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Digital: audio file. Summary Die Zirkusprinzessin. Lieber Himmelvater sei nicht bos Kaiserin Josephine. Sag ja mein Lieb, sah ja Das Veilchen vom Montmartre. A new Pope is to be chosen. Their own interests are the first con- sideration. Gregory is a disappointment to the Jesuits.

Now is the time to select a Pope who will guard their interest, a Pope whom they may rule. Wir hatten uns Zu sehr darauf verlassen, ihn zu leiten, Zu sehr darauf, dass er der Unsure sei. Very cleverly Montalto knows how to play into the hands of all parties. His feigned physical inability de- lud. To calm the feelings of the audience excited by the in- trigues and machinations of the cardinals in their choice of the Pope, Minding has effectively introduced a lively bandit scene in the streets of Rome, in which the corrupt conditions under Gregory's reign are vividly portrayed.

The scene has been motivated in the key-note scene. Bandits no doubt have killed Mathilde's father and brothers. Mariana appears on the scene just as the banditti under the protection of the sbirre are fighting with the citizens. The weight of Mathilde's words are brought home to him. He feels that he must act; and consequently allies himself with the citizens' party. Just then Montalt o appears and at once recognizes that Mariana is trying to 'win the people for a revolutionary cause. Trouble is in store for the future. The initial impulse in the Mariana -Math ilde plot is em- phasized in a scene between the two.

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Mathilde rejoices over the stand that her lover has taken in the banditti scene, but Mariana becomes disheartened at the task before him, and he suggests to Mathilde to go with him and live in peace in some foreign country. Eut Mathilde is too patriotic to share that view and threatens to leave him unless he will act. This thought of possibly losing her makes him subservient to her will at once, aid he humbly vows: Montalto is busily contriving to overcome the opposition of the old church as well as that of the people's party led by Mariana.

A street scene at night is skillfully introduced to show the secret strife between Mariana and Montalto.

Get PDF Sag: Ja, ich will (JULIA 1873) (German Edition)

Mariana comes with a lantern and posts bills on the statues of Marforio and Pasquin to make the statues speak for him to the people. The citizens find them the next morning and, as they read them, the watchful Mariana enters to counteract Montalto T s ir ork, seeing that he has been outwitted. A revolution must be planned immediately. He tells the people of the great wrongs and impositions to which they are subjected, he flatters them and appeals to their honor.

Nein, noch ist nichts verloren, wenn ihr wollt. The people fere to gain follo'wers for their cause, organize under captains from each ward, and then remain quiet and wait for further directions from Mariana. Each faction now would rather support the old feeble cardinal than cooperate with one another.

Toledo, general of the Jesuits, recognizes that Montalto is using their motto to gain his end, but since it was done for the aggrandizement of the church, Toledo absolves him from all sin and promises him his sup- port. This brings us to the climax in the wonderful scene of the conclave which Karl Frenzel, the eminent critic, describes as "one of the grandest and most excellent pictures for an audience, a picture which in its color and tone even surpasses the citizen scene in J ulius Caes ar: Montalto has been elected Pope Sixtus V.

Now comes the surprising transformation in the frail old man. He lays aside his assumed frailty, seized the reins of the papal government with a firm hand, and announces his policy to an astonished and trembling people. The Jesuits feel that they have been deceived and defeated in their aims. The nobility and the people distrust him. While his policy sounds benevolent, he at the same time saya with a ring of true despotism: From the overpowering, picturesque conclave-scene, ire are suddenly taken to a private room where we find Mathilde and Mariana in a conversation plotting against the newly elected Pope v'hom they feel they cannot trust.

This scene makes a serious in- cision in the dramatic action. What we would expect is to see Sixtus V at work as Frenzel points out. Everything developed naturally from the given situations in which the will of ambi- tious characters expressed itself. The poet has, however, not con- vinced us of the necessity of the scene between Mathilde and Mariana.

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This scene does not fit in well with the setting; and yet, while retarding the action, it can hardly be omitted, if Mariana's future action as head of the revolutionists is to be intelligently understood, since it motivates and makes Mariana's future action as the leader of the revolt intelligible. However that may be, the scene remains one of the weak spots in the drama. After this retarding scene we find the Pope, who was "not made for contradictions", at work meting out justice to the op- pressed as well as to the criminals, disregarding all established customs and corrupt practices of the former papal rulers.

