FIGtm-S OF SPEECH JH TPr ORA&AS OF FETMIICH KXpatSTf AW IM^'STl.GATI;ji I WTO CLKISf»S OTT.E itr Boas Flivood Beckonstoes, Jr# r Thesis sutasitted to the Faculty of the Graduate School o f the U niversity of isiyXand in p a r t ia l fu lf i llm e n t of the requirements fo r the degree of Doctor of Philosophy 1943 UMI Number: DP70264 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI DP70264 Published by ProQuest LLC (2015). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arhnr, Ml 48106 - 1346 11 kCWtQ^rxmmr 1 wish to express jay measureless thanks to Dr* A* E* Sucker fo r Ms encouragement and h is f r ie n d ly , in sp irin g advice* He was of invaluable help to sic in h is d irec tio n of th is th e s is through a l l the stages of i t s development* To Miss Edytbs £%ard 1 a lso owe sincere thanks fo r her carefu l Mid in te llig e n t f in a l tra n sc rip tio n of isy long manuscript* 101458 ABSTRACT OF THESIS Mam© s Bom Flwood Baekexistoas, Jr# Previous Degree®* B* M», 1934} B* A#, 1935} *1. A*, 1938* This .Degreei Ph# D*, 1943* T itle ©f Thesis* Figure® of Speech in th e Dram* o f H einrich t o o K leist* An In v ea tig a tic ii in to H e is t * a Style* D irected by* Dr# A* 1# 2ueker# Major and Deperteemtt dam an, Department of Modem Languages# Miners and Department® i French, Depsrtomit o f Modem languages# Philosophy, Depart­ ment o f Philosophy# Pages In T hesisi 505 Kurds in A bstract* 388 This th e s is i s an in v estig a tio n of the follow ing kinds of figure# of speech in th e dramas of .Heinrich von K leiet* metaphor, s im ile , e p ith e t, hyperbole, oath , proverb, pun, d ia le c t, v u lg a rity , and Latin# Ike purpose of the in v estig a tio n Is to d iscover the em otional thane# th a t moti­ vate la rg e r o r sm aller groups of such fig u res of speech in th e in d iv id u a l play® in order to determine &lei®t»© usage in th is respect# Moreover, th is th e s is o ffe rs a complete l i s t of the fig u res of speech under d iscussion , making possib le fu tu re study of these fig u res fr m o ther view points w ithout the prelim inary arduous task o f co llec tin g them# Chapter I i s an in troduction and a statem ent of the method to be employed* together w ith d e fin itio n s of the various fig u res ©f speech to be studied,# Chapters I I through I I t r e a t H e is t1® e ig h t plays and the em otional themes fo r th e i r figu res of speech in extenso* Chapter I i s a smHutgr* in which th e re i s a re ­ ca p itu la tio n of the «8©ti©fml theaos in the d if fe re n t plays and conclusions about H e is t1® usage of these em otional themes as motives fo r groups o f fig u res o f speech* as w ell as a d iscussion of the ecnparatlvw frequency of c e rta in types of figu res in tb s d iffe re n t kinds of plays represented# Hyperboles* fo r instance* occur w ith f a r g rea te r frequency in H e is t1® two c la s s ic a l plays* Guiakard and P en theailasi d ia le c t much more frequently in the two comedies* ito h ttry c p and Dgr serbrocbens jrq g « fab le Ho* I I l lu s t r a te s these Table Ho* I I shew th e ©actant t© which figu res of speech are c la s s if ia b le in groups m otivated by the es-ioti anal themes found in th e plays# Although the percentage I s e s se n tia lly the same fo r the f i r s t f iv e plays and i s much h igher fo r the l a s t th roe plays* no conclusions can be drawn about the cause fo r th is on the b asis of the p lay s1 comparative excellence* th e ir tragi© or conic* ly r ic o r r e a lis tic * mature or immature* or c la s s ic a l character# A Table Ho# 111 shows th a t fig u res o f speech occur w ith much Xmm frequency in the grosp of the l a s t th ree plays than In the group o f the f i r s t f i ts # Again th e ch aracte r of the p lays does no t fu m tsh any v a lid reasons fo r th is d ifferenee* k l i s t o f mLX th e l i te r a tu r e s ite d i s Included# S im ilar stu d ies o f the f i t s rm o f speech of- o ther d ram atists would fu rn ish m ateria l fo r in te re s tin g cmparijsmm which e ig h t lead to laore d e f in ite conclusions. Si4 ta b le of c m m m Fage ISTRODDCTIOi <. , - - - - ------------------------ X GIJISKARB 12 DIE FAMIUE SOIiaOFFEIlSmi ---------------------------------- 29 u a m m m ^ .---------- ----------------- - 03 Dm zrm B m m m m m ~ — ----------------- - ~ 162 PE8THESI1XA ------------------ ~ ~ -----------214 BAS KAIfffOlEH' VCM fflHBRCKX - - - - ------------------- -2 0 9 m r mmmifMsscHUCB? — ------------ ■---------- 36a m m z f r i e d r i c h vm n o m m -------------------- 421 CORCXASIOV • ~ ■----------- - - - - - - - ---------------------- 4 6 2 LIST or TABUS Table I* T otal F igures o f Speech --------- 501 Table IX* R elation of C la ss ifia b le to Ilnelas s if ia b le Figaros of Speech - - - - - - - - - - - - 508 Table I I I * Comparative Frequency o f F igu res o f Speech - - ---- --- - 5©f LITERATURE CITEB - - - - - - - ------ --------------------- --- 504 Of th e many d iffe re n t aspect® f rm which m a u th o r's dm m ttQ works may be studied# th a t o f the language used i s mm which may y ie ld very p ro fita b le re su lts In giving mi a H ille r in s ig h t in to th e c rea tiv e genius o f th e poet* I t i s the purpose o f tM e d te s e r to tto i to study the fig u re s of speech in th e dramas of H einrich woe H e is t in an attem pt to lo am more about M s c rea tiv e method* th e p a rtic u la r figure© of speeeh to be discussed are* in alpha­ b e tic order* d ia lec t* ep ith e t* hyperbole* Latin* metaphor* oath* proverb* jam* sim ile and v u lgarity* Frca th e above l i s t i t can be seen th a t the term "fig u re of speech* i s used a rb itr a r ily , fo r such "figures* as d ia lec t* Latin* and oath we have no t found In any of the sch o la rly works on fig u res of speech# Mer a re we unaware of th e ordinary M e tin c tlcn drawn between "fig u re o f speech* and "fig u re of rhetoric#* according to which the fig u re s in our l i s t* exduding d ia lec t* L atin and oath should a l l be c a lle d "fig u res o f rheto ric* — fig u res in which th e re i s a dev iation f r m the ordinary thought or meaning 0f a word ©r words* The above fig u res of speech a re e s s e n tia lly the same a s th ese we tre a te d in a m a te r1© th e s is on K le ls t'a Bar aerbrochane Knag#* They sew ed of prime importance fo r a d iscussion of the fig u re s o f speech in th a t p lay j end although c e rta in of the® ©ecur seldom* i f a t a ll* in some o f H e is t 's e th e r plays* occasionally they a re o f even g re a te r is^portence th a t in £§£ Zerbrochene Krug* IM i noo^ceurenee in case ©r more plays of a kind of fig u re of speech which i s s ig n ific a n t in another play* ra th e r than making th a t category u se less fo r cospur- Isoms* may give decisive clues about how H e is t changed h is s ty le* adapting i t to th e d iffe rin g m ateria ls be tris iied In d if fe re n t plays* D efin itions fo r the various kinds o f fig u res of speech a re sons-* tim es ©astreaely d if f ic u l t , sad even I f s s a tis fa c to ry d e fin itio n I s a rriv ed a t , th e in te rp re ta tio n o f th a t general d e fin itio n alien im plied to in d iv id u al oases often e n ta ils such su b jectiv e decisions th a t I t would be d if f ic u l t to f in i two people who agree e«K>Iet«ly on any la rg e iwyhar of iiidividuR l examples* So th a t the reader nay understand d g mi have t p cle ied c e rta in examples sad here ewfrliWSed e th ers ^ lee n ig h t consider proper m ateria l fo r our research , we s h a ll exp lain b r ie f ly what we s h i l l include under. each one of th e fig u re s we a re about to disease* In no case do we fe e l th a t we a re c rea tin g a mm o r unusual in te rp re ta tio n of the f ig u re s , b a t because of the leng th o r m u ltip lic ity of d e fin itio n s to be found fo r alm ost every one o f tb s nore com plicated f ig u re s , i t i s e s se n tia l th a t one define ons*s te rn s before any d iscussicn o f value eaa take place* D ialect includes those words o r expressions which d if f e r fern the standard or l i te r a r y fozns of H o s t ’s day# tkader e p ith e t we s h a ll include only personal e p ith e t — names o ther than the usual ones which a re applied to characters in th e plays* Macaulay says th a t the hyperbole * lie s w ithout deceiving** Ib is fig u re o f speech i s m obvious aasaggenetlcn, seed to emphasise th e emotion of th e speaker* Under L atin we do no t include the occurences of those words fo r which the L atin d eriv a tio n i s obvious only to the c u ltiv a te d , and. which are accepted today as noreal in German, b u t ra th e r th e cases o f conscious mm o f L atin words or phases in p lace of customary German words* Metaphor i s an Im plied comparison between two th ings which a re in «»3«» mmt respects unlike but mhieh have mm o r mere e s se n tia l ehsraetarw Istlc® In caumm* An Implied ompmrlmm o f two th ings dkiidi am essen tia lly a lik e ra ttie r than e s se n tia lly d if fe re n t is* of coarse* n o t metaphor* Many words mhieh mm see® p e rfe c tly p rosaic la m mom m etaphoriei •s in ce re ly 11 makes only th e e ru d ite th in k o f hu t d a n the word mas f i r s t used In i t s modem m o ss n everybody knew th a t I t meant p rim arily and p ro sa ic a lly "m ithout m s* and seeoadartly* saeta» p h o riea lly “fre e frm hyprocrisy** “M inister* o rig in a lly meant “oil the l e f t side** trot nobody today o rd in a rily th inks o f s in is te r in - fineness as having any connection m lth the l e f t aide o f anything* The word “eragrins* o rig in a lly meant “to weigh m a balaiiee** y e t today one erasdnes foodstu ffs w ithout way th o o # t o f a c tu a l weighing* The metaphorical q u a litie s of these expressions la mar com pletely lo s t* and what mm o rig in a lly metaphor i s near c a lle d a *dsadt o r “fade#1 figu re* The above eaamples a re q u ite c le a r t b a t th e re mm in rm arah le esses where i t i s d if f ic u l t to decide whether th e o rig in a l m etaphorical q u a lity of a word or phase la s t i l l a live* moribund* c r dead* We re a lis e th a t cor decision on many phrases in d e is t* a dramas i s span to discussion* I f I t sensed to m th a t a phrase, taban in i t s prim ary sig n ifican ce suggested sane th ing o ther than th e obvious mean­ ing o f the phrase* b u t th a t the prim ary sig n ifican ce mas no t f e l t a t a l l in connection m ith the obvious meaning o f the phrase* me d id n o t iBolnde I t in oar s e r ie s o f metaphors* Seme people m ill th in k me should have found m m metaphors than me have* e th e rs m ill fe e l th a t me have found to o mny* Sim ile i s an expressed* ra th e r than an Implied* m gparlesn between two th ings which a re in n e s t resp eets m allks b a t which have on© o r ©ore e s se n tia l e b a m e te r is tiis in coamoa* 1 l i t e r a l eenpar- is m of two th ings which are a c tu a lly a lik e ra th e r than e s se n tia lly d if fe re n t is* ©f oomrse* no t sim ile* G enerally m e o f tbe word® **w.ie* ale* a le ©b* gleieh* w in ho fmmd in each sim ile* although tlw&r presence i s no t always necessary* There a re aevem l \arieti@ s of oaths • An. oath way ho a s t e i appeal to 0od# to cn# o r ware of the gods* to some saercd o r b o lle a l parson o r thing* or to mmm sacred concept fo r ei^iiasAsiag th e . tru th of an a f f im a tio u o r dcclaxm tim # I t nay he m ca re less o r blasphemous referen ce to the sane things* i t nay ho a earse or a prayer fo r ham o r in ju ry to cone upon one* e ith e r w ith o r w&thMfc reference to sacred persons o r things* A prayer fo r good o r b e n e fit to o tp s yqpaa* cannot be w ile d an oath* ^illlee* o tte re d irm d c s lly o r blasphenoiiisly* Ha s h a ll t r e a t only those oaths of a f f lm a tim which include kw k referen ce to d iv ine or sacred persons o r things* because th e o thers am n e t very lik e ly to b© pictttresqne o r m ussel* m d because d iebingidskiag than t r m ordiilasy d a e la ra tim or afflr-* nmtioa is* la s n t eases* w ell-n igh im possible* H* s h a ll include omrses* whether o r .not reference i s made to say sacred p e tM i o r thing* Th® proverb i s th e «asA d if f ic u l t to define of any of th e fig u re s of speech we have chosen to dtscnm * P rofessor Taylor has sa id nThe d e fin itio n of a proverb I s too d if f ic u l t to repay th e 2uadertekiag** Trench p o in ts out th a t .the old d e f in it im *stser&"» ness* sense* and salt** i s not r e a l ly bad* although i t f a i ls to take in to consideration th e element of popularity* And he po in ts out th a t sons proverbs axe f a ir ly long* mid th a t two equally popular proverbs tmy bate d ire c tly opposite meanings*^ Although th e d e fin itio n "sh o rtn ess, sense,and s a l t11 is a s a tis fa e to iy d e fin itio n fo r one who has no t the tim e to w rite a hook on th e su b je c t, m have safeguarded o u rse lf fro a id v e n t c r itic ism in oar choice o f proverbs by l is t in g m l j those which we hare boon able to fin d l is te d in mm of th e standard d ic tio n a rie s o f p n m zto * A pm i s a p lay m words which have th e mmm sound, hot d if fe re n t aeaitiag s, or th e m e of the sane word in d iffe re n t senses* By v tilg s rity ms r e fe r to statem ents which denote p a r tic u la r coarseness or lack of refinem ent# # « « Although we are not without predecessors in the study of a poet*® fig u res o f speech* th is d is se rta tio n i s not modeled en tire ly upon any m e of our predecessors* Professor C aroline F* E# Spurgeon has done sons d e ta iled work an Shakespeare, co lle c tin g and c la ss ify in g a l l th e •images* — except­ ing the vu lgar ones, found in Shakespeare1* complete poetic works* Her goal has bean to a rriv e a t m * knowledge o f th e poet*® l i f e m d • tebea&ansehauuag* by considering each metaphor he uses as in d ic a tiv e o f M s personal fee lin g about the su b jec t o f tb s image* She has tab u la ted the nrabasp o f metaphors cssscersdng b e l ls , fo r in stan ce , m&i by studying th e ir content m a group she concludes th a t Shake­ speare thought ch ie fly of funeral b e lls and the aerrmm th a t bell® tdlX*^ I t i® indeed in te re s tin g to see what subject* Shakespeare chose fo r M s fig u res of speech, bu t th is s o r t o f work i s fa te d to p resen t a t le a s t a few unschd& rly conclusions, fo r not only does P rofessor Spurgeon f a i l to include the v u lg a ritie s — which are no t mufom infreccuent in th a t p o e t, bu t ch ie fly *h» f a i ls to take In to account the fa c t th a t In career te sake the language f i t the characters* i t o are n e t by any aeons a l l lik e th e ir creator* a d ram atist o f Shako* spe«re*s gerius in e v ita b ly usee scsa fig u res of speech which express Ideas con trary to th e poet** p&racnal feelings* This would be t m © specially o f the v illa in s * P rofessor Spurgeon has a lso stud ied th e " ite ra tiv e imagery* la Shakespeare, adm irably using th e d iverse examples she has found to i l lu s t r a te the poet1© "undersong* o f seen of to e plays and th e "touch* stone" th a t th e ite ra tiv e Imagery sassy fu rn ish fo r a rear® in tu itiv e understanding o f th e ©notional atmosphere crea ted in th e d iffe re n t 5dramas# likew ise P rofessor Ia n P ies has s to d e d th e Mca&nmnb mud has published m in te re s tin g a r t ic le m OcetJje*® W orths w ith an In troductory cUsenssioEi of the m s ? in vMch th e p rin cip le ' ©f to e dcednant netaphcr i s I llu s tr a te d In fiv e p o e tic dramas* in Gadllperaserhi ftes Icg res und dar ilc b e Wafelem* fo r cerrdsir the sea* He point® out .th a t in a drama* a t le a s t in toe fiv e idslcb fc# discusses* a m a jo rity , o r a t le a s t easy o f tbe metebfcani w ill $cen ter around mm su b jec t o r idea* Hie proverbs twed by Ibsen have been stud ied by Professor Ans ten M s tens en* but w ith a .very d if fe re n t purpose in mind than to o t of Prof essor Spurgeon in Shiiaostttarato im&garvt h is ©tudy i s a venture In to l i te r a r y c ritic ism ra th e r than a search fo r b iographical data* Professor Ans te n s e r s research has y ielded very in te re s tin g ae w ell am more re lia b le re s u lts than Professor Spurgeon in th e aXmm t^mrmd took* p a r tly because he d id no t s t a r t w ith toe la tte r* * w ell-n igh im possible II I > f i ! !l i f t * I t M I tI \ t i% • §r 8 ! 11J * i | f ti I s n IJ f I « Ii f f !? I a h t * x\ j f s * » t i | | i ! l i | | ! j !; ; ?: e * * * « H i 11; I i i i i n f i l l . i i | ? i i ? 111 S'$ ? i • i n i !i i£ «3 £ 0 0I f t a v m I I5 —Qw •Sow lit e in tf r te i l (ehos Tergleichmig g&t duM f elxdgersessea fthnlicbe** U tey ariseh ea P®r»8nlichfe«lt se in e r 2 e tt au f Oruad e in s r ahnlichen* s»hr oder geferauehtea M id n ifth ^ At*#drueks) ib e r d ie Slides?*** H einrich f » S l« i« tkt g e f t l l t m # 3 darf* ±ch h l t f SSgtS CB Ilf r lPeP* *%fMB IliAdeS VOSSAegSOd yiwtertsolssr Art stud end aslbee A w £&uber wwdtte&barer A»»ft*«tiaa«yg aus&ben* der ode rnmtm Irford«itsis wtrfclieh pootisclier dirking iet**^ Ota® can only re g re t th a t he d id n o t delve worn deeply la to hi® r ic h o r ^«i^£ n eesly see tu silsa l ta sk o f l i et fitt metaphor® ~ and th a t in mm© to o thorough fashion* MSjttdSN»Pcnast fo*** published a ra th e r expansive bedf Bd* I I He* •Ble Hermanns®ehlacfet,* H eist® Werke. Bd* II* Ho* *Prins F ried rieh von Homburg,* H eist® Works Bd* I I I* i t . »Baa Kathchen von Heilbroim,* H e is ts Werke Bd* II* Hr* "Der serbrochene Krug,* d e i s t s lerke* Bd. I* P* P eathesilea,* la e is ts Werke* M . I I . S* *131# F asiilie S chroffenstein ,* K lelg ts TEerfce* Bd* I* d* d ia le c t e* e p ith e t h* hyperbole la* Latin m* metaphor o» oath pr* proverb jm* pun s . sim ile w* vulgarity* 1* Ross Flwood Rackemstoss, $r» f±m rm of Speech in H einrich von K le is t1® ”Ber serbrochene Krog*»1937* Typescript In 0Biv©rsitar o f Hortfe CsroO m K1tib ra r3r* 2* Archer T aylor, The Proverb* Cambridge, Has®*, Harvard U niversity P ress, 1931* P» 3* 3* Richard Chenevir Trench, On the Lesson® in Proverbs* Hew Xork, R edfield , 1853* P* 16* 4* C aroline F . E* Spurgeon, Shakespeare»s Imagery* and H m t I t T ells Hew Tork, H acsdllan, 1935. 5 , C aroline F. E. Spurgeon, Shakesoear^a I te ra tiire laagery ( i ) as undersong ( l i ) g£ touchstone, ig. id* work, London, H. M ilford , (1931) *41- 6. m m U m 9 *fbs Frineiple- of the BcsdMWt Metaphor in Goethe«s m rfbm tm * qgg# U (X93&)* 421-41, 9SS-4006# 7* Ansten Anstensen, flap Prmrerb in Ibsen» P roverb ial Savings ami C ita tio n s ag Elements in h is S tr le * Hew Tork, Coltaabla i&ivexvitgr P re ss, 19£6# 8* Sigoond ^ ftk m m k X $ G erhart Hanot&anng m»d jj|& rmsm* Embx&g end. Voss* 1908, pp# llf-$ 9 * 9# 3m tM m Kemy Sengsr, p er A nslraek In den Wcrkgn Hedjjgiffi r m Kleists. Isipfig, t* hrm m 3& m $ 1909# 10* Deorg ^ijndc-Fottat. H idnricb irfp EX eistt S eim Snraehe mad se ln gfcll# Weimar, f • yj&lSrJTtWW - 11* 1* E lsesssxy c r itic is m ©f Mi*a«rf0i*©t*e H einrich ym KXeist t Seim Saraoh© nnd aeln S t l l . lift* . Feb. sT iS iS , pp. 191-93# 12* E llis —F© r»cr* Sena recen t Reseatrch in S^aim m are*# XmNMunr* .tendem, Oxford tWeersliy Frees, 1937# 13# Xbid#« p. 5# 14# XMiX#. p# 5—4* 15# IMjl## p# 12# Un lik ® the et he r pl ay s ee sh al l di se as e* O als ka rd is ha t & 11 I i M l iiI i ; Is 2 f f 2 5 3 .t i l ; i 111 { I; f 13 a g | I i I i i I j i 5 2 3 1 5 I 2I r 1a tre at ed lig ht ly * bu t uh ieh mm t bo Imd ad ru ttl y if it is- t o ho I i i * 1 1i1 * I1 t1 11 i m N * w l d . %>'VN g w $ fet Amf m i rah t 4m SeM eksals Hand a# schwerf (8) Amf 4mimm FXmgs (9) roach, dl© B rast ▼oil f l im m i (10) Ins Boti dor ira m t, (11) dor do di® Anas achon I'n tgogsm trackat so ***** Veiv£lilia$£sf®sb, (12) T fctii, o do Brlmiigsai dar SX ogoo^ttio* (13) Bio Soooho d ir g m m U 1st den sag—1 (14) Qcdskardts nest a re fa llin g lik e pines in a atom s Sod t& glich , si® m r StmmBdmd f a m v (15) sliskan Dio n lop to r d ein er frames la 4m Stamb* (16) Thor® la no coo olio idlX bmxy & dm4 Somant Bod so o r himaank, nmte o r in oolo Orab« (1?) I f a so ld ie r tr io # to r e s i s t , Ills poisoned ham® b reak , tod he f a l ls buck again In to h is graoo* Bis g iftg o fb teo Kmctmn hrmchm itn t, (IS ) BOd olodor n ieder sim kt o r in so la Grab* (19) In th e ir sickness tb s poopls consider themselves Hoiakari*® stren g th and saainstayt d s la fo lk 1 s t , 4mimv Leaden Mark, (30) ?® rg l£ tei, k a ise r fa tso ffthig isshr* they fe a r th a t Q ulskard, to o , bias boon tcroehed by t in b reath o f th is Da, G ulskard, a e is t tm Pesthameh amg©i?©!it««~4 (21) Her a re th o lr fe a rs e n tire ly oogroaodod, fo r th e pmoadXmg n ig h t Quo of than had hoard a s traag s sennet front th o lr ccK*8amd@r*s te a t* +•• a ls haucbt* ©in kraaker hSiw M s Sosls iron slot*# (22) And they had mem th e haggard dootor leave Gmlskard*s te n it Demi a l ia s , H aste l, S t i e f d a , Pickolhaub®, King an dan E a rl, ads an dan M agelstift* (23) ftwgr had faarad th a t th e ir p rin ce sa s already deadt M r begrtsseo d ic h , o F $ rstl Ala s t ie g s t dm wm vm S lam lsldnatt n iadar! (24) Bonn In 4mi Stam en glambtem s i r d ieh sohov—l (25) *15- By th eir numbers the m ltu res make day dark* *,*&ch&uerlichss EaubgeflSgeX f l a t t a r t ttod den GewSltaa, g le ich , dm teg verfXaetenad (26) lu f d ie B O flm m iJhpfemd niederrauscbi# But the soldier© belie.© th a t they may y e t be saved* i t only Guleksrd w ill l e i i them back to Ita ly * ♦•♦rersage delmeai gemaa Beer* Bcs e tn s 'g ea Traide nicftfc* der ib » le iliis g b rin g t# «er©ag*xms n leh t I t a lian s H i» © lsl$ fte# (27) Their m isery should ©err© as. speaking trum pet fo r th e ir d es ire s t ♦•♦seise Ban Jacsner d ieses ffseppff ¥dUjp»e# se ts* O leieh elnem er&nen Sprachrohr am, (28) end demure* Wes mime P flic h t eel* in d ie dhresi Use—I I f Gwiekard does met heed th e ir urgent request© , he w ill d ie a t th e gates t© th e im perial c ity * ♦•♦tasd e r erobert* 3tao& e r n ic h t w eich t, an Jensr K aiserstad t Steh n ich ts a ls e l im ’pxidfcMfptt Leiehensteia# (29) And a mi sepu lch ral manshsr, the curse o f th e desc^dam ts o f th e l e s t aiwy — met unlike the p ic tu re they drew o f th e plague —* w ill rep lace th e ir b lessin g an h ie tonb , denying him th e peaee o f th e deedt Hsd s t a t t dee Segms w m m r Kinder s e ts t F ia s t ih ree Finches X issg e sts lt s ic h d rau f, (30) m i h e e l’ad am ehraer B rest 7 ftfuiUss ehungam, (31) Auf dam ferd erb er ib se r f i t e r Mm wflhlt M e das eilherw e Gebein Ura freeh M t b&rmm Kl&wm mm der Brd* h e rrc r l (J2 ) There i» a grcrap of metaphors inspired by the people1© consciousne## of th e ir mm power# Buiskaxd*s stren g th reminds t lmm o f a rode which remains tmtttcreed by the crashing eases of the array around him* Wenn ih r den False* s* arsefaS ttera g eb t, (33) Bern ae g s te n p irt d ie ganse Beareswag* Bmscost wneehlnBbi (34) By m extension of thought the people a ttr ib u te d iv ine peeere to th e i r e«BB3&ttee going to om fo r a i th Quieka.rdt They c c n e tltttie ft eeetfcbag om m 9 ehipped by a a to m of anxletsrt They stay overturn (ftalfttegts te n t by the fore© of th e i r m&mt Si© wogen nooh doe 2 o lt deft Otilftkftrd ur« {39} Although th e a tm H kea A hllard , m m p refer* h la to Hofcart, I t id .ll no t b e ' u n fa ith fu l to CiuieJeard or to b is ehoaeit h ^ irf nor does Serea metaphor* a re in sp ired by th le ihmmz Wm j ed«r Sagem, dor in i s i t e *•Jl » eJ3 * M iI#*8 i : 1 t i n Iteaseh, stela haher Hersog, (66) f ih r t vm hor« •••dm Angebeteter $ (67) 0 dm g e lle b te r f i r s t ! (68) •••d im e r Bfilf * vob <3±rf dm Fi»2ig«rf {69) Dm £Sdg*Qner®et&llcher# (70) ©fBpfinge*** •••« dm B itm tiian der SiegeagStti*w «(7L) Dm l e t t e r in d er Hot•••(72) * « * AXX of th e f le e example® ©f hyperbole a re in sp ired in cm may e r another by fe a r o f the g h astly plages e r death* th e b reath o f th e peetileaettN-neiseter i s in s ta n tly f a ta l i Zm Asehsn gleieh* mohin ib r fmee a ieh mwadet* Z erfa lien Eos® mod B eater b lis te r lb r* (73) The clomd® of carries* bird® make th e aiqr dafitt • • ,s cb&uerll ©he® BamhgefXlgeX f l a t t e r t , Ubd dm Gewilfcea ily ich * dan lag v e rfin s te rn d . Atjf d ie B ftlflosea m p f e s i aisdarram scht* (74/ The bone® of m^r s tr ic k e n so ld ie r breaks •••a s l e t vsm«l lb T *%£L 26 24*25 s.27 521*23 m»28 50*33 a.27 28-30 m*30 31*32 m#31 33-34 *•32 35*36 b.33 4 % 71* 60 «*34 5-6 m»n 6*9 *♦36 38 Mm3? 37*38 m*38 39 *•39 40 m»40 297*98 a»a 297-98 m42 299 *♦43 300-1 &•44 302 a*s 3mrtm*306 Mm47 45*46 »*43 97-98 »♦49 136 ®* 50 1 •»51 48 e*52 49 #*53 400 ••54 399 «♦55 139 e«56 294 «•57 336 e.58 86 $#59 331 #»60 4 «* nm 33 »*61 27-38 •*62 49-50 «•63 290 «•64 296 ©•65 379 «*66 424 «♦67 432 €>.68 449 •*69 471 e.75 472 #•71 498 df THE 13 m.72 520 e. 73 IS—19 fe# yi» 7 m«74 24-26 it*75 506*9 &•76 289*91 h»77 470 h* -2 7 - 78 127 o . 79 166 e . 80 205 O. 81 326 e . 82 127-29 p rt Vanter* ■Bh £» <930* Idle d ie Katse ua (ten hei#s«a B rei heruogohan, ‘Ah etnas n le h t h o k u m 134-&5 % TO* 99 &♦ m I B * # m 174 » • m m 175 % TOW f t «* 260- ix s# m 309-90 k* m 26|r«68 ft* 90 ' 343*64 ft* 91 175-76 m# 92 175 ©# t i l t @4®# n 208 •* 94 179-80 «* 95 264 9 # 9$ 316 #* 99 330 t . 98 389 e« 99 185 k* 100 329-330 ft* m u m 101 304-5 •« 102 106 ft* 105 62-63 ft* 304 72-75 ft* 105 7 6** 304 % -7 7 a* 1 0 ? 30-81 ** ICO 62 8 # 109 62 «• 110 103 # . 131 122 «• 112 516 #• 113 72—73 ©* 71 IB 104 ft* m M u m 114 225-26 8 * 115 322-23 8# H i 326-25 ft* 117 236 ft* 328 237»* 119 238 ft* 120 231-32 ft* 321 359-62 «* 122 239-40 » • 323 m*jRMap*Wr— 124 247 ft* tm & u m 1BE m m m tw 12 5 331-32 fe# 126 38M9 h. 127 383-84 h« 128 637 is* 32f 441^42 «• 130 444-65 % u r n 140 iu 131 352 ®* T O 138 &* lj$2 £0O"^m> E* m m » * 134 4E> »* 135 621 «u 1% 444 e , fg&g 142 «* 137 350-S I h . 138 352 h, TIBI 131 a. 139 357-5* k» nm 1*3 •♦ u s 4*4-65 •»# VIDE 1*0 n , 111 446 t t 142 444 ®« 143 487 « , 144 5^ L4 4n— a1 *£ & * H I w iff* * f I ? | S » 8I i f tp4 S f t f ffc*t* £1**8 w 8 Sfc'© %3 &d* c* f w • * mI ffl 3 i I • 1 -f 4f * P. f tCD O <1Hs <9 ? ?■I " 2£J©I I t ! 1 I | t* 8 dif& tJi to bv- rather iaporta& tg but «uoh im tm% Urn cm®* I i % f I * F* 4* i,.,v@1 R H ?© $3n g'£Si © Os © *1 U » iS3 F*© f t<£ arr .3 N$ ft B s. C*H* aM!^ i rfi C i 8 SQ t Gedanken kaim l th id© d ela G ett (5} srra ten * Dels Zeichen star* d ie fren sd lich e Srfindnng* K it e ls e r S ilbe dee Pm ndliehe Zn fassss* a a r dee Basest (6 ) sage M r* Be te l le Jcfemm her f le s tijtg appeareuse reminds Mm of a s p i r i t s Be m h & t si se lh st* g le ich eimea Clelsi e rsc h e in t tmd scbwtndet s i s mm bMdem* (7) M th g re e t tenderness he re c a lls th® day he ^baptised* Agnes i Ich fend dich schlafend h ie r in dieeem T ale , Bee e in e r Wieg® g le ieh (3) dich b e ite te * E ia ©chfctsend Flordaeh webfcen d i r d ie 2*®ige# i s sang d er B asserf a l l eiat lied * (7 ) M e Fedesn H w M cn d ir d ie l i f t s * (10} e lae G d itia Sehien d e ls sm ffleg ea* —>«0e erw echtest de* Bhd h lic k te s t M e meds meegsfeemes CSUek (11) kich an* Bedme S eels leg offen v e r M r* (12) s ie Mm © deem Das sa n ft s e s r s t den d e is t e rg re if t* dew f i e f ib n r th r t* dam tm sertieiM lieh f e e t ilm h il t* (13) Be e le h t dee Lebens Forderimg dm Leser (14*) Zmeeilsa sb* dew dee QemMii® s i l l l i e Qpfer such* (15) deeh immer k eh rt e r M e te r tm te n rertrsM em G elet zurttck* t e r in Per G Stterspraehs ifern d ie K elt erkXSrt* Had lryt.