEMAN. I went to join the League instead,

Arming against Magdeburg, they said.19

That was different altogether,

Birds they were of another feather,

Beer and dice and lots of girls, 270

Jolly, easy-going brothers.

Tilly20 let us join that whirl,

But in his own life kept better weather.

As long as it was no expense,

“Live and let live” was his sense.

But after Leipzig, the reversal,21

A different play was in rehearsal:

Our luck ran out, the workings balked,

The whole machine ground to a halt.

Where we arrived and asked admittance, 280

We heard, “Get out! To you, good riddance!”

We skulked along from place to place—

No one would give us any space.

So I thought I would pin my hope

On Saxon bounty, turn my coat.

SERGEANT. Oh, then you came just in time

For the Bohemian booty.22

FIRST HORSEMAN. Wouldn’t rhyme.

Strictest discipline. We could not impose

Our will on them like proper foes;

Could only guard the Kaiser’s castles, 290

Show up for duty in ruffles and tassels.

How we made war was just a joke,

Fencing bravely with mirrors and smoke;

Afraid to give anyone offense anywhere,

Service, in short, with no honor to spare,

So dull I nearly went berserk

And ran back home to be a clerk.

Just then throughout the country all

Good men were answering Friedland’s call.23

SERGEANT. And how long will you stay with us? 300

FIRST HORSEMAN. As long as he holds sway with us.

It’s to his star I’ll hitch my wagon;

What soldier makes a better bargain?

Here we get a real soldier’s charge

And everything is written large.

A spirit lives in every corps

That, like the wind, with rush and roar

Rips even the slowest rider along.

We’re taller here than the civilian throng,

The way the marshal’s taller than the prince. 310

It’s like times used to be long since,

When the sword still had its meaning

And one thing only was demeaning:

Refusing orders—a hanging offense.

It’s not forbidden? You have leave;

And no one asks you what you believe.

One thing only counts a lot:

What is army, what is not.

I’ll show the flag: that’s my best shot.

SERGEANT. Bravo, Soldier! All that sounded 320

Like the best of Friedland’s mounted.

FIRST HORSEMAN. What a commander! He’s not sitting

In Bohemia to do the Kaiser’s bidding.

It’s not for his sake he has fought

Or his victories been wrought.

Has he used his high command

To bring protection to the land?

He wants to found a soldiers’ state,

Ignite the world on a hot grate,

Make himself its potentate.24330

TRUMPETER. Sh! Such a thing—you shouldn’t say it!

FIRST HORSEMAN. I say what I think—the way it

Is allowed us: Speech is free.

SERGEANT. The General said that. His decree:

“Speech is free, speechless the deed,

Obedience blind.” This is his creed.

FIRST HORSEMAN. If he said exactly that

I do not know. But it is so.

SECOND HORSEMAN. His luck in the field always holds fast,

It never gives out, it’s a permanent boon. 340

Tilly’s good angel deserted too soon,

But the spell he casts makes his luck last.

One who fights at his direction

Has special powers for protection,

For all the world knows perfectly well

That he keeps in his service, feeds at his table,

Pays the wages of a demon from Hell.25

SERGEANT. And nothing can pierce him. No one is able.

Out onto Lützen’s bloody plain26

He rode under fire falling like rain, 350