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When the day's work is done, Sixtus V opens his great and good heart to the chaplain and discusses the benevolent plans he has of bringing salvation to all suffering humanity. It is a solemn, impressive hour, and it wins the sympathy of the audience for the formerly crafty old man. This serenely peaceful and sacred hour of an all embracing love for mankind is suddenly shocked out of existence by tumultuous cries of revolt.

But Sixtus V is equal to the situation. The rabble which is still unconsciously true to the church, suddenly forgets its revolutionary intent and falls upon its knees as the Pope commands and shows them the monstrance or the cross. Mariano alone stands and is sent to exile. This scene may be considered the climax in the nobility plot while the immediately following exile marks the tragic inci- dent. The whole scene is drawn with the highest degree of dramatic skill and its effect on the stage must be tremendous.

In the opening scene of Act IV, the Pope receives dis- tinguished visitors, such as Michel Angelo, Tasso, and Galilei, apparently to impress the audience with the high degree of intelli- gence and the wide sphere of interest of Sixtus V, and the value he places on art and science, as factors in spiritual and material progress for the human race.

This scene, no doubt, is interesting to the reader, since it brings him in contact with great artists and scientists of the old world, but from a theatrical point of view, it retards the action and it introduces characters that have nothing to do with the development of the drama excepting that it serves as a further characterization of the hero. We might, however, consider this scene as an arrest of the catastrophe, and as a means to emphasize the tragic end of Sixtus V when it comes. The drama now hastens with striking dramatic effect to the crisis -deed. Toledo comes to Sixtus V to verify the rumor that he intends to change the mode of electing popes by choosing his own successor.

Both men stand face to face, man to man, looking into each other's hearts. Sixtus V sees his mortal enemy before him and says: Am Tore vor der Engelsburg gehangt. The latter seizes the opportunity to communicate with his private secretary, Mcrosini, whom Mathilde is ju3t visiting, to get consolation in her psychic crisis over the uncertain fate of her exiled lover. A messenger now arrives from Toledo, who grants Morosini full power to act and also tells him thot Mariana has been captured and will be hanged at this moment.

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Quick action now is necessary. Morosini thinks of Mathilde. She is the tool to deal the death blow to Sixtus V. She must now choose between her lover and the Pope. She also feels that she is guilty of Mariana's fate and must save him. A little poison will save him as Morosini says. The die is cast. He announces that he will restore old forgotten laws, purge the Church of evil practices and give to every man his rightful place, his peace, and justice.

The historical Pope Sixtus V, makes a similar speech in the consistory saying that "two things have en- gaged his attention: The people receive food as a coronation gift "but he refuses to distribute money, as Buocampagno requests in view of the ancient custom of Rome. Very drastic measures are taken. Instead of granting them the amnesty for which the cardinal asks Sixtus V, he orders the banditti to be hanged. Panke's Hist, of the Popes. The Caesars and consuls and prefects have invented it to Tin the people; Sixtus: I will have none of that.

The carrying of short weapons was forbidden. Four men from Cora nearly related to each other were taken with such weapons upon them, "On the next day the time for the coronation the oppor- tunity was taken to intercede for the young men's pardon. Not a slave to sleep; he was never seen to pass a leisure moment unoccupied with thoughts of study or business.

The great crown- gift to the people is to be peace, order, and justice.


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His aim is to see all mankind happy on earth by bringing heaven closer to man. The weakness of Gregory's government aggravated the mischief. Amnesty was granted to some and assumed by others. Ranke's History of the Popes. Murders and robbers formerly peaceful citizens adopted this kind of life to escape the hands of the Jesuits.

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Companies of ban- dits and assassins combined for the purpose of violence and blood- shed, and plunders were noted for their crime and cruelty. The most criminal and those who perpetrated the greatest atrocities were held in the highest honor and endowed with titles. Even churches were robbed of their holy utensils, all roads were in- fested by these desultory marauders. Sixtus tolerated no contradiction. After a busy day he is found still at work in the late hours of the night, thinking and discussing the program of his government and.