*i- iVwa verhirgt *1© dSS Gehelmaia oar r m se in e r eignen Schtehait* Bee se lh e t e rg r te te t m i t e mess* (16) Warn h is t Be M s ▼ erschlosaner B rief*—*(17) T heir 1mm f a r each e th e r i s such a powerful fem e i s th e ir U m th a t they a re transpo rted by th e s lig h te s t sm ile of fa te s S^&lS Mbjl ***ffi331H3i TKJJP ffleht M e d ie fiisd e rt (13) Dess das Schickel ssiehtj (Heleh eioem strange® i«hr©r* (19) kerns e ls Gesicht* (10) seg le ieh erfcebt d er MtrfcMll M e te r Sain kecfees Bsxqpt* (21) O ttokar masts Hope to sMxtg him and th e M ods to p lay arotnad him* I s M s ecstasy he scarce ly knerss bow he cas endure h is good fortune* M egs Mich, Hsffiiuag* (22) e is s r Sohankel g le ie h , (2$) tmd g le ich Als o p ie lt* loges aehwebend a i r 34- Fs gab mm O stt das s#Xt®e G ltckf das® w ir Fer Felnde Schar 1© 1 ch tf a s s lie h , rnnnseideutigp H a e lse rouda ZwOX erkennen* {57} iKareaad* la dlesest to r i# X iegt*sf l i e G ift la e ia e r Mots*## (5$) Und well*# J o is t d rd ag t, mad efeen a ic h t di# S a it Sm a tk e ln , (59) e la aw ^ideuiig KSmehea B aft Mil MSh* heraua* tiklaaben, (60) mm so »aot)«i& E r* f k n n oad s&gen* da gehbrst su Wfcarwuad# Of no p a rtic u la r aigsifiestao# la a group o f th ree metaphors in p ra ise o f flaieitrU agt Beam doiner ^5© i«^ s tra fb Dein grease ieopb am d re iss lg Jahr© Ltigoiu (6XJ SohXoss Fob H-ffrf11 (6SSt) SetsllteseX schlis@ st9 11a star sa in Herr. (63) There a rc a f a s un rela ted metaphors and s la l l ie s * O ttokar explains M s fa th e r1® power over Mm ii*dXe family* Er trftg t one, wie d ie Bee das S oh lff, {6 4} H r masses Wit se in e r Hogs f o r t , (45) s i# 1 s t a ic h t au fiikW iJetbhwlisSM a ¥ MlJEL. SI5H6IUBVU Wlia O ttokar t r ie s to ©omrim® TtMmm&m tb e t h# i s m rim ® about b is ea rn e st d es ire n o t to b# Imprisoned* *s 1 s t p lb tilic h a i r #0 e m si am Wot gomwntakp 11a wtr* e ia G ew itter in der lo f t* (67) Be t a i l s foie mother th a t S ilv e s te r i s innoeenti R ein, «1« d ie S®m&$ 1 s t B rew ster* (SB) » * • The m ajo rity o f O ttokar9 s e p ith e ts i s a lso in sp ired by lo re* Those fo r Agnes sheer a ebarwiag s im p lic ity , which bespeaks Ida s in c e rity * He c a lls bar M aria, beoaos® sbs la so m ch XU® tb s mother o f God* Maria* (69) Ele Inlich® dar M atter Gottes***(70) - 35- Kc m m simple t *rsa which re fe r to her shyness and emphasise M s and h e r lack of soph:*stieatio® * Ids s%ra* Bar Spdklea (71) micht**# So I rb s t dm, -Idchon? (72) Saddle®! SHtdobsn! (?5 ) 0 Main G o tt, so branch* ic h d lch J& n ic h t mi aorden! Amos Kind! (?4) Gutc Ague©*** (75) 0 da Glfeckliehel (76) *• •Xiebe Agnee*** (77) Johann eomplalms th a t O ttokar i s too Magnanimous and thus Bakes i t impossible fo r Johann to hat© Mis* ottokar*s ep ith e ts fo r Johann are @11 those o f b ro th erly lo re* fra® when o tto k n r c a lls Johann a fo o l, he does n o t mm the term centafjtuom aly , hu t ra th e r m an in tia a te and tru s te d frie n d who points' out how s i l l y Johann has been to th in k be i s the only one who knows Agnes s <&*rah«rt 'dat Tor, (IB) M e Sonne schien® d ir aX Ietat Dm 3XtteKUeher**» (79) Hein l i e car ftremnd*** (80) Mein Freund! (S I) ich dich eraordeni For F iniesning h is ©pitlsets shoe respect* «**mnd aMchte d ir Die slkhnelosen Ltppeci khssen, A lte r! (82) Schloss Von einem Meneehsn*** (S3) For Bamsbe th e re is s in g ly frien d sh ip and pity* Bud wie h e is s t dm d em , Dm lie b e Jm ngfraaf (84) UngXiicklichel (85) I? I s § a £ 1 i I Ge da nk en k& nn ieb isl e de in G ot t fo r A gn e® . Ho ne of tho rn is v^ ry st ro n g, al th ou gh ita n he Is al on e -1 7 - in p r is m they nr# s trm g e r than when he i s m t ©lone* In m one# does !s# us# the® to a t t e s t the fineness of Ids loir© fo r A& M f th in absence o f oaths lends s is tp lie ity and s in c e r ity to h is emotion and pots i t . beyond tb# suggestions o f doubt Shiah every oath o f a f f i r ­ mation im plies* Upon d isc 0¥#ring Agms* mm®$ ho i s shocked* 0 main G o tti (93) then Agues says th a t she i s a t poaee w ith h er sonseioooe* Othoksr thereby endors tends th a t Iter statem ent absolves h er fa th e r o f tb s murder h* i s accused of* and In M s high s ta te o f ©motion ho a t ta r s a&ld oaths* 0 Geht# (94) M dchenl Ittdchsni 0 la in O ottf (95) so branch* lo h dieh Ja n lo h t an raorden* Aghss confess## th a t O ttokar has frigh tened her* nod ha im in despair* 0 G ott das ScM cksalsI (96) Welch s in sehdnsss Welch ruM ges Gasttt h a s t do g e s td rtl M issels# he d esp airs open discovering th a t ipnas knows hm hen sworn revenge ag a in st her family* G otti 0 G o tti (97) Em i s Ju b ilan t whoa he th inks o f a p assib le rm m cdM m idm between th e two faw ili##* 0 Goth* (9S) welch e in a Some geht ssir a o fi O ttokar t r ie s desperately* b u t in vain* to g et Fim tenrlng to re le a se b in from prison* fo r he has th e scan t!an o f th e a^m tery and knows he w ill be ab le to sto p th e fam ily f m i and reveal hi© lows -Sa­ f e r Agnes I f he can sjH»ak to Isis f a t t e r ijw sd laie ly* tra p as F in tenrlng i s lead ing M s to prison* dm b ia t w it daiwm a ir# (99) Be swears h is re lease fro® p riso n i s urgent# Bed mslmm. Laban* ja f *«* (100) Bel asln ea I*eteaf ja*## D@m g ro sser O ott des Htsgaels* (10&) Ich gleicb. ib»«— if la s s sa&ch, lob schem e Bed a e ln s r B itte re h re , (U S ) a ic h t a i t deiner# A fter F in tenrlng te a l e f t Mm alone* th e l a s t too of *-dles«Bi llch lsp iegel dee Gerftebtes (121)—*die®em H fe r (122) Me Kchle vorssa»»rfsaf (123) d ie e r sp id e a d Amffe Daeh des Sechbars trg g t—* (124) i&ea Alddb^ra a rriv e s mdth Rmpert*s d e d a ra tic a o f mar# S y lvester tr r a te him as a lcaig*«wait«d friend* sad wishes i© d is­ regard fo rm a litie s t eneh v neeMse h m u s aeaeltettae^Y'wIahB &W JL«b5» HBB Hlahtlpfea Ober den Ctebraueih* (125) stehn ****** ErmJUilsa* dee gehftrt ^mssimseBji l i e Eel te a f e e t wm l&seea* (125a) A fter Sflvm U sr has k ille d Agaaa l a OttsfeaF9* clo th in g he has deegt sympathy fa r Rmpert* Er trS g t e e la sigma sehaeldead Schmert im Bosen* (126) He explains h ie fa in tin g s p e ll as a re tan * o f h is s p i r i t (G elet) to i t s crea to r* th is re la tin g needs a© ©accuse* £m i t mm 0sd*e m ill* Dens f l i e h t mr g le ich am£ e&mn Amgea&Liefe* (127) Am seim xt U rcpell gelth e r mwr* ea H©tt**#(128) —# ic h t jedma Sdilag c rtrag ea s e l l der Measd** Dtad malehast Q ott face t* (129) denk* Ich* d®r d a rf alnken* Agees9 murder e l i c i t s « flgarstiv© eagprestaien o f S y lv ester9a g rie f* S ie b lih te id s d ie E rnie melaes Lebems# (130) M e ana e la fra e h sr F m sstritt ts lr ger&reiem* (131) *43y** Und tiarben ©erd* ich Je ta t# vm fmmdm m tte r a Eiu f reads© H ad t i l Also®1 sd r e r f le ta , (132) l a order to get M e gardener to re p la n t & sec tio n o f h is propertgr# S y lv ester a fp ea ls to h is fe e lin g of p a te rn a l love* Dank* d i r das jange fo lk von llm m # (133) die# fe©n» s i r vorbeigehzi# M e d ie Kinder tan&en (134) Had w a l t ih ren B lttanaagen ansshn* (135) Bo sirst d ie begem# pflegsa# M m t si* si© lilchhrSder dein*r finder liehei** (136) But gemeracus m a re S y lv este r1© e f fo r ts to defend M s deelsred enemies ag a in s t lib e l# these magnanimous iapu lsee do mot. rep resen t th e ©mly aide o f h is eharactar* l a a s p i r i t of revenge# althoegh he i s s lo e to anger# M s expression i s e^paU y strong* lit w ishes to c o lle c t aa s rsy as mssaerem as M s gray hairy laden fersmeht1© Micht vitii lo b ©tali' mein gram© Hampt ear Scfesm# HTfSi *m©i -iMMMttaiijNv o © ’Mfcuafetfk. lE faA ^li d M M lk JMWMtt'ttnitifedNhM* f *fl| f 9 |® V \tma yeomi masr wsmM ©iisem sioyioea seriien# \ jlj? t } l a mmtmr Hghl© saehan M r dan %&f # (13S) His dec isio n to S ate the offensive ag a in st Expert laaaifast® M s d e s ire to ©a*!*© ^ fo r l e s t t ia e t t e l M * le h duldesd aim er M t e glM oli (133) i t e lamge I te m t e $ t gesoteaht* (140) so fate* Ich Bimm B lits© gleich (141) j e t a t Star ihm* They M il bam lo s s i t s to c rea te l ig h t fo r teeniaH S* fu n era l (fo te n fe ie r)* t e l B osaita so li# M e Fackelm# s ie belauchten* (142) I magi Mag h b sse lf to be in the presence o f O ttc ter# ho cries* M e wmrn r a f t d ish , (143) V M s rt A fter k ill in g th e ©apposed o tte te r# lie i s seized h r rmmm® mad m sbes to r e s t a am en t to gather s tren g th in order to eontinn© liis revang© Mtfc vigor* Sicb safer g s sa ltig d ie S atnr im HaRschen* Und w il l , date man* g la leh elna*g«® Q atte* (144) Ih r e in slg dlene* we s ie « $ ersohein t# Mich h a t e in g ro sser Sturm Micht r e ie s t , (147) a# sbefe1 iefc sehrecl& ieh w ieder auf* IsmpinMl bgr the sec tio n s o f love o r revenge A® th e rsw ate* an eajpXanatie® of S y lv e s te r^ apparent weakness in F re ilic h ««fcg », v e i l @r starte l e t t Barst M e krenke abgestorbene Eiche ste& t Ben Sturm , (X4S) deck d ie p s tn s k s to r s t « r niedar* M i. e r in ihm Irene g re ifen ha&n* (149) ♦ * * th e la rg e wm)&e&%& of Sylvester*® epithet® la in sp ired 1 hi® lo re fo r h is f e l lo e mm* In a .gentle tone he rebuke® M a gardener fo r n e t m u tin g to rep lan t a p a r t o f M a e a ta te t Bn M at el® Marr* (150) km m tm w i 1 s t s in f r d G eechieht's* xm vtmtn Besserea an pflanaea* refu ses to t r e a t ^ e® an enemy* f r le a d t wants to t r e a t a® a t* Freund* (151) so b in ic h f a s t gesonnen* os £ lb d ir an maehcn* tihm Aldbbera refuse® to s i t dean* S ilv e s te r fo r h is unsoclab lenesst scalds him Si* dn Harr* (152) ansawwsi*Stshzk mad H e E eiton f a s t S y lvester rep ea ts h is in v ita tio n to s i t dom i —JSna seta* dieh* g u tsr Freund—(153) A ll h is o th e r e p ith e ts f a r AldSbem ex h ib it the same # so s e ts 1 dieh Doeb# A lte r — (154) Sag1 an# Bata Sdtakf (155) mer 1 st d@in Tfnnrt F^i’soAh^ ^ l n Freamd <| # • # (1S6) Ich r e l ts a l t d±r# f f t o i t (157) S y lvester re g re ts th a t h is enesay has k ille d Baa Edelen, (153) dor n ic h ts im a l a ls Berold CIsI snmnmei* • • l a expresses sympathy Sylvias* oho 1® Unglfickli ch e rt (159) Sylvester* a two e th e r e p ith e ts m o in sp ired by hate# M an M s ansy la co llec ted , ha s i l l a tta c k Rnpert* In s e in e r M ilo amahon s i r 4m dolf* (160) ^ a o ha aoos M s daughter 1® O ttokar1® c lo th e s , lag prepares to fcHX O ttokari Mm m Ho r a f t d is h , S ird o ri (161) # m * Sylvester* s th ree oungfte* o f hyperbole a re a l l re la te d to M s love fo r humanity* Be vdsheo th a t tb s “l ig h t of Gertrude**. smepioieaR* had bean e te rn a lly hicMe&i ♦##hilbt* ear nee da aagpt Gesehm* aim s&ttemftchiig MM «• M e den Serfr© itag# decks® e&sste* I f AldOberxi to ld Mm. than he could b eliev e th a t satrath®*, he mmM beliov© them sooner S y lvester an in fsn tie id o * —-Sieh# s e n da s i r $ aghast* Bio Strfime fWnmm mtem ih ren Ufa*® Bengali and sasstelbsn anf fblsem spitsoa In Seen » ld i | so volXt**—4ch s e llt* e Booh eag st dm s&r# ieh h ltt* e in Kind geaordet«• • (163) 1 iI +3■HI 3 51 3| ? 2 I f* »Miai*•» m?s *3w 1 3 1 m th fa ith in Go d he «i ll w nM re slo oe to R os si ts * I eh k ih r t w rrerX stst swUele* So wahr der G o tth e ii a e lb a t d ie Unsohhld holll$*(l& 9b) ♦ # * y/b«n he discovers th a t Aldfthsfini lias been stoned to death* iy lv e s te r dsoidss to aoeept ^nperb1# challenge and -osss tap© pro­ verbs to oxeiaao th e tmpsu^on&ble a iird sr of th e herald# Oesehoh&s mas# s ta ts gu t s@inf wia m tmm* (169c) Qmm re i% seh* ioh wchl e i% te a * # f a s t a io h t abgehi** Omm war das Sahsmfcsig© sn fa ss i* den baswdatt** (169d) ♦ * * S ylvester uses a m asculine farm f a r **d*s Segal**1 th is i s ccnflm od by Adeline as anieddrstchaiseh#* Sine# than* i s no attem pt to give lo c a l co lo r to th is p lay , *dsr Sepsl11 m m t be eon* ©iderod m m istake on tb s an th er’s port# Sshr besehSftd-gt B ert > s t r Segel —«• s ie h s t da ib n t {1*10} * #• * # * JCHM1 Johann i s so deeply a ife c to d by iga«fif caLdne&*s in mmpwsm to h is arden t wooing th a t h# lo ses h is m ental balance* I t i s n o t s tran g e , th e re fo re , th a t a te e s t h a lf of h is metaphors and e i a i l shercld be o o tiv a tsd by M s hopeless lews# to be deprived o f Agnes • s c a rf would wean death to M at Bo niShast das teben M r a i t dlesesa S e h le ie r, (171) I M e in e r h®iUg«s Ballqwl* g le leh (172) Bowohrt o r a i r *%# an Om A ugenblick, wo sogonsrwloii, talltarlngend* Fin U ott in s Lebem w ich, la s ©wfg®, f lh rto * 1173) He re la te s how he f i r s t saw Agnes as. she mm bathing In a s tre a m StraML#faroiiit wie sine G ftttia lervo rgeh t aus dent Bade* (174) Sha second sn g e lle as aha bound M s wounds* kch, dcch e ia Fngel Sehiea ©to, (175) id s s i# v e r h t l l t mm am a i r t r s t f Berm das G esckaft der Fngel t a t ©!«**• (176) Johann d id not dare to move# S t i l l ©ass ic h , rShrhe n ie h t s in G lied ,n iA . « .n k | I*. s r 4 f i n w \ran siixs iiw * an ai rtaesnam * v4* rf} Ague©1 vole# #*$© sms lea l* H it TSnea w? « a ss tlleelDaii—* (178) Upon discovering Bopert’s sain# ag a in st iBsrsrand, Johann fo o ls J»» p o lled to m d M s & readfol se c re t of Agnes* t n » id e n tity to O ttokar a lo n e , hoping thereby to provost fu lfillm e n t o f th e corse# Ks m is herons aos d ieoer Brwb—denn g le io h Den O eistem dm© E ast nad Bnhe, d ie Kein Sarg , keln B ieg a l, fceln OeetXfee M ndigt , So Osin Geheionis* (17$) Bn h o st s in menschXiche© G esloht, on d i* , M e sn dm Weissen o u te r &ohr«*, (180) sonde Ich s i eh* D m M asond, hoi Oetahr dm ieb en s, Barf an sser d ir dm G ottes Banee (181) mLssam, Bor mich en ta tek t* Jchann venders vhy- O ttokar should nan t Apses to pronosme# her name, s imm Ottcfear a lread y kaoss th e person , oho i s ouch mom im portant than th e nonet B ast dn xrar dm H era, (182) Die Sohale g ib t sidb dmm a ls s in e Sogab* • (183) Agnes le a se s Johann and O ttokar in th e fo re s t as i f she m m a s p i r i t , h u t O ttckar i s m d if fe re n t term s s i t b th is s p ir it# Boeh a d t dm tfo tersch ied , das© d ir das e in s T alent geworden, ihn £~dm 0 e is t7 am m f ta f (184) « i r Baa andre b le s s , dsn G eiat an hannen* (185) Johann leaves R oeslts to fin d Agnes in th e mountadjas* lo ti s i t t r e s e lb s t t o t S aH sst m d w Setm ers, B it Amen d±ch, n e in jgflmaea mffo Van OlSefe nod Jm n e r, (186) an mesehliessem* ■*4%. Because lie re a lis e s th a t Agnes loves another* lie uses a fig u re th a t makes Agnes th in k him aadt Mir M »t da to t# ; (2B7) und a la e r le i eh* g le ieh* (IBS) l i l t -^hOT#r drttck* ic h asm Iters# I# v islies Agnes to k i l l M a sine# aha earn n e t lev# himt Mlam d ieses Doleb* sag* ieh —Hast da n ieht mlmm H r m hm ins Kara gedr&ckt? (1S9) «»*mit S&Llmst* H e dsdnsm i&ss* s ic h d ie Idppm r e ic h t, (190) Beloh* ich d ie B rest ***»» S toss von dyiyMw liasd* lip cm seeing Agnes* corpse* he speaks ex travagan tly of the so ftn ess of h er fa c e t Es muss v l# flio g en d er Scwaer ee isu (191) A group o f f if te e n metaphors and sim iles i s in sp ire d by hat#* A ll bub th e f i r s t fo u r l is te d express h atred fo r Ottokmr# thee# express a stro n g d is lik e fo r th e people In E ossits* to whoa Jchaim dare not speak o f h is lom t Amf d le so r Berg—a i r kmmt m r&r, ic h s a l In einem GStsontaapel* (192) f lti aim C h ris t, Gaoringt von wildem* (193) d ie m it g n isslid h sn Gebarckm mlch* dan Hasiwstimeberiden* (194) Em ihrem bltat*gen Frataenbilde reisson-— (195) Although a t f i r s t he had chosen Ottckar m h is confidant* shorn ha discovers th a t h is h a lf-b ro th e r a ls o loves Agnes* Jobsm hates Mm* Be complains b i t t e r ly th a t Q ttekar has sto lo n Agnes from him# And he m ill n o t t r e a t O ttckar w ith more confidence than b# deserve®t B ioht Hberfn F re is w ill Ich dieh safalen* (196) ^prich* Benn m im r s i r ' vertram t* 9 o r m iss1 elm Boss* Das Ah» b@(pn s e lf wnd or ke^fon well** Uhd ic h f ic h glnge heim lich him mod k a u ft1* M r se lb s t—was ste last dm* w ire das wtahl ©del? (197) He says th e above fig u re I s b itte r* b u t no t so b i t t e r as h is feeling* End M i lo t* # Hoalg gegea stein GefttttU (19®) * V Fl py m zw vtp q ms &m #ts ** £T t -47b- Utm remaining fm fig u res hair® no re la tio n to In hi® in sa n ity ha doclarest ••♦ ich M.m d ie Tevfeslt# (216) He cam n ot le a d % lndna to happAsssss* Isaar Gltksk? 2ft m b t n ic h t, l i t e r * »» l e t above t teems. He grueeetsely in v ite s Sylvius to a l t s itfe Mm beside the corpses* M e G eier \uns Aas* (*2H) # * * Johann1g e p ith e ts are divided between th e emotion© of love and hate* Three o f h is e p ith e ts f o r Agnee a re s ta p le tenee* ahlc& daaonstra te th e © iaple s in c e r ity of M e lo v e t So here jalch doeh# MMchmt (219) aiefct* ftMfa&ehsitf (220) morgen l ie g 1 Ich in desa Grebe* M an d iesen NUdi^ G eliebte— (221) ar© mere bed Oeftthr dee Lebens* rnmmr M r 4m O ettee $*®m ('222} vrissen* r e t te -dm alo tif ! ih se Agmoe I s dead* she la s H e fixst Agnesi (224) For O ttekar only the f i r s t e p ith e t—expressed before Johann knees th a t O ttokar loves Agnes—is a s ig n o f a ffec tio n # I s la s i l l in g to give Oitotc&r h is U fa* b u t mot Agnes* s c a r f t Mein h e e le r H err (225)—0 , M cht-o* M an s d r a l le s , Maim Lebea* wmm dm e i l l s t — We hates Ottofcar f w M e saigasnia&tyt -47e Fort, dm Seblam&ef (225a) S3m f o r i Dm fo r i (226) Bemkst da saich so am fassam? Dm UmgehemrS (22?) Even when Ottolcar i s desd , Johann cam met fo rg o t Id s hatred* ih l Ber SkOifdoal, (22 i) Johann txses trnt ©me e p ith e t, den o o strstlag ro spoo tfid affect** io n , fo r SylTims# fid® e p ith e t occurs s ix tin e s $ 1st Elens!, A lter,- (229) d o st ie h Mm d ie T erhsit# In s G ltek l Tm gehi n ic h t, Alter#- (230) rnm § A lter,### (2 H ) Kmm, A lter, (232) kcaum# L m tlg , A lter! (233) #«#komt A lte r , (234) glaub* ss lr, id e r 1 s t Agmoe# For fbspert e l l Johann** e p ith e ts a re in sp ired by fo&tet Das 1 s t elm % rr# (235) \ Dm Sctsetussll (236) F o rt! \ *s* Fds most pictmnasqme e p ith e t i s f« r tm t o l l e r Hand! (23*?) tfrsmla 1# *the old wiboh** m s s d l l s t , dm, s i t e Bex*? (23$) Oeb, s i t e Hexe, (239) g*h» # * * F ir* e f Joharm** s ix hyperboles a re demoted to p ra ise o f Agnes# Be asso c ia te s b is. very l i f e w ith h er sc a rf I Dm ssHamt m s lebom s i r s d t d iesen Sohleier* (240) Agues le d b in in to e te rn a l life * Elm G ott ims Lebm mlch, 1ms sw’gs fShrte# (241) 4t f i s « t i t Jl 8 i i is $ t 3 M t i i *t { I !i is 4 I £3 Qu it® th» G pp m tte £?e m Sy lv es te r* wh o to tfe iis le th e ®s I % j 1 H13 3 r4 I? I i i i s ij 3t M ** 8 5 3 n •8 8® «SI V $ I 3 t 5 S 11 -47e- Ber Measeheit wm dm Dlelitena* ik r e r Amm* (250) B reib lt# V erbratm j, ttaeh e ld * tre©## Li#fc#.# E©Xiglcn# d#r O itta r F ereh t sin d id # Me Tisane 9 welsh# vsdsn* (251) He t e l l s he? TtiiHifU1 ehffltl d wfewi|ge ehem etespj becam e yqyri h®w# beeeme a n lm ls t » • •v@?dz#i^e Dee H eiaed 14©be, (252) dee n ic h t tb llefc 1 s t , Atm Uxma Her###, m 44# F a lls ,. M u Haas, (255) MmAmmm^mmeu Sflfjak J[ »k jl Mu S ilk 11 J8* n Ikn# tn iiix s ©r resrweiKt a s e n ea t ear ssissasi Bern nicht eln ehrlieh of fner Krieg, iefe dank#* Fm* ©in© Ja$& ntml*# ward## (254) id # (255) w$3r teOULJL#B 0*0## SSS y# IS##*##*! V#yaBBCL X#T1, \25©/ H t Basjif© #1# tM term Host e ra tick eo — (257) —M e Leiche® lie®## lm m m § das# von fte ra ta r O tstadc d ie 0 t i ^ # | (258) seh reo k t, m l keine v&sder 1# el### B rd sn slte r f o r t e l# B4 le g ts (259) Be th in k s S ylvester*» aitessp t a t reeoneiX tatieda i s a roses 0# l i e t lg l e t d ie Sdhls#®#— (260) He sco ffs a t Eastacfce*e saggeetis# that AMefoem night have "offended* S y lvesters B el«idig«ai Urn BerbldT Bar d ie la n g i ®ar haeimt#**# le t* trad t ish 4h# gekniffan* (261) Clever the*#* S y lv ester m y b e , E a p trt w ill know how to outw it h in t * .#wdLr m ile # Pprh einen ffeolper ynwlt t i Bate #4eis#ii* (262) th e fcccnnailation ©f evidsfia# i© prmrn th e m b ellev ab le f a c t th a t Johann tr ia d to k i l l Agmm d is tn rb s B apert, who th in k s tM # i s another o f Sylvester*® d ia b o lic a l tr ie k # to e a s t m R apnrti E# 1 s t doeli n ic h t Die HSU* la M i M M w t V - (263) Sylw:sterns fa ilu re t© take advantage ©f !,<» gams w ith Agmte* A lle in , mer d a rf to r Sehlaoge (363) tr a m ! His cm e p ith e t fo r km m i a in d ic a tiv e of h is imcbiiBitng opinixm about her* •••d ie Schildlo»-a® im «•» (364) Xmpatient w ith th e wordy 0hurch*«irde% Jercmiaais1 e p ith e ts fo r Mm a re mot p a r tic u la r ly re sp ec tfu l* Be* A lte r! (365) to r* Saehe, A lte r! (366) Be uses th ree e p ith e ts fo r him self* a l l expressing apolo­ g e tic hum ility* Be re g re ts O tte to r* s re fu sa l to exp lain h is fam ily** a s a n to g i la s mim% b in ich n ic h t s in Sebarkst (367) Be repeat® having e x p e c te d S y lv ester m d says to himt # .#3±n tb it E ta Schnft (368) in mS&m d©ch# w id # Viol melir i a deineml — 2 w r elm Schuft# (369) id s ^ Eg m elast* dv? b in Ich H elit* # # # The s p i r i t o f hum ility mhleh m otivates Mvm&mm* e p ith e ts t o r i s found la to o of Mg statem ents otdloli lig em bellishes ed th o lid oaths* Bo tr io s to am eliorate condition® between O ttdsar m d him self* re a lis in g th a t i t i s an sogdM imnt task s - 0 o tt Teslas* (37D) dm 1 s t s in p e ia lieh es Oesdhiffe* r ' I s w ishes m reco n c ilia tio n * b u t' be doss n o t deaantI oast Kanrst da*s verachg»if*^*HBO mieh am verfcennan* g®i Gett* (371) m '^k m lo ti dm wmmehBmrstmm Mm drnfmdm b is honor -with be© o ath st Doeh «&* le h Je m it M trdam m idi wei!®e£a«tgre# tmvhrmhm a i r d ie fleisibrst*a®jd Iso lappem* (371) Bant la ir H o Hand ab* o«m ic h a le m stiialdlg hsbss (373) Bnsotisaldif f s t Sylvester* ffjji th ree e th e r oaths a re w ad to add gwpiMMd-® to M s stabs** se a ts* Each re fe rs to th e iorrioX abH ity o f id s oath as a k n ig h t. Be d e e la r ts be id .ll take sid es fo r Waarsamd* Bel m im m 11% (374) lo b se ta e ib re Sadie* m l seine® Kid* (373) la babt ib r rech t* Be t e l l s Ei^sert th a t be th inks a meeting between Rv$mrt and S y lv este r would r e s u l t in m rc e e a e ili& ti eot Xeh glarcfc*# b el atslmai Eidf (376) lob glsnb*s* * * « iQrmlwm* only usa of proverbs occurs in eoms*cbiaa w ith h is loirs o f ju s tic e * h© wishes to apologia© to O ttckar* bwfc he d im not care to excuse ©IX'his f a s t a c tio n s i Ich hah1 k«?iiie k s t f s&eh t o t d i r wedjtm wm hammum* (377} « # © # # eostachb Pustaob* i s th e fw&sAm com terparh In 8apert*a house fo r Sylvester* Shs does n o t jmssp a t ©ondusicms based upon isuspXclea and d is tr u s t and in fluenced by anger* hu t p re fe rs to w ait before tak in g v io le n t ac tio n u n ti l i t i s c e rta in th a t such ac tio n i s com pletely ju s tif ie d * lik e S ilv e s te r she a tta c k s mworth^sr susp icion and m am rranted anger* Anger* she says* em fm m jm *>*«§ you vu lnerab le he your eneaayi • •♦ in se in e r ©igmen Brush ©in Freund Dee feludes aw fsteh t mider ih&* d ie M * (373) She w ants only to help Sspsvt h r reminding Mm o f th is* I eh M il n ic h t den 4m der Bash© biruian* 0 7 9 ) lo its n Iter w ill ic h iba* (380) dasa e r so s lc h m r tre ffe * The sig n s po in ting to S y lv e s te r 's g u i l t never s a tis f ie d her* hut she w*§ h e lp less to oppose itep efti ich* m lr hat*s a le Genbgt — doeh muss d ie Flagg© wshn* ic M s D«r Mad* (381) She does n o t want him h© continue in h is revenge when i t has le d him to im prison h is f a ith fu l follow er* S antingt H ieht d iesen Augeabllok wm wenigston F ir s t dm so fens* befleoken — (382) Tenfol n ic h t In d e in er Seele duldem* (383) wenn win Fngel If ©eh s i t s i r sp ric h t a ss deinen Ztgem (384) —GO— Suapici on is d isg racefu l t 0 welch c in h ftsslieh er Vmrdacht* der aehon Die Seele sehSndet, (385) <&« ib n denktt Fusteebe re fe rs tw ice metaph o r ic a lly to death i • • • in je n e r b itte rn Strode* wenn In Rfllfe G ottes branches!• •• (3M ) She usee the fig u re o f m arriage to speak of th e death o f Ague* and O ttokari S is s is d versalhXt* (38?) The r e s t of h er metaphors and s is d le s a re n o t re la te d t© th# above themes# Rupert*e anger reminds h er o f a brewing s t a r * Kr wand Qaw blass* a ls er dleh sah •-» das 1st e ia Zmlchm l i e matte Walkens tre ifen (388) s te ts fttr michj Ich fttrchte einen b£sen storm# (389) One metaphor approaches the p ro v erb ia l in i t s apothegaatio quality* Renn Emm 1 s t d ie TMschuld d er G efallaen# (390) « * * Rust&cb©*® e p ith e ts a re n o t re la te d c lo se ly to h e r love o f jw tio s * She has th roe e p ith e ts fo r h e rse lf* She considers her­ s e lf fo o lish fo r having c a lle d upon Rupert to save JareniaiKst Ich Tarim* (391) d ie Ich d ich mst fte ttrog B eriefI She scorns Rupert fo r h is ev il# c a llin g h erse lf* •••d e in nnterdrSoktes Retb#*# (39®) She bemoans her fa te s 0 ich tk& eilM M ttsri (393) For Rupert she has two e p ith e ts # one when she p leads w ith M»* Mein te u re r Freund — (394) She re a lis e s th a t h e r husband has a dangerous temper* Dor W»trleh# •* (395) •■63b** th inks h er son insane when ho to escape fro a prison* 1 s t fo n fsig Dor Turn She shoes g re a t re sp ec t fo r Jeroniwus* Xeb s e is e os s sa 4mrmLwm§ ter* Ml V ortrefflidheS {338} ( m ) # ML ML w w The m ajo rity ©f fn stach e1® ta e ls* o a th s, a l l o f oblo! i s in sp ire d by b ar loir# of ju s tic e and h er e rX ii# i« o f Report* a u n co n tro llab le ai$g«r* She does no t want to take h asty revenge on th e Warsaad f s a lly $ 0 G o tti {399} «*lo s o i l s in le tb a ich rio h e a t She thanks CM when she th inks Report s i l l n o t t r y to k i l l £gnect 0 G ott s e i Gsakt {400} !3as sfire Ja s e lb s t fh r ©Xnan T eufel f a s t m. b tah aft* 1st sbsa she to ld b in o f 0ttokm rfs lo r e , she d id fe a r dir© son* 0 G o tt, ®eln * (401} was hab1 Ida she w ra s Jorooltaa® to bo about Johann1® adventure w ith H its d ich , f a l shea ha t e l l s Ot Gotta® to O ttckar about Report*® tem per, she uses an oath to express h er re g re t th a t i t i s h e r husband o f whoa she has to speak in each teraa* 0 G o tt, {403) won d a lasa fataor* She oses th ree oaths w hile beseeching Rupert to save J s rte jn w * Ha Gotten W illen , (484) r e t to , r e t t e l Ha Gotta© Wlllen* (405) team. sms Ferns to r tmr#«# Rtf« Bim herb# t»i aX ler M®n*gm w lllsm , (4£&)«+* Shit hom es B u o e r t w i l l n o t m u rd er im nociam i JL dieSi Das Hidohen? 0 Maim Gott# (40? 3 6m w irs t das KSdehem d©ch n ig h t mcrdem? She d esp airs upcm d iseo re ry th a t S y lv ester i s iim eecm tt 0 G ctt* (40S) und j s t s t crscfeiagt e r ^§uper|7 acims Toehter# Her two o th e r oaths have mo connection w ith h e r lav e o f Jo® tic # o r h er c r itic is m oi to© h asty anger* She la a f ra id to mm O ttokar $mp f r m th e p r is m bower* Ha S e ttee willem# (4®9) sprln^m w il ls t da doch ?om dies©® f a n n leh h t Atxi she despairs' mpem dlscovorim g th a t i.gmas a lso i s Mm 1 s t mpf *•** Jesm sl (410) Deine Tochter much? ~ • » « # « GUfSOT Gertrud# i s Buperb*« co u n terp art im S y lv este r1© house* 8h# i s w illin g to b e liev e w ithout in v e s tig a tio n any e v il sh e e t B asalt*# Although she hm only a few metaphors and © ta llies* th ree of h e r metaphors a rc in sp ire d by h e r h a te fu r Rupert# She t r ie s to In c ite S y lv este r ag a in st B apertf D ie 2 * * ig s absabam dee garomt S ta rn es, (411) Das 1 s t seim tb s s la g ta r Plan* dam it Da® Mark ( 0 2 ) i l « selrncm W ipfel hdbsr tre ib e # (433) However* tmlik® Rupert# she i s m otivated by love in te c of h e r metaphors* l&wm S y lv este r recovers from M s d ea th lik e f a in t , she g ree ts him as i f he i s cm the th resho ld to a mew H fe t Vad an se in e r R forte (424) Stehn deine Kngel, (415) wir* d ie Deinen, Xiebreicfa Dich zu empfangen# She uses a s im ile , not connected w ith the above f ig u re s , to ejcplain why Agnes has revealed to S y lv ester the se c re t about ih i l ip p ’s deaths 1 1 , Agnes, lamer t r t g t d ie Jungend das GeheisBits Xm Herzen, v ia den ¥©g©l In d er Hand# (416) * * ♦ Although she i s R upert’ s co u n terpart in Sylvester*® h©me, G ertruda’s e p ith e ts are a l l in sp ired by lo v e , in co n tra st to R upert’s# She express®© love fo r h er husband and daughter# S y lv este r she ca lls t lleln Tourer Ge©ahlt (41?) She stands ready to welcome him back to l i f e a f te r h is fa in t* Xfnd an se in e r P fo rte Stehn deine S ngel, (418) w ir , d ie Deinen, lie b ric h Dich zu empfangen# Her e p ith e ts fo r Agnes In d ica te th a t she i s devoted to her daughter* 0 mein® T och ter, (419) Main e in z lg Sind, mein le tz te s — (420) 0 mein U ad i Du Laban se in es Lebenst (421) « « « Her o a th s , a lso in c o n tra st to R upert’s , occur d im she ea&* p resses love fo r h er fam ily o r when she w ishes to c r i t i c i s e d is­ tru s t# Hone o f her oaths 3s m otivated by hate# S y lv este r p o in ts out to h er the fo lly ©f accusing the R ossit* S ch ro ffenste in s w ithout basis* 0 G o tt, mein G o tt, (422) ic h w ill n ic h ts mehr sagen### She i s frightened t© th in k th a t sospleiatt cam r e s t ©peat h er ©ski fam ily i t e G ottes e lllen * # * (423) I# t* s k s ia s r f i o t t / , 0 I&mmXi (424) f t U t 3& dor VtangMhfc au f ^ai« She ©s» »©t mndcnstamd the jm tic e of AldObern*® aeemsaticai ag a in st S y lv ester i 0 g ro sser Goth* (425) e a r demm Besehm ldigt diet* d ie s s r Ik ita tt Her does she understand hour i t i s possib le th a t h e r ffaa&ly M U i be requi red to deeomstrahe i t s laneeeaeef O dm mein HeiXaaad, (426) m e 1 s t das The r e s t o f h e r e p ith e ts e re in sp ired by lo r e . She m m n o t m m t h e r boshand to re s to re in to th e easp o f th e emesgrt Us G ottesw illen , (427) l a delxMir fe io ie % eh t g ib e t dm aic& s e lb s t t She i s re lie v ed shea he r f w e n f re e h is fa in t* Has* o r e rh o lt s ie b # CJott s e i Bankt (428) She does s o t w ish aiqr harm to b e fe l l h er dsmghter i 0 tm C to ttssslllM * (429) Agnes* Sei doeh amf deixier Set* AnH she i s heartbroken when she d issev ers Agnes* death* 0 h e i l ’ge H o tter GottesS (430) 0 * e ia ^ a d l * ♦ « « # fH E lS fl^ a Hem o f th e reaa istiig ch arac te rs has an is^orfcant s s i a r o f fig u re s of speech — T h o istin er has four m tap h o rs and s t a l l m $ nmm o f the o th e rs mmm hhasxx th ree* S et s t i l l th e m otivating formes. fo r the f l g m of seae o f these ©harmetoi* e re w y in te re s tin g . M i tes th e fig u re s o f speech o f Mo Xeri# %tae®ter# a l l eaeep t ooo o f Th© istliier * s few f ig a re s o f sp©©eh, have stro n g ealdemee o f the theme of xeesag* m& hatred# fb e is tim er know th e smokes* M l t te@ sit»§ Ich kerm* dam Seat* (431) e ls aftr*s ©in Daohsloch — (432) Gebeat d ie laohe* uisd a i r w t t^ r s a le M e W trgeen^sl (433) fb e r B ossihs him# (434) ♦ # # Ho has b a t two e p ith e ts# He shows resp ec t and a ffe c tio n fo r M s master* lo in te s te r H err, (435) w r s e l le niofat l a d ie ses V erderblich diaqxfesi Several Bat fo r laperfe** henoliatan, Ssm&img* he shews cmttXmg c o n ta c t* Seim fe a fe l 1 s t elm 3 ea tc^ ch n e ld e r •»• (436) # # • M s one bgFperbol® i l l a s t r s t e s Mm pm&lm f« r rsssisget S ir breaches K ra ft j* amd elm m Klnderl osa*t l e r r e l s t dor S chroclcemsenbXick das Oobeim. (43?) * « « Baraabe*® setephore oeear daring h er m slrd imcamtatiesas# T heir in sp ira tio n earn sesroelcr be assigned to any p e rsso s l mmoi&amt lodges GXSofc* darns s lo b d ie F fo rte lisa a s d t Hf fee# • • (43B) Gmftdlger Sohaerst dess s lo h -.. mm * ».iwb«bmw H itte r ? CAA2) She i s sym pathetic eiife Agnes and advises h e r to f le e idmm O ttokar1* fa th e r approaches* Fort* H s g lte ltll^ e i (443) S n tflie h i Bamabe,a oaths a re a l l a&XdU She cea n o t m derstand O tte tar* s preserves t 0a lim ber Goit* (444) M e t dm elm Kmgelf fines Agnes f in is O ttc to r dying* Baraab© la d istrau g h t* 0 Jmmr% O ott dee itlaselaS (445) Vela Trftm leisI 31® 1 s t s in n lo s t Keine IfflXfei Insane© d ie h , mein Frtm leinS ~ G otti (446) k im m tm A ll of tlcl§b©mfs fig u re s o f speech a re m etleatad by h is deep h atred o f Sylvester* s fam ily# lie has two aetapfeors* h a th o f nhich ©ecrnr in h is d e liv e ry o f th e d ec la ra tio n o f mar on 3yXv©sb@r* Boch s e l l ich* sseisi* or* n ic h t so f ro e tig red«m***(44?) Er e e l gescanon* b ie r Amf deism* teg * ©in Hodhgmioht m bameng (443) « * • Ilia two e p ith e ts mm both app lied to S y lvesters Bsstfepi dm* i i r n e t von m lm r Hmttor so v io l Wmmlmm - ferstam d midst amgebcmm* a ls 'rmx&tm* tan einsmsafeeit* dm s e ia l elm Setrarteet *449} S«a Krlatg Eat* lo ll d i r ^indassOndar (45©) amgafchndigt* a ♦ ♦ So moo* * hyperbola to aaqwass S y lv este r1® v illa in y t Bla Bund** smf tansaim Hoie# oieh* a ia rlaehaa** P it a®.