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The German Classics of the Nineteenth and Twentieth Centuries, Volume 04
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BUGBEAR (assumes his natural form).
A pretty good purse—of course one must sympathize with human weakness.
[Enter HINZE.]
HINZE
With your permission—(aside) Hinze, you must pluck up courage—(aloud) Your Excellency!
BUGBEAR
What do you wish?
HINZE
I am a scholar traveling through this region and wished to take the liberty of making your excellency's acquaintance.
BUGBEAR
Very well, then, make my acquaintance.
HINZE
You are a mighty prince; your love of justice is known all over the world.
BUGBEAR
Yes, I don't doubt it. Do sit down!
HINZE
They tell many wonderful things about Your Highness—
BUGBEAR
Yes, people always want something to talk about and so the reigning monarchs must be the first to be discussed.
HINZE
But still, there is one thing I cannot believe, that Your Excellency can transform yourself into an elephant and a tiger.
BUGBEAR
I will give you an example of it at once. (He changes into a lion.)
HINZE (draws out a portfolio, trembling).
Permit me to make note of this marvel—but now would you also please resume your natural charming form? Otherwise I shall die of fear.
BUGBEAR (in his own form).
Those are tricks, friend! Don't you think so?
HINZE
Marvelous! But another thing—they also say you can transform yourself into very small animals—with your permission, that is even far more incomprehensible to me; for, do tell me, what becomes of your large body then?
BUGBEAR
I will do that too.
[He changes into a mouse. HINZE leaps after him, the Bugbear flees into another room, HINZE after him.]
HINZE (coming back).
Freedom and Equality! The Law is devoured! Now indeed the
Tiers—Etat! Gottlieb will surely secure the government.
SCHLOSS
Why, a revolutionary play after all? Then for heaven's sake, you surely shouldn't stamp!
[The stamping continues, WIESENER and several others applaud, HINZE creeps into a corner and finally even leaves the stage. The playwright is heard quarreling behind the scenes and then enters.]
PLAYWR
What am I to do? The play will be over directly—everything would perhaps have run smoothly—now just in this moral scene I had expected so much applause. If this were only not so far away from the king's palace, I would fetch the peacemaker; he explained to me at the end of the second act all the fables of Orpheus—but am I not a fool? I became quite confused—why, this is the theatre here, and the peacemaker must be somewhere behind the scenes—I will look for him—I must find him—he shall save me! (Exit, returns again quickly.) He is not there, Sir Peacemaker! An empty echo mocks me—he has deserted me, his playwright. Ha! there I see him—he must come forward.
[The pauses are always filled by stamping in the pit and the playwright delivers this monologue in recitative, so that the effect is rather melodramatic.]
PEACEMAKER (behind the scenes).
No, I will not appear.
PLAYWR
But why not, pray?
PEACEMAK
Why, I have already undressed.
PLAYWR
That doesn't matter. (He pushes him forward by force.)
PEACEMAKER (appearing in his ordinary dress, with, the set of bells).
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Так получилось, что книга ко мне попала в тяжелый эмоциональный кризис и многое мне дала. Написано актуально, тут многих полезных вещей, никакого злоу...
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