#** (451) # « • And he follow s tfei© hyperbole id .th an oath to etaplsaslao tlio poin t# •«• mod xslhm© F in er e l non Bisson Atw d e im r %ad* 00 M&ga m iehl (452) Aldbbarn msaa on© o th e r oath* vhan ho re fu ses to understand S ylvester*s peacefu l overture*! B«a fe u fe l b in iefe (4 fJ ) aoo dm raeinst# sinsiB S Th© m ajority of %lvio®* fig u re s o f speech is m otivated by hi® 1mm fo r b is grandchild* Agnes* He realise© th a t ah© la roads** ing a n a tu ra l m atu rity th a t b a r m other hm no t reeogmi&ed fo rm ally by having h e r con fim ed i Gertrude* h ia r das l&deX k la g t d ish an . Es raohao ih r das B ars das A lte r vor* (454) Ih r bl&hand Behan *•& d«r Half© neb*### (455) Dm aber fc fttt'a t lixr nodi d o Sinsagnung* Den Blttorschlag dor Walter* (456) vm snthaltm * Bis too i&aeellameoG® metaphors occur slam Is© i s being la d ni n * * aIP • ~ I I * * ♦ I M a *%I f*» ««• •I M*s r f1 * I ZI $ *• f I •«*■>* S 5 I I I I S m th mjstom&iy C h ristian re lig io n s hyperbole they speak as i f heavenly angels m m descending fo r Peter* B ladarsteigan O'XdS3S^B990 trsh l© t # Hlamelahflheii mw? Brd* hlim b**. (467) # * * • * nStESBHH Fin&eiiriiig, tto* derated and tru s te d fM low sr o f ihaperb, in d ic a te s by b io f ip s re e o f speech n e ith e r o f th e emotion* ii* c o n f lic t in th e play* Mm m m a sim ple awtaphor to t o l l 0 it# ~ k ar th a t Mo s ta y in p riso n w ill be b e n e fic ia l to Mm# • •♦morgen, * e tt» ic h , lo t lo in G eiot F&if Jah re a l t e r , a le lo in Kaapt# (46$) » * * Bio e p ith e t fo r Ottefear ie th a t o f a ee& tiert £ « » , dm a l te r ^mage**# (469) Be uses hypexhc&e to lo re O ttokar in to prison* Bar a r t i v t t s ie h s t dm, d o r w »ch«ld lgste# rkqwi M er smf Qmadsr&teisiQn mBaot*s S alb st eimea S atyr f t i tm a * (410) * # ♦ Ilia one oath i s mmd to assu re O ttokar th a t Mo Im prison* most i s th e resuL t o f Htaperfc*© o rd erst ♦♦♦bei mimm. Eld### (411) rn s o u U rsula, % he so rceress mho i s Mamed fo r the vhole tragedy , had no e v il in te n tio n s ag a in st e ith e r fam ily , and th e re i s no tra c e o f hatred in h e r only fig e re e o f speech «— th re e © pithete i»n*i sn oath# •—TD-* She employs mild e p ith e ts fo r her daughter tw ice during Barnebe9s in can ta tio n In o rder to rmprlmmd h e r fo r n o t paging a tte n tio n to th e term? she i m making* I f 1hese epithet® had been vezy strong* Ureula m ight bare become an unayiapathetie ch a ra c te r« aroaboi Btlee# MSdeli (472) Barmabel Du bases M addi (473) She m m a lud icrous e p ith e t fo r Johann when, h e r p a r t in th e tragedy Ims been cleared opt •s 1 s t abgetan* fusd:® P%$K;bea* (474) ♦ * * sympathy evokes a sd ld oath a f te r Dupert and S y lv este r a re jeco n c iled t Oat* e e l Bank! (475) So sa id ih r m vezsShmt* saw n so Hate f a r Warsawl w fjEtt# Sen tin g 1 a two metaphors# He th i phif o f hi a enemy as anim als* M r mttssen i lmm an f d ie Ffthrt© gehen# (476) Die Schlange h a t aim sih e s Leben* (477) * * * I is. am e f f o r t to disarm Baraabe and d iscover th e s e c re t o f her m ission in- the mountains* Seating uses a te rn o f a ffe c tio n fo r h a rt Ham h a s t da d o rt an ta n # schemes Sind? (473) * # # He uses an unusual oath to a ffirm the tr u th o f one o f h is statem ents* -JVh- I eh sags* m d i a t 1# dm-r 8#r©M# woWl§ so steakfc Die Frau iiie is&ch la den Weihsroek* (jW ) * « « The snake m atad o r ha uses to express h a tred of S y lv e s ts r’a f a a ily I s s is # p x w eite la li Dl# SehXsage h a t #1# ashae totoeii* (480) rasa m m m m m m The church istrd e ii's only fig u re s o f speech aim thr^ N® sisstHcN*# Ha use© csie to c o rre c t J&renisa** ia p re ss ie ti th a t th e an c ien t tfss tg r of in h e ritan ce has nothing to dm tr ith Peter*© death i ■ -■ D#ss das 1 s t l a s t , s i s s a g te s t dU| dor Apfel Qefeftre n ic h t saa Stodsnf& ll* (481) - / Another i s a c tiv a te d bgr him h a ts fo r 5yX#e*ters A S e tt der Z e it h a t das S y lv este r s ta ts nach vmrmr G rafsehaft bar Gc®chi«lt# a te m m S eise m d i dem la o c h ^ i, k V An das der &mA s>* (4B&) * " ^ ( * ' r His rmsdMdng mimiXm i s evoked hy h is to rs fo r Ifcwpert*© hoys* •**und d ie se a l Knaba&"-wie x V M e Pappeln h3Jht«a.#* (419} # « # « • m UftMKKZCK Eustaehe*s wsM has an e p ith e t sfeesiiig re sp e c t fo r h e r m istress* la. d e lr» BSlfe* Gaftdigstisl (484) W > «i» is« iw • * * And she o s # a a l to oath to t^ x s a c h e r r e l i e f th a t Sonting** l i f e I s to he ©pared* 0 G ott S et SmM (485) ». e * * # —72-» w n c I s t ie r SjrX w ster1® gardener hate® Rupert so mtach th a t h# swears ha w ill never do anything fo r h im ***#s®t ih r n ic h t d ie Fr&chte* Dor Tetafel h o lt » leh # (406) aehlck* ic h a le n&eh E otssttel * * a * a die m a n S jlv e s te r1® serv an t tisaa a s im ile to exp lain Johann*a iacem pre- hensibl® ta lk s **#ear sarieht uagehofeelt Seng*Wild dtarcheinanderf vcl# im Wstawita fast* (487) « # « « * 1 118-49* *&•2 3X0-U* »# fXZtt TSe.752-53* a*4 753-55* »*5 7$6-57* s# TO* Sffe*6 758-60* % fXSB 90b#7 804—05* • *B 1256-57* a*9 1259* m*10 1259-60* a*11 *a•I112 1269-70. a.W 1270-72. s.14 1279-74. a.15 1274-75. a.14 1275-80. a. VISE 92b17 1280-81. a.IS 1498-99. •.19 1500. a.20 1499-1501. a.21 1561-02. a.22 2173-74. a.23 2174. «.24 2174-76. «.25 2177-79. a.26 2179-80. a.27 2203-4* a* VIDE 92b28 2325. a.29 2325-26. a*30 2326-27. a. 2415-17* at*208* a. 2431. w* 2435-36* * • 2438-39# ®* 2442# »• 2442K3* »« 2455-57* a* 2458-59* *• 2469—70# 81# 2479-80* ®* 2482# &* 2481-83* «b (Ian # j* tm lli.* # d i« R«gwg»*») 2486-87* m* 2488-90* m 324-26* m* {S@#l#©# * tsarfcfe&salt&t . )325-27* m* <&# v JOHANN 171 258. b , VI® 240h. ■ 172 259. ». 173 260-62. a, VHfE 2411u —76— 174 239-90* a , VII® 242b* 175 299-94. s. 176 295* a* 177 299-700. s . 178 3d . a . 179 337-40. a. ltd 347-38. a.m 350. a, VICK 222*. 243H. 182 799. a. 183 800. I . 184 806-07. a. 185 007 flfli a. 186 1037-38. a. 187 1040. a. 188 1040-41. a. 189 1053-53. a. 190 1055. •* I d 2666. a, VX« 2441. 192 342-43. a. 183 342-44* «. 194 345. a. 195 344-46. a. 1.9^ 817* &* 197 srwa* *• 193 3^3* a# 199 030 o a# 200 331* m* 2€3» 332—33* &# 202 340* st* 203 353-54% »• 204 359% 7T13E 325s #* 2C5 360# »« 203 S60-6X* su 207 1048^49* ft* 203 1043-49* a# 209 1050* 10# 200 2724* a* VIDE 239e* m 2725* m* 212 263* s . 213 2% * ft* 214 277-789 ft* «* Mm rm Mm Mm Mm 270S-09* »* )m 8* 2677-78# a# >• a . Mmm 279 232 233 284 285 284 297 298a 1717* % TIM 293a $r« 2722-23. a * 2723* m. 1542* i 9 1768*69# ef VXSB 1576* a* 1822* #• z m l *1 * a# * a* 2534* a# * a# 1911* a# 31* h , 39* &♦ 55-36* &* 23 # a* 1j$^J0* a* 2716* a* 1716*48* p e t 3 e r t e M t e o « tc® Zinina br^chea* a* 8* elae 3*laganfcalt«*« aa w w a ia d tta lt t a d t gegimeii, a&a mm 94* a* 300 £95* a* m 696# a* 302 697* A* 303 698* a* <#**% 702. a* 305 703* a* 306 705*06* A# 36* 706-07* a* 308 706*09* a* 309 710-11. m. 310 724* m* 311 1245-47* a* 312 1296* a* m 1297* a* 304 1297-98* a* 315 1323* TTOB , 316 1469—70* a* 317 406. a* 318 2548*49* a* 319 2551. A* 320 1034* a* 321 1899* a* ja^ 105f* a# 303 1073* a* 321 1JI3* e* FIDE —®o— FBSTACHE OERTBta* 376 1746. a . 377 372* p i BorehMnit., p . 81. aSlete apiaa t e w m w allaa. ,..p ic h a ls im setuildig b iasoatallaB ^nnTryr*.* 378 77-78. a* 379 32-83. a . 380 83-84. B . 381 1637-38. a . 382 1927-28. a . 383 1928-29. 8 . 384 1989-30. a . 385 1958-59. a . 3 8 6 1 8 0 2 -0 3 . a . 387 2625. a* 388 1694-95. a. 389 1694. a . 390 1908. a . 391 1807. a. 392 1810. e . 393 2654. a . 394 1965. a. 395 2 |4 2 . a . 396 23^}. a . 397 1992. a. 398 1993. a . 399 3MI. a . 400 2CQO. a . 401 2008. a . 4 0 2 1 7 0 2 . a . 403 2343. o . 404 1785. a* 405 17B9. a . 406 1794. 0. 408 1969-70. o* 408 2350-51. 0 . 409 2359. a . 410 2624. o . 421 2037. »• 412 2039. a . 433 2039. a . 424 865. a. 415 866. a. TIDE 418*. 416 457-58. a . 417 522-33. a . 4 3 8 8 6 5 - 6 6 . a , Vtm a s m . 419 1062. a . 420 1063. a.421 2619. a. 422 546. a . 423 ld 5 . a . 42B 862. « . 429 JUfi. o. 490 2618. n . 491 208JU **• 432 20S1»# p# 413 2885-86* 3* 434 2885-86* m* 435 2570* #* 436 2606* r* 437 3572-73* &* 438 2097* eu 439 2126* m* 440 213S . •« 441 21.47* 3# 442 2232* 4$« 443 3561* •* 444 2171* 0* 445 255i* 0 # 446 2540# o* 447 5S7. « • 443 592# m* 449 6X6* 0 * 450 620* $« 451 617-13. h* 452 619* 0* 453 61|« o* 454 429* m» 455 430# st# 456 433-34* « • 457 2628# 20# 438 2623-29* m* 459 392* 0 * 460 2675* 0* 463. 2675* $♦ 66) 4 -5 . a . VITB 466 6. k. 465 16. a. 466 0 . ^106 # 467 1 -3 . i t . 468 2266-67. at. —s s — 470 2260-62. b . 471 2279. » • VBSVU. 472 21X5. • • 475 2159. e . 476 2704. e . 475 2721. o . SUtrim 4 % 2252. a. 477 2515* *» VIBK 460 p r . 473 2233. *• 479 1519-04. o . 480 2515. |p.f bandar. »Scblang*" #20. "Ola Sctilanga stlrbt nieht, TIDE 477a. IRft fa FiL'f. KhVlD or 431 185-86. •« 482 2 0 0 -ta . • . 489 205-06. • • DIF KMffi'mOFE t»D QARttffiKR U#5t -.'i '* NRk 484 1889. « . 4 8 5 1 9 0 8 . « • 486 511. e . 4 8 7 1 1 2 4 . a . m m x fm m In the cc©edy, tombXtXYm? K le is t shows th e b@ais%* of th e pmmrf&L conjugal devotion which lead s th e bwmxtlftOL mid noble prim m ss Altomm to wish f a r death when she th iok® th a t h e r la n sr» m ast cans©® have played h er fa ls e said have la d b ar in to so i l l i c i t re la tio n sh ip w ith a mm o th er t&mra h e r husband. Bat th is them©* which throo^hout tb s p lay th rea ten s to lead to tra g ic co a c la s ia as , most shszm th s so o tH g h t w ith th e ea rth y comic aituatiom s re s u ltin g from Mercury* s m m m ptlm o f th e servan t Sosias* fom * Indeed* th e same* o r alm ost th e same sites** tlom which b rings th e p rin cess A lkssm e to her p a th e tic d esp a ir i s used by H o is t to fa m ish coaie r e l ie f w ith C harts and. Sosim * f hm the em otional ten o r o f th e p lay i s d iv ided between th e serioosm ass o f ilkm ane 's s itu a tio n and th e comedy o f Sesias* s itu a tio n * la g ch re ffen ste in th e re were two p rev a ilin g emotions* lave sad h a te , each s tr iv in g to mm reamo th e o th e r and each cempXmmit- la g the o th e r by i t s opposition to th e other* Sooti i s n o t th e case l a Amphitryon* fo r th e re , i s no degree o f epposibestie&e between Hkm*m*» love sad eo a fa slaa sad Sosias* comic s ita a tio a s —* ra th e r , th e two proceed s id e by s id e throughout th e plagr* te d each o f th e o th e r character® i s m otivated by emotions d if fe r in g l a g re a tsr o r le s s degree from these o f jtlloasne sad Sesias* Alksaene and J u p ite r are- m otivated p rim arily by lo w , b u t J p p lte r sm gtesisas h is need fo r lo v e , mid AUmmmi em phasises th e tragedy o f n o t being ab le to t r u s t h e r mm fee lin g s* ^ p h ltry o n , although M s love f o r Alteten© i s made p a te n t by h is words a s w ell as by M s actions* *— t h imk& prijmr.ily o f rvvmg®* M ercury1® a c tio n s shows th a t he i s M tiw a te d by a s p i r i t of M s c h ie f* C haris* In d ig n a tio n a t b a r husband c o n tro ls th e m ajo r mrt o f her a c tio n * And Soeia®* roOLa l a a lm o st e n t i r e ly c a ilc * r e s u l tin g £r®m M s co w ard lin ess and h ie d o u b ts a b o u t C harts* f id e lity a f t e r S o s ia s b e a rs ab o u t th e v i s i t o f th e gods to M s m aster** h a se j b u t M s w o rrie s ab o u t C h aris have none o f th e s e r io u s q u a li ty so ia ^ o r is n t in Albas®*1* speeches* Thus I t 1* se ld o m p o ssib le 1® t h i s com ed y be t r a c e th e la r g e r g roups of th e d if fe re n t c h a ra c te rs* f ig u re s o f sp eech to -the mom em o tio n al m otiw as ano ther character** f ig u re s * ast a* were a b le to do la th e traged ies* O ulskard and £&§, Faaffi&a ScM offenstelm * Because J u p ite r and. Mercury a re n o t dlatiiigM ehed by th e o th e r members o f the ca st from Amphitryon and S osias u n ti l th e very end o f th e play* a l l remarks addressed d ire c tly to Ju p ite r and Mercury during th e p lay — except trm . Jtagbitsyoa to J u p ite r and f r e e Sosias to Mercury s h a ll be considered as i f Intended, fo r Amphitryon and Sesias# th is w ill apply © specially to e p ith e ts* SOSIAS In sp ite o f the fa c t th a t he i s not one o f the characters she sounds the seriou s elassent o f the play* Scoriae has ©ore metaphors and s i d l e s than any other character* Although he i s scsaewhat worried about what nay have happened between Charis said the other Sosias* the la r g est group o f h is metaphors and sis& le# i s in sp ired by h is cowardice * mm o f h is main ch aracteristics* which has groat castle e ffe c t in h is dealings w ith Mercury* —85< Ha altar® th e fa m ilia r •P elv er r±®ohm* metaphor to f i t the h is to r ic a l era and in d ic a te s th a t he is no m r r io r t 11 u s ! Vest Has an ap fw h 1 ie h d tre ist SeKdeaMttf Ehd werde se h iee h te r n ic h t beateha* a ls an d re , Hie such dea Pf& il noeh pfe i f an n ic h t gchdrt* Cl) A pparently he f e w darkness* o r he mould not speak o f i t ^ b dees d a a he decides to Im ve Msphltzym*& house a f te r taming m t Mercury th ere t letiXaiit ic h ae ida te rn Bern feu fe lak e rl* uad gehv sur&ck In s Lager* S© f lu s te r d tese H&llemmeht aueh glofcst* ~ (2) I s a f ra id to t e l l Itaphltrycsi about th e o th e r Scselas* S e ll ic h nach a a in e r 'Gbaraeogesg redoa* Ei» e h r ltc h e r K erl, m eretebt islch* Oder so M e m b e! Hofe Uhlich* (3 ) s&t ludh spree-hen? Sag* ic h fuel* d n & st d ie ta h iis e it, Oder s e t ! ie h Mich id e e in vehlgeseganer Measeh M irage& f (4 ) In h is f i r s t mooting w ith Mercury* S m im wondters about M#reiary*» h ra re ry i —*dedoch T ie lle le h t gebt*® dem Bsnsmmst wim mir9 tad e r re rsu c h t den S ise a fre see r b less* (5 ) Us mich in s Eoehshora soM chtem d einstijagen* (6) He pretends th a t he i s no t disposed to f ig h t d re a ry * Hir ic h such so aufgeleg t# Map mftnlea aetata tin® in d ie % are kcwaen.# (7) But he subm its to Mercury ra th e r quickly* Ich nuss den &Bnm era siehen* (S) e e i l Ih r seht* Pees m ir au r Band ta in FrOgol le t* id e Knob* He eonfeesee th a t Mercury*® physical su p e rio r ity ta e taught- Mm a lessons Doch dee Gewieht h a t deixssr Cbtade (9) mtcb B eleh rtf ic h jo is t* das® ic h ml eh I r r te * AM he w ill n o t d lseu ss th e s itu a tio n w ith Mercury* un less th e l a t t e r prem ises n o t to -beet M ai It&f t t i 1 I gIf I*Ii §<& tt f f t K I 4 s « ** K % *n i l s ?*II I !I* f tt® 3 3 7 * g p i ft s'*f I f r» I !* 3 H I i» r I t f tsI 1 «► «** f o 3& CrsIVf f ta a I#fI«#S -9 8“ - 87- 11# dm g le ieh fiber miehto d l# F la tte n ®trmb&%% ( I f ) He ceeplalne la te r th a t she wm f a r frcsa ten d er i a th is f i r s t m eeting a f te r h is re tu rn from caap* Bonn dm M at s& rtlich gegea mich gm esenf H e sin# w ild# Eats## (20) Be th in k s h er eomdmct m erits a tboromgh beating* lo b m ill elm Scbmft s e ln , waan dm hemte morgen l i f M Pr@gel# so &esalaen*# (21) v e rd im t* l i e hsrab eind amf e tn M t geregnet* (22) Had. she mot premised to be mnfaithfmlT llieh t a i r elm BOf&erpeer versproehosi? (23) E«r s to m f# behaviour mm% he the reem lt of a befuddled b m iitt 1m threat Oberat&hohea le t* # micSirb rich tig .# (24) He wonders i f he shomM dM j g ^ . JlldMm.1. J .ymUHi d^.WX t^U?3r*S Q iltllM IS 5SUh1&© o081#S CUBSfSBUrt Xch 7#rlss#is#r t o 6mn G O ttem l (83) The nex t la rg e s t group o f S w iss* ep ith e t* to fo r Jopbltxyflnb Faoh o f those fo u r e p ith e ts i s ec^plioentary* Use f i r s t to o an® sn o u t to pXesso 1X1tos$#s •••J&iefe schlcfcfc Amphitryon^ Seim holier K err (E4) o#d le e r ed lo r O atte* { if} II# i s ^ i a s th e soy re fe r to bur hoshoodt ••♦ “TJnd d«m to ro m Q eliehtsii c o in e r Bm l* tephityon* (86) H e g#ht*s its*?* m m i^ p td try o n i s confronted by M s o th e r se lf* Soeslas i s ver y s®ipstii»tXe§ K i#r log# te h mich so Bores PSsssstp Hein ©ehter* o d le r und v e rfo lg te r Herr# (87) K is th ro# #p ith# t« fo r Churls s i s aXX. disehXigln®:* H aulaffe (88) Ben Saaapelsl (@9) ftfel* schlte# dteh* do €M>tbeal&irt«rli«h#l (90) S o siss uses th ro# e p ith e ts fo r th# seeod l Jhipliltzym * I s th e f i r s t cm h# i s speaking to th e r e e l A sfM tryitt« Mm ub&r Booh w fh in g t 1 s t? Ih r so ld deppelt* tep M tiy eo t o Stoefe (91} i® t h ie r i f s r o t t t t * W m he m m th s s e e s d to o ep ith ets* m fortim ateX y fo r ispM tryoBf h# m&mtakm J u p ite r fo r th# 're a l 4spM tryoo* I h r H errs* M er 1 s t te s h itry e a i d er a a d re , Bin SohoMsk (92) is t* s* d er Z teh tigsag imr&lejit# Li i«lI ! I III ?I i ! j ! ai ! | M * | J 1 1 * ! 41 * *n i l ! H } f I m s " ; I 1 * | S ' * sI I 1 £ The l a s t hyperbole exp lains wby th e fa ls e Amphitryon a i l l iwimr he ab le to ex p la ta the s itu a tio n to Amphitryon a f te r th e latter bee fainted* Vein Seal*I Hr aArd sch lech t harm # * r l e t ta t* (101) # # # fo s ia e w ith fifty -n tn © oaths nses f a r mare than any a t t a r ch a rac te r in th is play* te p h itry o a seas* nex t n&th tamtgMML**! a© o th e r ch a ra c te r has wsre than th irte e n # Cta m ight raaaaaab ly ©appose th a t he has c u ltiv a te d the mm o f sueh stro n g e sp re ss la a s in o rd er to hmlp conceal Mm n a tu ra l tim id ity , mhich $mm dmmmmtmtmd in th e la rg o number o f Mo metaphors In sp ired by th a t emotion* The la rg e s t g rasp o f M o oaths occurs sh ea he i s frigh tened# Be swears when lie says he la b o ld , s ©seething he would probably n o t do i f he were r e a l ly bold* ♦••arena tel* j# t* t M ek t © it FHftjyw But aa oteose* So w ill le h in den f ia s te r a Orkus fabrea* (104) I l # h©L*s t a r Befstart (105) eh ic h tas&ig bin*** 1® wish©© to p h itryoa had n o t m ® it hia home in th e darks Utah h i t t e daa n io h t S a lt gehabt b i i morgen, M l1 le h e in Pferd s o la , e ia gesattelbesA (106) At f i r s t e ig h t o f t a t t a f he is- frlg h te n ta s Aoli b e i den Q Sttem d er ia e h ti (107) Ich b in re rlo m a * H er, T eu fe l, (108) h a t den Kerl air d a rt geborenf Be d iscovers th a t h is eeraB tarpsrt i s a good f ig h te rs B s tte r l (109) I h r schl& gt a i r e ln e gut* Faust* *• Scales must a d a lt d e fea ts Rol* Booh. dor Mmlcmri (110) Jch mzss den ffl&mem siehen*** Xfcr ®w*gm O S tter d a r t! (H I ) So mns* ieto mrnt M e t se lb o t f e r s ie b t jo i s t le is tea* * * Hi® p lig h t i s so frig h te n in g th a t foe would prefer alm ost any o th e r fat® in o rd er to be fro© of id s prosont erne# G eflel1® don O & ttera doeh, (112) dass icfo beeessaa ism } When J^ re tsy v b rea l^ M s trae®* SmUm despairs* Ib r gearo-cbbon O dbtari (H 3 ) Wo b le ih t s i r Boor Sefen&®T In re c itin g b io adventure to te p b itry o n , Deaiaa outsit® th a t foe d id n o t r e l is h being s e n t out a t a ifh t# Glng le h Dureh s in s H O H onflnstorais^ a la wSm Dor Tag KXMftmm t io f E.uch aUsm T eu^ln ax&i dam A oftm g gobend* Dcai Weg nacfa Thebe®* uad d lo KfSnigsburg* (114) B© th in k s Amphitryon fo rtu n a te to have mim ed a boating a t th e band® of the other Amphitryon# Asptitiye#* voa Stock 1 s t b ie r gesossa* tJnd gXtcklich sobits* fob Booh* boi Sett— * (115} m would oven p re fe r a lit H o dishonor to a beating# tffod jd .fi geswEsn©® Mass von SohsEdh® oSr* ad r So lieb * al® die v e rte u fe lte n (H $ ) Tropfolloii* Die sir auf bmidm S eho ltem prangem* —» He pretend® he w ou ldn 't think of treating Mercury meanly# HI* m e l BehW s&efo Octt* (117) mein waekres Selfosb#** Hi® t r i p th e n ig h t before had boom veiy d isagreeable# Ibid Ober d ie vorfluefoten ( l id ) BHo8BBur8el®'jp d ie dc^n ^aaae® Wag vorfiee^it®##* Brtebb mm d ie Belno f a s t s ic h , und dm Bela* The n ea t la rg e s t group of Soaias* oath® a r is e s fro® th e servant*® attempt® to e*pbasis® hi® cwa w orth and in te g rity * Be th in k s he see® f ig u re s i s th e bushes as he- w&km M s say to Altoona « Ih r h&bt den e h rlic h ste n G eoell*a g e tro ffe a , Bel meiner Tren*, (119) auf den d ie Sense se h e in t—* AsgMfcry®© must b e liev e M s s tra y s K ier d ie In te n se , b e i dan G ttte m , (120) 1 s t Aeuge Bir«— He d ec la res b© would ra th e r d ie than t e l l a lie * I ch. vdUU rlicit la b a n , (121} H err, bel&g* id s Such# Drunkeimees, S ostas s tro n g ly a ffirm s , I s n o t the cause o f M s stogy* le h M il des T eufels s a in , (122) wma ic h heut mefcr Als M ine P ortion getrunbea h&be* Auf wmimm Scheur, (139) n e in S eel* , (124) kfcnnt Ih r sair glatibea* Be denies th a t lie I s try in g to t r ic k Charles la s das b e t r i f f t , a e ia S e e l1! (125) da sag* ie h d i r , Dess ic h n ic h t dem GeheijuxisvolleB sp ie ls* Mein, Chari# • Auf mein Mart* (126) le h s i l l edUa Schuft s e in , (127) l-tmm le h n ic h t g estem b ie r schon aagekoaaea* S esias deserves b e tte r tre a tn e a i than Mercury accords M s* Hein S eel* , (128) spot©* ic h n ic h t an ~:ur®r TafeA, Has fs se a bab* le h doch v erd len t* M ercury's assum ption o f Sosias* form confuses Sosias* s in p ls b ra in , as dees a lso Charie* stran g e behaviour* Mercury m em to knosr Soslas* s e c r e ts , and Sesia* begins to b e liev e th a t Mereuxy r e a l ly I s S o siast Man s u s s , ae in $©©!*, (129) e ln blaschen an ib a gl&uben# Mr e e is s on a lia s* —*■ I l l s T eufel j e t a t t (130) Ich fang* im E rnst m mir su s m ife ln an* H r f&ngt d er Kcpf am scbw irrea a n , Xch sehe J e t s t , mein S ee l* , (1301) e la sich*a v e rh ftlt, — l « n ich*® auch g le ich noch vBBLlig n ic h t b eg reife* Em d o e sn 't knosr hear to exp la in the o th e r Bosias to Asplri try o u t Mein S ee l* . (132) 4a f ra g t I h r n id i sra r i e l . Soeian stOrfc© m eh# da ieh mich Ohio, i s u n ce rta in about mmrft «|k1K <31EJU *i|k* i£dL^' Es ia u f t# mein Seel** (133) n i r th em . Hncksn* da Pen Punkt* dan k j i e l i oheetg berdnran SOU* Tn h ie in d ec isio n he s t a r t s hgr sv earlag a t C hartst —H ilf d i r d e r Hisaael, (134) C harisi And then he i s th a t aha i s in su lted * Mein, ih r gereefetea G u tte r, (135) w h a s t dean c 11 , so basahr9 dor HSsaasl salch, (136) mm f i r e it S oslas addresses th re e m aledictions to occurs during Seel*#* f i r s t m eeting w ith th e gods Fahr in d ie M JL*I (13?) Ich kann n id i n ic h t The o th er te e escpress S o sias1 disappclnlaseitt a t haring to do ou t supper* fo r s i r f r e e s t euren &&&# dess ih r dram s tic k i* (‘ Ben Tod d ir fades* (139) das nan sc h la c h te te . A very la rg e p a r t of S u sies1 oaths1 can n o t be connected to any o f the above theses* He venders bcv he can d escrib e to j&kasae the b a t t le he d id no t see* ~~Bach v ie aim Teufel (140) mash* ic h d a s , da le h Babel n icb tv a r? ferw tesebt* (341) Bis v iv id im aginative d e sc rip tio n o f th e b a ttle ' p lum es Mmt •"•Pctssj, a!3e H a iti *•*■» (342) —Dess mich d ie P eett (143) Wo k iw t dear H t» s i r h er? He th inks Mercury to o in q u is itiv e * Boeti feel dm O tfctam a t le a C^ecfom lam fr Besebwir4 id* di©fet d ie d teh and add* rag tagm # (245) dees n e t hew to fcelier# S o sias4 etasgrt Befefet4 i (146} Ih r sa id dor Herr end ic h d e r Stoner*** Boh&t1! (149) War e e r la s g t de*m da® ra n tm fot Melst SmX*$ (14S) f* fcoetete d ie g r is s te Fein ndr* 3# got* «L* End** eh 1 le h e® glawben 3* ra ta * I f IJereury had b#en d iffe re n t^ Sosi&s s d jb t have lik e d him* Mg a i r 4 «* m ir g e s e llig e r geeseas** la in so le h e r &«w4®#lier Ordfciaa* ic h kfinnte* 4 s f £hns» (149) ©@hr daxait STafrie&en. se ta* JUHphltryoa i s s lig h tly mhoot th e two S o stasest Mein Seel** (15©) j** ie h l H laht d iesea Id s von h ie r# Doch dee TersasXedeit® (151) Id* v e t Clause**# Sosdas. t e l l s Chari# fee vmmmbevm nothing of th e evrnfmg b efo re t Der H eito r h o i4 e e l (152) Ileh b r i e l mehr a le m ch te* He d ec lares he hadn«t suapectod th a t C harts a lso had oaten h o rse - rsd le h i Mein S e e l4* (153) ©■» wasst* id* xdeM# dpm rdcht* C haris d ec la res th a t th e second &m§foitr&m. mm Ju p ite r* Mein Seel** (154) o r war n ic h t sefel#cfet bodlaaat* Ho irtehes C harts had indeed «ph&8i*M9 h e r good p o in ts a im feta th e morning a f te r h e r eneoonber w ith Mer cury t Mein S ee l4* (155) das hfttt* id * bnauehea kOrtnea* Ctiayta# Denn dtt feist a h r tl i ch. gegen udLch gewseea* H e e ln a w ild* Kate** Ich w ill cl® Setraft a e la , (156) wen® da heat# H leht P r lg e l, so geaalM aa, w rd io u t, Ala J# be rah aSad aa f min ?%tb geregxaet# M * w ah® m ad h e r ways, ha M il b ea t h a rt J a , Seber&t f ta a s t da K it dtea&a 3cha®® a i r a ie d c r , ppell* Ic h d i r , Hoi1 mich tier fem fe l, (157) « ! » —* 1 te d ha th inks Charts insane to b e llo w ho i s ApeXlot Ip o lle a , ic h t M at da das T anfaia? (158) He a&scres Ms. asaster th a t hm knew he i s th e txy» AapM trycnt tvm Hanker, (15?) w eiss ie h fs n ie h tt Mein, B ed* I (162) Er w lrd sch lech t far 1 s t to t# # # # Sosi&a and H eretoy bath'w ee fiv e p ro w rb e ,mere than any o th e r c h a ra c te r uses* fwo o f the® gtwfc e ttd en ee o f S eeiaaf sal® ebanaetMV- i s t l o , cowardice* He th in k s th a t Meronry ia perhaps only •#»m stich in s Boefehorn w ith h is club era m m * Ich imsss den Kftrsera His n ex t proverb la in sp ire d by S eries * eenfuslo® aibeot recen t experience w ith !% rearys Be 1 s t gefesae® n ieh t and, n ic h t geatoehan# (165) ftse l a s t ten a r t concerned w ith Sosias* s l id w orry afoosfc Clmris* f id e lity * lob stnse elm wenig au f den S tranch ih r B u le ts t 1 s t *s doeh so lang wi# tre it* # * # # Swiam I s th e only ch a ra c te r except f o r th e f i r s t co lo n el ~101» t® mm pm&$ th e ir ptarpoae is always I w f Mercmxy asks fo r inform ation about S orias s fo r wmXetem S taadaf ?oaa s lu e s an f s e a l FSsse% (168) wi# Xhr seh t* flia 1m o th e rs a re m otivated ty Sotiea* fe a r o f pl^sAc&X i He gives is to Mmtmrp$ Doefe das G esicht h a t d s in e r Grand* add* 8 # l# h rti (169) ic h schs J s ts t* dass lo b adeh A rrt## And be t a i l s Amphitryon th a t I t m s s o t easy fo r Mm to boom s convinced th a t the o th e r - S o d a s m e th e s e a l oust Pols sir« If she So gat* S is ihbhhb* «u’ atmo- w& BM twB AffiKr&nw* * # ' * ' D ialec t fo rm occur tw ice# fbmdx mm in d ic a te s o f so p h is tic a tio n and cu ltu re# Both tim es tb s d ia le c t word® a ss e p ith e ts t the f i r s t fo r lisroa^f# the second fo r H alt* Kaaaa, Bin Scfcutdak i e t fe##* {11 # « * Bm%m makes th ree had met prem ised Mm b a r in f id e lity * H icht a d r e ia Efixmxpaar versprochen t (ITS) % Mich s lu m lahxurwi schas&os t i t a i l e r t f (174) And he declare® MWrcary** b ir th mm® irre g u la r* Da m dor Back gefaXXaor Gauaer, dm*## (175) * « « S eals# sim u lates a c u ltu re Its does not possess by 1 te e L atin ex p ressio n s. th e f i r s t occurs diem ha la r ^ s a r s ln g fo r A lim as m l w ishes to d escrib e th e s is # o f th e cap tured M1 -102- So g rass im Qsfamg, m raeter p ro p te r. (1% ) 0a n ic h t am tb erfcre ib ea , mem® n ic h t gl^ SSESSflP, Als Theben* He d ec lares to Amphitryon th a t nothing ex trao rd in a iy h a rm e d 0® the isay to Thebes* M ichte, H err, a id e ta s ich u l n venU (177) M o $malm v e i l von Fmrcht isad Schreekse® h atte* * * » M xm rsam Although th e re can he no doubt th a t Airphitiye® I s deeply in love w ith Alkaen©, M s love fo r h e r m otivates p ra c tic a lly none o f h is metaphors and s im ile s | i t e m M s fe e lin g th a t KXkmmm does mot love Mm and h i# d e s ire fo r revenge take precedence over a l l o th er em otions in th e number of m etaphors and sim iles they in sp ire * Of h is fo rty —seven metaphors and s im ile s , e igh teen a re in sp ire d by the fe e lin g th a t All®#®® does n o t love Mm, although th e l a s t seven o f th ese express tepM iiysm *s confmsioa about th e re a l meaning of mbat has been happening* Allonen*** co ld g ree tin g seems to prove th a t she has n o t m issed h er hmsbamd# Und s d t Befremden nshm* ic h w ahr, dass ic h Mm tb e r la s tig e r ams den Tfolken fa lls * (178) H it d iim*m. Wort h a s t dm Wasser Zn mixm* H ebe KLaasaea h ingetragsa* {179) Dm h a s t, s a l t ic h d ir fe rn , d ie Sonneamfcr l i c h t s in e s flfcchVgeoa B lickes gewhrdigt* (180) H ier word k»tn FlC gleschlag d o r Z e it vernerasien# (181) Amphitryon has heard c f m irac les b e fo re t M i boats k n tp ft der Faden sici* von jsn s e ito An meine Ehre (182) and s rd ro s s e lt s is * (183) Could death t e e h u rt him more? Kaim 8s o , frag* ic h , dm MLch le b h a fte r f th la n ? (184) 0 d ie s e r BeO-eh, o r ta r if f t das le b m a& rt (185) th a t they separate* 1 s t , d ie e ich fctfiim*Kiutt# A fte r Mercury has re fu sed to l o t Amphitryon e n te r Mo ow* house, jy^feitryen so lilo q u ise s* Schnaohvoll wic dlo Mir ana&efllhri* l o t d ie s das Begraben M s id i SchOKI ®nd#rB (137) m& nsino Mtwo (As ho does wonder what so rt, o f e x p lan a tim th e re may bo fo r Id s «dfe*s p e e u lia r coldness and h er stran g e stosgr* Baas s in Betrug wetfeSRden 1 s t , t o t k ls r , lexm M ia* Slim* such das llucinritadlg* Oeweh* (189) nech d e b t i'aseea# £eugen, docfe J e t* t rmf * ic h , d ie os a i r s e rre is s e a so llsa* Jed* Stm do* Jedei F dhrt tiefcr mich too Jebyrijath hinoin. (191) thanks h is s o ld ie r friessds fo r their prmmmm* Eiich h a t malm g a to r S iena sd r augeffthrt# (192) Usta C&bek w ill ic h , mein LehonsgXtlck 01 H ior I n Buses b rin » t* » , s&ch amfotdditr«m# vlft£ aeh f id * f tirc h t1 a s , w ied en is ossa th e o th e r AgipMtiyea ho i s th*jaaderstrucks S ta ir 1 s t wor S daw ctaa mein© gam s Seel©# (194) ta d ha cannot understand why &3Mmm doss n o t zwoi^ciiso him* tm so llh e a t d ies* W m xdoht mrkmrmmn, Ids da so o f t , noch oh* s is lo o t gwwordem, i a t B lickon schen sd r vom dor Lippw o ta h ls t* (195) A group of eigh teen metaphors and sim iles cen te rs snosssd Arapfeitiycm’s atrcaag d e a irs fo r m ea g e# Bo decides upon h is fu tu re course o f a c tio s a f te r h is meeting w ith Hlgsenot *VtoEjilyjLfNHt Fahr b in je ts t* WtamX&mg0 (196) dm* d ie m lr Bisfaer der a m Fordrmng Vt£mtmst9 Liebe* (197) Brlnnruag* fa h rt* w i (Wk&k mod Moftmmg* Mm# (1 f t) F a ria s in B it tmd Seohs w ill le h seheelpas* Be 1b angered by Mercury*® re fu s a l to l e t Mm e s te r M e mm hemet B ier l e t sichfcs I s d is s e r E&tsversasraliBig (199) le n t* a ls d ie TT— M. # i t 1M1 I^IIMII ■■■ M:,n-ilfl 4*. aiail iSltk *i ■■mi Mm A W*. .^8L_ .^ .BBpnsSHSB mUF* (H# ^1^30000* 080f He sees rod when te s la s den ies M et Bisifert a i r aiefet longer * ®eg ^ isht* meins fScbwseli I s dee Verrftter© Bersblw t abswnssoheiu (201) His frie n d s w isely p reven t him from a tta c k in g Jm piter* Uind Fn©W*de M i^ a mi t» *tie HOnOef (202) But he preolftes to haws h is m m g i a g a in s t th e t r a i to r Ju p ite r* Bed b is a ss H eft f tU lt M r doe S eb esrt dam Baebea* (204) Ole Lust* ibr* O Stter* ssiest ifer m lr gewttbiwn* I t t t sscw s Coitus ^hewt nodi wmsuseiidem* (204) M il eisw r gtshar wcm Frewsdeit Icehr* t qb wieder* Ctaasfffeeter* d ie s tir d ie s % as mmnetsen* (205/ lied* s SjbsT' lies^ae glM ek* (SQfe) drScdc* l ob dse Statsbeil lias in d ie B ruit* (207) amssaugend* (203) dess d e r M®1 l£ it trooknes Bein a i r efdel#fi so il* (209) Worn M s frie n d s o re rms&e^bled he asks them to tak e m good leak; S t Mf so th a t thoy s r l l l no t ask s s m istake shea th e f a ls e Amphitryon appease again* So re is s e t* le a s t d ie MSh1 earn n ic h t J e t s t su re Amgen ewf# wie BaMw&rfe* (210) Him sis sur tflttogsseit die Scran© suchenj Aii w srft i s m^ pmm Spiegpl* (2 H ) Hod k e h rt H n jptrmfiyi v@Hes S tre h l swf iileh* Von TNyf a s Fuss i |n smf th ^ n ie d e r fthxssKl* (212) Fear o f Anphltiyas*© me ta b o r s sod sim iles in d ic a te th e h a tred he bears f o r th e In truder* Although Amphitryon*« d e s ire fo r revenue and h is h a tre d a re c lo se ly earoiscted* s t i l l th e id e s o f revenge i s mot expressed in th ese fo u r fig u res* Be re fe rs to th e o th e r AmpMtryesi* Br n r * S | Der lligneriscfc* KolXcsng^ist, der m idi Am Thshexi w i l l , mm mm&mr Fm am H eraen, Am dem GedEehtols der t e l t , jftf Sdtat* e r* # , Iub <*ye S«ywus6t$e;i$is eiipifiEr F ast# (21A) drdngen* He asks the people to resaeasber M s# the tru e AiapMtxyea, by M s hrokasn h a lM t^ liz n s * Sem ih r j e t s t shIssImnei m tr sad s i s swLseben ^ ie i IS e se rtro p fe n , (315} such m tacheiden isS est, Dear e ls# she# sad re in b?¥3- ©cht «ad s ilb e rs t, (2CL6) G lT t, f ra g , and L is t , and ip rd , m d ;fsd d e r aadre«*« (317) There i s , s tra n g e ly , only mm m etaphor th a t sp rin g s from JuspMtrycaa1# deep le v s for Mr princes#* In srgen fra g 1 s t M s s# fSM g ju s t , l i e ihre- Turteltaub*»#*{21£) There a re seven o th e r setepfeoes and sim ile® eaan et he re la te d to any o f th e above in sp irin g emotions# Mm mkm B m im t s rep ea t M s story* Gewlnne d ie f^rhajd m ir a h , noeh eiraaal f a s l i (319} das gasmen Bergaag ansohftreua* tb t# t i s e be in s is t# xxpm mmpm d e ta ils about th e o th e r Seats#* S o e iasi ffcleh elm S a e ia s i Usa fh r B is C&lgen®trick, BaiXuabe, Tea S-esAas*#* (iSO) Of course be d o s s a 't b e liev e th e e isq r* Ob d a s , sea da f i r aah r s i r gshen w l l la t , W aM scbelnll ah sash rrar au f den Sohatten (221) 1 st* la re g re ts th a t th e re I s so one asess M s frie n d s to sheet he dare r e la te tils shames Hicht e in e r , das ®in liars gesardsa sS re , Das m eins, f e l l s , dsxlm ausausch tlttiai. (233) His ejspreieacea anger him* Doch das# warn mkmm Wmm G e s ta lt and A rt m tsessd e t, a d bed se in e r f ra a f t r f e l l b e z a h lt, (225) JPss 1 s t s in le id 'g e s HMlenartSck des Satan#* Jet® © T & X & S3&ZI X*tS b1?Mm&nxM*T N^FSfrlPffftji CstlOCkSJi tlSSSa* CUsioh B faieln* {224} m <&« B liss h&agen M&ssea* ■,lm« he discovers th® intnideT1 s idflnrtitj, he prepares t f O B M k . the god a favor* * »'*sMrt«den bin teh nicbtl Hud liiD is Berasm saaseh* wftcbot d ie £mig*« (225) • # * Of the la rg e nsaber of epithet© th a t tephlti^fon tssss* mors than h a lf a re reproaches t© &aeias fo r M s srapposed trietoery* CMjf oaoe doss the great so ld ie r re fe r to Mo servant in a k indly soy ~ shea tm learns th at another asa « |s id the M #rt w ith M s wife* Heleh sin SoSLftg trifft miehi Sestasi Main Trrnm & l (224) Ten of tbs rest oi’ 'the epithets for Soeias are actually addressed to Mmwmxg 1dam the latter keeps SapMtryam from enter** lug Ms SHU hosts© I Gereoht® G O tterl le a seh l (227) Siehot da isleh nlc& tf — lallssnke* (228) Has #® g ib tt Ha E nadsfott* (229) w t * $ V m M tt (230) Her H ledertrachtigeI (231) Oar i rechel (232) Def Sdhiaiooe* deri (233) Karl* Ben ieb M t Fftsseis o ft getrrtsa*** -BSm leh will aprechen1? Saadi (234) ich tret© alls Kfeootat Mr- sin* werm sieh das Ess* air Offset* tm seUsi* da !IledertaSshtigar# (235) erfahren* M s isb adit aixtissi Kaeoht verfShrt* her ostites Barren sp stte t* *40)w Bad w r 1 s t mm&m s&r tep h itry ea* Trlefam g’ger Scteuft* dec Tag mad ia e h t w eiw dbaalt? (236) fh# wmvm&mm rem aining rep roachfu l e p ith e t# a re addressed to th e r e a l Soeias* The servant*® e to ry im lte ia te a Amphitrym# Stsl** Catadieb* (2J7) sag1 leh* mtr, versaalodeiter BaUimke* (23§) Weissh dm* T&miemiehts* (239) dam deia Oe&ehmat* dteh an dam Galgei* brimgem wlrd? Hre*. Sehoite* (240) a&gst d o t la® H r f£fn fwi giaiat r i HsSlmike* (241)I van Semis#* Deflr ameser d ir dam la N a fmhrt In Theban* Hat dldh g esto rt* da dm did* elngeUbt? Bad n r h a t dieh* V errftter* {242} dedne ffld o h i F arfeh lm le ssen ? B«td# (243} H ielitaiftrdl^m ri (244) He mass d ie B eetle (245} gatrmidsem habam««» The M m m m r p th a t llkaem® alread y h m th e diadem drf#* vsea entrum ted to Seales dose mat the s i toatlom any «**«! ai» the sagnramtt v e rrftte r d e r t i (246) la s aeH td h davcs* dahkMweT Schweig* S ch lln g e lt (24?) Marenry*® aisch ievo iis re fu sa l to a llow aqphltryeD to master th e b rin g s new spam S eats# t EM wmlm e in s fg« S erg fa lb se t* Bees. d e r f e r r t t e r (243) Xebssad m icht m%kmm* Seelae* a ffirm a tio n th a t he recogn ises him mmtmr drive® Arphitzymn alm ost to healejUlas Bn w m sstest ee* ?err& t*r? (249} B ieser vieggeworfene Knschi (250) seetw* E ie lt v e r dam A n tllta a i r d ie T tre mm*** Stdr.bj, Email (251) S o sias1 exsbesequmt d e n ia l o f h is m aster m erely streng thens tophi** try m * s d e s ire to k i l l S o siasi I i 1 $ am i! * 1 f ! I ! I j i i Huld lg t Vc rr at er l (2 63 ) $II W\ %Vk# m f t iI 1I 1I M4* i £ I! 1 2 * a £ f I I ft) 1| He as ks th e i & €!! II I f 8 I III la St & ub * Da M et M.trycBi a te had wsXeaBed th e m ight iM fttn t VRLo oeln sr rein©** SeelsS (333) S « i» r to se te ld i (334) Brnt © till Aatphitryen m s stran g e th e might before* isprai s ta ts dsn te lls b te a m u s t1 ©r idol** te a f&eb xxirf9 w e le te r t e i a&r n asah tf (33?) I f b ar tesbamd demies th a t he gave h e r tb s staa© w ith th e *4* on i t , she w ishes t® sa v e r h er s te ie w ith d e s ite Gebst dm iim n ie h t, vm& lemgmest dm Urn m ir# Ferlem gnest ib n , so so l d er Tod mein Im ted e*r»ge I&cbt tegrmbe asin® aobttsoh* (3JS) IXtteagfe JmpXter would mot trad® tb s m ight befo re fo r CSy^lam b lis s* IJJwwie** fso lin g i s mot th e s i s t i to d ich* sshn Todsm re ieh t* le h stelae B rest# (3 3 t) Only the d av tasss ©odd te r* s m M t e r to sdstalee th© stranger fo r t e r teaband* to r S«jB« t e l l e r tiehtgX aiis war a i r mOtig* Solch e ln sa f a lle n Bam gsswstlsisr* iSbsesIbi** For P rashtm iete d iesep kOaigllshsxk QXleder* Dm F w rm wen den H trseh sm m te tw e te id sa i (34©) V ertlnch t d ie SX«m©# d ie so grSfoliohen Betreg erli©gem4 0 w erflw ete d o r Bees®* t e r so ic te fa lsch en T tee g ibb t (341) Ant dor Gsbirg© CEfCel w ill let* flle te® * In to te Ult&xls M i , wo arnet* d ie M o Mich nLoM besm cht, mmm m tr t e l a M eb te r 1 s t , Dm l a L ta trs s fllc k e it dm 3 m m m ir bewafcrt# (342) AUsRoae doe® n o t l ik e to be seen by th e frie n d s o f Aagddtafyai wh# have ease to te a r dm piter** ex p lan a tiaa i lo s s diesem taroaend BXXefeem mich © atflieha* Bis sdeh* id s Ka t e , (343) krwasead ai©d®rsehlag~ s p ir a l by th e th ree above ttesw s* Sha rep ea ts Ampbitryesi,a c o s- w x v a tlc a about tebd&kus, M s a t t e r Imabaad*© request* Ifed o le a r im d ie ew*ge la c h t gestetesi* (346) Ste d ec la res th a t a te te a n o t neg lected t e r prayer© to Ju p ite r* l a f ic h n ic h t jfenget noch l a g d f ff iiite r M&cht Das A n tlitz t ie f* i t e r t e a t lg # vor i t e nieder* A htetm g* glSh&d* ad© OpferdSaspf* (347) gen HiisraeX km dam Gebrodal dee GefbhXs (34&) entsendend? Of Altecne*© f if ty - th r e e e p ith e ts th i re d era ted to So II© tig l e t a® r ie le r 1ubsi* G e lie h te ft (349) l ic h t dies© k R t# tfaeht t e i mlv$. G ellebbsr* (350) 01m s i t ©efcntatusend sehodagan flevm%%§ ro ll© ndant A fter J u p ite r1© depe*"tere a te ©oats t© pray to t t e godet tea© Ih ren groeee»9 te ll* g e n Sefeut* noch form er Mich so f den beaten C ation (351) a ie d s r f ls ta * Although h u rt by A*pMtryctt*e suspicicm e* a te s t i l l lo re s h la i BoR-Eisa b less ©erd* ic h in der B rest eap fln d ea, Bass «9leh der L lebste (352) grausea* tean ten © ill* His accusation® su rp rise A lteenst Mein iW und, (353) da M a t do te krahk n ic h t? ♦ © t e r husband* e ig h teen expressing lot© and ©Bgsmmlag reproach* a te does not- m m t to ' te w h er te a te n d *re tu rn ao soon - to *<**» **• •JU S * Is«mm so f lo a te r* Frwu&d? (354) She decides to in v e s tig a te th e diadem Amphitryon p m h e n J e t s t fa s s ic h ’s , m i l den m erten Nanensug* Be© lie b e n IAgaer® (35$) eigoext Ii.dersacher# gowegi an d ie entsfcckten ULppen dr&eksn*** She give© Chari© a d esc rip tio n of her husband, as he appeared th e evening before* h er hche S ieger von Pbarissa*** (356) Er war*®# Amphitryon# der G dttersobni (357) She p leads w ith J u p ite r to t e l l h e r that- she i s no t m istaken in th ink ing ©he ©peat the n ig h t w ith Amphitryon* Mela H err und mein Geraahl* (358) 0 mein Getaahli (359) ^ararast do a i r g tltig aagera# lan si du*s# wmrst da m niaht? Ftwn in departing f » » him fo rev er she e s p re s s o h e r lo re fo r Mat J o is t lobe wefal auf ewig# G eliebier* (360) Oeh du# mein lio b o r Xieblirag* (361) geh# mein A lles# (362) Hod fin d e in aradres le ib dir*#* She- in sist® th a t nhm prays d a ily to J u p ite r and thanks him fo r h er imsbandt V ergldht e in Tug* das© ie h an se in e s A lta r Kiefat f i r mein Geben danksnd# uad d ies Ho t , i*ar diefa aueh# da G eliefater# (363) mieders&nka* She i s a f ra id she has o ffended Amphitryon ishen ©fa® te ll© J u p ite r she would be w illin g to e rase th e day o f J isp ite r1© v i s i t from h er l i f e t Was 1 s t d ir? Z ttm st do? Xr£nkt* ic h dieh# G o lieb tar? (364) J u p ite r asks her what she would do i f fa® were Ju p ite r* t%xm dm ® ir# Lieb&ler* (365) So m ssol1 lob o tch t* wo «&r ^ S h e doo© n o t know bom ah© 0 between the s tra n g e r mud Bb® Farron vim dan diroeh {366) ADoaamo** sm alle r number ml uncouth behaviour* Ich babe Mhh* ^ te u re r lo ro a f dm d lesoa Vormirf g Gob, Fnedelsifltigor 1 (366) th a t ahe has p roof o f S o il leh* dm GnbogxolfliOhor* Bowels jo t s t gaboo* c!en dlooor G ott mUrst **» Jo «ptsibf7eii wdm*** tro u b le of reproach fo r a t b is v is i t* (369) d i r dsn Hach diecem Zemgnis, scaderharer* frm%md§ (370) W irot du meek le^p© m , dass dm s i r ersehi«i3St»»* But A sp M t^ m doe© demjr h is Y isib t Absehem licher4 (371) r« h r h la ameh dm* msedeliattMgmr Gait©*.## (372) She 1# th understruck a t b a r testate*© la ek o f wreYene© ©tea Jm piter suggest© th a t th e g re a t god h ia a e lf had T ris itte hers Wcsr* Roemdor* 0 7 3 ) s sg s t dm f Dm mmgmty EXeodoewf (374) Dm ©eifeatj dm maget **# dim C&;ympisch«a Bo© rro w ls * Gottv e rg eseaer, (375) d«y T srthb m art# ¥erl©r**©r MmmehI (3% ) She re se n ts the su g g estio n , w hich, hornmrer, 1© fcrm®, th a t she prays to tepM tryom In stea d ©t to Jm p ite rt F n tse tx lic h e ri (377) Hemehi (378) S e te u e rlleh e r 4 (373) Wdier m olest da d asf She thinks? h e r husband laekim g in sense o f decorua mtem d tap iter asks t e r to oeoo w ith Mm i»b© the. pr©eene« o f th e h o tte r ' A jE jte try te1 in carder to tern® hmr good masse © learodi Im te e ts lle h e rl (3&0) Mu s to f t& id te r , sa g s t dm, Bte © ehm ehrdU m ille t dm © elite S lick mi eh seigenT F iw sco rn fu l e p ith e ts are addressed to th e "stranger* when d isp iier tr ia g e &lkm@rai ou tside th e palace fo r th e f in a l msffimmfa* la * of th e s tran g e ©cearreoees* She reproaches th e * o tte r AsgiMtsytmf* K leta& M M ^gort (381) S cb tteX le te rl (382) Bm Bmgetemir l (383) Usmt had ©te done to Mat to m erit M s v i l l a ia y t Ti si t« d i» ri w i£ b - Bo © oil1© d ie S eals deatonY Jsp itssr? Der G d tte r ew’ger* and d e r Menaohen* ¥ « te r t (396) A lim s* m m two e p ith e ts fo r Chari®* She rebukes tie r fo r saying th e re I s a *d« on th e diadem* 0«eelige# (397) m M e t d© sfmnfesimM ? Bet la te l l in g C harts im m ediately afterw ard how she had th e diadem h e rs e lf» she uses m a f fe c tio n a te e p ith e t which rev ea ls h e r normal a tt i tu d e toward h e r f a ith f u l se rv a n ti F«88* ie h # o da G eliebta* (39S) dies@n S tein* Das elm slg uaaeh ttsbars* te a r s Ffaad* Bas gens tm£r0gl±cb s i r wm Seagals d ien t* ¥*©sr tJhio pogs l s os Allisisns has a frfa*3dlyr sijpithsb* B ier d le sa r 1 s t A sjjiiitryeii $ ih r Freund* * (399) # e * m i th re e ©f Allmne*© hyperbolas a re in sp ire d by h e r deep love fo r h er husband* They oceur as she i s te l l in g C harts about M s v i s i t the. p rev ious n igh t* Xch bait© f i r seim B ild Ah® halts® kttnnen* F ar s e in Gssttld** lie fe* von ttim tlsrsiM aid* Hem leben trem* ia s Gbttlleh© v erm io taeb * (400) ! r war*®, Amphitryon* d er C tetberssta* (401) Bar ech ien ©r se lb e r e in e r sehon a i r der VerberrXAchte® * ic h b ait* ihn frags® mSgon* Ob « r a i r a ss dm S tam en M ederstiege* (402} ♦ • * A lksene's th ir te e n oaths ©re div ided m ainly between th em in sp ire d by h e r fe e lin g o f g u i l t and those m otivated by her love fo r Amphitryon* She ©arses h e rs e lf fo r having laughed a t th e s tra n g e r’s Joke about being only a th ie f n ib b lin g a t h e r levs* Fluch m±r# (403) M e le h le ie h tn in n ig d ie se s Sobers gslatchoXt, lam e r d r ©as des Oat te n lands nieist# «»X22~ She &mtv n o t vdsh to d e f ile ftaphltx7CB*0 beds Hi* w ill ie h steiner G raft* e ls d iesen Beaea* Sdsng* e r atm et* detsiesi B ette nahn, (404) $fee sisfees fo r deaths D*& le h mi esr'ger fsetrfc verslokem k h m ta t (40$) ¥© r£lucht d ie Slime* d ie so grO blichsa Betrug o rU o g sn i (406) 0 v e rfln e h t dor Busen* Dor solefee f&lacfeen Ttfese g lb h t (407) V ^rflueh t d ie Seel** d ie n ic b t s o r ie l tangfe* U* Ih ren ©Xgenen GelXefete* e ich an m srksnl (40S) But she a ls o th e fu e lin g th a t h e r g re e t 1cm fo r i^ M try o n covM n o t hare aU m ed her to wLetahs him* 0 C harts I fh* r i l l le h ir r e n in m ir s e lb s t l Ffe* r d l l icfe d ie ses im e r s ts Gefttal* Bee ic h am im tterh n sea eXmgesagea* Had *>*>#» adx eegt* dam* is l i aike*66*** b in , f * r ednen F a rth e r Oder te r s e r ha l te n* (409) For lo re o f Amphitryon she m o ld d ie f she asks M e i f i t wm he ^ho gar© h e r th e stone ed th th e on. i t i Oahst do Ihn n ic h t, sad len g n est do ih n m lr, l^erX^iagnest ibn* so s a l d e r Ted mein le e (410) Wad «w*ge tfaeht begnabe steins Schaaeh* (411) Hear sorreer i s ev iden t efoen she fe e ls she asset leav e tie r beloved hm&md because o f th e v illa in o u s in tru d e rs m m itm Zmm a d r wm Fdeaen n ie d e rs tftrz te i (412) 0 G o tti (413) M r M ssen m s a e f w dg irsxssosi# expresses su rp rise a t seeing Amphitryon so soon a f te r h is d ep artu res 0 G o tti (414) Amphitryon! le h d esks, A nskm ft* tram * (415) h i s t du m ir achsXdlg* m m deine fiXederkehr mich ffcerr&aehh# -1 2 3 - ju n r m Jupiter*® d ec isio n to assume A ap h itrjo a1* form In o rder to in troduce h im self in to tbc privacy o f AUneas** roams m l to en joy the b lis s o f being lo red by h e r i s m otivated by M s w retched fe e l­ ing o f lo n e lin e ss in the m idst o f the Mjwpiam goddesses* Because of M s d iv in ity and because M i ac tio n s can a t no tim e be Siqn&mft to baseness o f c h a ra c te r, one never feels th a t J u p ite r i s g u ilty o f a crim e, a s one w o ld I f he were m o rta l, o r i f he had en tered in to th is rails w ith Mercury** s p i r i t o f m ischief# la th e r mm 18 s o r iy fo r th e god because o f M s complete f a i lu r e to make Alkssenc fo r cm moment fo rg e t h e r husband* The only m otives in sp irin g group® o f Jupiter*® m etaphors and sim ile s a re M s love fo r and him Xarnely Im ^Lm f o r lo r e , th e form er theme being rep resen ted by s ix teo n metaphors and s im ile s , th e l a t t e r by th irte e n # J u p ite r esp ressos M s love f a r ikiiwMwrMft mad t e l l s h e r th a t he should have stayed in a s p in s te a d o f cosing to v i s i t h e n IAs ie h d i r f tih le , to n ers to Alkmene, Dm fib© rfl% eX t, s ic h , im Sofm enferne, mm s in Osmatbl d ir eehaLdlg 1 st* (426/ S is ©ind dam fCrieg g sra n h t, (417) d ie Augertbllob», M e le h do r H ebe opfentd dax^ebr&chbf (410) M e W elt kfinnt* Urn m issdeutcn, M .«sai Haab*## (419) He w ill n o t perm it AXktmne to express rem orse o r g d & i fo r having received a s tra n g e r in to h e r rooms t Du H o t , da H e ilig e , w jedam Z u tr i t t H it Gttartel angetan# (420) Ibsd eftr* e in T eufel g e s te ra d i r e re e h im m , Ohd h a tt* o r Sehiaa* dor Sdhd*, durohge i f e r ic a , Ana H e ilan tie fcn fiber d ich gew orfoa, (421) Brno Gians von aeiaea Heibeo Boson n l^ l H it ^ulrftl, f ls e h t a r t Welsh lii m ~X24~ Bieh f e s te r h a t der turn# den dn tlm schenktcst© Als a l l s Lieb* an dieh© d ie je fix* mich Ams deisen Buses ledsrte© geknUpft# (422) Hod kOfmt1 i d i arns d er Tag® flXchndem Reigeaa (423) Ben gee trigen© sleh© liehste Frau, so leichi Wi© e lse Dohl* TJtftosi y**4pi*wat a »«p#p© (424) m ©frt y»p c j^j^^actt Seligleeit sdllt* toll© He Zeus* m nsterb lich lehem m m ieht tm»« Alkmamc vows she w m ld r a t te r d ie than ag a in d e f i le h e r Ixmhm^m bed* But. fid© k r a f t angehorrser Baoht© serbreoh* le h (425) Had M ine Stttohon serf* lc b in d ie lA fte* (426) He sag's a le could no t h a te rece iv ed anyone h a t in p h itry tsn t Her kOnnte d i r d ie augem bliekllehe Croldwage d er % tpfindim g. (427) so b e trtg en ? Her so d ie S eels dir© d ie veifeliehe© M e so v ie lg llc d r ig fOhXeaid m. e ie tt grelfb© (42S) So s i s <*&s G lockenspiel d e r B rest (429) uageha© Baa vea dam A te n lia p e ln d ecbon e rk lin g t? ; (430) Staah a p e rfe c t xrcsaan as she- occurs only o**1*# in eosm* So u ip s i s s dam g fcttlichen Gedamkan, Xm Form and Mass, mod S alt* mad Klang, (431) f le * s n©imer Head lonesi n ic h t en isch ltlp fteS J u p ite r fs lo n e lin e ss In sp ire s Msi to th ir te e n metaphors# Be refer® to h is mm in a b il i ty to gain Allcaene1® love v te n he mmmm h e r th a t th e s tro n g e r she received re g re ts M s In tru sio n * O elnen StacheX tr& gt er© (432) glanb* m sir© JMMp iebe vortoehaltea* But ishea ho sees th a t love sad v ir tu e a re n o t to b© d iv ided im Alksmm*& h ea rt* h© reassu res h er th a t i t i s only h e r beloved husband idio can have v is i te d her# 8 tr aah e t d ir* o dm* vor d e rm Seelo Kur s ta te das Biz** uad in* gen (492) 4dge stehn? AM J tp l to r recognise® AXkm*m*a love fo r kmpteXtrym. wbm he t r i e s to b ar h a b it o f pwnyieg to h er in s te a d o f to Ju p ite r* S ie ig s t dm n lc h t in des Heraeus ScM obthinab Und be t e s t deinaa Got sen (493) an* X st’a n lc h t AepMtryott* dor Geliebt©* (494) s ta te * ¥or seiche© dm im Stsube X ieget? J u p ite r addresses th re e e p ith e ts d ir e c tly to itephttryuii* He i s n o t o b lig in g to th e confused s o ld ie r when he In v ite s th e Thmbam to g ath er fo r an exp lanation of th e queer happenings* Bad den Vendaeht* dan Jen ar fo r (495) arsegb* B ier a teh t* vmr Urn m Schaadea maefeeii M ai*—* ib e a he a c tu a lly makes hi© explanation* ha i s su rp rise d a t A ^hityyaa* elowassa in cm pm hem iing h is id e n tity # -130 - Tor $ dor dm h is t* (496) la s s d ir «wai v*ort© sagen* Amphitrycml Dm T ori (497) Dm mmlimlmt noeb? Be use® two e p ith e ts fo r the god Jmplb&r* re c a llin g the same diwime a t tr ib u te In both* la t e l l s Alkmene th a t the in tru d e r wm Ju p ite r* Zeus se lb s t* der Daanergott* (491) h a t d ich besmeht* Wenn a ls o J e t s t im seinem v o llen Glanse* Ger&krt dmrch so v io l Bsssemaig* Der eir’g 1 K rvcM ttarer d er I'olken (499) s ie h d i r sseigte* O elieb te l ©prxch* wi* w tirdest dm d ich f&ssen? There a re th ree e p ith e ts fo r v arious goddesses* J u p ite r t e l l s Alkmen© th a t th e goddesses mould have to pay h er h » » p i f she 1101% im th e ir presence and lie mere Ju p ite r* Die ear1 go Here (500) sftss te vo r d i r aufstehm* Dud Artemis* d ie strange* (501) d ich begrfissen* Even I f Alkmsne does n o t d e s ire fame* J u p ite r does* Wenn dm K a llis to n lch t* d ie feerrliche* (502) Europe much mud Leda aieht beneldest* Wohlan* ich sag ’s* ic h neide Tyndarus*** There i s one e p ith e t fo r Soeias when J u p ite r asks Mm to in v ite th e Thebans to th e feast* Auf jet& t* maim tv& m r D im er* •# (503) # * # J u p ite r ’s th re e examples of hyperbole a re a l l in sp ire d by h ie love for Alknemss la s ic h d ir fdh le* b eu srste Alkmeme* Das f lb e rflig e lt* sieh* urn Sonnenfem©* Was e in Geraahl d i r sehu ld lg 1st* (504) Be would n o t exchange h is v i s i t w ith ilkm ens fo r anything* N icht xm aLymp’sch© S e lig k e it w ellt* ic h # Hn Zeus’ u n s te rb lie h teben e® n ic h t tu n . (505) Alkmens t e l l s him be w ill never again show h er to any Greek woman* fo r she in tends to leave him forever* *4JI~ Deem, pom s* K ralse d er 01yB^ischent AVmemt ~ Welch s in l e r t f Bioh in d ie Sehur Glanswerfemd o i le r OOtter fata*1 le h eim* Und e tr* ic li Zmm$ wmm do de» Beige** n a b te s t# Die ewfge Here m bsstc v©r d i r aofsteha* CM A rtom is, d ie strong#* d ich begrasoem* (506) # e * J u p ite r usee only th ree oaths* The f i r s t I s in sp ire d by Id s love fo r who would lik e to e ra se th e might before from h e r l i f e t E d x l m olyirh*»ch© S e ltg k e lt waLXt* ieh* Us Sens* um sterM teti Isfee& m n ic h t too* i$®f) The o th e r to o o re m otivated by J u p ite r9® lo n e lin ess* B© i s dlssgipcdttted to d isco v er th a t Alksiese re g re ts M s r i e t t f V erfluch t der Wahn* der sdch h ie b sr geloektS (508) 0 Finch d er Seligfeeit* d ie do M r schonkteat* (50$) Mfcsstf lid* d i r ewig n ic h t rerbondem s e in i * # e KERCm I t i s Berowy*® M y to a s s i s t JupdLt«tw by jp rerm tln g M # bfld-eg in te rru p te d by e ith e r S cales o r impMtxyon# Bat th e re I s mo tra c e of J u p ite r1® se rio u s purpose im Mercury9® words o r deeds* ih e in s p ira tio n fo r which l i e s alm ost entirely in M s p a r tic u la r s p i r i t o f m isch ief M ilch m ates M s enjoy befuddling* I n s ta t in g * and abusing S o s ia s , Charia* end A spM trym * th e re i s only cm m etaphor which can be trac ed to any o th e r them * M ercery has g re a t fe e b ea tin g S ceias in to su rren d er o f M s own mans* He p retends to fee angry th a t koalas should s te a l M s ngssfcet H e r d im e r k m b a ld w ird Hespekt ih a Ishrnxt* (510) SM I M er meizi Stock r ic U e lc b t ihm d am tamaea# (511) I€i f 11 11 ’ S i l l !hi 11 Mm fr m . Item pa rt y* E ilf Ih * stands j& hr* «n«M |Kf«n da® Qesprwob, ($25) Had schon s e t t 03ia e E e it (536) sag t* ic h d i r das« He object© to Charts* effo rt® to rek in d le b is lo re fo r h e r t Be wOrd* mm 1mmm# wmm id r a l t e r B sal M it sttsseii BrcKskeii m& mis 'worfen welltesii* (537) Her d o l i n g baa nothing to do w ith h is coldness* i « da da® K leld Ausaieben k& en tsst, das d i r to o % t& re ward, (528) H ess* # te ■ . tjgff Sobtrae ® lr He can do nothing About th is 8d re ss* , i f i t i s worn o a ts • • • ic h loom*® such n ic h t flie feen . (539) Charts* 1end p ro te s ta tio n s of fa ith fu ln e s s sm ey Mercury* Ffleg* d e in e r Tugeod, Mwr f ib re a le n ic h t, wie e in S eM itto ap fe rd , (530) •&tete dureh d ie Shraaee Iftu tend , w l den % rk i* (551) He even w ishes she wore n o t so v irtuous* Pan Msnn vxsijmJEtr osseia* 10a , ossa- c lu rrem ia Pan Sold d e r Kb® v© rs© M esat| (532) a l t w trd s r , Had le b i das Xeben s ille r s e in e r Kinder* (555) Hercmry is ju s t a s rods to Amphitryon 10wn th e l a t t e r t r i e s to e n te r h is esn palace s Bo, hoi Ha matexi 1 s t elm u n g eseh liffcae r R tegel* (554) Pud rQ b rst s i r m d t e in e im ig s Mel Pen O Jfife l ass, so sehiek* id h v o b ie r cfcea D ir s in e ssosesiSe Gt^MO&eehsft sra* (555) Be to s t s i r la id * Gob* logo d ich a a fs Ofer* (536) th e re I s cm metaphor which does n o t f a l l in to th e shore group o f metaphors and s ta d ia s addressed to o th e r dbsxmotogs i s th e p la y , h a t which d e a r ly dem onstrates i© w ay< 8 a ttit® d o ab o rt J u p ite r1© v i s i t to Thebes t His #1eteetei S tim tea they J e tx t nag si® w e lte r aloha* mad Ih re a S c h ls le r loch liter amir# Ateotemye norfsaa* (55?) # # # ternary*® ©pithet® a re m ainly fo r Sootes* Charts* and th e i r too# la the sms m th a t o f h is and sim ile s addressed to th ese characters# He knows te a i r r i t a t e d each one o f them la azys&j and udschlevoiisly aggravates th e ir anger by h is abusive e p ith e ts f o r them* Sosias* because ha ho# longer scenes w ith Maroixxy than e i th e r C harts o r toph i t3tym# has th e m a jo rity o f th e se e p ite o te ap p lied to him* Heroiaiy m o ts S cales a t th e mad o f Hernias* dress-Hrefcearsal f o r Alias©*!©, when th e se rv a n t t r i e s to w ater Wmm ic h den xmgerufnen 3ehlin$»X (538) d o r t B©t8#iten n lc h t row d le sm %tae entf5) War damn h i s t du , Der edcheit him msrft&rt, end so air sprleht? J a , S o sias t So he!*®* ich* Sehm ib ■der S s ta f l (566) n ic h t mainem Wmmm# Ale eh e r 3 o rg t* , ic h radcbt* I t e sc u s t 'vwrgassaB* Ho, h©S Da n o tea 1 s t e in H eg e l* (56?) fpeomd, ( 56S) wmlsst do mss? le h r a t 1 d i r , dsss &u gehst* Ehr1, g u te r Fxmnsd d o r tt {,56$) Bfenn* m ir doch d ie Ksieipe, We dm a® seH g dich % h , l i e te r (570) Dm t e s t a i r Two eC I te e c ry 4® e p ith e ts fo r Char is lo d c l he eoastdered affeo tiC M te I f seen ou t o f th e ir co n ten t, h o t th ey a re decided ly ir o n ic a l , s s th e audience m ull teow si H eia, lle b e to a weibi (571) Fahr iro&L J e ts t* C harts, S dm tsk ind i (572) F o rt m ss ich* He inc ludes S eslas In an e p ith e t f o r Chari®t m mlrd* mm le s s e n , wmn w tr a lte n F eel (5*33) H i B r ma was w erfan wdHtesi* For h im se lf, as Meremxy, fo r J u p ite r , and th e goddess Might the epithet® a re a l l r© sp ec tra l, f o r Mercury i s n e t try in g to p lay t r ic k s m them . He refer® to Jupiter*® descen t to th e e a rth to v i s i t Al&menet Z«ns, d e r O ljaplsebB^ (574} * a r «rd» e tl* g . <4 3 7 * imf d ies irerliebt© Bi^emabefitemer M r, a l t e r T a ta r E m ptier, (5?5) m feXgma, is i s t s ilt vahres Fnseodtechaftswt&ek Merkors* G leich folg* ieh dir* am — (576) The goddess B igiit had ©®nrsi¥©d to give dmplter a longer tim e to spend n i tii ^B w tss* M s g u ts O S ttia Sm pplsrin (577) YmvmiXim Ubs slebaeha Stmmbem tb©r Theban hemt*** I t th e c lo se o f tb s pl& j Sereex^ ex p la ta s ids© he r e a l l f i@* I n i dam ich mehr end xiatiter n icht* S is tM m m 9 Der Fe®sgefX%elt© der Gutter (578) b ls l Meremgr*© cm hrpexhole i s addressed t© S cales and meant t© ir r ita te M ai Itafe* ich amf dtesen femf©2sr©iseii air Btcht d l« goecM ft1^ ©® altem Seine fa s t M s arnf d ie Haften 'ire tend afegelsufeot (579) # * # H ie la r g e m ajevltgr. o f *terewrjr*s o a th s a ls o i s m o tiv a te d h§r th e p le a su re he d a r t r e s from heap in g a b ase upem A a p h l f e S c s t a s , and C hasis* Be refuse® Charts* i m i t a t i o n t o s t a ^ ®»d t a l k a w h ile s itfc t e n % s* T eu fel, (5B0) kcrat d i r In den Sinn? He te lls - h e r he i s n o t displeased W her eirtasi Babitt1 der Rlmme! micfc* (581) Bet i t i s a subject nhicfe does not urorry him* Wm das betriffi, mein 3® el» , (502) da sag* Ich dlri Gedenkenmbel quslen mur d ie S a rm u * * Sis tsMy s&cept her iheban friend*s attentions if aim wets tat Bel* ralch titer T eu fe l, ja* (533) H i‘9 * 8ii Is | | i k i i 1 I ii ii I « ! 1U giS*1 Sw#* 3 I 4 2„ • *1 1 <9% 1 1 $41 | 4» r ! 31 i | 5 I* tt 9 *1 I1 £ * f I 1 I 5I I a I1 | I ! •g i* * M i * S I * 8 05 I S fs s : i < i 8 $ t £ a £ tft 41II“ D * 3 5 * 4 1 a M , 1 1 1 On hfttt'st MT X I« S I I I II IW s IIIs I*I P & i ■,,,140- g re a t in tim acy w ith Charts# He t r i e s to in sm lt h e n Ben Mann v islm ehr beneid ’ ie h # des s in Tmrnd Ben Sold d er She vorsch lesst*## (600) ^ he s fii t i ^ p tse e § • •#)» Because of ^ossias1 re c a n t a c t imm9 C haris i s going to fo llow Mercery18 m&rim about b a r Theban f r ie n d t Wohlan, m in Freund* (634) M a M ile s o i l gescheSm* A fte r bearing about th e gods* C haris la ex trw isly ’ dlTOppoinbed sham alia dlseewOTS th a t aha i s ta lk in g w ith Sonia* In stead o f Apollo* Sroiro? la s ? Bar *Xt*# Mir wohlbekannts Ssei du* (633) Soslan? HaXX\mk®f (636) gut* dass ic h das wadLTO#** T his d lsap p o in tro n t a t h arin g m issed in tim a te assoeltttiT O w ith a god in sp ire s her two e p ith e ts feu* h e rse lf* She has J u s t heard, about the gods* Was h a s t dn da gehUrt* H e»eligs? (637) She thinks later that she is talking with Apollo* but it is really Secies* Da b e lie h s t h i t delner sohleohten D im erim (638) t o sehersTO* tbs- th re e e p ith e ts for shew lows and resp ec t* th e p rinces* asks her se rv an t if the l e t t e r on th e diadem is not TO *&P* and th ey continue th e d iscuss lo s t Gesdss n ieh t* h aste F ftrstiiw (639) Ih r seid dooh etcher* hoff* tch* b e s ts P ta a iia ? — (640) (tads** M ot 1 s t sin I r r t in * bests Tftrstixw (641} There a re th re e respectfiiX e p ith e ts fo r gods# Obeli* has l e s t lea rn ed to a ro e lag f a c t end asks Soaiaa i f he knows i t s Base %ens* d e r G ott d* r M T O f ( 64a ) h ie r gw rosro, End fhTOm ihn* dtsr h e rrlich e * (643) b eg le ib e t? She Soaia* I s r e a l ly ApdLlct W&44** Sat* i**h Aos dad### Aage# Dan f© rnhinti^efffaid#a Apollon (444) stw lfU w f # « # A ll three of Chari#* oaths are inspired lagr her outraged ftNKllng beeeas# o f Sosies* She urish#® rove###* 0 ih r O o tta rl (645) 14# id * ## j « t s t her##©* 4mm Mm M t Fur M m ordes& lieh# F raa Bdcfc h a ib i Hod ic h bcnmts# d i r d ie F re ilie it nodi* IE# da mis* gabat* so e a h r id * © h rlid i He*. (646) ^eeias* th re a ts o f b ea tin g te r r i f y Charis* Q HfrismU (647) H© gi'SeM oht mir? # # m Ch&ris* cmly use o f p ro v erb ia l m a te ria l i s inspired tef b m rmmfcmmfc toward S o etasj mtem tfoin&s he etimfld have a eiffc o f f la tte ry * Das&t dm ih r dm Hehiarei {6S0) nicdcrsehlm ckeb* •» a © # She uses 00© d ia le c t «xper#sslea in ?*pr#e#hlng Seed**#* Ging ic h n ic h t g lc lch* so td e 4m basest* V errStor* Z ar Fliaapet (649) # # # C h arle , a mmm o f th e caseon people* fsalms' thrs© n& ge* r e f tn tB N l a b a r arpaaa&bs sd th h e r feasbaadU She Tenders afegr Merevcqr la so cold toward her* Ha. ic h satcki laehr im Stand « -? (6 5 0 ) Che t e l l e aferew y be seeds a gelXeftol sa fe s D ealt du ih r 4m Buharei lEedsrsd&aeiGefe* (651) And eh# rm&mM $#*!*» o f #§mt Meroary had told hers Bm& d ich # lii HBmersebBmck n ic h t WBmmm wttrds+#* (§52} Essm obesmsr Ucme o f th e rem aining ©haraot®** in th© p lay to ccassrlder©^ iiaposrtaoit enough to hare a nan© in ttte d ram atis Bory-aaao* th e i r fig u re s o f »p«©©h a n no t mamrmaw The f i r s t eo lonal has fir© noiopihoro oln&X©©* B®f@r© h© sees th e ©©##©<1 iy&j^Itryeia^ Iso hm two metaphors aio ti voted hy th e d e s ire to areng© h is wm&tsrn fioh* iofe. Rur t u t i:«ni av»^» ■fin* fgefw&stg So t i i o t a« ln Bebon aoeh oof d im e s Sdtm&rtm Spits©* (§51} Und n ic h t toss ©tnor mdsm Hand* helm Ares# B eim t M m sr Sohelsi loo Gran# (§54} ih r ©oht*o# Oiio nelm or * But ©hex* ho oooo Alteaien© © ith ili© o th e r Jn p h itry o n , ho th in k s th a t th a t **r*» in th© r e a l JngddJapyont Ho w ^ U is if ©1© dam I i t a k d > (§55) v M 1 s io ra*5k©% (656) lean 00 ih r S to p n ig h t lo t* (657/ Amphitrycasf ♦ * # Bo has t m ongiy e p ith e ts fo r th e fa ls e Amphitryon* Wexm Bur© F eldherm teior g esau d ert haben, H o Jo aer a f t♦ (§5S) ©roeMea* ®° fo ig t ©la CHoletai Koch nlcfet f u r dm ^rgotiphosxtidas • j%ifr nisht not ©iuer oadora Band# hidiff Are©# B olsot d lo so r sohola (659) is o Gras# Ih r ®eht*o, a ls wmimr* # © ♦ Ho ©©ears th a t ho © til k i l l the- In tru d er* •••h o ls Are©*** (660) # « * Ota© ©f h is irtetaphoro con tains a pun* The mmd »3taa»* i s ©on- eelved In th© too aoneeo o f nwtmP and fa s ily * t Ha w elchsa, si© te a H eialaM i, a t a i 1 s ie rankea , Hem e s ih r S tem n ic h t 1 s t , impM tryaR? (661} # « * Be us#® m proverb in sp ire d by h is d e s ire fo r rw eage* Arg&tiphonti d*us f nit cine® Harts, Wird heirte Mmrm m S dm ZHmiem aedLgem-*** (662) S&SB& HIR) ZlKITm FEMOTBt These two g en era ls hmm no d is tiagm ishing tm tv r m m d h&f» th e re fo re been Joined fo r th# s e te o f t ld s dtsem sslcn# They e ia h to help %-ryiwi amri they gjbr# advice a f t e r ^ooSjbs asgr th a t lis#hitryem had in v ite d th e e ffia o sv to d im e rs l o t so eeiit{g F0r das B egrdfeo meet* gsmacht* te a s lo re Sorgo F tr J e ts t b u t so la grass, d re is ta n S o h rltto s Do® E lts o ls gsxiBea frmgaeb* m mrmt&Bmm* (663) Bat they re fu se to hrntge when th ey &m th e two im phltryoas together# HO 1 s t dm O ottes F in g er, d e r a ss se d g te , (664) l a wlofcem Busea, e la e r a le t e r a a d rs , Sloh law o ad te e F e rrite x h e ra v e rb lrg tt {665} tedocsh ff-ftl fifig* do# Sohwertes Scjhetd® hleor l a M is te r M M a w am slob. wfttea M am ie, (666) B le lb t es gewiss moch t e s s r I s t e r Scheite# « e * I n i th ey aee ^upit® r th e second Mass, they thlxxk &apMtryma i s s a ia trm te r , sad th e ir e p ith e ts dem onstrate th e i r d e s ire f o r rmm$m £ o r ir^ M try o a i fh eb an er, g r e i f t ih a , rmf * ie b , te a F erra tes’! (66?) F o r t, F e r r t ie r t (668) a l l l s t dm n ic h t, te e s a i r te a 0 r te l l d i r v d ls tre e fc e n MLlem* 4 4 ^ T srsfc tarl (669) Wwt Bo w eigarrst d ieh? » n # T bair two in d ic a te th a i r confusi<» a t th e s ig h t o f th e two A aftdtvyrow t ?i»s 8«hf lot*? Hint'Ll (670) ^ooi Asq i^itryori^ nl l iO | b e i m Im * E id t (671.) y ii^ Abe&t#n*r ia t l> n i t s to Sebaodro* • • * • * ms ?0us Th© p en ile express by o&th th e ir astonishm ent a t weeing t*R3> Aig^ yS lif»yii|f |gi§ Ifer car* gen G e tte r! (672) Has e rb lick en wlr.$ # # * « * m i mxmzmm m& OBtasrm An e p ith e t expresses th e ana o f th e genera ls and eolomX® whan J u p ite r exp lains feie tru e id e n tity * Bar Scfcreckliche! (671) Hr s e lb s t i s t 'a i JNspiter! 0Xt< CESSEHHPSf Hi# co lo n els mqpewtm an oath im en l*aa -mkmn th ey f i r s t see the two Amphitryotsa# A ll ih r Glyagp is cheat (674) A apM tryoi d a rt* rOSIXS X* «• 2m & W 9* % mm 65 e# 5* 623-2S. »«4* 626-27* a* 5* 141-42* *# THE 64 •« 6* 143* «» r im 163 pr* 7* 1?5~76# m* * 9 K m 9 $ H t i t h * n *9 *H * i £ I & i ill »i e* J *g 33s - g I S g p e g Mw | | S i s ? j f t » H Hi H «5 O'* 20 55 . •» VIE ® X? m, 1V5 vt u -149- 61. 2064. a . 62 . 2072. e . 63 . 130. •* VIm 16 a . 64# 141-42. a , TIDE 5 a . 65# 391-92. e . 66 . 678-81. e . 67. 709. « . 68. 716-17. e . 69. 743. 70. 1101. «* 71. 1079. « . 72. 2359-60. c . 71 . 632. a . 74. 686. ©• 75. 1662. TIM 43 a . 76. 73. « . 77. 62. a . 78 . 2041-43 . a* 79. 1058. TIDE 44 » . BO. 1600. « . 81 . 1639-4D. « . VIUE 174 82 . 3 2 . a . S3. 2032 . a . 84 . 49-50 « • 85 . 50. * . 86 . 58—60 . # . 87 . 2148-49. « . 88 . 1636. a . 89 . I 644. a . 90 . I 646 . #* 91 . 9&2—3* a . 92 . 1846-47. •» THE 172 93 . I 856—58 . # . 94 . 4 9 . a . 95 . 56. « . 96 . 1637—38. a . 97 . I 59O. # • 98. 117. @t TIDE.35m. 99 . 1809. h . 100. 2036. VIDE 51 m* 101 . 66-67. &# 102 . 86-89* h , vide 34sV 103. 2189. h , 7IBB 162 0 . 104. 9-11 . ©. 105. 12.o* 106. 27-28. 0 . 107. 122 . O. 108. 136 . a . 109. 172—75* ©• H O . 218-19. a . VIDE 164 pa H I . 249-50. 0 . 112 . 296 . 0* -3.50- 1X3# 388-89 * ®# 114* 632-36, «« TO® 37, *# 38 a, 1X5, 90S—3, o» TOE 91 •• 136. 1617-19* o, VXIE 46 a. 117, 1977, e* TO* 56 •• XX®# 2029—31# ©*• X19 * 4—5#- 0 * 120# 3d —2 » 0 # ia x » 665# o# 122* 75o*gau 0* 123* 752*. ®* 124# 752. 0* 125# 1046—47# Pm 126. 1052# ®* 127* 1051-52. ©# 12® . 179>*M* 0* 129# 321# 0. 130. 3 0 -4 2 . Pm X3X# 381—83. 0 # 132# 651-52. 0 . 133 . 1017-18, 0 . 134 # 1023. 0 . 135* 1026. 0 . I 36# 1039* 0 . 137# 2% . 0 . 139 I 2066*45* 0* fXBE 61 # • 160* 3®# 0* MX* 38-39* 0 * 142. 65# 0 * 143# ;6®. ‘0# 144* ■ 179* 0 * 145* 254-55* 0*' X46* 611# 0 * I 47# 60®* 0* 14®* 705-6* 0 * '"fim, 170 pu* I 49* 7X4—16* o* Til)® 6® ®. 150# 728*0# 151* 723—2 9 . ®* 152* 1057. 0* 153* 2fS 6 # 0* 154* 1592* 0# 155* X62%2f * 0* 1TDF, 20 ®* 156* 1632-34# 0* I I 21 m* 22 m* 157# 1641—43* 0* 15®# 1660* @# 157* 1798* 0* 160* 1917. •# X6X# 2152-53# 0* 162* 2X39* Cl* UOB le a H» * 163* H3* pm Waactor •BoekshorsP #2* i » Beekshom 3sg©si* fDa e ia Boekshm i *&m met ua&e&smte&d* Onffmamg hat* so ®us« jeauad ▼«* items t* Furofet* Schrook tt»s*v# se h r m » e n « g sp re a s t » S % wem mr Muoi** s©£X#** VXDB 6m# 164# 219* pm Wjicior* "Ktasorn ##1* *l>em f€Br$*sr» (Kttrsostma slt&sa#) *B* 1# , 60 «• 176. 31-33. la. 177. 642-43* Is* 178 . 791 . a , Vim 276 s . 179* 794-95. a . 180. 796-97. a . 181 . 798. * • 182. 910-11. a . 183. 911. a . 184. 954. a* 185. 970. a . 186. 991-93* a* 187. 1781. a . 188. 1781-62. a . 189. 994-96. a* 190. 996-97. a . 191. 1824-25. a* V im 287 e . 192. 1833. a . 113. 1834-36. « • 194. 184. a . 195. 2213-20. a . 196. 976. a . 197. 976-77. a . 198. 978-79. a . 199. 1766-87. a . 200. 1786-88. a . —152— 201* 1864-65# »* VI06 253 e . 1925. «# 203* 1944* »* 204. 1943-49* J®* m * 1950-51.. a* 206* 1952# 9* 207. 1952-53* «* 208. 1953* «* 209. 1953-54* a* 210* 2104- 6 . 9 # 211* 2107* St* 212* mo@-9 * a* 214* 2095-99* at* TO* 266 « . m s . m i9-20* « • 214* 2121* 9* m ?* 2 im * St* 211* 1690-91* SI* 219* 614*15. % m m 310 la * 220* 653-54. % m m 241 9 * 221* 695- 96* ®* 222* 1672-73* a* m s* 1678-80* a# 224* 1687-89* s . m s* 233<-31* a* 25*6# 658-59* a* 227. 1717. ft* VIDE 296 0 . 228* 1706# a# 229> 1720* «* fXBi 309 am* 230. 17m* a* 9 U 1726* •* 332. 1731* «* m s* 1732-33* ft* 234. 1749-50. «* m s* 1753-55* ft* 236. 1759*60* #* 237# 600* ft* 238. 600-1 * ft* 239. 6QEU3* ft# 240* 637* •# 241* 653-56. #* r m 230 m* 242* 740-41. •* 243* 741* ft# i>44ir 741. •* 245# 746# •* 246* S9L. ft* 247 903* « . 248* 1789-90* ft* 249# 1796. ft* 250* 1805-6* ft* 251* 1609* ft. 252* 1859-60. ## 253* 1864-65. ft* m m 201 a* 254* 877-78. ®* —153“ 255. 256. 25?* 25® * 259. 260* 261* 262* 263* 264* 265* 266* 26?* 268. 270* 271* 272. 273* 274* 275* 276* 27?* 276* 279* 2@0# 261* 282* 283* 284. 265. 2S6* 287* 28b. 290# 291. 292* 293* 294. 29$# 290* 297* 296* 299* 303* 304* 305* 306. 971. t, 975. •• 975* •* 2173. •. 2208. «. 2236* # . 2263-64. 972-74. «. 2095-97. •« 2302-15. •. 2114-15. .. 2131. •• 2275-7?. • • 1941. *» ra® 299 o . 2 3 1 2 * 3 . a* 2330. •* 787-88. «. 791-92. • , rust 178 a . 1779. • • 1930. •. 2079. • •222-26. h . 2280-86. h. 2096-99. h, THE 266 •, Z U *• 85®. o . 899-900. o . 1670-71. o. 1763. «• 1824-25. o, TIDS 191 a. 1839. 6 .1921—22. o . 2186. O. 2166-e7. «• 719. ©• 724. «• 731. o. 1?!?. ©, 7118 227 «• 1 7 6 5 . ©• 1766. «• 1941. o, m i Z U a, 269 •• 2179. o . 777—78. o. 785-66* o . 8 2 4 . ©• 8 4 6 . o . 861-62. o . -454- 307* 1691-93. o. 3OS* 0 # 3C9. 1720. voi Grina. "Hiavisfott, Fundofirtt... SeMapf— irort flip eiaen w rteh tli«h en ,vorzU glich fa igen nenschen . . .e lg e n tlic b ■wav* caning..." Vim 229 « . 300. 6l5. lfc. VxS S9ai» 311. 437. a. 312. 437-39. a . 313. 503-5. a* VIDE 350 a . 314. 813-06. a. 315. 813-46. m. 316. 958-59. a. 317. 1144-46. a , VIOS 355 e . 318. 1155—56. a . Vim 409 o . 319 . 1157-58. a . Vim 409 e . 320. 1164-67. a. 321 . 1189-91. a , 400 b . 322. 1192. a. 323. 1195. a . 324. 1195-96. «. 325 1238-40. a . 326. 80 6 -9 . a. 327. 975-76. a , VIES 352 « • 328. 980-81. a. Vim 372 •* 329. 982-86. a . 330. 2242-43.su 331. 2244* a* 332. 2245-46. •» Vim 384 »• 333. 1140.«. 334. 1147H 8. S . 335. 1186. fc. 336. 1186, 8. 337. 1206-7. a* 336. 1242-44. *» VIM 410 o# 411 « . 339. 1308. a* 340. 2248-51. a , VIDE 385 e , 366 ®. 341. 2252-54. a, Vim 406 o. 407 o. 342. 2259-60. a. 343* 226*49. s. 344. 2269. a. 345. 2305-6. a . 346. 947. a . 347. 1439-41* s . 348. i i-L?- a . 349. 423-24. •• 350. 504-5. «, vim 313 a. 351 . 775-76. a . 352. 875-76. e, Vim 327 a. 353. 921. t. 354* 964* 355* 1144-46. V im 317 a . 356. 1196. a. -155- 357. 1197. o, Tint: 401 h. 358. 1236. •• 359. 1264-65. •* 360. 1274. •» 361. 1379. •* 362. 1373—30, «. 363. 1436-38. e. 364. 1513. • • 365. 1549-50. *. 366. 2251. *, v:be 385 •. 367. 802—3. •• 368. 857. «• 369. 885-86. #• 370. 912-13. e. 371. 975. *. 372. 980. •• 373. 1337. « . 374. 1339. «. 375. 1342-43. * . 376. 1348. •* 377. 1434. •. 378. 1446. t . 379. 1446. •. 380. 2167-68. e. 381. 2236. •• 382. 2236. • • 383. 2240. •. 384* 2245-46. e, VIEE 332 S. 385. 2251. •• 7i»: 366 •• 386. 1106. e. 387. 1224. •* 388. 1287. «• 389. 1368. •. 390. 1368. ». 391. I454. •* 392. 3329-30. •. 393. 1356-57. •• 394. 1358. *. 395. 1359. •• 396. 1393-94. •• 397. 1114. •« 398. 1141-43. e. 399. 2231. • . 400. 1189-91 h, VXDS 321 »* 401. 1187. h, V1D8 357 «• 402. 1183-90, h. 403. 1207-9. o. 404. 1331—32. o. 405. 2221. o. 406. 2252—53. o. - 156- JUPTTEJt iff* . 2253-54* % 'VIM 34X a* 408. 2255*0* *• 409. 1x54*0 . % to* 3as m* 319 »i 410. 1242*0 * 0* 411. 2244* % til® 33S* m* 4X2* 129®* 0. 4X3* 1299* 9* 4*141 777* 0* m &3L-33* ®* 4X4* 05-47. a* I I 0 0 «# 504 &* 41% 41H. m* 43S« 4X3-19* a* 43.9* 429* ib* 4^9* 12590* m* TO* 0 7 «* 421* 12320* a* 421* ■if mil *i|p X30CM2* Mm 423. 1303* m* 424. 1394-7* st m m 507 0* 425. 1333 * a* 426* 1334* a* 427, 13950* a* 423. 1396*9®# ®* 423. 1399* *• 430. 1400* a* 43U 157X-T3* a# 432. 1295* a* 433. 12950* «* 434. 1422?~23* a* 435. 1429-31* a* 436. 1432-33* % VIDE 493 #* 437. 1459* Mm 438. 1451* m* 439. 1500* a* 440. X0X* a* 441. 1519* «* 442. 1524-^5 *■ •#: 443. 1524* a* 444. 103* a* U S. 13490* a* 446. 1354-55* *« 447. 1577.79* m* 448. 1S99* a* 449. 19450* •* 450. 2325* «* 451. 2325—S&* a* 452. 23230* a* 453. 23390* «* 454. 3341* a* 455. 3341-44* a* 40* 43j&»3.1* # * —157— 45?• 414—1$ # 0 # 4,5s* 443* 0* 439* 450-55* •* 460* 465-69 «# v ia 4x6 » f 504 &♦ 4&U 467-6S* 0* 462# 494—96* •« 46*U 507*9*#«*# 465* 1245* #* 472* 1287* 0* 473* 1 3 0 3 - 7 * e* 7 I0 R 423 ®* 424 ** 505 b# 5®7 0 * 474* I 3 I8 * 0 * 475* 1383* e* 476* 1407*9* 0# 477* 1410* •* 406* U 93* 0 . 473* 15X4-15* 0 * 480* 1526-27* •* 481*- I 569* 0 * 482* 2170-73* 0 * 483* 2176* ©* 484* 2230* 0* 485* 2279* 0* 486* 1345*4 6 * 0* 487* 137EW5* 0 * 488# X464—66* 0 * 489* 471-73* 0 * 490* 47S—79* 0* 491* 481—83 * ®* 492 * X257,-58* 0# 493* 1432-33* 0* f iw 436 » • 494* 1452—53* 0* 495* 1912—13* 0 * 496* 2188* 0 * 497* 2296* 0 * 498* 1336* 0 * 499* 1490-93* 0* TO* 478 0 * 500* IJPI5* 0* 508.* X3X6« 0* 5 0 2 # 1353—54* 0 # 503* If^Q* #* 504* 465-67* h# 7IBB 416 460 •* 505* 1306-7* b# ? ! 1 587 0* 506* 1311—3*6* b # vxm 500 #* am «* 507* 1306-7* 0# 7 I » 505 b* 508# 153L2* o* 509* 2307*8* 0* 4 m 1277* 0* - 158- MfRCB&r 510. 121. a. 511. 129. a. 512. 151. a# 513* 133-84. a. 514. 274-75. a. 515. 298* «. 516. 297-98. a. 517. 400. a. 518. 404-6. s. WPR 556 «.519. 1968-69. a, Tit® 595 pr. 580. 208.6-17. a. 521. 2017-19. a. 522. 2024*36. a. VIDE 579 fe. 523. 524-26. a, Vint 591 pr. 524. 529. a, VIDE 557 a. 525. 534. a. 526. 535* >i VICE 592 pr, 603 la. 527. 545-46. a» VIBE 558 «, 573 a. 528. 557-59. a. 529. 564. a. 530. 572-73* S. 531. 572-74. a. 532. 581-82. a, VICE 600 to. 533. 583-83. a. 534. 1722. a, VII* 567 a, 597 4f* e* ZU6-47. «* TIHE 656 a% 660 o. ZU6-47. o, Vim 654 »# 659 *• 2X96-97. pu, VI IE 655 •« 656 m, /t5r a n ~ j*“" ^—— »**r-v r^n/r #4, 1 #r 653 . 655# 219^* •# 656# 2196* «# 6 5 7 * 2 1 9 7 # % VII 2132-3 # « 6^7 a* 663. 664# m 666# 669# 690# 691# XUs?®!#**** 1828-31* a# MTS# mm 1899-80* a# M 83-85* a* 2183* 2234-35* #* 2298* «# I860* ®# I 956- 57# ©* «ir& voa m&amm KerX gmmgt# d t r # ich auf d ie rrn rn ^ vm am-nsrm u # • 2311* ®# DIE OBEHSTEN 674# 2175* 9m tm zmmocmm. mm Although Goethe** mm p re se n ta tio n of Bor aaattrocheas 1 m mas a com plete fa ilu re # the q u a lity of th is p lay d id acrfc rem ain fo rev e r hidden# and today i t J u s tly ranks w ith th© g re a te s t o f German eomedies# Prlm nry mmg its o b je c tiv e ly rmUmtl® M a te r touches a re i t s h ea rty e a rth in e ss and th e b ald -faced cunning o f I t s hero# who by h is © lerem sas alm ost escapes d e te c tio n o f h is attem pted v illa in y * Arm dam dom inates th© se m e from th e beginning of th e p lay u n t i l a few moments befo re th* end# His number o f f ig n re s o f speech i s alm ost h a lf th e to ta l of th a t o f a l l th e ch a ra c te rs in th e comedy# Ihirty**four o f them a re metaphors and s im ile s ) twenty*©! gfet of th e se a re in sp ire d by f e a r th a t h is g u i l t m il l be discovered# He lie s # sim ulates# im t'iem ll**** pleads# c a jo le s , t r i e s to g e t F a l te r tip sy # sad t r i e s to in tim id a te itas v arious w itnesses in th e e f f o r t to save- h is mm skin* Be explains h is in jn ri.e s to Llch&s Ic h h a l ts noch das I te g e h lie d 1st Mund1# da s io lp r* Ich in den Morgan a choa# (1 ) Had eh* ic h noch den Lauf dei? Tags begi^nne# Renkt mmmr H a r r io tt m$.r den Fuss a chon axis* (2) G efeehtt 4&m v erflu ch ten Xiogcnboek Am Of©m fo d it* ich# (3 ) wmm I h r w c llt* He p leads fo r support from L ich tt Heat l a s s t Ih r noch d«m Keleh varttbergalai# (4) Gad a lle s # mm ©a g il t# Ein Schmaak l s t fs strna* der# sn r Hacht gabora*# (5 ) Das fag s v o m its* gen l lc h s tr a h l scheut* (6 ) tm 1 s t keln Grand# e in .Richter# Wenii e r n ic h t au f dam F ie h ts tu h l s i ta t# S d l grm vitfttlach# adLa e in Fisb&r# (? ) sain# .01® AktenstOsse se ts* ic h aui'f denn d le # Die lle g e n id® d e r Tam zn Batgrloa* (8 ) Safety grlld*ger H err C erichtsrm t* einen Schl&g In s Z laner h in # is h glat& jt*, e® s ir* in® Grab* (9 ) S c h m e ± g 9 k a n la ffe l On s te c k s t dan H als noeh frfth genng Ins Fiseit# (10 ) Hnnd# j e t s t , v e rflx ich te r, mmfamlg, S b ll h ie r d ie F aust den S&ehea d i r n ie b t stopfen* (11) Sehlmekt s&r das Am d ie F ill® n io h t h e ru n te r9 (12) Mein Seel** so m is® ic h n ieh t* id.e*s m rden a lrd * Bekem t E r# odor n a terfftn g t Er slab * H ier e ie e in c a ttv srg e san a r Men®eh (13) am leugnen? S tsh t n ic h t d e r Ks«l# a le e in Oehse* (14) da? Sehweig;.. do m lr dort* ra t* id b # das O onB sraatter SebM gt ttber d le h ®ln# (15) teabmratum Sdxw fttserln i Du welmmt, d ie mlmmm W&dm m ttgm n icht**# (IS ) B at a le das U c h t dabei gehalian* (17) m i? Die ^ n n g fe r m etes# w& tans r e Z&arae bSng^a* (18) Doch eh* ic h noeh das Badcenbaad gelO st* Brernit s le e le Sodas tmd G m & rrhm (19) ashen* Adam atteaapts to g et H a lte r tip sy* An® N ieratein# guild* ger Berr* a ls h tttt* ic h ihn geholt# (20) him 1 s t der H errj ( ^ ) twml 1 s t das finstar© Chaos| (22) O rel 1 s t d ie B elt* (23) O rel CKL&eer leb* ic h m ir* 1m d r i t te n t r in k t man i i t den Trepfex* Sormea# (24) Odd F im seaen te a d t den tJbrtgen# (2 5 ) Ia n , hrmtem# M rs* Dreh* do s i r deins P i l le o rd sn tlich # (26) l i e sieh*® gehbrt# so spreeh* Ich bent© abend Anf e in G erlch t ICsranschen b e i sneh ein* Dm leader (27) aa ss a le §aa* j e t s t doreh d ie 0nrgel***(28) The s ix reg ain in g setaphoT® do not f a l l in to the above category nor in to any o th e r group» Beat modh, mr, der Q erleb texat h e r , mm U traefetl Zw B ev ision , do r m ekre M snt, d#r eeXhet Seim Scbtfchen s c b ie r t , (29) ders& aichen F ra ise s hasat* M argretel feel Der Sack r o l l Knochent (30) B it gefct Fucfe bless, (31) Gevattcr# ftttl F « lle gibt*® , Bela Sa£l% nicht safer, wd warm's nicht bicgt, ©o brlcht’s* (32) «~$o n ise i, G erechb igkeit, (33) dean deinsn Leaf! 3m, ja« Jedwedo® Sfeel 1 s t elm Z a lllla g * — (34) » » * Almost h a lf o f Id a» fs fig u re s o f speech a re M s mmhrmB and ©cwetimss vei^r p te tm rm qm e p ith e ts* Twemty-fcwr — approsdunateljr a q u a rte r of th e to ta l — a re fo r la X tc r and a re in sp ire d % an e f f o r t to f l a t t e r th e su p e rio r Judge ~ exempt fo r th e f i r s t e p ith e t , which i s spoken before W alter1© a rr iv a l# ***d#r wackre Mann, (35) d er s e lb s t Seim Sehtfehen a c fe tc rt, derg le iehen F ra tsen h asst# Bw# Gmadem (3$) warden h i# time d a , n le h t s s e lf l* ic h , Ima alter* Branch i s Beefei am ta d e ln wissan#*# hobor? Far# Gnaden (37) D ienar «*•*• %Br*a wafer, g es tren g sr B arr? (3d) B e it d a r Sacksehnde a b g e sd m fft, Bp* Gaadan? (39) Was sa g t e r f — M s hsfafelan Bw* Gmdsn? (40) —G lelcfet O leioh i G leicfel Was hefeblem Fa# Qnadess? (41) Tut s o , wie Sr« Gnaden (42) am befohlen. Ifer Grtaden (43) lie b e n F& rm liehkelten n ioh t# Ew# Qmden (44) babem*# a lso m lr befcfeleii# Fir* Gxiademt (45) -3165* In oolchan Pirsgen ir r t d©r Keourah, E»* Gooden* (46) —learn ich fr e ia fltig redea d a rf, I hr Gnaden, (47) Die Sachs elp n et gut s ic h sua Vergteich* WmtofeanUi Kw* Qnaden (43} n icht? Ich habe n ic h t e te d le r t , Ew* Goadeu, (49) Bln Ich eucb Berm m*8 window* Aui1 mein© Ftar** (182) Be denies th a t he has any confession fo r W alter* Amf meins Fhre — (IBS) An attem pt to c a s t su sp ic io n on Eupreeht is sad© when Adam*® wig i s fotm di Das 1 st* E li ts-EXement * (184) d ie nfimliehe* Ole ic h dm. Buxschen w ac h t Tagon gab#*# He m m t r i e s to c a s t the blame oa th e dev il* Z ertre ten # D urchpassiert* Ich b in e in Scfaoft* (IB5) Der S e r i, p a ss t auf* h a t dm G asetaen b ie r Was angeM ngt# Ich w ill n ic h t e h r lic h »ein* (186) Weon es n ic h t s t ih k t in der R eg is tra to r* Awf raelne Fhr * * (187) ic h s ta b s f a r nicht© ©in* F ire o f Adam*© oaths a re in sp ire d by th e e f f o r t t© gain sympathy from W alter by pretended ignorance o f proper' le g a l procedures t Doch f&ndei I h r s ie b en t im Amte ©chon* l i e Ih r © is whnscht* mein Seel** (133) so n4r*s e in wundfanr* Da si© J n s t l s / m r donkel w eiss* was Ih r w o llt* Main Seel** (189) wwm*® ihr© fteihs noch n ic h t 1st* In so lchen Bingen i r r t d e r lensoh* Sw# Guaden* Wen h&tt* ic h fm gen ©©lien J e ta t t B eklagten? Anf Fhr*4 (190) Ich nehne gate Lehr© an* Mein S e e lf I (191) team ich* da daa -Ossets in S tich mich i l s e t* Philocophie m W ife nehmen se ll**# Auf Fhr*4 (192) Xeh M bs n ic h t s tn d ie r t* T3w# Gnaden* Bin ic h eueh Berm aos U trech t zxielit rerstS ad licfc* Mit d ie se s Volk v ie l le lc h t verhA lt s ic h 1© anders*** -17V Three oaths a re m otivated by Adam*© cw ba& ary rudeness to th e two m id s t Gotbs B lit® , (193) M argretel -—Scfeer* d ich sum S atan , (194.) wo do hiagehftxtttl In d ie R e g is tra to r! S ehort Z\m t e u f e l ©uch, (195) ©ag* iefai t o , w&o I c h sagto* A nother th r e e oath# a re in s p i r e d by Adam*© ru d e etxgxrassiaa o f im p a tien ce w ith the le n g th o f F rau M artha’s © tcryi Zua T eufel! (196) le ife i So ae ld I h r noch n le h t f e r t lg ? Ed., l e t t e r l (197) 0 , fa ille F iacbe — (19S) W terawft Tee oaths a re in sp ire d by Adam*! su rp rise a t L ich t1© bold M a ta a t Adam1© misdeed®! Ik&n Seel* I (199) — Doch, m s ic h sagea w ollte*** Mein Seel* — (200) The rem aining tim nby-fiv© o f Agam*© oaths do n o t - f i l l in to any o f the above c a teg o rie s and muet be a sc rib e d , because o f th e i r frequency , to Adam*© in n a te coarseness in la ck o f any s p e c if ic em otional m otivations Verdaamt! (201) Mein S m l* l (202) F© 1 s t k e in Grand, w arm ©in R ich te r, Wenn e r n ic h t au f dm R ieh ta tu h l s i t a t , S o il g ra v ita tis c h , wie e in El©bar, ©ein* P est I (2Q3) Mein gaaebandar Fuss! Ich lerieg* d ie S tie fe ln — So wahr Ic h © hrlich bin* (204) Auf meins th r s , (205) «a*d*®ar H err— Kin Zmffell, e in verw tinschter, (206) h a t urn beide Per&cken mich gebracM * «*X?5— J a , beim ear* gen G o tti (207) E ll Bol*a d e r H eito r anehf (206) FCL1© g tb tfa , Mein S eel* , (209) n ic h t isehr, uxtd w nn*a n ic h t bA^gt ©o h r ie h tfe# Mein. Se@X*, (210) worm ich*s Eueh sag e , So a e h re ib t I h r 1® M s# I s t f» n ic h t e in I ru g , Fr#u Martha? kvX Ihr* I (211) Gebt a c irt, ih r s o l i t au fried en se in# mm aslr— ? Bel G o tti (212) S o li ic h a le C h ris t—~? V erfln eh tl (7X3) S ieh dal $er t a t das? ferdaraasii (214) D e r-tra f4 S p rich , Evcben, h b rs i du, sp ric h j e t a t , Ju n g fer Fvehent Gib G o tte , h b rs t du , Serachpa, g ib , mein S ee l* , (215) I ha und der B e lt, g ib ihm w e von d er w abrheit# S prieh so , sp rlc h »o , ic h b in fcein e h r lie h e r K e rl, (216) Es wind s i eh a l i a s , a le du»® w tesehesh , linden# I eh e l l l vco ungespaltneia Lelbe e e in , (217) lean n ic h t e in Eehaferibnnd von aft®a*gor Orftssae line® se in e r 'Ereb gehn, a l t ihm fortaukomraen# M els, F.eefctea® n ich t# Anf se in e E hre, (218) n ich t# V erflu eh tl (219) Der Tm&mX l e t a i r gut# Ich gleub* , d ie Z e it 1 s t , Oder Ih r v e rr tlc k t» lo h M s hein e h r lie h e r Mana—(220) e r — V ergaast du*o? 1 /e rflu ch tl (224) Hat s i eh d er Sehalm r ie l l e ic h t erl& uh t, Verkappt dee Teufel® A rt —? Mein S eel* , (225) ih r H arm , d ie Sache so h e ln t m lr e ra s th a ft# * ■# * Four of Agasi*® n in e proverbs a re in sp ire d by hi® d e s ire to s tim u la te pious u p rig h tn ess and co n v en tio sa lity x ->176- •**d«nn Jed er tr&gb Den l e id ’gsn " te in s ia An© to ss in ©ich s e lh s t , (226) Die f e l t , ©agt uneeir a p r ic h s a r t, wird. ©bets k lu g e r, (227) $nd all®© l i e s t , ic h tseiiss, den Pnfi'endorf i Doch M m l e t ©is k la im r T e ll der S a lt* Auf den n ic h t sieh r, n ic h t m inder, ©1© sa in f a i l mxt Mmm ¥©e der aXlgaualiien i ls g h a it k an e s« Sehlacht © lies e w ( dash reeh t# (223) J&» J s # Jodtoede© f e e l 1 s t e in S talling*--* (229} Three proverbs a re in sp ire d rsore d ir e c tly by h is a ttem p t to h id e hi© re c a s t peet« G ut, G evm tterl J e t s t g i l t 1© F rew id sc te ft* , Ih r n& sst, u ie s ic h s»©i Honda aesehen k a s a u (230) Du v e i s s t , d ie ©*1©m r wgnde m etres n ic h t* # , (231) Die Jungjtmr e e ia s , so unsr© Zttume hOngen# (232) H© quotes two proverbs in o rd er to s e re s up M s csn courage t Siwet F ill© gibt*® , Mf&n S e e l1, n ic h t s e h r , end ennui1© n ic h t h ie g t, so b rlch t* s« (233) Ghd n ic h t gefangeu, dank* ic h , n ic h t gehangam* (234) * * * Adam employs fou r puns in b is attem pts to mxn Fee hm; ah© ahmXt te s t ify # €uly Eve knees that th s s ic k IM l he refer® to i s r e a lly 'U precht* T erfltio h t das- pips*go Perlhqtni m irl Doss-os iCreplefb wOrr in- d e r P est in Ind ian ! (235) Schluckt s tir das As© d ie P ill# n ic h t herunber, (236) Mein SeeX*, ©o s e is s Ich n ic h t , etc*© 'mr&m M rd# Hun,. fcvehen, hfttsa, Dreh1 dm m lr deine P ill© o rd e n tlic h , (237) H e ©ich1© geh& rt, eo sprecb* ic h beat© abend Auf' e in G erich t Karauschen h e l each e in . Dee Iu d er muss s i s gam j e t s t durch d ie Gurgel*#* (238) « • * With fo u rteen d ia le c t express ion® in h is speech , Adam xmm wore d is le e t th an any o th e r c h a ra c te r in th is comedy o r in any o th e r o f KXe±st*s dramas* Thor® 1® no em otional m o tifs fo r these d ia le c t express ions} they a re msed by th e an th e r to in d ic a te Ada®1® la ck of cu ltu re* Four of them a re th e lo c a l manner o f te l l in g tim et Glcck acsht ♦*• (239) Warn 1 s t d ie Olocka? (240) ••♦morgen f ru b , Glock mem*#* (241) H«mt, Glock halh se cb s , v e ra a ih t, am Morgen* frtlh# (242) So h a lt s e fn Schmbisk (243) ih » , fUr wm I h r woll t* So g ing’s Ib a sc h le c h t, dea armen &&u», (244) daa glauto* ich* la s d ie gemaschen (245) h a t , das mala# lo h n ich t* Ps h a t e in PerXbmfest a d r , Baa ic h Ton eimem X ndienfahrer k a u f te , Den Pips*** (246) V erfluch t das pipe*g« (247) Porlhmha ra irl Hleib* I r b@i se in e r Sachs* GakeXml (247a) $a»l Ha, so tag* dm, m& g&kle, (247b) mad k©in Kade* W ills t dm a i r h ie r vom einam amdent txmtmshsn*** (248) F laps d e r t , ( 249) sohmeig* Hr Je ta t* Aeh, troeknes Brodi (250) la s t • e « A ll fo u r of' Adam*a v u lg a r itie s sp rin g from fe a r o f d e te c tio n o f Ida misdeed w ith Evet \Md je d e r Sebreck p tsrg le rt mich von ^atmr* (251) Der T eufel .so il mich holem , I» t»a n ic h t ao g u t, e l s hfttt* ic h sebm e in Pmlrer* (252) SchaeAsst e ie her&us d o r t, d ie verwftnsehte v 'e tte ll (253) v erflu ch tj, mein tfn terle lb * (254) # « # Adam uses L atin tw ic e , h u t th e expressions a re w I«*1 H p i * ii>*§& ■s *? I H#» %i i oat I n H*afif f*+s *>* IFi - •» & c3 Iaa »» i w3%«# -181~ 4b e p ith e t fo r Frau B r ig itte i s in sp ire d by fa m ill& rity t Vmmi dm d ie Mulm# Briggy (299) amigt* so b in g t mich# if e ■# to s t o f Rnpreefct** th S rty w tw oaths a re in sp ire d by anger a t one o r an o th er o f th e ch a ra c te rs o f the play* H im a re m otivated by anger a t Fve* V erfluch t b in loh* mrni ic h d ie Slats# netoe* (300) G ro ll? Hein* mich O ott* (301) das w ill ich n ich t* G ott eehenfc* d i r so T ied Wohlergehn* ads e r E rttbrigen karai* Mein Seel** (302) so n st w arf1 ic h ihn vem Hof herurster* Had hOr* Each e in GefXapr© h ie r* e in Schermen* Bin barren M n , H eir B ichter* S erroa her* Mein B ed** (303) ic h danfce* la b s e l l w r h a t Die ksnatt* and “aeh* H err O 0ttI*(3Q4) r u f t s ie * vend R uprechtl Was- 1 s t d i r auch?** Mein Seel** (305) ic h hOb desi Pus©* Gut w ar#s* dass ic h n ic h t ©eh* eoh in ic h stia® s* Mein SeetL** (306) das d au e rt s d r an langs* Fvehsa# Ei* ao m m Honker. (308) sa g 's* mm 1 s t s& r rechfc* l e a do d ie FiedeX d i r e rsp a ren kanrast* A fter E ve's innocence i s proved* th ree of H upracht'e oaths a re in sp ire d by lo re fo r h e n Wim bab* lo b heute schftodlicti d ieh b e le id ig ti S i* G otta B lits* (303) all® W etterj (3X0) und e ie g e s te m l H err G o tti (33L1) Has g ib t 's f Seva® oaths axe inspired" by anger a t Adam* The f i r s t th ree a re because Adam in te rru p ts Euprecht w h ile he i s te s t if y in g t M s S ee l'* (312) -mm sum zu Wort mich k&mmi Xiesse* da* m in e r Two* (313) H err R ichter* War? Ja* mein Seel** (3X4) da f ra g t Ih r mioh — -1S2- Two oaths a re in sp ire d by anger a t Adam's suggestion th a t Buprecht placed the wig in Frau H ertte** grapevine t l a m ic h si©—*? G o tt'e Hismel—Domer (315)—SchXagI (3X6) Ich hebf s ic In der T e rk s ts tt abgegebeiw Another two oaths are In sp ired by d isc o m iy o f Adas9* g u ilt* E l, so lch e in Donn®FW@tter-*K@rl $ (3017) Q ettf 8 Schlag end b e tte r ! (3X8) Es 1 s t s e in M antel b le s s I F ire oaths a re In sp ire d by Kupr@cht,a i r r i t a t i o n a t V e it 's su sp ic io n s o f tils sen t J a , m elner S eel* , (3X9) sag* ic h , das 1 s t geschworcn# Warm ic h fs versch ideg? G ott1 s Schlag trnd Danner, (320) s e l l 's n ic h t ea tir 1 s t , V aterl Wma das d ie Hahn© Briggy s e u g t, so hang . ssich# (321) Dud b e i den Beinen si© ise iu thalb dasu« (322) W ell Ic h r a Regiment solXS (323) GXsnhi E r , dass ich —? One oath Is in sp ire d by anger a t Frau M arthet Hein S e e l' , (324) *® 1 s t sebwey, Frau M artte , d r e is t su sp rechen , tenon das Gewissen an d e r E©hlf m s a i ta t# * Three o t te r oaths a re m od by Hu^reoht to emphasis© th e s in c e r ity of h is statem ents* —IM KftX mid % ch t und Welt and F e n s te rh m tt, WOrutif ich s te h * , denk* ic h n ic h t , e tra f* sd.eh G ott (325) te e a l le s f W ilt in ©imm Sack snaassasz)—» M einer Treu*, (327) H err H ich ter Adas, l a s s t Such sagen, H lerin m g doch d ie Jm gfor Ju s t n ic h t Itlgen#«• The rem aining fo u r oaths do no t fa ll.U n to any o f th e mbmm ca tegories* Huprscht expresses disp3sasuze a t having to tak e a d e to u r to Frau Martte*© houses F i , a l le W etter, (32$) desk1 ic h , B upreeht, SchlagI (329) Wm 1 s t d ie G artentU r be! Martten© su* He expresses su rp rise a t frau B rig itte * s testim ony about th e d ev il* Weal IHamel— (330) ?au sen d ~ -| -(331) « # * R uprech t's p ro v e rb ia l expressions a re m otivated by d isg u s t w ith Eve* E to e k fin s te r w a r 's , lmd a l le K atten grau# ( 33 l a ) Die sparlimits Mlc li g laub1, du s e h ie rs t ®ieh% sa g t th e w as. Das 1 s t n ic h t h ia # n ic h t her* n ic h t F isc h , n ic h t F le iseh * • #(332) Den Kmgf den a le sun t& sser tn s g , (333) serseh lug ieh* « e « Ruprecht uses te n d ia le c t .expressions which in d ic a te h is peasan t o rig in * Five o r these a re th e lo c a l loarmer o f te l l in g time* Glock sehn Uhr moeht1 os ehwa se ln su r Maeht*** (334) Da Ich Olock e i l f (335) das PArchen h i« r begepae*** —Glock sehn Dhr (336) seg ic h l»s@ r ah— w ar's Clock a c h t* .. (33*?) Glock sehn Uhr nachts*** (333) Ic h w ill ©in B isse l (339) noch au r !^re gahn« God ih r das lieu men (340) f lo g , a ls wie genaust* (341) *Acht Uto do da gakelsW fB A ^} Und nachher s a g t ' si©**Jo#* J e ts t a d t d«R S tah l ©ins pftndscbw er ahem Bets*** (343) * * * A ll f iv e o f R uprech t's expressions o f vufgaid ty e o tis is t of e p ith e ts fo r Eve before h e r innocence i s proved t ? e rf lu c h t b ln ic h , wenn ic h d ie Metae oehrae* (344) Die lie d e r lic h e —*1 Ich mmg n ic h t sag en , was* (345) So s a g t1 ic h noeh i m Tod® mu d ir* M etsei (346) Die M etse, d ie t (347) So eehisgssf* ieh s le nod sage* lie d e r lic h s M atos, Ited denke, das 1 s t g u t genug f d r s ie * (34$) * a- a • * FPJtfJ MRTHE Tlev&n o f Frau Marthe*a t^ n ty ~ fo u r m etaphors and s im ile s a re in sp ire d by her d e s ire fo r revenge because of the broken p itc h e r * eb n ir* a&r re c h t, unrl mein Begrfibni® la id 1 ic h , Wema Ich den H eetaut e r s t den Kama s e r t r e tm , Der m ir M s an d ie Irftge scfean llet# (349) Bar R ich te r 1 s t mein Handif®rlcsmana? (350) d e r Scharga, Der Block i s t * s , PeitschenM ebe, d ie ©s b m u ch t, Hod au f den Scheitezhaufen das G ealndel* ¥enn*s im sre fhr® vei®3 an brennen g il t .* * (351) B rauf i s t * s , a ls ob , in so gerechteis Z orn, Mir noeh sehn Arm etichsen , (352) Jeg lich ea Fim * ie h a i r l i e e in O d e r ausger& stet* (353) M r ta d s 1 ie h noeh e tn sM , m m M r a l le in s im t, Die Z ihnei Wart* I Du w e iss t noeh n ic h t, no a i r Die Share m ch sen l (354) Du s o l l s t ’s e rfahnen l Has ie h d e r Red* entgegm et Bass s l e , H err R ic h te r, M e d e r h a rd e r (355) e in b r lc h t, (356) tied W tarihsit, M e e in gakeXnd Huha, (357) erw drgt* (35§) Was Recht l i e b t , o o lite mu den Io n ian g tfe lfea , Dbk d ie se s Ttagetftai der la e h t vu tilg e n * (359) Seven Metaphors and one s im ile in one speech a re in sp ire d by scorn fo r Eupreeht*® su sp ic io n about Frau Martfoe*s m otive fo r coming to c o u rt* Der e l t i e F lap e l Die ??©ch«eit ich b ie r flie fcen t (360) Die H ochselt, n ic h t dcs F lic M ra h ts , unaerhrochen, M icht *'ln©n von dee tru g e s Schavfcaa, v e rt* (361) Und stand* d ie H oehseit b lankgeseheuert vo r m ir. (362) M e noch d e r Krug au f den Q esiaee g e s te m , (363) So fa ss t* ic h ®i© helm G riff j e t z t salt den Hftnden, (364) Bnd schlttg* s le g ellen d 13m am Kopf efit& eat, ( 365) N icht ab e r h ie r d ie ' cherben mbcht* ic h f llc k e iii (366) S ie flicker* ! (369) <*186— Per te re rs c h to te i (379} Per H allm k e , d e r i (330) Halluoke* (381) Five e p ith e ts fo r " fa lte r a re m otivated by re sp e c tt •••g e s tre o g s r Harr*** (382) lo b — e l mm9 wmrn Ew+ Gn&dea — (437) Das 1 s t d ie Fran B r ig i t te , Bw* Gmadeiu (423) Vena Ew* Gm&en (429) g tttig s t Die F ran , durch den Harm H ic h te r, befragen w ollen*,# Wollen Emt Gsiedom (430) o le ro llen d en la s a e u Bw« Gnaden, (431) K it d ie e e r %mr h a t9® TdXlig© R ieh tig lm ii* Ew« Gnaden (432) werden i t c t i t d ie %aod© bratiche% or am a r te ± l9»# fo rtm u s, vermeils* Ew* ■ Gnedea, (433) keia© Sgrap# Women i»r* Gnaden (434) den Berm R ich te r fm § m ~ I4ch t»s tepee o th e r e p ith e ts am fo r Adam* -Two, a re meant to l o l l th e judge in to a. f a ls e sense o f eeen rity * E i, me® sm i ff©nk©r* sag t* G evaiter Adam! (435) Wir s e e l G e v a tte rle n te t (436) th e th ird i s in sp ire d by d is l ik e fo r Adam* Die O rdrel Was! Der Sender, d e r! (437) * * * H c b t usee two hyperboles t© frig h te n Mam* Kin Stttek fehlt von der Wang** Wl# gross? Hleht efcn© lags kann ie h ’s ©ch&taen* (438) F lc Schaf* das* e in g e h e ts t von Hundem* s i eh Inarch Bornen drfingt* X&sst a ic h t rcehr Welle sites® * AX® ih r* G ott m is® vo? F le isc h baht sitae® liaise®* (439) • # • Tea o f L icht*a fo u rteen oaths are motivated by the desire to d isc o n ce rt Adam by estphasXning th e in d ic a tio n s of th e g u i l t o r th e events which seem to make h is position El* m e sm i Beaker* (440) sag t* Gevmtter Adamg w*e 1 s t mli, WmcU gsaobehn? Mo a eh t ih r mas? Der ohnhin s t e den le g d er Shade w andelt? f in S chaf, das e in g e h e ts t vea Bundem* ©ich Durch Dome® drteagt* XSset n ic h t amhr Well© sitae® * AX® Xhar* G ott m is s to ? (442) FXeiseh hafot s i t mm Issm b u Ei* h e ir l i e g t Q uerfeld e in £ebX®g;» b lu tru m tig , e t m f :1 mich Gott* (443) Ale h t t t* e ia G ressknecht w&tend itas gsftferb* T!e enjoys te l l in g Mm* o f '" a lt^ r1® cooing v i s i t ! 4s* mm e s ficuss g ib ti Ber Banker h o l* s , (444) HUtt9 Xch*e doch bald vergeesea* So w&hr io h lebe* (445) Vr mar in Holla* a a f dam CSrenadorf* g estero * .* to r Bauer h a t ife® a e lb e t geseha* atm Hanker* (44&) Wctiiam* so s v e if e lt fo rt* i a (s Teufel® Nssnen, (44?) B is « r eut TOr h le r e l a t r l t t * Bel m einer Trout (443) Der S tie l* H err Hi eh te r? Hmi Die P artake p& sst Fuch doch* mein Seel**#* (449) Two oaths mm in sp ire d b y d isg u s t fo r Adam* L ieh t re se n ts Adam** in fe ren ce th a t a l l men a re p o te n tia lly m unscrupulous a* he* and L ich t dm * no t under®tend why Adam w aits to know in advance e h a t fin is Marth© and ?sn have cam to co u rt f a r t t^ r f lu o h t d ae l (450) Maim Seel** (453.) s e t s t Fustu to wamtet Ih r* s erfah ren* Ts© oaths a re m otivated by fe a r th a t istay n o t bo ab le to g e t to Huiromt E i# da. maim Hiom slt (452) llmgeworfem, s a g t 3 h r? Bio Hand verstam dbtt K i, Barr G o tti (453) dor Schmidt schom? # * * L ieh t uses L atin tw ice* thereby lllu stzm tim g th a t b in eduoatiisi bm been su p erio r to Adam*st Had suspend!©rt© B ich ter d o r t umd Schreiber* Waraa# io h am iss n ic h t o f f ic io # (454) Fuss eimes I£©nsches* b itte * Bod* p ra e to r a ro u te r (455) w le aim Fferdalssif♦ » # • « * mLTFB 111 b u t one o f Walter*® smt&phcrs and sim ile® a re in sp ire d by c r i tic ism o f Adam*® methods t Es f e h l t am ? o rsc h rif te n # gams racist* Fiolm elir Fa simd sm v ie l* mam w trd a le f id s te n (456) mSssem# J a , dureh ©in gross#® Slab# (457) ¥ le l npreul F le l Spreul (458) In Eurem Kepf X iegt w tssem rohaft uad I r r tu a G eknetet# iim ig* wi© aim Teig* (459) smsaamsmf (460) Mit jedem Sctm lit© gefet I h r war vom beidem# (461) Ih r g re if t* lc h safe *4 m it iharem- U rte il «in» Wi» e in e Hand in «tM n Sack v e i l Erfcswu (462) mmszs Ih r dooh Eure !i®den lassem wQlXtot, Geschw&ts* geh&uon m idst and m icht gestochea* (465) Like L ich t# ts lt-e r ©njoys frig h te n in g Adam by h in tin g th a t he has guessed th e tru e s ta te o f a f f a ir s * Gm© s im ile about A dam** 493- Behute G o tti Die Kisrf 1 s t ja im F«awr# Wie Sodom und Gomerrha, (4&4) aufgegaagen* * * * Four e p ith e ts o f a to ta l o f te n a re in sp ire d by syngpathy fo r Eve i T r i t t v o r, mein jtm ges Kind* (4&5) f'p rich d o r t, mein Sind# (466 ) S©1 d r e i s t , mein Kind*** (467) He in d o o rs Rnprecht in one sym pathetic e p ith e t fo r Eves S p art e w e Sorgem, Kinder* (463) Except fo r th e above e p ith e t In which Buprecht is Included , th e re a re only two fo r him* in sp ire d by d isresp ec t* Bar te b re c h t —~ menu der Kauz da (469 ) wahr gesprechan — I r h a t auch elnen bbscm F a ll getan* E r ungeaogener Menachl (470) S o h afft fater m lr Ordnungi Two e p ith e ts a re in sp ire d by scorn fo r Adams M iehtswbrd1 g e rt (471) Was e n te rs te h t d e r B nverschtate (472) s id i? An e p ith e t fo r f e l t la f r ig id ly , and one fo r th e assem bled w itnesses i s m otivated by amusements Weim mr %wt Saehe was am meXden, fa te r t (47?) B lbdsinnig fo lk , das4 (474) Four o f fo u rteen oaths are m otivated by c r itic is m o f Adam* ¥0 T eufel auch , (475) wo l i e s s t Ih r d ie FerttckenT Tot Fmre S ch u ld lg k e lt, sag* lo b , anm HenknrI (476) Sehr so nderbar, bet G o tti (477) yerB tosch tl (4TB) Four oaths a re ©splayed in Walter*® e f fo r ts to d isco v er Adam*# £f I IH j ? S I «*r»* (483) Bm t «*195"* ♦**eXn St&ok trm km m Brodes (490) mxr wm S*ia# • ••wenn der &au© (491) da safer gesprocfeen —* * • * a # 411 ©C 8vw*s f e a r m etaphors a re m otivated by h er d e s ire to > a e e re t th e events of th e evening b e fo re t F© l e t des Mm&aXs vunderbare FSgtnag* M e s i r 'das. Hand in d le s s r Saeh© se b lie a s t* (492) Jedoch d ie gastrin© Beg©b«nli©it# M it Jedea amdent iogef 1 s t s a in e l gem* tffed n ie h t da© p m * Gams tSck (493) fessno d ie M atter* He ©lues ©las*gen Fades© w illen* (494) ford® m # B ar, ih r gehdrig* durchs Oewefe© lit a f t* (495) * e # AXihoogh Bee lo re s itmpreeht dearly* only one o f h e r e ig h t epithet© f a r Mm i s in sp ire d by h e r lor©* th e r e s t a re m otivated by reproach! M o b ster Bn BdsHdefefct (499) Br 1 s t n ie h t «tvt| d er BteHdeM 0 da A bscheulichert (500) Bn Hndamtctamrl (501) I t CnverscM aater, S ri (502) Er M iedertr& cht1 ger < Her f e a r e p ith e ts fo r idem a re m otivated by scorn* lr BttversehAaterl (504) EX* was! Ber R ichter d o r ti IP ert. s e lb s t t o t dm© G ertchi* e ln a im r $tbad©r* E r d o rt* d e r Barer© ehflvte* (506) d e r d a r t a it» h * E r ©eXber mar* a —* 0 fflsmaXI Me d er B isfm ieht (507) Two epithet® fo r h e r © other a re in sp ire d by lo re* 0 lietost© M utter* ($0 8 ) feXgt «dr**» 0 lleb st® M atterl (509) Qm e p ith e t fo r S a lte r i • in sp ire d tgr re sp ec t* Mela lie b e r* w ttn ilger trad £&■£*£•* Kerr* (510) E rla se t a i r , .Each dm Sepgsag so e rs ih le n * * * # A ll fo u r o f £*•*» o ath s a re m otivated by d if f e r e n t enetlaM I# fiiie sh ea rs th a t she d id n e t sim ar th e n ig h t b efo re t Bel® S cb ro rn ich ti Sehnbread n ie h t 1 Ssht* d ie s J e te t sdarar* ic h # tf®d Joseph nod ita ria ru f * l«sh aa« (511) She i s frig h ten ed when i o n Martha oaks th e id e n ti ty o f Ere*# rioctnm al r i e l to r t 0 J e s u s * (512) Stem i s d isappo in ted H ist B eprecht d id n o t d an o iistra te oonplete . f a i th in hers la r rn —d#s Todee w ill ie h swig sterbeo* (513) H&tt* lot**® d i r Finaigem n ic h t g le ic h re rtrew t# * # She i s amassed upon d iscovery o f Ads®** d eceit* 0 Hinmell (514) Wie belog d o r Bes*wi<5fat vU M # # * F ro1® one proverb i s in sp ire d by h e r d lasppoin tiadat th a t Eupreehl has n o t sheen couplet® f a i th in her* Da h o tte s t denkea s d le n * Er* 1 s t hrrar* ?:• w ird s io h alls® ih r mm te h se l a m * ttarf ls t* s in Xeben n ich t* so 1 s t e® Je n se its* Ibd wean w ir safer® tehn* 1 s t awdh edn fag* (515) « e • a * -X9&6L FRAU SRZOITTE Frvu B r ig itte employs fou r smt&phcrs and s im ile s in th e course o f her d e sc rip tio n of th e p u rs u it ©f th e m iscreant# 3h© decided her presence was n o t wasted utien she heard q u arre lin g in Rw*s recai« —Ft* so koeh* d ir Tee* (5X6) lefe sprech* ©in Gottaceibeluns aus* mid drehe ?h ts e ta e e v d l mich vm9 imd seb f * mein Sod** Die G ists* ih r Herron* im FeraehelxscSen noch* Mm f a d e s Eels* (5X7) den Lindengang durchlettchten# Seht* ©inen © eituc* $ehnee aerw dhlten Krmim* Als Oh s i eh ©iise San d a rin gevttlst**# (5X0/ * # .e in Kreia* E « sebeu e in Himd e te a so r S e ite ^ s ic h t* Wetm s ic h d ie Katse prustend v e r ibm sebst* (5X9) e • • # She Quotes an e p ith e t S re had used fo r th e m iscrean t» "Pftsi* sehfim* E r slch* Er K iedertr& ehtigcr* (520) la s m&cht t r f F o rtl An e p ith e t fo r X icht i s m otivated b y resp ec t* on© fo r Adam fey h e a rty d is re s p e c ti H err I 'eh re ib er tdcht* sag* ich* d®im ebon seh* ieh* foil ©neb geseM ekt* dec Ward* gem (521) su m ir treten*** El* dor niefctsw flrdig-^ehteilieh© B etm g erl (522) # «- # Two of Fran B rig itte*® oaths a re in sp ire d by in d ig n a tio n a t sw -gestl om o f d is b e lie f in h e r sto ry* ^elm S a d * I (523) Xoh v s ls s* m s ic h gesehen tmd gerochen* l e i m im r Treul (524) E rs t am S p e lle r da* eo dor Sprung geaehehn* Seht* eimen © eitea* schmeserwr&hlten Ire ia* * * «19%» Her o th e r fo u r oath s a re a c tiv a te d by th e d e s ire to add m^mmXrn to detail® ©f h e r storgri left sp reeh 1 ©1b G ottselbeitm s au s# tasd drehe gateetaefisvolX a io h vm9 vend $eh*# mein 5«e3L*# (525) Ida G ists* # ih r B «rre% l a VerscimiBden noch*,» Wehia? Hetn fre% (526) den aBefcotoa Wag, so oaeb* J t e t ad© H err H chrleber M eh t gasagb* Mein fr®mt (527) tb h aradso nicht* Oh o r in d ie aea Mane® ootm tj doch hi® r# I eh td ii B ietst eh rlio h * {52$ ) 1 s t o r abgestiegait**# * # o l a to H la g h e r s to ry Fm« B rig itte aalees ana Kicht «®lt darea Jetst eteht ©in M a d seiaer* to einem Bana, damm ic h davor eracfcreetes# (529) # Oae of h e r metaphor© Is »~f<© koeh* d i r fee# #. * .# hgr eeepieten of Bo ©ad d ie seetore Jtm gfer f w d a rt* E » ih r aocb w G eideht eodh © te llt* I h r s te c k t Bocfe o u te r e liser Deeke noch* (531) * * * TOO e p ith e ts fo r Bopreeht a re a e tlv a te d by d is t r u s t fo r h ie a n seas S tr ## du w r& ire h te r SctaingeX* d»# (532] S ei rohlg# da v e rtra e ie te r S sh ltn g e ll (533) Om e p ith e t f o r Frmo B r ig itte i s ao tlsm tsd by S eh aestc r B rtggy t (534) ra&chst d o t one epithet for to i s motivated by smspieicttt Dm raid d ie oaubro ^mngfer I've (535} doH«*« V eit*a s i ng le e p ith e t f a r W alter la m otivated by resp ec t* —-G estrenger Starr* *« (S3&) ♦ ♦ * V eit*# ta o oaths a i s m otivated by su sp ic io n o f hi® se n t Hbr1, dm v s r f lu c h te r (537) Sc& llagal* dm* mm machst dm? # s * V eit u ses th e lo c a l d ia le c t expression to t e l l tim es GXock fcalb au f e l l f 9## (539) • #■ # ft # DIE MAEGDE th e f i r s t maid m m ta o o ath s to a f f in e th e tr u th o f h e r s ta te ­ ments about Adsa’a re tu rn home th e preceding evening s Ja* s e in e r Trem* (540) H err R ich te r Adast| K&fclkopfig sa rd ih r* a le Ih r aiedertM ifc*** Xch w ill n ic h t e h r lic h se in* (541) «■ ft ft The second s a id uses th e lo c a l d ia le c t fe rn to t e l l H ues GXock t i l l —1 (542) ft # « # ft 35ft BSBlfMTI W alter9 s se rv a n t m m one d ia le c t Julies* (543) ih r Harm# ft a a * ft ** *672X *xs *• *sczt *05 •• *£2-22x1 *67 •• *om *87 •a *£6-260X *67 •a *o€a *97 «a *5X8 *57 •• *029 *77 *• *CT9 *£7 *• *265 *27 *• *555 *t7 •a *6£S *07 •• *S8C *6£ *» *8££ *8C •* *x££ *i£ •a *6-90C *9C ** & 1QIA *# *66-86 •SC ••a* 622 aim *M *7g7X *7£•a •££§ «££ *■»* i t z *® 6oz aam »7S-£SS *2C *• oti yam *® *£te *t£ *• ext m u ** *«6x *QC *» SC SUA *« *66-66 *62 •a #yc9t *82 •nd gee *» 76 asm *• *7t9X *62 ixz ’■s 76 aim *® *£i-0X9t *92 ** *S£-7CSX *52 *7£SX *72 •* *C£5t *£2 *2csx *22 •w •zesx *X2 •m *XISX *02 *■ *66-9671 *6t •M z£z 32 ia *m *562T •ft *w *Cbrt *6T •m xec s iia *■ •sxtx *9X •• 56 SIIA #® *09-656 *St *•88 3CUA *» *998 *7t •a *£5—258 *ctZ 0 Z9t *• 68 mm *» *7X 78 Cr L •O 6SI #S 5s asm *a *78-686 *TX •a 78 -jam *H *6-909 *0X *w *6-807 *6 *S *8 *• *85-9SX *6 •w *S5-7SX *9 *w *7S-CSX •5 *« *££X *0 06X asm *® *tS-oS *£ ** *X2-C2 *Z *® *6X-0X *T uvo? ■—20&- 52. 1394-95. « . 53. 1396-97. e , •’TW 240 d . 54* 1431. ®. 55* 1561. •« 56 . 1585* •* 57 . 1806. * . 58 . 1872-73. • . 59. 498. « . 60* 509. • . 6 1 . 511. e . 6 2 . 521. d . 6 3 . 531. • • 64. 790. * ! 71DR 132 « , 6 5 . 815, 9 , 6 6 . 1097. «• 6 7 . 1097. « • 6 8 . 1098-99. « , VII* 21$ o . 69 . 1112 . # . 70 . 1113-14. *# TBS 164 «• 7 1 . 1154-56. . . 72 . 1207. • • 73 . 1207. « • 74. 16AO-01. * . VIDE 26 » , 237 p a . 75* 959-60 . • , n m 15 *« 7 6 . 1201. «r, VII* 165 ®» 253 v a . 77 . 796 . • • 78. 1135. * • 79 . 1135. * . 80 . 1230. • . 31 . 1445. 82 . 49®-99. • • 8 3 . 603. e . 8 4 . 606. e . fffl* 7B3# s * 8 6 * 838m e $ Vim 1M ©» 235 m * » 4 t d* 87* 843-44. ©* Vim .12 X62 236 pa* 88* 856-66* «9 Vim U e* 89* 9X7* ©* 90* 1X3© «* 9 1 . 1X37* « . n o s 249 t* b g .f .rtig fc usd Mimuegcnrarfen verdea*' * Schntldt JjieorreetX y in ­ terpret® tM& lin e in a n o te t o l i m 1679 •» **da b ie t n lc b t ao&XV* V IK 516 a* 1361-63* a* VISE 535 e* 1352* <&# vfrn 537 e* I 9O8* e* 1340* 4 * 1361* e* 1377* 4»* - a io - 537* 1352* 0 , vim 532 e* 538* 1391. 0* 539. 1355 . d m m m 237 a* DIE 540* 227-28* 0 , mmm 541. 231. 0 . 542. 222* dtVUE Kft 237 a* DIE BFDIEKTE 543. 212* dfdrliss* "M ies* m it b e to n tm Jt# s p r le h t d«r gemetne rnann in den Hheinl& ndern, s t a t t dee a lte n ad^» oder des vorashmen ad ieu •« **vwrfI« I ll*4 m Illiil ft; m W § si S mQX2"» K ieht eher ruhn w ill le h , b is ic h aus L h ftea , G leich eln&a schbagefarb ten Vogel* (? ) Hai Zu m ir herabgest& rst$ (8 ) doeh l i e g t e r J e t s t H it eiagekn ick ten F ittig e a * (9 ) ih r 'hmggraoa* Zs Ftlssen a ir* kein PurpuratSubehen (10) missend* Km daxxtt* so saSgm a l l s S eligen B aaiedarsteigen* umiern Slog s& fe ie m * * . Wism A ch illas f a ls e ly adm its d e fe a t, P en th esilea i s ju b ila n t* Hinweg j « i s t t o stein M@rs* n i t dlese® Blute* Das ss fg e h tn ft* e l# se in e r J U t e f t harread* (11) In beiden Kassaern d ie s e r Br&ste l ie g t* (12) I h r Boten, ih r g eflh g e lten * d e r l a s t # (13) Ih r Saft© nsi& er Augend* ssacht euch auf* (14) Dareh meine Adem fleu ch t* I h r jauehawsnden* (15) H d la s e t e g , e ln e r ro ten F th a g le ich* (16) Von a lie n Reichen d ie se r Waagen **&&••• (17) She a n tie lp a te s th e ‘ o sm fe s t eeremonyt Dass snares Tempels P forten ra sse ln d au f* Dee g la a a e rf d l l te n * we ihrauchduf tendon* K hr, idle des F arad leaes Tore* (18) fU e g e a i Und a ll* ih r f la tte rn d e n QewSnder, ©cb&rs&t euch* (19) Ih r goldnen Pokale* f f i l l t eneh a n , (20) Ih r Xuben* sc h n e tte rt* (ZL) dorm ert* i h r Foeaunen* (22) Der Ju b el aache* d er m elodisehe* Den fa s te n Ban des F inaaaentes bebenl —- (2 3 ) 0 la s s d ie s Hears 2mwd Augshblieie1 in d le sea Strom d er L o ft, Wie e in b esu d elt Kind* (24) s i eh un tertauchen f (25) h i t jedem ScKLag in se in e tipp*gen W ellen (26) M e ©fat s ie h e in Makel a i r van Baeen neg* (27) Fa eeh t* s ie lahn d e r GOtter* ( 2 8 ) vo l micfa her** . She speaks endearing ly to A e h llle s t Be s ie h sdeh auch sde deine Sonne (29) an* J e t s t ~ kannet du a i r sagen* l i e es d ie H ebe macht* d e r FUSgelknabe* l« m s ie den st& rr^gen Leun in F esseln sch l^ g t? (30) Him denn* so a l r e t da d ish K ieht aeh r a le e in e junge Taube mgm i* (33.) tin deren Hale e in 14ftd ohen Schlingen le g t* Bonn d ie Gefbhle d ie s e r Sruat* o Jttogling* &ie Hind* s ln d s ie * (32) end a le s tre ic h e ln dieh* (33) -2 1 3 - She m ill no t yo t l e t him ki&s th e ro ses of h e r l i p s t Sefeald s le r e l f s in d , L ie b s te r, p fltlefcst du s ie * (34) She p ra ise s A ch illes to P rothoei Der jtinge Tag, m ahxhaftig , l ie b s te frecrsd in , Wenn ih n d ie Horen men den Bergen ftih ren , Beaanten p erlen c a te r se inen T r itte n i (35) E r s ie h t so v e lch cad m ild n ic h t d re in , a ls er« (36) Again she tu rn s to A chilles* Beam e ls e andre K ette denfc* ic h noeh, l i e Blumen le ic h t* (37) and f e s te r doch, a ls E rst (38) Die d ich m ir f e s t v erk n S p ft, tass Her* *a schlagen* (39) Doch b is s ie z& rtlich* Bing rm Ring* (40) gepr& gt, In d e r OefShl* G lu t, and a«agescbari.ed©t* • * (41) A fte r te l l in g th e s to ry o f T anaia, P e n th e slle a again pours o c t her lo w to A ch illes s Die ganze B e lt la g v ie e ln aasgeapam tes M ustem ets (4 2 ) Vor jrd rj in je d e r ^asche, m elt end g ro ss9 War d e ln e r Taten e in e sin g es c h d rs t, (43) (2nd in iseic Hers* v ie Selde v s ls s mad r e in , (44) M it Flammenfarben jed e brarrnt* Ich eln* (45) End h e lsse T rtaen meint* ich* vena ie h daehte* Dass e in CieftKhl doch, U n erb ittlicb a r# Den m araorharten Bunm (46) d i r dcrchzuckt* She compares him m ith the r e s t o f h is comrades* Ton den Ileroen deines Volks u a r in g t, f in Tags te rn e n te r KLelchen H achtgestim enA ( 47) G eblendet s tan d ieh* a le du J e t s t entm ichen, Von d e r Erecheim ing da — v ie v o n w et H aeh tze lt Der B litz r c r e inen Handrer f & ll t , (43) d ie P fo rten F ly slraas, des g la n z e rfd llte & , ra sse ln d fo r ©inem D eist s le h dffnen mud v ersch liessen * (49) Bet n o t u n t i l a f t e r she has k ille d and s ra tila te d A ch illes does she re a liz e horn srnch she had le w d him* Had wenn m ir se in e Wunde, Kin H bllenrachen, (50) g le ic h ©ntgegen gdhntet Ich m ill ih n sehen* Ach* dies© bint*gen Eoeeni Ach* d ie se r Krans won Wtmden xm se in Hauptl (51) Achf wie d ie Knospen, fria c h e n Q rabdoft atrexwmd, Zur F eat ffcr d ie Gewinee* n iedergehni (52) Dee ab e r w ill ic h mi.seen* Wer sodLr so g o ttlo e ashen h a t g eb n b lti <— (53) Ic h frag® n ie h t, wer den W bendigen F rechlogf b e i taseern m dg hehren G ottorn! FYei, a le e in Vogel* (54) geh t e r von m ir weg# Wer a i r den lo te n tO tete* (55) frag* ieh*## Ie h w il l n ie h t wlssext* wer ana seinem Bneea Den Fenton dee Pronetheoe s ta h l# (56) Ieh w ill* a n ich t* Well ieh*s n ic h t w i l l | d ie Xatme s te h t a i r s e t Xha s o l i vergeben a e in , e r nag en tflle h n # Doch t a r , o P ro thoe, b e i d ie se s Eatabe (57) Die o f fee Pfort© ruehloe axled* (58) dureh a l l e Schneetielssen Alahaa terw&nde a i r In dieses* Teiqpel b raeh j (59) wer d iesen JOngling* Dae ^henbild d e r G etter* so e n ts te llb * la s s X^ben end Verweswag s ic b n ie h t s tra ite n * Wen e r gehA rtf (60) wer Ihn so zag erich te t* Das® ih n 4mm H itle id n ie h t bew eint* (61) d ie Liebe $I«h* d ie o n ste rb lieh e* g le ic h e in e r Metsc* (62) l a Tod noeh u atrsu * wen ih n wooden mmmt (63) Den w ill ie h a e in e r Bache apfera# S p rlch l Stod d ie s e r M^nd h ie r* den d ie Id ©be aeh w ellt * ? (64) KOast* ie h Ihn to t? (65) However, h e r love fo r A eh illee doee n o t always p re v a il over h er h a tred fo r th e man who ham d ie tn rb e d h e r emcrtd a n a lly and proved h e r I n fe r io r in b a ttle * H it Siehelwagen e e h e e tte r t an f Ihn ein* Ind n&het se in e aoptgen G lieder n ie d e ri (66) Die L o ft v e rfln e h t a ir* d ie ih n w e lte r trK g ti (67) Des Teopels w te r W ipfela denkt e r n ieh t* f in s tc in e m B ild h a t aeixm Hand bekrttm t? (63) Ih r ^lebelwagea* konst* ih r b liaksndsn* (69) Die ih r das Sehl& chtfelde ^ m te fe s t h e s ts l i t* (7D) Konst* konst in greul*g«m S ch n itte rre ih * n herfeeii t3nd ih r* d ie i h r d er S eat ee rd reseh i* (71) Does Halm und Korn au f ©wig untergehen* (72) I h r Eeuterseharen* s b e l l t each um mich h er! tm ga&ser Gchreckeimposp des Kriega* d ieh r a f 1 ich* vernichtender* e n tse ts lle h e r* herhel* (73) -2 1 5 - Dmm ieh den Fwza in se in e Moschel s e ta e , Vie Sftgel g re if e , durch d ie F eld er ro ll# * Had, vim e ln i/onaerkeil see ^e tte rw o lk en , (74) Auf diemm G riechea e h e ite l n ie d e r fa lle l In h er long r e c i ta l o f the o rig in o f h er ra c e , *°enthosilea give* ample p roof o f h e r re sp e c t and reverence f o r h e r g re a t ancesto rs* 1st b in t1 gen Feld d e r ichl& cht su ss Ich ihn suchen, imn Jtm g lin g , den a e la Hera s io h auserfccsr, lind ih n n i t ehm en Araen a i r e rg re lfe n , (75) Hen d le se velche B rust enpfaagsn s o il* She answers A ch ille s9 Q uestion about th e o r ig in o f th is lav* Fern stts d e r Vrxm a l ia s H e ilig en , (76) 0 Jtn g H n g i von d er Z e ltea O ipfcln n le d s r , Den xm betretnen, (77) d ie d e r Hlamel urntg In ^o lkenduft gchelsm isvd ll v e rh tfL lt. (78) Haspr y ea rs ago h e r t r ib e had liv e d by a d is ta n t mountain* Mia V ex cris, d er A nthioper Kbnig, An se in e a Fuss e rsc h ie n , d ie % nner r& seh, Die ksapfverbucidnen, vo r s ic h n lederw arf, S id i durch d ie f i l e r govs, (79) mad O rels* und Khahen, Wo se ln gesfcekter Stafel a le t r a f , e rsc h lu g . The vidovs o f her people put swords in to th e i r beds* •«*nur die Hoehaeit Ward des A tM e^n-K ftnl gs Vexcrls Mit Tanals, der Kanigin, erharrt, Der Oftste B rest amamt dem it an k&ssen* (80) Had das gauss H endgeeehlecht, a l t BsiLcbe&, In e in e r W echt, ward ea %n Tod g e k its e lt* (81) Dnd d ie s j e t s t ward im R at des Velks beschlosssn* F ro l, v ie der Wind attf o ffn ea B lach fe ld , (82) s in d Die F raun, d ie sb lche B eld en tat volX braeht#,* Und wo e ta Xbibe no*h geboren w trd , Von d er Tyranaan S ta s , (83) da fd lg f e r g le le h Zvm Obkus noch den v ild e n V atem nach. (84) then Tanala took h e r vows, h er bow f e ll* Tt s tftra t* * der gross#* goldne des -'letche* thid k l i r r t e von d er M&rmorstufe dr@ is»l* H it d m Gedr&im d er Glockon* auf* und le g te * Stun® a le d er Tod* (85) sq l h m F&ssea sich* — I t «Bi Tanais* du ty to arrange fo r th e rop o p u latio n o f h e r s ta te * ♦••und f le h t* 1m Teapel d er Artes&s* au f ih re Jungen Schdese Den Segen keuscher M arsbefruchtung (86) n ieder* «*»sir nartcm s te te * M e ~ m dee Sehneegewand serhaucht* (87) d e r FyUfeXimg Pen Kuss d rttek t au f den Busan d e r Hatur# (38) Dud e t l l l and heim lieh* ado au f w d ln en Sohlan* (89) Geht*a In d e r % ch te Gians* durch f a l and Wald* Zua Lager fe rn d er AuserwUhlton M s* Had irle d ie fe u e rro te A lsdsbrast (90 ) brechea M r p ia ts l lc h in den Hald d e r Hftraaer (91) ©is* Held nehn d ie K eifsten derer* d ie da fa lle n * Wie Saman* eenn d ie ftip fe l s lo h aerschlagen* (92) In unsre heim atXichen F la re s M s« (93) R eturned hem th ey ho ld th e ir R eeenfeet cerem onies! •••denea sich* b e l Todesatraf©* nieraand* Ala n u r d ie Schar d er Br&ute nahen d a rf — Bis uns d ie S eat c e lb s t bltihend aufgegasgen* • • (94) A group o f m etaphors and sim ile s alm ost a s la rg e as th e mm above i s in sp ire d by F en th e sile a ft a cons ciousnee s o f th e laagnltude o f h er v a r ia n t goals* Du hh rst* mm ic h besehloss* eh* efcrdest du Den Strom* wenn e r herab von Bergen scM esst* Als se in e r Seel© D onneraturs (95) re g ie rm * * * .is t , s das Verderben n ich t* Das in dm Siege vahnsinn lger Berauschung* Hbrbaren F lh g elsch lag s* (96) von fe rn ih n naht? Gemfcbt l i e g t use* m Garben eingebcafsden* (97) Dsr M a ta opp*gar Scbata* (98) i s Scheuem hods* M e in dm H ianal rages* aufgetU m t* (99) dedoeh d ie Wclke h e illo a fcberschwsbt ihn* bnd den Y em ichiuags-etrahl d roh t a le hersb* (100) -» * ■ S o li Ieh von se in e r t e n 1 $ ie h liasende* Die nun ftin f sc h w e isse rfu llte Sonnen sohen An se in e a S tu rse rU tte lte * (101) entweichen* Da e r vc® ^indgug e in ss Streicbe® muss* G etroffen* u n te r ntelnes Hesses Bu£# m e ein© r e lf e SUdfmichi* (102) n le d e rfa lie n * ••veh1 ie h n ic h t vO lH g Dca Kr« i | d e r a i r d ie S tim unxmuBcht** (1)09) e rfa sse* Kb* ie h Mars Tftchter n ich t* w ie ic h verspraeh* J e t s t au f dee Gltkckes G ipfel jauohzaai fishm $ Kh* mOge se in e Pyramids (104) scbm etterad Zusammenbreehsii hber a ic h vnd sie*** She r e a l is e s th e in co n sisten cy of h e r angry p u rs u it o f A ch illes i 1 s t1® n ich t* a ls ob ie h s in e L eie r s&rns&d Z e rtre te n w o llts* w ell s ie s t i l l f a r sich* l a Zug dee Nachtwinds* meinen Kazasa f lU a te r t? (105) hen she i s thw arted* she w ishes fo r superhuman powers* Bass d e r S tem * au f den w lr atmaa* Geknickt* g le ic h d ie se r Resen e ln er* (106) la g el Dess ic h den ganssn K rsm d e r W elten so* M e d ie s G eflech t d er Rltaaaa* (107) Ib sen kbnn tei (108) Mein A lice hab* ic h an den &urf g e se ts ts . Bar .litrfel*,. d e r errtseheidet* lie g t* e r l i e g t t (109) . B eg re ifea eues iefe1® **» mud dass ic h v e rie r* Er s p ie l t in etdg fem en llssK&enkrelsen M ir urn den sebnauch tsvellan Busen bln* (110) She w ants to conquer H elioe* and th in k s she has when she sees th e re f le c tio n o f th e mm in th e r lv e r i Bel se ined goldnsn F iam eshaaren (H I) sag* ieh Zxl m ir h ern ied er ihn ~ Da l l c g t e r a i r su Ftosen j a i (112) At tim es she i s convinced th a t her goals a re u n a tta in a b le • This fe e lin g o f f u t i l i t y m otivates an o th er groig> o f h e r m etaphors and sim iles* H e m lt dera S ch icksal heat* den ttfccktachen* S ioh n e in sr S eele H eb e te Freundimeea vexijonden* (115) m r su schaden* mich su —218— Wo e ic h d ie Hand, d ie I t s to m e , rmr r t g t# Bon Rahm* Boon e r b e i m ir v o rb e ifleu ch t* (114) Bel so lmm goLdnen LodwdtKar ana. fasssft* (115) f r i t t e ln e Mseht m ir bSmisch in don Wag — Das G lhck, gesteh* Ich* lA rt a i r H ob gtim m s} Doch f f t l l t #8 a d r atm Welkem n ic h t h e rab , (H o ) Dm HtmaoX drum ©rstOimen w ill ie h n ich t* (1X7) She te a rs th e t in s e l ornaments from her neek t Sold v e rflu c h t mir* H alf lo se rs* a le P fo ll nnd Wangem* nochi (118} A fte r she has k il le d A chilles* aim has noth ing to l iv e f o r t Gana r e i f a m Tod** (1X9) o i&axsa* f th l* ic h m ichl Don H irseh lock* ic h m it PfeiXon in don ftaxfc* Doch e in V errfttor 1 s t d io tm w t d e r Sehtktaonj (120) Bad g i l t 18 dm M eisterschosa in s Her* doe Glttclcos* (121) So ftth ren t$ek*sehs Q d tter wm d ie %xid* A nother o f P* io h , m it a l l e r O O tter F in c h Be l s dn e # # • ( 2 9 3 ) • • *i ch r asende**# (204) I c h E a s e n d e i (2 0 5 ) M l l s t d u d e r T & ricb ten ( 2 0 6 ) n i c h t la c h e ln ? Dhe t h in k s w ith h o r r o r of b e in g d e f e a t e d b y A c h i l le a * M ich# R ic h d i e U b en ra n d en e , ( 2 0 7 ) B e s i e g t e ? ( 2 0 8 ) A fter A chilles* death she re a l iz e s th a t she a lso must die* -224- 0 Artemis! Du H eilig c l J e ta t 1 s t es urn dein Kind (209) geechehnl She rep ea ts a conversation w ith A s te r ia , h e r mother* Si# sa g te t ®*geh, mein ICind, (210) &ara r u f t d ic h l Bar one e p ith e t fo r V exorls expresses hats* Wars, an des Schnftden (211) s t a t t , v o llao g d ie ^ha# Her one e p ith e t for Tanafa expresses adm iration* «»*eie# d ie vt3crd*ge K cnigin**. (212) She recogn ises th e a ttra c tiv e n e s s o f Prothoe *s c a p tiv e t F r , Jener WLtthitde A rkadiefheld, (213) Den d ir das Sehweri arwarb* Was h tU t ih n fe rn ? She h a tes th e h era ld who in v ite s h e r to b a t t le A ch illes t TerwUnschter Redner#** (214) P e n th e a ile a ^ re sp e c t and love fo r th e gods cone to H # t in h e r e p ith e ts fo r them* Dish* A rea, r u f 9 ic h j e t a i , d ich £ohrecklich© nf (215) D ich, m im es Hanses hohen G rander, (216) an! #.* V e rtilg e rg o tt ** * (217) 0 Artemis! Bu H e ilig e l (218) •«»bei umaern ewig hchren G d tte ro l (219) * * * P en th esilea has an tmuswalXy h i^h number o f hyperboles* With a few exceptions they f a l l in to two ca tego ries* those In sp ired by h e r love fo r A ch illes and those m otivated by h e r d e s ire to accom plish im possib le deeds* The f i r s t of th ese groups i s th e la rg e r* GeffUsrtimnen, sehnt&usend S onnen dtboken, Zu sixtem G lutball eingeschmelrfcs so g la n sv o ll S ic b t, a l s e in S ieg , e in S ieg , m ir tb e r lha* (220) Dm BSren k a u e rt9 ic h am Fhssen a&ch, Gmd s tre ic h e lt© das P an therfcier, das m ir Ih eo leh e r Begtoag n a h te , wie ie h ihsw ( 2 2 1 ) -2 2 5 - Er s p ie lt in ewig fem en Flamaenkreisen Mir vm den sebnsnehtsvollen Buaen hin« (222) Ih r Tuiben* schm ettert* donnerb* Ihr Posataaen* Der Die c charen w ill ie h m u?tern —- sonderbarl M it tieree w ill ic h sp rechen , Megaria* Bate* ie h # b e ia S tyx , (241) j e t s t n ic h ts su t m , a ls pljm dwm t The Anasona th in k th e ir q u e e rs rescu e from A ch illes a tr iu n p h t ¥ e rf lu c h t s a l d ie s e r aehSndHehe Trim&to sa irl (242) V ^rflneh t Jedwede Zungc, d ie ihn f e i e r t , (243) Die l u f t r e r f lu e h t mXr$ d ie ih n w e lte r trS g ti (244) th e n ex t la rg e s t group o f oaths i s In sp ire d by P e n th e a ile a 's repentance fo r h er' ssarder o f A ch illes* She sees two o f th e Amazons ca rry in g A c h ille s1 corpse away and a t f i r s t i s a f ra id to look a t i t i 0 m anat (245) So 1 s t es wahr? Ih r heilV gen O O tterl (246) Ieh hahe n ie h t das Hers e ic h tsasusekn* 0 Diana! (247) Waroa s e l l ie h n ic h t? 0 M anat (243) I r stan d ashen e im a l h in te m Hfteksn s ir * 0 A rte n is t Bn B ed lig sl (249) J e t a t 1 s t as tea d e in Kind geschehn! Ieh fra g s n ic h t, war den lebendigen F rsch lugf b e i unsera swig hehren G d tte ra l (250) Ie h hahe sd eh , b e i D iana, (251) b le s s se rsp ro eb ea , W eil ie h d e r raachon Lippe H err s d d it bin* Three oaths r e f le c t P e a th e s ile a 9* consciousness o f duty# Hein* eh 9 ic h , was so h errlio ih a d r begcnasn So g ro ss , n ic h t end igo , ah* Ie h n ie h t Yt&Hg Deo fCrano, d e r stdr d ie S tlrn xaaraoscht1, e r f a s s e , Fh9 ic h kars T bchter n ic h t, s i s ic h v ersp rach , J e ta t au f dss Glhekes G ip fe l jamehsend f tth re , Fh9 m8ge se in e Pyraadde se h se tte m d Zusmacienbrechen d>«r adch nod sle*** (252) Finch a i r , vena ic h d ie Sehsssh e r le b te , (253) B raundlni F inch a d r , e s f la g 9 ic h jew els e in sn Mann, 'Dam a i r dss schw ert n ie h t w ttrdig sngeftShrt* (254) She cu rses h e r cam lack o f s tre n g th o f character* V erflueh t s i r d ieae sohndde Ungeduldi (255) v e rflu ch t* im blutum s chausten ftordgetttenrael, Wbt d e r Gedanke ah d ie OrgienS (256) Verfluctst* is Busen keuschsr ArestOchter* B eglerden, d ie v ie lo sg e lassn e Hunds* M ir d er Brcswete e rse a lunge heXlexsd* Und a H e r F eldherm Rufen* O berschreln l (25?) A fter th e long o ath in which she prem ises to le ad th e hmmmm to g lo rio u s v ic to ry (VIBE 252)* P e a th e sile a ab ru p tly u t te r s th e fo llow ing c ry <>£ despair* V erfluch t das Hers* das s ic h n ie h t m&ae*g«n kaira* (258) Only to o o f h e r oaths a re caused by love fo r A ch illes t Ic h e iH ih n Ja* ih r ew*g«n GOtter* (259) t s r An dies© B rust w ill ie h ihn n ie d e rs ie h n l Diana* Heine R e rrsc h e rin , {260) e r 1 s t v . r l e t r t i The th re e rem aining oaths do n o t f a l l in to any o f th e above ca teg o rie s* When A ch illes i s h id ing behind th e tre e * P sn th ssila* menders shy h e r frie n d s keep looking behind h e rf and th e Greek he ra id «s message angers h e r * —Dnd sen d et B licke* b e i den ev ’gem Got te r n , (261) In msinexi Sunken bin* a ls stond* e in thahold* M lt e l id e s A n tllta drSsmmd* M iste r mir* la s s d i r von F e tte r s tra h l d ie Zange Ibsen* (262) Verwttoechter Kedner* (263) eh f du s u i t e r s p r ic h s tl # * ♦ P efxthesllaa’s one proverb i s m otivated by r e a l is a t io n o f th e changes brought about in h e r c h a ra c te r by tb s re v e rse s she has suffered* Das DnglfUdc* sa g t man* I f u t e r t d ie Geamter* (264) Ieh* du GeHebta* ic h enpfaad es nicht*** e a s e * -229- The dichotoerqr in Prothoe *s scnO. I s no t n ea rly so tm g ie as th a t in P e n th e s ile a 9 s • There a re only two themes In h e r m etaphors ami sim ile© i h e r love fo r h e r queen and h e r d isap p ro v al o f I e n th e s ile a 1© ac tio n s* The form er theme has s l ig h t ly more figure© than th e la t te r* P en th esilea asks Prothoe i f she w ill fo llow h e r t In den Orku© d i r l (265) Oing9 ic h ouch su den S eligen tone d ieh ? (266) $as n io h t m hglich i s t , N ieht i© t# in d e in e r Kraft® I r e is (267) n ic h t l i e g t , to© du n ic h t lei© te n kanngtt d ie G u tte r H&ten, Bass lo h a© wen d i r fe rd re l She p leads w ith A ch illea n o t to t e l l P en th esilea o f h er defeat* 0 mbeht1 ih r lu g e s io h Fdr iagaor d ie sen ©dan L lch t (268) verichLiesBoiU So h a t ©le noeh den Kelch n ie h t a u sg e lc e rt? (269) Bszm s ie J e t s t fre u d ig an d er Hofffcung Hand (271) In s Icben w ied erk eh rt, so ©el d e r S ieger Das P ra te n ic h t , das fre u d lo s ih r begegnet* H * manche© re g t ©Ich in d e r B ract to r F rauen, Das f u r da© L lch t dos T&ges n ic h t geaacht* (272) Hus© ©1© s u le ts r t, w ie Ih r Veittitognl© w i l l , Al© d ie Oefsngne schm erslich d ich begrus©«», So fordfcr* es frtth e r n ic h t , beschwdr* ie h d ie h , Al© bl© ih r O eiot dasu g e rd s te t s te h t* (279) Shm 1© a f ra id A chilles w ishes to m u tila te P en thesilea* H ier d iesen jungen L eib , du Mensch w ell G reuel, Geschnttckt m it R eiaen, w ie ©in Kind w it Blwaen, (274) Du w il ls t ih n seh an d lich , e in e r L eitoa g le ic h — 7 (273) The Amasses re jo ic e when P en th esilea reg a in s consciousness t —S ieh dies© Jungfratm , welehe d ich ra rin g e n t H e an to n P fe rte n eixw r schtinren W elt, (276) Stehn si© , nod ru fe a d ir* willkflBBMml scu -330- Prothoe 1© deeply touched by P en th esilea* 3 p itifu ln e s s a f te r aba has h ille d A c h ille s , and she t r i e s to rev iv e h er by Isaac rsin g h e r head in w a te r t, 0 d » , . fo r d er siein Hera au f Knieen n le d e rfa lX t, (277) Wie rh h rs t du m lehi Das Haupt gan* ta ste r W asser, i ie b e l S al te d vd ed erl So, M l l i e ©In hunger Schsani — (276) 0 d i r im t b e se e r, du D nglttekliche, In des X % retandesSoam ^afinsternls (279) te h e r wbl ean d e ln , ©wig, sw ig , ©wig, Ala d iesen £U rdhterlichen Tag «u aehni te d doch e a r as d ie Idaho , d ie ih n kr&aabal (280) ted Hdt d e r Hose Dornen, ( ^ 1 ) In d e r B eeifrung , dass m ©wig ®ei* Si© sank , r a i l si© s&u s te la uad fctffcftlg b ld h te l (262) Die abgestofbn© Rich© s te h t in S te m , (263) Doch d ie gesuad© s t t r a t e r ache© tte m d n ie d e r , Well e r in Ihr© Krone g re ifo n karat* (284) Although h e r attachm ent to P en th esilea i s s tro n g , Prothoe I s n o t M inded by i t , and she expresses h e r d isap p ro v al o f th e qa©©n*s p u rs u it o f A c h ille s , which seemed a s I f she w ished to b rin g about th e d e s tru c tio n o f h e r ra e e t KT mk re same• 58gVB| G leich einem w tellauntgem K ind, (285) hinw eg, Der d elnes fo lk s Gsbeie k rd n te , (286) m r f s n t •••wad Gedanken wA&en, So f ln a te r , w ie d e r ©w*gea Nacht exits tie g e a , (287) In fieinem aJmdungavollen Busen sich* Die S ehar, d ie d t l s i Seel© s e l ts a s f h rc h te t , P n tflo ti rin g s v e r d i r h e r , v ie Spreu van Windcn* (288) Du M a t, in ? lam e n d ie du lo d e r s t , (289) n ic h t G esch ick t, dan &rleg d er Jungfraun fo itaw fC hrenj So wesslg, w ie , s ic h ir.it dem Spies© at* m essen, Der to n e , wean e r von dem G ift getrunken . Das lh a d ie ^Sger tU ckiaeh v o rg ese ta t* (290) —231— Und la s s d ich %\m Fuss herafo z e rsp a lte n , N icht aber wanke in d ir se lb e r »©hr, Sclang* ©in Ate® M ortal imd G este in , In d ie se r jungen - 'ru s t, ztos&mmenh<• (291) In •welchen fernen G lnm gefilden schw eift Dein G eist umber, s ilt unruhvdLlem F l& ttem , (292) Alsr ob se in s ig n e r S itz ib& n ic h t g e fx e le , (283) Indess das GlUck, g le ich einesi iungen FU rsten, (294) In deinen Busen e in k c h rt, (295) und, verwoixdert Die lie b lic h e Baheusung le e r zu fin d o n , (296) Sich wiecler w rd e t und sum Rimnel sehon Die S c h r itte w ieder flftc h tig se tzen w ill? (297) r i l l s t du den Oast ni ch t fe s s e ln , (298) o du T ttrin? Du w&hnst, wShnst d ich in T hesis eyra, sehon, Und wenn du so d ie Grenzen Ubersebw&rssst, (299) m i » ie h g e re lz t n lo h , d i r das Wort to nermsaa, Das d i r den F i t t ig p lfriz lic h w iedcr lihm t* (300) * * & Mere than tw o -th ird s of P rothoe1® la rg e number o f e p ith e ts a re devoted to P en th e slie a j A ch illes i s th e only o th e r person in ­ s p ir in g more than two e p ith e ts* More th an fo u r - f if th s o f th e .fo rth—fiv e e p ith e ts fo r P en th esilea a re m otivated by Prothoe fs lo w and sympathy fo r h e r queen, who has been l ik e a s i s t e r to hers G e lieb te , (3 1 Ii Is « I IS in sp ir ed by he r ir ri ta ti on ai th the Gr ee k he ro * Sh e th in k* he •534^* in tends to t r e a t P en thesilea c ru e lly t "file, du K n tse tz lic h c rl (352) •••d u henscfc Toll Greuel*** (353) She t r i e s to make P an th e e ile a fo rg e t him* Vergiss den Unesipfindlichen» (354 ) Prothoe*s two e p ith e ts fo r h e r fe llo w Amazons e g r e s s her normal frie n d sh ip fo r them when she asks f o r a shaw l, b u t she- i s angry when th ey do n o t remove A chilles* body qu ick ly enoughs So, F hania, deinen j l 'e rp il h e l f t m ir, Sohnastem i (353) F o rt, Hasendel (356) She b e ra te s A eterla fo r b e l i t t l in g P en thesilea* Der K bnigin, du r'a lsch e , (357) sanken HaLden#** Her f iv e e p ith e ts fo r th e high p r ie s te s s , A rtem is, T h e tis , and Zeus a re a l l m otivated by Prothoe *s re sp e c t f o r au th o rity * She sinks on the high p rie s te ss* b re a s t as she sees P en thesilea re tu rn from the murder of Achilles# 0 mein# M utter I (353) The high p r ie s te s s hopes P en th esilea w ill recover from t e r in san ity # Du h o ffs t* s , hod iheil*ge P rie s te r ln ? (35B) 0 A rtem isI Du H ell*gel (360) t s i s t d ie Pitetung, s le h nur h e r , Die T hetis Ihm, d ie hobe Gd t te m u tte r , (361) Bei desi H epM st, do© Fcuera G o tt, e rse lra e ic h e lt • N ein, bei® Zeus, Dew ew*gen G ott d er F e lt I (362) # * * Prothoe*» one hyperbole i s an appeal fo r P en th esilea to -£ 3 5 - restr& in h e r s e lf a t any c o s t, and thereby to avoid tragedy* Und la s s d ich b is sum Foss herab s e rs p a lte n , Micht afeer wanke in d i r ©elber saehr* Solang ©in Ate® M drtel und U este in , In d ie se r jungen F ro s t, ansaiamenMXt# (363) * * * K ne of Prothoe1© f i f t e e n oaths are m otivated by h e r feel-* ing f o r P en thesilea — s ix by her love and sympathy and tb ree by h er d isapproval of Penthesilea*© actions* Was du n ic h t le is te n kan n stt d ie G otter hu ten , Das® ich es von d i r fo rd re l (3&4) Ih r Himrulischenl (365) So h a t s ie noch den Keleh n ic h t a u sg e le e rt? She d ec lares Penthesilea*® tragedy i s r e a l ly h er triumph* Nun daftlr triumph! e r s t du aucht —O Artem is1 (366) She denies th a t she i s try in g to deceive Penthesilea* Hein, beim ieus, vm ew*gen Gott d er v e l t l (367) And she t r i e s to keep P en th esilea fresn d iscovering th a t she ha© k i l l e d A chilles* 0 b e i den f& rch terlichen M&chten des Olymps, (36G) Frag* n ic h t — i Ih r ew*gen HimmelsgOtterI (369) Ian® n ic h t meinern Pete f o lg te s t du? Che reproves P en th esilea fo r h e r p u rsu it of A chilles* K icht den P e lid en , b e t den ew*gen G d ttem , (370) F i r s t du in d ie se r Stiixmmg d i r gewinnen* ih r ew’gen G fttter d o r tl (371) 1 s t da© d ie Fassung^ Di© ad r dein Stand soeben angeldh t? E issaeli (372) «423&"* Of th e fo u r oaths in sp ire d by A c h ille s , Prothoe usee th re e to persuade P en th esilea th a t the Greek i s a w eakling* This i s befo re he has s lu m th s a h is m e ttle « Den e rs te n S e h r i t i , b e in J u p ite r , (373) ie h schwdr*# In se in e Danaerschonae s e t s t e r h in . Ich w i l l , ie h , d i r des Heeres Scbweif beschiriaen* rie fe , b e i den G ftttern des Olympss, (374) n ie h t Binsn Geftengenen e n tre is o t e r d ir* H it me&mtn Haupt eheh9 ie h d i r d a ftlr e in l (375) But she ap p rec ia te s A chillas* d e c la ra tio n o f lo re fo r P e n th e sile a t I h r ev*gen G e tte r , (3% ) sag* das naah e in aa l* Two o f h e r oaths cannot ba r e la te d to any o f th e above themes* She i s ex c ite d when she warms A ch illes th a t th e Amasons a re cosing to th e rescue of th e i r quecnt Es l e t U lyas, b e in Styx* (377) Die Dolmen, h e iss gedr&ngt iron M eres, H id S D l And she i s genuinely frig h ten ed when P en th esilea aims mm arrow a t h ers I h r KimmlischsnS (378) THE AMAZONS tinder th e hesdissg "kmMmm* a re included a l l th o se A s m who a re n o t l i s te d as in d iv id u a ls in th e d ram atis personae* The la rg e s t group o f th e i r metaphors and s im ile s i s m otivated by th e i r adm iration fo r th e i r queens tom Ksaspf s te h t s i s g s rO s ts t, Ie h sag*s su ch , dsn P elld en gegenhbor, Die KOnigln, f r is e h , w ie das P e rse rro s s , (382) Das in d ie Duft been aufgebeuat s i s t r ig t* .* -237- Als ©b Ih r Junger k rle g e ris e h e r Bm m J e tz t In d ie erst© l*uft d e r Schlaehten kArae* (383) Sdtit, v ie s i e , in dem goldnen K rlegssctanek l^inkelnd, T o ll K saipflust ih a entgegen ta n s t l (334) Isb*s n ie h t , Als ob s i e , h e las too Trffe rsu e h t gespornt* Die Stetm* l a Fluge tib e re ile n n o l l t e , (385/ Die se in e jungen S cb e ite l kttsst* (386} 0 e e h tl Wenn s ie m Hlcu&el au f s lc h schiringen e o l l t e , !:w hohen H ebenbuhlerin g le ic h «u s e in , (385} Der P a rse r kdnnte , ih ren Rtiaschen frdnend , G efltig e lte r s ic h in d ie H uft n ic h t heben* A ch ill und s i e , m it vo rgeleg ten banasn, Begegnen beid© s ic h , sseeen D orm erkeile, Die aus GewBlkea in einander f&txr©& ••• (388) They speak lo v in g ly o f P en th e sile a as a c h lld i S le e a r n ic d e r H ach tlg a ll geboran, l i e urn den Tentpal d e r P im a eo lm t. (389) . Gewieg* l a EichemripfeX sa ss s ie d a , Und f lO te te , und a c h a o tte r te , und f lO te te , (390) Die s ti ll© Nacht durch , dass d e r la n d re r horcht©*** Den P f e i l , der e in es rhera Busea t r a f , R le f s le su rttck , ea h& tte s ie s e in Auge, l a Tod gebreehea, gam ae rsch a ie lst In R eus, (391) Auf Knieen vor ih n n iederaiehen kfinneni A second group I s in sp ire d by sympathy f o r P e n th a a llm t Ton g lf t ig s te n d er P fe ile Amors s e i , H e lss t t s y i h r Jngendliches Hera g e tro ffen # (392) Da -wanktj gefU hrt von Froth©©, Si© seX bst, das B lld des Jammers, (393) sexton h eran t 0 A nblick , h e rsse rre is se n d e r, a ls M esser S (394) They see P cn th ea ilea a ip e a te a r from h er cheek* D eine T rane, du H oohheillgef Die in d e r Menschen Busen s e h le ic h t, (395) Had all© Feuerglocken d er Fmpfindmig z ie b t# (396) Undi Jammer r u f e t , (397) dasa das gam e G esch lech t, das le ie h t beweglieb©, hervo r S tfira t aus den Augem, (398) and , in Seen g e s a ra e lt, Ha d ie Ruins ih r e r Seel© m in t# (399) But th e re ie a group im p lie d by h o rro r o f P e n th e sila a i —*238*— H ier kemmi » s , b le le h idle e ln e Xelcha* (4 0 0 ) sehetn Das T 'ort des Q reuel-ftS tsela xsrm horan* (401) They d escrib e how she had ac ted ije aed ia ie ly a f te r k i l l in g A ch illas and h e r re a c tio n to the high p r ie s t e s s 1 ju s t c ritic ism * • • • t e BOgen f e s t l io h sc h o lte rn d , Ala w&r*a der Todfeind, den ale t&bervunden* (402) F eat und unverwendt* Ala ob s ie durch und durch a le b llck en wOXlte# (403) They can sc a rc e ly bear to look at F en th e sile a i 0 a o &de M e d ie Sandwtuste, d ie kedn Gras g e b le r tl (404) X nstg& rten, d ie d e r Feueretrc® v erw tte te t, Cefcocht im Schoss der Erd* und ausgespieen* Auf all® B luten ih re e Buseus b in , (405) Sind araautsvolle r a le ih r Angeaicht* (406) A nother group of m etaphors and s im ile s expresses th e i r feel­ ing of the grandeur of b a t t le as they d escrib e what is happening o ffstag e* In jm e n Grfcndsn* Bie d e r Skaaandros a u sg e le ck t. (407) Wenn dn Be® Wind, d e r von dm Bergen webt» w ills t ho rchen , Kannst du den Donnerruf d er K dnlgin, (408) G esttekter w affen fOLirrwa, Cys&eln cad Poeaunen, Bee Krieges gansse ehm e Btimme (409) hbrea# ♦••das Drttmgext nur V e n d rr te r K riegerhaufen nissmt s ie h w ehr, Die im G efild dee to d s (410) e in sn d er sochm * Had da s le je ta t* d e r Beche preiagegebea* l a Stsutb e ic h r o r ih a w aist* denkt je g lic b e r* Zvm Orkue vt& llg st$r»©m w ird er ale| (4X1) Booh bleicli aelbst eteht der Unbegreifllehe* Kin fodeasehatten* (412) da««* Kin ^ott hat, in der ersgekeilten Brust* (413) Baa Bern in Lfebe p lb tc lic h ihm geschm elst — (414) A aaaXl group of figures is devoted to Achilles* two of them in sp ire d by ad m ira tio n , th re e by d is lik e * tde rrd e r in g s , d ie bunt©, bltthende, In Cchwarz© der 'Y&tternacht geht9Q.lt, M chts a ls ©in dunkler Grand n u r , e in e F o lie , (415) Die Funkelpracht des HInzigen *u he ben# A ch ill and s i c , i t vorgeleg ten Ganzen, Uegegnen beide » ich # 3wee» Ikm nerkeile , Die ana Clrwblken in eiraander fahrea### (416) The Amazons wish to k i l l the Creek hero I Die Wangen s t r e i f t ihm, seng t d ie Lccken ihm, Den Kuss dee Todes f ltic h tig le a s t ib n sc fa m ee m (417) Gass e r das Hers gespie&st ihrn, m e ©in H ia t t , (413) 1 cart sdLt s i eh r^ in o 1 1m Plug They wish to use a bow and arrow on him* Die Schenkel w i l l ich ih a zusaiamen heftexu (419) Five metaphors are in sp ire d by the Amazons* s n t i d p a t i a n ef th e kosenfest as they show each o th e r the roses they have gathereds Und dieaen ganzsn Sop*gen frtboling ic h i (420) Auf d iesen F eldarn , h e il*ge P r ie s t r in , omtesn Gefangn© le ic h te r auoh, a l s Rosen sich# (421) Term dichtgcdr& ngt, at*f a l ie n Hhgeln. r in g s , 'Die Sant d er jungen Qrlechen srteh t, (422) d ie G ichel Kur e in e r nuntern D chn ilto rin ©rw&rtend• • • (423) Doch g r e i f * ich s i c , und strauchX 1 und sink© p ld ts l ic h In einen Abgrtaxd b in , der Macht des Tode© Glsubt* ic h , V ^rlom e, in den Scfaoss ®u sinken# (424) The remaining metaphor d escrib es the manner in which Penrtbs** s ile a * s bow c la t t e r s on th e ground a f te r she d iscovers tli&t ©fas bias k i l l e d A ch illes t 'Und s t i r b t , ?1© e r d er Tanai® gehoren m rd* (425) •a # «- The m a jo rity o f the Amazons* e p ith e ts i s f o r P e n th e s ile a , and they f a l l in to the same group® as Prothoe1©! they are «■^ 140•|* m otivated by Iw e and adn ira t" on, by sympathy* or by h o rro r Tor F e n th e s lla a 's deeds* There are s ix in sp ired by th e i r h o rro r; e ig h t by lo re and sympathy* dud a l s ic h ih r gesagt* l i e du e n tr f ts te t , dass d ie Sinnberaubte (426 ) Ten Ksmpf noch ten e in e in se ln Hanpt verlHaagre* rprach s ie* .* has f ra g s t du noch, ?>rrressene? (427) 've r sonst* Als nur*** Auf I Wehrt der Danendenl (428 ) Da s c h re i te t s ie heran , Bekr&nst m it Neaseln* d ie A ntsetsliche •• • (42 9 ) M e C-r&ssliche..* (430) 0 d ie lebend,g« belch*♦ (431) s rtfchrt s ie nicht -—I But before they re a l is e d trm danger of th e i r queen*a course* th e i r e p ith e ts i o r h er had dem onstrated love and adm irations H ell d ir* du S ieg rin l (432) tibexvLndorini (433) Oes H osenfestes Kbnigi.nl (434) V.a s ie h l Die nfeisterin des Bogsxa j e tv t l — (4 ' And when th ey r e a l is e PenthR Silaa’s tragedy* th e i r epithets a re in sp ire d by th e i r sympathy! S ie s ln k t* d ie T odtsaachattete* (436) vcm Pferd# D rie s t d er " rb la s s te n (43*?) nah t e r sich*** Indess em ach t d ie U nglftckselige• • • (438) —*0 d ie B etrogenel (439) Only csne of th e i r e p ith e ts f o r A ch illes expresses aotatiraticm rfom s ie A c h ill* den O sttersohn* (440) n ic h t fa llt* * * The r e s t arc? mot I ra ted by th e i r h a tred fo r the man who has c a lle d t h e i r queen so much anguish* Doch b le io h s e lb s t s to h t d e r uabergy«lf lidb® * * • (441) •H ines* , V erfeasateri* (44 2 ) donaaert Das gsns* H«er ±h» am### Als e d s s t9 e r echcn , d e r B ssends, (443) ^erw egae, (444) Bass uoserm P fc il selxi teben h e ilig le t# S ch tttse t w r dee Freshen (445) Die KOnigin dear ^ungfrsun# Z ureek, V erw egem rl (444) rnr Rosende* (447) Der S bem ot^gel (44$) Tmr Sehrecklichei (449) In m group o f am e p ith e t fo r e l l th e p r ie s te s s e s to g e th e r end s even e p ith e ts f o r th e h igh p r ie s te s s th e Anaset» ears m otivated by re sp e c t f o r th e i r re lig io n s su p e rio rs! 0 ifar H ochheiH gen, (4 ^ )) k s n t doch h e rl They t e l l the h igh p r ie s te s s about th e ir p riso n e rs ! S le sagcn , s l e bodurfen n ic h ts , Fhrwtirdfge# (451) Auf dleseat P la ts , Hoch*ttrd*ge, (452) find* le h d ic h l Fs w m sp ftt, H oehheilige, (453) verglb# H ocfcettrdigstel (454) Koch©il9ge Matter! (455) Dn scheinst s a n s d ir# O eschrel dee S ieg e , e du H ochhetligo• • • (456 ) 0 e ln e T rane, du H ochheil9ge* # • (457) The three epithets fo r th e i r captives are In sp ire d by th e i r lo v e fo r th en ! Weisa man sich ifanen nahet, So eenden s ic h d ie Trotai& en (458) aohMflhnri hinaeg# m u s t du oaf ee iehen Teppichen, o ja n g lin g , (459) M e Glieder ruhn? ~242~ I h r Sonderbaren Frem dlinget (460 ) $a® h&rat enchf T h eir two e p ith e ts fo r th e gods a re in sp ire d by resp ect* Ih r hochgeprieenesi GCtter* (4&1) Fncfc, ih r d e r H&lle graoemr*£LX© O b ite r, (462) In Zeogen ru f * ic h n ie d e r ~ There a re a ls o two e p ith e ts fo r them selves • The f i r s t occurs a s 01a® o f th e Amazons ex p la in s how she s lip p e d w hile seeking ro s e s , and th e second I s a r e p e titio n o f A chilles* ove r t ure o f frien d sh ip * •**der ffacbt dss Todes G laubt1 * i< ^ | V erloxnc, (463) in den Sehoss s a sinkon# Tr ra f t* "v o rw o ile t, i s i p t Fpiww tlonsBl »«* *(464) ♦ # * The Amazons m e th re e hyperboles* The f i r s t two a re m otivated by ada&ratlcan f o r th e p h y sic a l prowess o f bo th P e ttth esilea and A chillas* th e th ir d by th e ir sympathy fo r P en thcsilea* A ch ill and s i e , a l t v o rg e leg tea L anzea, Begegnen beide s ic h , swoon. D onaarkeile, Die fits Gewblken in o leander fahren*** ( 464a ) H i, Je tw t tr e f fe n s le anainanderl I h r G b tte rl H a lte t eu re Erde f e e t — (463) 0 e ln e T rin e , du H o c h h e ll^ e , B le in d e r Menschen BrCste s c h la ic h t, t7nd a l l e Feuerglocken d e r Empfindung s la h t , Und* Ja a n e ri n a f e t , d ass daw gaase C eseh leeh t, das le ic h t bow egliehs, h o rro r S td rs t « a den lo g o n , en d , in Seen gesaom elt, Hi d ie B in® ih r e r S ea ls w eint* (466 ) * * * The Amazons nee s ix te e n e d tto , te n o f which a re in sp ire d by th e i r fe e lin g f o r P entheoilea* Three o f them a re m otivated by th e ir lo v e f o r her* •»%243*i* Bian&i (4&7) K aniglni Du h i s t v e r lc re n , ie m du n ic h t e e ich sb l Ih r G d tte ri (468) B e tto ii S eh tttse t v o r dem Frechen Die KOnigin d er ^ungfraun# I h r hoehgepriesnen Got t e r i (469) Four of th e i r oaths express sympathy fo r P o n th esilea i I h r ew*g©n HiEneXsgdtterl (470) Welch ©in AnblickI They see 1 e n th e s ile a f a l l in b a t t le t I h r ewigem G o tte ri (471) A chilles rev ea ls th a t P en thesilea i s h is captive* A ll* ih r G O tterl (4.72) Ih r G rkusgd tterl (473) 7*1© b e s t r a f t ih r s i e i Only th ree o f t h e i r oaths a re in sp ire d by th e i r h o rro r a t Penthesilea*© la ck of moderaticsij I h r G d tte r, (474) h o r t1 ic h rech t? Euch, ih r d er H blle g ra u e n v d le G e tte r , (475) Zu Ze%igen r u f * ic h n ied e r — was erbU ck* ic h l 0 Ilifia&ell (476) Three of th e i r oaths a re death c r ie s as they f a l l on th e f ie ld of b a t t le s Ih r gnten GOtter I (477) Artem is! (478) Ih r flinm lischeni (479) The rem aining two oaths f a l l in to none of the above : roups# The AiRascns a re asaased by th e awful sp ec tac le o f b a t t le s Ih r G O tterl (480) They re p e a t an oath used by A ch illes a f t e r he has captured P en th esilea s -244- . . . " i h r o S tt« r l“ (481) r a f t e r , »lias f tir ©la B lick d er Sterbenden t r a f mi c h i8 # «* * # « THE HIGH PRIESTESS B it h igh priest*©© re p re se n ts th e h ig h e st re lig io u s a u th o rity ftmgmg th e AmascxB©# I t i s n a tu ra l th a t ©he should be h o r r if ie d hy P e n th e sile a 1© fa lse n e ss to th e tr a d it io n s o f h e r people* F ifte e n o f h e r tw enty-one m etaphors and s im ile s a re m otivated by th is h o rro r i 0 s le g eh t s te il-b e rg a b den Ffad %m QrkusI (483) Bod n ic h t den G egner, ©asm s ie au f ih a t r t f f t , Dem Feind* in ihrsm Busen w ird s ie simken* (4§4) Uns all© r e l s s t s ie in den Abgrund h in | (483) Ben K iel ©eh* ic h , d e r uns G efesse lt* Hach H ellas tr& g i, gesctahck t m it Bandern, h&hnend, (486) In G eiste ©chon dim H ellespon t durehschSumexi* Bu s ta tis t such deinen tremsm V dke noch, Baa deine K ette b r ic h t , (487) du w sndest d id h , Bad r a f e t den ftberwinder d i r surtlek# Kaxrnst Ihn s d t fl& tterndem Qmmid e r e i la n , Der d leh in F easeln sch lu g , (488) und ihm den B is s , Da, m> s i r s le mveprmngten, ttberreichen*** (489) J e t s t u n te r i h n Ktmden mffctet a l e , k i t schaum bedeckter Dipp1, und nenrrt a le Scbssestem , Die heulenden, nod d»r m nnd* g le ic h , (490) K it ihrem Began durch d ie F elder tanmend, (491) R a ts t si© d ie Monte, d ie mor&atmende, (492) Die s i* u m rin g t, das sehonste ^Lld tsu fangen , Das j© d ie E rde, uri© el© s a g t, durchschw eift* (493) • • • le g t Schlingen i h r , Bedeckt m it Str& uchern, v o r d e r FOsee M t t f Bad r e l s s t , i s m ©let* ih r Fuss d a rin v e rfS n g t, Dem a u tg e tro ffn en Hand© g le ic h , (494) »*« nioder*** Du b lie fc st d ie Huh* meixte© Behan© to t« (495) Wenn e in V erm els, s s n f t aus d e r Xdebe Mund, (486) Bu solchen G roeeln issen tr e if e t , so s a lla n Die F urian kaumen, und mm S sm ftaut lefareni -■245— Die hrust v e i l stkssen F ried en s# (497) kam er her, Urn d i r zvm Terapel Artemis* zu folgen* t.'och du— There a re bu t th ree metaphors in sp ire d by sympathy* A ch i l i e gebroch lich 1 st d er riensch, (498) ih r G d tter Wi© s to la , d ie h ie r geknick t l i e g t , (499) noch tot kur&aga, Hcch au f des T.-ebens G ip feln , rau sch te s ie I (500} At the beginning of the olay the high priestess use© two metaphors m otivated by her a n tic ip a tio n of the R ooenfest as she looks a t th e flow ers th e g i r ls have gathered* la s s t j e t s t d ie Arueht mich eu re r '&andrung (501) selm# H ier s c h tltte t eure rnt-e vor ia ir aus* (502) The l a s t rem aining s im ile i s in sp ire d by h er aiaa%©ntent a t P en th e sile a*s speed* Als d er i’elid* , und sie* au f se in e r Fora©, Pen rlnden g le ic h , (503) an m ir vortlberraus ch ten « & * # Seventeen of the high p rie s te ss* twenty—four epithets a re de­ voted to P en thesilea* Of these th e large majority is m otivated hr stro n g d isapp roval of the queen** ac tions* Die U nseligel (504) hrrlorenel (505) hi© rvaidin (506) mein1 ich I Als ic h von fe rn dor Rasenden (507) nu r nahte»«« Hinwog* du A cheusslicheI (503) Du Hadas—B ttrgerin l (509) Geh zu den Tabcn, e h a tte n l (510) • •• d.U tM ftU ckseligo+»• (513) * r U ebtfe d ic h , U n se lirs te l (514) One of h e r e p ith e ts of reproach i s ap p lied to both .brotho© and Pen tftesiles as th e former encourages the queen to fo llow h er h e a r t1a d es ire s I h r Basenden susamt —4 (515) Only th ree e p ith e ts fo r the queen shew sympathy* Unglticklichei (516) Du rmine g rosse Herrs* cherin* (517) vergifc M r I Diana 1s t , d ie G cttln^ d i r zui r ied e n , bes& nftig t w ieder h a s t du ih ren Zorn* D nglticklichel (513) The remaining two e p i th e ts fo r the heroine a re in sp ire d by* re sp e c t fo r P en thesilea as queent Wohl&n denn, gross© Tochter Tramis* • (519) G elieb te Ktfcvi. g in l (§20) There a re th ree e p ith e ts fo r the Amazons# The f i r s t shorn lo r e fear the g i r l s who hw e collected th e roses* Nunt ih r g e lieb ten k le inen Rosenjungf raunt, ( 521) Lass j o i s t d ie F'rucht mich eu re r 'tfandrang sehn* The o ther two show su rp rise and h o rro r as the Amazon o f f le e r s t e l l h e r o f P en thesilea*s fo lly * Die KOnigin, ssagst du? Dtmoglich, Frew idinl (522.) Du R asendei (523) v*as fttr e in f o r t sp rac h s t du? An e p ith e t fo r Rrothoe alone i s ;i n sp li ed by anger* Vde, du U nsel’ge? (524) Du. best& rkst s ie noch? An e p ith e t fo r l/eroe as t'r® l a t t e r b rings news o f th e b a t t l e between A ch illes and the queen is in sp ire d by f e a r o f bad news* L prlchj Gr& salichei ( 525) was 1s t gesehehn? Her one e p i th e t f o r fan&ls i s m otivated by deep respect* Pie gross© S t i f t e r in •& # # TKK GREEKS The la rg e s t group o f metaphors and s im ile s used by th e Greeks who are n o t d is tin g u ish ed by being given in d iv id u a l names in th e dram atis personae i s m otivated by th e i r amaze­ ment a t P en th e s ile e t Der Kelebuseh s e lb s t , a l s ob ©r s ich e n ts e ta te , (649) T eisst b©3 der Gcheiitel s ie von h in ten nieder# Drauf p lb tz l ic h J e t s t le g t s i# d ie Zttgel v/egi 'Man s i e h t , g le ich e in e r f chnindelnden, (650) s i e h a s tig Die S t i r n , von e in e r Eockenflut \aa®®lXt# (651 ) In ihr© he!den k le inen U£n de drdckcn* An dcm Oekluft© auf und n ied er s t r e i f e n d , Uuoht s i e , ob n ic h t ©in schm&ler Pfad s ic h Met© T'ttr einen v.tmsch, der keins rixigel hat# (652) r rau f ^ e t s t , g le ich e in e r Hasendea, (653) s ie h t tmn IGsspor s ie an des Felsens nande k liie ien , J e tz t h i e r , in glehendcr D enier, J c ta t deart, Unsinntger Hoffnung v o l i , auf d ies am Dfega Die F eu te , d ie im Cstrn X ieg t, (654) *U extuuschecu (655) Dock, id.e beraub t des l - r t e i l s , (656) k eh rt s ie tsa, Und fftng t, a l s w&rfs von vorn , au k le t te m an* S ttirzt s le u rp lb tc llc f t , Doss und D etiterin, Von. lo s s ic h lozftmiem .o ste in isn p rasse lt, Als ob s ie in den Orkvs f l i t r e , (657) sehraettam d Els -an- das- Felsens t i e f s le n Fuss mattock * Utod dem g estreck ten Porder g le ic h , (658) f p lg t a le lest B lick auch auf >e? h i l l t So geht d ie Sonne pr& chtvoll An einem h s ite rn T'rhb lingatage auf* (675) fin*, they marvel a t the speed iP th which he d riv es h is chario t* Der Blick dr&ngt unserknick t (676) s ic h durch d ie Rader, Zur -eheibe f lieg ead e in g ed reh t, n ic h t h in t The r e s t of the metaphor:-; and s im iles f i t in to none of th e abov© groups* They' see A ch illes f a l l down th e c l i f f s id e * Zm Chaos, Pferd* und *agexi, e in g e s ttirz t, (677) L ieg t unser OOltersohn, m it seinem Fuhrwerk, Die in der Schlinge ein&efangen da* (676) One s in d Is d escrib es to a Greek cap ta in ?en thesilea*s ch a rio t acc id en t v i th sev era l o th e r Amazons i S ttiraen , Hauptmann, Wie in der Feueresse singeschm elzt, (67?) Zxm Haufen, Ross und H eutrinnen, zmmmmnl Ein KhJhiel, e in versrorrner, von Jungfraun, ['urchwebt von Rossen bunt • • • (6S0) P en thesllea sees A chillea escape h e r arrowss Und der Gedanke s e lb s t , der s treb e n d e , (683.) M&cht ih r im atemlosen Busan h a l t I Das ganse Griecheriheer, im S tra h l der Sonne, T r i t t p lo tz lic h aus des Waldos Nacht (682) hervori Autonsedon affirm s th a t sweat i s ro ll in g o ff the horses* t i e B le il (683) lit© Greek prisoners ask the Amazons About th e i r fates I c l l t i h r , gescbistlekt m it Gluraen, G leich O p fe rtie ren , (684) uns star SchXacktbahk iHJhren? The h e ra ld g ives A c h ille s1 challenge to P e n th e sila a i So fo rd e r t ©r zum Kampf, au f Tod und Leben, Hoch einm al d ich in s F eld h im u s , au f dass Da© Seheert, dee S ch icksals ebrn® Zung*, (685) © ntscheide# * * * The la rg e s t group o f e p ith e ts i© m otivated by th e Greeks * admiration for A ch illess Zxm Chaos, Pf©rd* und Wagem. e in g e s tU rs t, tdfcgt tm ser GOttersohn*## (086 ) Triumph! A ch illa us i s t* s i Der G dttersohnl (687) ftteh e r den L auf, du G & ttlich er, (688) g e r ic h te tt I3&4 Der V erschlagnei (689) F r betrog s ie —* A c h i l l I H ell d i r , F e ll d e l G O ttersohni (690) B e il d i r 4 du G b ttlic h e rl (691) They a re proud o f A chilles* ancestoxyi Mich sendet d ir A chillea® • Kftnigin, Imr &chilfum krH nzten N ereids Sohn«« • (692) However, one of the Greek© th in k s him foo lhardy 1 Hod jo i s t — der ub©rmtit*gel (693) Fasend©4 (694) A group o f f iv e epithet® i s ia s p ire d by ommmaimt a t Penthe* © ileai tfed schw ingt, d ie V nverdrossene, (695) s ic h wirklich Auf Pfaden, d ie des Aandrers Pusatritt seheut««# Die KOnigin d ah in , d ie sin n b e rau b te , (696) id© 1mm© r noch des Peleeae S tu ra versucht* Die rasende M egdr'l (697) Ill© si© , d ie inauf>taltsamef (698) vorbei Schic?sot an desi fuhrwerk «— Die i nerw ltstli che I (699) There e re a ls o two in sp ire d by amassment a t the o th e r -masons* Ein neuer A n fa ll, h e is s , wie e t te r s t r a h l , ^chm ols, d ie se r w u te rfu llte n a v o rs tb c h te r, (7*30) Hinge d er &to l l e r wackre heihen Mn»»* llnmenschXichel (70X) W ollt i h r , geschmttckt m it 31mmn9 G leich O p fe rtie ren , uns zu r Schlachtbank ffchren? The r e s t of th e e p ith e ts do n o t f a l l in to any o f th e a io re — mentioned groups* The Greeks a re proud o f th e ir own .record of v ic to r ie s i • ••d ie unbesieg ten 'Mytfmidanier*#* (702) One e p i th e t fo r them selves i s in sp ire d by th e i r comradeshipi • ••o se h t doch, Freunds*#* (703) Another e p ith e t fo r A ch illes i s devoid o f em otional in sp ira tio n * Vos* S its s p r in g t e r # d er S taubbedeckte, (704) n ie d e rl •* * The Greeks us© two hyperboles to exaggerate the danger of A ch illes * f a l l dcnsn the c l i f f s id e m d fen thesilesA s c h a rio t acc iden ts Und im verworrnen G eschirre f a l le n d , Zxm Chaos, P fe rd 1 und 'Aagen, s in g e s tto s t• • • (705) Win Kn&uel, e in verw orm er, von lungfr& un, Purchwebt vcn Hoe sen bunt* das Chaos w ar, Das e r s t 1, aus dea d ie ‘f e l t sp ran g , d eu tlich e r# (706) •»■ * * A ll of the oaths used by the Greeks occur during their d e sc r ip tio n o f A ch ille s1 escape from P en thesilea a f t e r having fa l le n down the c l i f f * Mon© of those f a l l s in to any .group <••262— m otivated by a p a r tic u la r iz e d em otion, but ra th e r by g en era l su rp r ise a t the sudden changes in b a t t le # They see th a t A ch illes has been ab le to ascend the c l i f f t I h r Olympiachonl (707) So s e i euch ew’ger Rubs gagbnntl But th ey see th a t he i s being pursued* I h r ew’gen G b tte rl (708) Bex a l ie n hohen G&tiern, d ie mis sch fttsen l (709) They see b en tb esilea r i s e from the c h a rio t wreckage* D ort, beim Kroniden, (710) Vo e ie gestttrz t* in je n e r Fiche S cbatten l Bel G o tt, (711) si© i s t * s | ndysseus and Dieraedes com© to A c h ille s1 rescues Odyss? IhJd Diomed such? 0 i h r GtttterX (712) One of th e i r oaths i s in sp ire d by hate fo r the Amazons# They see the c h a rio t acc id en t of the womens Bass s ic su Asche wtlrdeni (713) # » * » # COTSSK US -The la rg e s t group of Odysseus* metaphors and s im ile s i s i n ­ sp ired by h is amazement a t ie n th e s i le a 's a c tio n s j P sn th e s ile a , Wie Sturmwind e in zerrissen©© GewOlk, (7L4) Weht der T rojaner Beihen vor s ic h h e r , (715) Ale gait* es libera H ellespont h inaus, Kinweg vcm Rund der • rde si© su. blasen* (716) Sie im es, beim Hades I dies© Jungfrau doch, Die wie vcm Himmel p lC tzlich* kam pfgerttstet, In unsern S t r e i t f a l l t * (717) s ic h d a rin su mischen, Sie mass su F in er der ^ a r te in s ic h schlagen# Gedftnhgnvoll j auf eincn Augsnbliek, S ieh t s ie in unsre Geh&r, Ton Ausdruck le e r , A ls db in S te in gehaun w ir v o r ih r stifcidenj (718) P ie r d ie se flaeh® Hand, v e rs ic h r1 ic h dich* 1 s t am d ru ck sv o lir a ls ih r A ngesicht# (719; Hi© jc tss t ih r Aug1 au f den P eliden t r i f f t * Und G lut ihr p lo ta lic h , b is vsvb l H als h in ab , Das A n tlits f& rb t, a ls schltige ringsunt Ihr Id e rrelt in Aiello Flarsnenich© auf# (720) S ie msnd e t , M t ihrwn Ausdruck der Vermmderung, O leieh einem cechsehnj& hr’gen l&dchen p lttb slic lx , Das von olyrap1 schen fp ie le n w ied erk eh rt, (721) Zu e in e r F reundin, ih r stir S e ite , sich### * • • s ie s a l P e n th e sile a , k eh rt s ie s ich $u m ir, Der kmoAonen KOnigin, und ®erde Ana Kdcbem Mir d ie Antwort ttbersondenl (722) s tts r s t d ie K entaurin , (722a) m il verh&ngtem ZUgel, Auf s ie und uns schon, rlech* und T re je r , e in , H it e ines v*aldstrees mftttendem '-rgasa (723) l i e e in e n , ude d ie andem , niederbrausend# (724) J e tz t heht F in Kssipf a n , m e e r , s e i t d ie Fsorlan a a lte n , Ncch ziieh t gete&tapft « srd au f der End© Eticken# (725) Odysseus cannot understand 'why JV nthesilea should be an eneny of b o th th e T ro jans and thu Greeks in s te a d o f b e in g f r i e n d ly to am sid e o r the other* 5o r ie l ic h w e iss , g ib t es in d e r N&tur K raft b lo ss und Ihren Aider®tand, n ic iits D riite s# la s G lut dee Teuers lO ech t, lo s t Passer siedertd Zu P&zipf n ic h t a u f , and umgekehrt# Doch h ie r Z eig t e in erg rinaster Feind von beiden s ic h , (728) Bei dessen r i n t r i i t u ch t das Peuer w i s s , ObfB asit deci Wasser r ie a e ln s o i l , (727) das W ssser, Ob1® m31 dem Teuer hisuaelan s o l i leckerw (728) His nex t la rg e s t group i s m otivated by h is reproach, fo r A chil l© s * ~264~ Berm wie d ie Dogg1, en tk o p p e lt, m it Geheul In das Oeweih vies f tro ch es f i l l t i d er J&ger, G rftillt von Gorge, io c k t und r a f t s i e ab j Jedoch, verb issen in des G rachbtiers Nocken, TaXftst s i e , (729) durch G-erge ncben ibm und f irOme, I'em in des haldes Kacht (730) hinein* so @r, (731) Der Hosentie, s e l t in der F o rst dee Kriegee (732) Dies *‘ilci s ic h , von so s e l tn e r ; r t , (133) 11m aexgt®^ Durchbohrt m it elneta d fe ils c h u ss , ihn su fe s s e ln , Die Schenkel llm i (734) o r w eich t, so schnttrt e r , eher 7on d ie e e r Amascoe Forse n ic h t , Bis e r b e t ih ren sotdnen Haaren s i e Ton dem g efleek ten lig e rp fe rd gerlssen* He advises A ch illes to re tu rn to the* Argive caaspf $ irg en d s, Oder d o r t Ktshlst du d ie Brunst d i r ab , d ie , r a s t lo s drangend, G leich einem 3ungen p ie s s e r , (735) dich verfo lg t**# He t e l l s h is comrades how s tran g e ly A ch illes i s ac tin g s Hie e in Besessner (73&) frag t* ic h , ob tier gantse Tre le n c n s tre ± t, vor der Dardsmerburg, G leich einem Morgentraum, (737) vergessen so i? cm w ill e r , wie e in r in d e r s p ie l , (738) w ell s ic h Fas anders Buntes K elg t, im S tiche la s sen? to u r of Odysseus* f ig u re s are in sp ire d by h is consciousness of the grismese and grandeur of bat-ties Im s ie h s t auf d iesen Fcldern re r Griechen und d er Amaaonen H eer, Hie sBwei erboste i ;d lle , (739) s ic h urakampf en*• • Tot sinken d ie Verbissaen (740) heu t noch n ie d e r , Ids einen Fahn im ocklund des anderen* (741) A ir erseflxngen Die S tra sse (742) j e t s t , uns swischen d ie se r iie?pi«ir Beillosem BUndnis wehrend auf supflanzeru** ■Ji it ■& Odysseus1 la rg e s t group of e p ith e ts i s f o r A cld lles —» and fou r of the seven are m otivated by adm ira tiom Gel m ir , Xginerfceld, (743) aus h e is s e r B rust O egrttestl Du S ieger auch noch in d er F lu ch tl (744) v.eGn*s d i r g e l in g t , du D d ttlic h e r , {745) s ie e in s t Von Angesicht zu An&eaicht aaa fa sse n l loch j e t z t , D cloperheld, (74-6) v d rs t du g^fdXHg##* but there ere th ree of reproach# He ccnsp&res A ch illes to th e hrnting-dog which cannot loosen its bite on the d e e rfs neck* tier kasemd©#** (747) then A ch illes avows h is lack of interest .In the Trojan War, Odysseus does not v e i l h is contempt* F o r t , Rasenderi (748) K ier 1 s t der ->rt n ic h t mehr, acu tro tzen# • « *der fd m en tb lo ss te •• • (749) Two of Odysseus* th roe e p ith e ts f o r Penthesll& a ar© in sp ire d by mbsF ra tio n fo r h e r prowess in war * Tdx f inden a l e , d ie T eXdin b cy th ien s , (750) A chill and ich — in k r l e g e r i sober P ttirz t d ie K entaurin, (751) m it verhingtem lUgel### His o th e r e p i th e t fo r h e r Is m otivated by deep h a tred t Derm ® ir ©in Greuel auch, in den Tod v e rh a s s t, Schweift d ie M@gH.re, (752) unsre 'faten stOnend*## The two remaining e p ith e ts do no t f a l l in to any of the above group®* Odysseus usee a. cu rren t a p p e la tio a fo r Zeus, and he shone th a t he fe a rs the new® brought from the b a t t l e f i e ld about the en­ counter o f iW nthesilea and A chilles* T*eim Mars e n t r i i s te t , oder D elius, Den Stecken n ic h t e r g r e i f t , der ? o lk en r& ttle r (753) Mit I onrte rke ilen nicht dasiviochen wet tort* •• Ungllicksbotel (754) g- * « Odysseus1 cane example o f hyperbole i s in sp ire d by h is am s& aent a t ' e n tb e s i le a 1© extr&ordin&ry ac tio n when A chilles approaches her before th e i r f i r s t b a t t le t Dr&uf m it d e r Kangen R ot, v a r ^ Wut, m trfs Seliset, h ie J Ustung wLeder b is zxm Gurt s ic h farbend , (755) V erw irrt und stolas und w ild su g le ich t s i e s e t Pen th e s i le a , k eh rt s ie s ic h zu idLr*** * # In Odysseus* nine oaths th e re i s only one -proup —- fo u r oaths in sp ire d by Odysseus1 reproach fo r A c h ille s1 p u rsu it of F en thesilea* He wishes A chilles to re tu rn to the Greek eampt Beim Gott des Dormers4 (756) Nirgendo, Oder d o r t K th ls t du d ie Brunst a i r ab*#* But A ch illes does no t heed Odysseus1 advice* Verwtnocht s e i d ies nr Ama&onenkriegl (757) He cam o t be lieve A ch illes w il l l e t h im self be cap tu red i Bei dem Kosyth, dem feu rig en l (758) Tdssen w il l ic h , Ob meine Ohren httren, Oder n ic h t I Beim Styxl (759) As l e t se in v o i le r However, one of h is oaths i s m otivated by adm iration fo r A c h ille s , when Odysseus im plies th a t Fenthesilea. w i l l be lo s t i f A ch illes ever sees her face to face t Beim J u p i tc r l (760) The r e s t of Bdysseus1 oaths f a l l under m iscellaneous headings* He i s amased a t the apparent la ck o f reason behind Pentfteeilea *s a tta c k s cm both Greeks and Trojans t Beim Jupitc?r4 (761) Sie moss, beim Hades,(762) d iese Jungfrau , doch, M e , wie van Himrael p lO ts iic h , kam pfgerdstet, In unsern S t r e i t f& H t, a ich d a rin zu mischen, Sie muss, su ! in e r der F a r te in s ic h schlagen*** I I s two o th e r oaths am m otivated by h is d e s ire to d isco v er F en thesilea*s m otives# Agamemnon gives th e o rd er fo r th© Greeks to r e t i r e to th e i r camp i f fe n th e s ile a approaches so th a t th ey may observe h a r t Beim J u p ite rI (763) Der Meinung bin ic h auch* Demi Wahnsinn w£r*s# b e i don O lyapischen (764) Da dringend \ms der Krieg nach T roja r u f i , k i t d iesen Jungfraua feier tans e ln sd la sae n , Bevor s i r w iaaeii, mas s ie von isos woXlon, Noch tlberhatpt mxr, d b s ie mas was w ollen? * # # There i s an example o f -d ia le c t in Odysseus* speech# We ean - n o t co n sid er th is in te n tio n a l cm th e poet*o p a r t , because th e d ia le c t ©lament o f th e word woti3d serve no purpose in a p la y such as th i s i #•#1x1 d er F o rs t (765) dee Krleges### ■# * # ♦ « K d im s The la rg e s t group o f Bicsaedes1 m etaphors and s im ile s i s la** sp ire d b y h is a m ts a e a t a t P en th esllea* ® proeess In b a t t le and the enigma of h er a c tio n s t B e lt jenem Tag© GrdLlt lib er d ie se r Kbne unverrttek t Die Sd& tacht, m it immer reg e r Wut, wie t in G ew itte r, m isch en w aldgekrbnter F elsen G ipfeln Gekleiamt# (766) Ale ic h s d t den A to lie rn g e s te m > rs c h ie n , d e r unsern Heihen «u vom trttrlesn , f'cblug s ie a i t Donnerkrachen ©ban ©in# {767} A ls wbUt© a le (768) d sn g an ssu (briechenatam m B is a u f d en G rand , d ie Itutezade, s e r e p a l te n , (769) D er Krone gana© B lu te l i© g t , A r is tc n , A sty an ax , (770) v«n S tu m b e r a h g e r f l t te l t , (771) Menandros, a u f dem S c h la c h tfe ld d a , dsn L o rb e e r, M it ih ren Jungen schCnen Leibem g ro s s , F ar dies© kahne Tochter A res*, dungend# (772) -268- ■ofcody knows why Penthesile© has cam to Troyt Kcin Uonsch, das ebcn is t* s t wohin w ir sp&hend Aueh des Gedankens Senkblei f a lle n l a sen# (773) So f o lg t , so h u n gerheiss, (774) d ie P o lfin n ic h t, Dureh P a ld e r, d ie der Schnee b ed eck t, d er S eu te , 14© s ic h ih r Auge griias&g auserkcxr, A Is s ie dureh unsre c& lach tre ihM , de® A ch ill* (7?f>) 5h© a tta c k s Beiphbbue, who i s try in g to p ro te c t A ch illes $ lleb t s ie vcm Pferdes-SlUcken hocfa s ic h a u f , Unri s e n k t, wi© aus c te firm am ent g e h o lt, (*776) Da© S chaart ihsi wetter© trah le n d in den Bals«*« Und wer auch fe rn , vcm Mndsxag h e rg c fu h rt, Hur ihr© Silberstimra© (777) hOren w o llte , Mtisrb* e in e S ch laeh t, unrtthm lich, zraeif eX haft, Fotrher m it loeem K riegagesindel kttepfen, Das s i e , den K&lXsnfcundan - le tc h , (778) foemcht# td aaed es1 only o th e r group o f m etaphors a id sim ile s i s m oti­ v ated by h is d isapp roval of A c h ille s1 course o f ac tio n ? L asst tins v e re in t, ih r Kftnige, noch e lism l V eraunft k e i l f ta a ig , m it G e la ssen h e it, Auf se in e r&sende P n tseh liessu n g setzea* (779) v e lc h t ©r d ir n ic h t, w ohlan, so w ill ic h ihn Mit zwei A to lle rn au f den ftttcken nehmen, Unci einem K lots gleich, w ell der Sinn ihm f e h l t , (780) In dost A rg iv erlag er rdederw erfecu Hr scorns A ch i lie s* plan to g ive M m self 15) to P en tb e sile a t Ih r den *telm z e rk e ile n , G leich eine© F e ch te r, (781) grixssig seh n , tmd wtkten, Bern S ch ild au f dorms rn , class d ie Ftmken spruhen, Unci stxsnm s ic h , a ls e in Ubermmdener, (712) Zu ih ren k le in en Ftissen niederlege«w Dicmedes1 only rem aining s im ile i s m otivated by M s amazement a t the numbers o f th e Amazon w arrio rs t B edeckt, so w e lt das sc h a rfs te Aug* r e ic h t , f in d a l ia Hhgel von d er lie ib e r ilaufenj Heuschreeken la ©sen d i ch tgesch lossner n ic h t Auf e in e r e if e S aa ten flu r s ic h nieds'r# (783) « * » -269- Tbe la te s t group of epithets Is applied to Achilles — th ro e in sp ire d by ad m ira lo n and te o by disapproval* t e a Soha, dem g d ttl ic h e n , der T hetis**♦ (78&) —Dier s ie h s t du vrohl, Vo r tre f f l ic fa e r , (7S5) oass w ir im N achteil k&mpfon* Vcm. P la t* h ie r f o r t , DolqpevheldS (TBS) But bicmedes does not approve of A chilles* p lan t o give hiia-* s e l f up to fe n th e s llsa v Easenderl (787) Der Pasendel (788) Three of h is e p ith e ts a re devoted to ^on thesilea — a l l in — sp ire d by amaseznent a t her prom s s in w r f a r e i Als w il t© s ie den ganasen Jriechenstazaa Bis auf den Grund, d ie TObende, (789) aerspalten* #«#d iese k^hn© Toehter Area**** (*390) 1 s t in e r ausser d i r , der sagen kann, I'r habf auch d ie Ksntaurin (791) nur gesehn? His epithets for the Greeks are motivated by u spirit o f comradeship* Auf A Was tu n r& r, freunde? (792) B ie r , ssein© nackeren A holier*#* (793) One of Ms epithets for 'kjysseus is inspired by ad m ira tio n , the other by comradeship* «•* erf indungsreieher -ariss& er*** (794) Nicht©, Fretmd# (795) von Y&gestttcketi, n ig h ts van K&mpf«i§ Er n i l l s ic h b io ss ifcr su gefangen geben# P is on© e p i th e t fo r Zeus i s no t unusual* E l siefc, b e i Zeus*, des Donnrers, (796) Loeken*** # * « -270 - Hicraed.es* two hyperboles e re in sp ire d by Iris amazement a t the grandeur of b a t t le * He d escrib es th e blow th a t Ee A phobias give® / chi. l i e s and then the blow th a t P sn th es ilea gives Deiphobue* i i t einem tu ck 1 scben dchl&g d ie Rttstung prasselnd* Dose rin g s der Onson ftip fe l wie d e rh a lite n * (797) t-nd sengt* wie aus den Firmament geholt* Das Gchwert ihm w aiterstrm hlend in den Hals*** (793) * * * Two of h is four oaths are in sp ire d by reproach f a r A chilles* Detphotoas asks his. why pe n th e s lia belongs to him* and he swears th a t A chilles p lans to r iv e him self up to berg Soi Deini £i* sieh* hei Zens** des Donnrers* Aoeken* (799) A m welchon Grtin&en auch? ?3eim J u p ite r ! (800) Ich schwdr^s* One oath i s m otivated by adm iration fo r A chilles* who had seemingly planned Pentheeilea1® c h a rio t accident* Co s ic h e m fc h r l t ie s * b r i den ewtgen G o ttem , (801) Hast du bu dieseaa S te in s ie hingeftihr’fe# The o ther oath i s in sp ire d by fear f o r 'c h i l l a s f safety as th e news canes th a t P en th esilea has captured him« Ih r GOtter* ih r olympfscheni (302) # # • # * # A m iJJX X m A ntilochus1 four metaphors and s im ile s a re a l l in sp ire d by h is adm iration fo r A ch ille s« IXi h as t in ©insm Karapf W ette ifem der Geschwindigfceit bestanden* Rcridensohn* wie lo sg e lassn e C ewl tie rs ttirm * * am riism Lsplsne brausend* -271,- Noch d er e rs ta u n te n Welt Urn n ic h t g ese ig t# (803) Bel den irln n y e n l M elner Rene erttrd9 l d t M it deinem fltic h tig e n Geepann © n tflieh n , (804) H&tt* ich* dee Lebuns G lslse »cheer du rch im rrsnd* (605) £1m Sfcndsn von d e r gansca T ro jerbnrg Der Btnsehel s e in e r O m st atieh aufgsladsn* (806) « * * Two o f A n tilo e h u s9 fo u r e p ith e ts e re In sp ire d by reproach f o r A ch ille s t Der Baeendei (80?) Sohin t r e ib t ih n — T Dear Kfisendel (808) Okie e p ith e t i s In sp ire d by ■wonder a t P en th esllea mid one by h a ired fo r h e r t Wosm s ic h d le se ra tse lh & fte Sphinx (809) l a A ngesicht von Tro^a w ird entseheidem * Seht d ie 6ysme* d ie b lind-w titendei (810) * * * A ntilochus* one hyperbole le in sp ire d by p ra is e o f A c h ille s t M ainer Bene ward1 ie b M it deinea fltic h tig e n Gespann en tfH ehn* HStt* ic h # dee Lebens O leise scheer Die Stinden iron d e r ganssn T rojerbnrg Bar Muschel a teiner E rn st such an fgeladetu (811) * « « Three o f A ntilechos* f iv e oaths a re in sp ire d by h is amassment a t th e Amaaenst Flem entl (812) Ik s me&lsn d le se A aasonen \m s? S eltsam , b e l oxxsem G o tti (813) I la* th tami leohenl (814) One o a th i s m otivated by p ra is e o f A ch ille s t -272- Bei den B rlnnyeal (815) Meaner heu# word1 ic h V it d e in es fltich tigen . ■'•espann. e n tfH e h n ... K© uses an oath to agree 'with Odysseus that .'"enthesilea must decide tc bo an a l ly of the Greeks or the Trojanss lias s o n s t , beim Btyxi (316) ’i ic h ts anders g ib t , s# * tt 3- * tt 1 . 631—33 s , 220 h . 2 . 841-43. a# 3 . 853-55 m. 4 . S56- 5S Um 5 . 857-59 m. 6 . 860—61 ut. 7 . 364—65 s . 8m 864—66 a* 9 . 866-67 m. 10. 868-70 m. 11 . 1621-22 s . 12* 1621—23 m. 13 . 1624-25 m. 14 . 1625 m. 1 5 . 1626 m. 16. 1627 m* 17 . 1627-28 m. 18 . 1642*44 8* 1 9 . 1653 au 20 . I 654 » • 21 . 1655 m. 22. 1655 m. 23. 1656-57. 71 IE 223 h, 24 .—.aV w 1676 s . 2 5 . 1674-76 a . 2 6 . 1677 ra. 27 . 1678 m. 23 . 1680 s . 29 . 1755 s . 30. 1765 a . 31 . 1769-71 s . 32 . 1772-73 m. 33. 1773 a . 34 . 1783 Vlt® 150 0 . 35. 1787-89 a . 36 . 1790 s . 37 . 1832-33 s . 38. 1833 s . 39 . 1834 st. 40. 1835 a. 41. 1635-36 a. 42. 2188-69 B. 43. 2190-91 a. 44. 2192 a. 45* 2193 a . 46* 2200-2 a. 47. 2206-7 a. 5<£ 2893-95 a* Vim 226 h. 51* 2906 a . 52. 2907-10 a . 53. J91A-15 *. 54* 2916-16 a. vim 219 •» 250 55. 2919 a . 56. 2922-23 a . 57* 2923-26 a. 56. 2927 a. 59. 2927-29 a. 60* 2929-32 a. Vim 163 «. 61. 2932-33 a. 62. 2934-35 ». 63. 2933-35 a. 64. 2958 a. 65. 2977 a. 66. 1172-73 a. 67* 2300 a. Vim 244 o. 68. 2390-91 a* 69. 2422-44 a . 70. 2413 a. 71. 2415-17 a. 72. 2416 a. 73* 2418-49 a. 74. 2435-38 a. 75. 1898-4901 a. 76* 1905 a. 77. 1906-7 a. 78. 1907-8 a. 79. 1919-23 a . 60. 1949-46 a. 81. 1950-51 a* 82. 1953-55 a. 83. 1965-66 a. 84. 1966-67 a. 85. 1998-2001 a. 86. 2037-39 a. 87. 2041-42 a. 88. 2062-43 a . 89. 2064-66 a. 90. 2069 a. 91. 2069-70 a. - 274- 92. 2071-72 s . 93# 2071-73 m* 94 . 2G77-7S a# 95 . 635-37 m. 96 . 684-36 in, lTTUE 227 h . 97 . 689 a# 98 . 689-90 a . 99. 690-91 m, VIDE 233 h . 1 00. 692-^3 a . 101. 707-9 a , VI EE 204 e . 102. 710-12 s . 103. 714-15 m. 104. 716-19 P~p villF 252 0 . 105. 1178-80 s . 106. 1227-28 s . 107. 1230 8 . 106. 1229-30 m, VICE 228 h . 109. 1305-7 EL. H O . 1342-43 n , ’"It;© 222 h . 111. 1384-85 m# vide 230 b . 112. 1388 ®. 113. 673-75 m$ virm 192 *• 114. 677 m# 115. 676-79 m. 116. 1202-3 a . 117. 1204 a . 116. 1257-58 e , VIE® 238 0 . 119. 2865 120. 2887—8b 121. 2889-9C b . 122. 1199-1201 a . 123 . 1218-19 s» VICE 257 0 . 124. 12X a . 125. 1219—21 a . 126. 3025 a . 127. 3026 8 . 128. 3026 e . 129. 3026-27 ra. 130. 3028-29 m. 131. 3029-30 *&• 132. 303I a . 133. 3032 ra* 134. 3033-34 * • 135. 1713 s . 136. 1714 m. 137. 2944-45 m, VII® 202 e . 138. 2965-66 a , VIE® 235 b . 139. 746-47 m. I 40 . 1586-87 s . 14I . 1587-88 m. I 42 . 1589-90 8 . * 2 7 5 - 143* 1593-95 s , v:IDE 261 0 . 144# 1685 m. H i* 2161 &. 146* 630 e . 147. 856 « . 14S* 1619 e . 149. 1749 e . 150 . 1783 e . Vim: 34 a . 151* 1606 e . 152 . 1S07 ©* 153* 1838-39 0* 154# IS64 a. 155* 1905-6 VI-iI8 76 m* 15&. 2030 a . 157. 2091 a . 158. 2093 e* 159# 2185 a . 160. 2186 a . 161 . 2203*4 162. 2286 e . 163 . 2930 «• 164 . 2985 0 . 165 . 2989 0 . 16&. 2996 a. 167. 638—4I a. 168. 653—54 0 . 169. 1599 0 . 170. 2249 0. 171. 2267 0 . 172. 873-74 ©• 173. 876. e . 174. 1579 e* Vl.m 253 0 . 175. 1659 ©• 176. 1659—61 ©} VI l l 224 h . 177. 1686-87 e , IDE 264 p r . 178. 1695-97 a . 179. 1712 a . 180. 1856-57 0 . 181. 1728 0 . 182. 1728 e . 183. 1789 e, 711/8 35 m. 184. 2864 0 . 135. 2875 0 . 186. 785 e . 187. 790 0 . 188. 823-24 « . 189. 826—29 0 . 190 . 1601 a . 191. 1602 0 . 192. 674 «• 193* 1362 a . 194. 1367 « . “27^* 195. 1631 • . 196. 1649 e* 197. 1650-52 «, 198. 1383 •• 199. 2876-77 «. 200. 2896 «• 2d. 2401-2 e. 202. 2944-65 «, VltE 137 a. 203. 646 «• 204* 707 0. 205. 1387 •• 206. 2096 «• 207. 650 «. 208. 650 *. 209. 2897-98 •, VUE 249 o. 210. 2137 •. 211. 1949 *• 212. 2133 *• 213. 1704-5 •. 214* 2371 VICK 263 e. 215. 2428 •. 216. 2429 •« 217. 2432 0. 218. 2897 0. 21f, 2917 0, THK 250 0. 220. 631-33 h, VltS 1 0. 221. 11SL-33 h. 222. 1342-43 h* VIDE 110 a. 223. 1655-57 h, VISE 22 a, 23 a. 224. 1659-61,6, VUE 175 0, 176 0. 225. 2188-93 6, VUE 42 0, 43 a, 44 0* 45 a. 226. 2893-95 h, VIDE 50 a. 227. 684-86. h, VIBE 96 a. 228. 1229-30 h, VIDE 103 a. 229. 1375-76 h. 230. 1384-85 6# VUE 111 a. 231. 1638-40 b. 232. 2394-95 Iw 233. 689-91 h, VltE 99 a. 234 . 1937-39 £ , 235. 2963-66 h, VIDE 138 a. 236. 672 o. 237. 1254 o. 238. 1257-58 o, VUE 118 0. 239. 1259-61 O. 240. 1262-65 o. 241. 1867-69 o. 242. 2298 o . 243. 2299 o. 244. 2300 o, VIIX 67 a. 245. 2870-71 0. 246. 2872-73 o. - 277- PFOtHOB 247* 2878. o. 248. 2878—79 ©• 249* 2^97-96 o, Vim 209 e. 290. 2916-17 o, Vim 54 0* 219 •• 251. 2986-87 o. 252. 713-19 o, VICE 1Q3 B, 104 *• 253. 1579 e . TIDE 174 •• 254. 1580-81 o. 255* 2215 ©• 256. 1216-17 o. 257. 1218-21 o, VIDE 123 s , 124 a . 258. 720 o. 259. 1191-92 o. 260. 1756-57 o. 2 6 1 . 1593-95 o , V im 143 •* 262. 2370 o. 263. 2371 o, TO® 214 0. 264. 1686-87 pr* lander. "Ungltiok* #263. ISaglffleic aacfct fros* (king) und beaeheidan. #307. Uagiacte lot dar best* lehraaiater." Vim 177 265. 674 a. 266. 875 a. 267. 1272-75 a . Vim 364 0 . 268. 1475-76 m. 269. 1489 a . 270. 1493-95 a, VIDE 313 •. 271. 1504-06 a. 272. 1507-08 a. 273. 150%42 a. 274. 1516-17 fl. VIDE 353 0. 275. 1518 «• 276. 1552-54 ». 277. 2799-2801 a. 278. 2831-32 a. VIDE 328 «. 279. 2901-04 a. Vim 334 *• 280. 29U a. 281. 2917—13 a. 282. 3040 a. 203. 3Q<1 a. Vim S 148049. 284. 3042-4$ a. Vim 3 148*149. 285. 669-70 0. 286. 669-71 a. 287. 722-24 8. 288. 725-26 0. 289. 796-97 a. 290 . 798-800 a . 291. 1353-56 a. Vim 363 b. 292. 1539-40 a. 293. 1541 0 . 294. 1542 0. *•2*78“ 295. 1542-43 a. 296. 1543-44 a. 297. 1545-46 a. 298. 1547 a, VIDE 342 «. 299. 1667-68 a. 300 . 1669-70 a .301. 634 •• 302. 656-57 «, 303. 1174 •. 304. 1269 •• 305. 1269 0, 306. 1308 •. 307. 1335 «. 308. 1341 «• 309. 1366*. 310 . 1 3 8 9 * . 311. 1480 «. 312. 1490 «. 313. 1493-94 0, VHSS 270 a. 3U. 1549 •. » 5 . 1573-74 • . 316. 3600 •• 317. 1630 •• 318. 1671 .. 319. 1715 «. 320. 2342 0. 321. 2396 0. 322. 2420 «. 323. 2440 •• 324. 2798 «. 325. 2802 0. 326. 2807 0, 327. 2821 0. 328. 2831 0. 329. 2843 0. 330. 2843 0, 331. 2851 #• 332. 2858 0. 333. 2871 0. 334. 2901-03 0 , n m 279 a. 335. 2905 0* 336. 30BO a. 337. 3096 0. 338. 1238 s. 339. 1240 0. 340 . 1242 0 , 341. 1538 0, 342. 1547 a. 343. 1604 0* 344. 1605 0* 345. 2937 0. -2 7 9 - 346. 1496-97 a. 347. 1903 a.348. 1526-27 a. 349. 1577-78 a. 390. 1745 a. 354. 2223 a. 352. 1515 •• 353. 1517 a. 354. 2392 a. 355. 2839 a. 356. 2870 a . 357. 784 a. 358. 2711 a. 359. 2813 a. 360. 1448 a. 361. 1802-04 a. 362. 2875-76 e, Vim 367 o. 363. 1353-56 h. Vim 291 a. 364. 1274-75 a. 365. 1488-89 o» VH» 269 a. 366. 2823-24 a. 367. 2875-76 o, Vim 362 a . 368. 2892-93 o. 369. 2899-2900 a. 370. S O U S a. 371. 1255-56 «. 372* 1381 ©. 373. 731-32 O. 374. 733-33 o. 375. 739 o. 376. 1925 a. 377. 222%28 o. 378. 2442 o. W F AVA20NS 382. 1017-20 a. 383. 1023-24 s. 384. 1058-59 a . 385. 1059-61 a . 386. 1061-62 a. 387. 1062-66 a. 388. 1122-24 «, V im 383 a, 416 a. 389. 2683-84 a. 390. 2685-87 a. 391. 2691-94 a. 392. 1075—76 a. 393. 116?-68a. 394. 2731 a. 399. 2733-84 a. VIDE 457 a . 396. 2785 a. 397. 2786 a. 398. 2786-88 a. -2 8 0 - 599# 2788-89 a* 400# 2599 8* 403.* 2599—2600 81* 402# 2706-09 8* 403# 2737-38 8* 404# 2761-62 6# 405. 2765 8* 404# 2763—66 8# 407# 990-91 a* 406* 991—95 ®* 409# 995 a* 410* 1GL3-15 a* 411. ♦ 1X28-30 a* 43*2# 1131-32 mt TOSS 441 a* 4X3* X1S4 m* 4K* H54-55 a* 4X5# 1040-43 a* 4X&# 1122-24 »# n m 338 ** 416 4X7* 1404-05 «♦ 4X8# 1413-13 8# 419* 1443 a* 888 a* 42X# 898-99 a* 42a* 900-01 a* 423* 9CX-02 as#ipJt9 913-15 m# TOR 463 «* 42$* 2771-72 at*426* 1099-1102 - 8*427* 1211-12 8* 422. 2439 # *429* 2704-05 e* 430# 2708 0* 43X# 27X7 s. 432* 626 t « 433* 626 0 * 434# 627 e* 435# 1440 a* 436* 1127 0 * 437. 1138 a# 438* 1149 9* 439* 1734 0 # 440* 924 e* 44X# 1131 «• 442* 1143-44 a# 443* 1163 a*444# H 63—64 a*445* 1393-94 a* 446# 1396 a# 447# 1420 •*448* 1438 a* 449* 450* xcm — -*281— 451. 956 ••452. 987 *•453. 1090 •.454. 2551 «•455. 2555 •.456. 2587 e.457. 2783 ••458. 957-58 «.459. 964-65 «*460. 974 «.461. 2585 •, VIDK 449 O.462. 2592 «, nm 475 o.463. 914-25 «, THE 424 a.464. U56 •«464a. 1122-24 h, VIBE 388 a, 414 a.465. 1077-78 h.466. 2783-89 h, VIBE 457 e, 396, 397, 398, 399 a.467. 1268-69 o.468. 1393-94 o, VIBE 445 «• 469 . 2585 9, VIDE 46I e .470. 1169 ».471. 1445 ».472. 2239 o. 473. 2574 o ,474. 2308 o.475. 2591-92 o.476. 2977 o.477. 1419 «.478. 1419 «.479. 1444 o.480. 1030 o.481. 1132—33 am TO*" HIGH 483. 1106 a .mrSTBSS 484. 1107-08 a.485. 1109 a.486. 1110-12 a.487. 2320-22 a.488. 2331-32 a.489. 2332-33 a.490. 2567-69 8.491. 2570 s>«492. 2571-72 a, VIBE 528 h.493. 2572-73 a.494. 2576-79 «.495. 2722 a.496. 2733-35 a, VIBE 529 h.497. 2973-75 a .498. 3037 «, VIDE 535 <>•499. 3038 a.500. 3038-39 a.501. 882 a . -282— 502. 885 ®.503. 1004-05 0.504* 1231 0.505* 1378 #.506. 2553 ft.507. 2561 « .508. 2714 #»509. 2715 ft.510. 2721 •.511. 2731 e.512. 2768 *.513* 2943 ft.514. 2970 ft.515. 1294 ft.516. 1193 ft.517. 27*53-7$ ft.518. 3014 ft .519. 2323 ft.520. 2877 ft.521. 881-82 ft. mm 501 ft.522. 1081 ft.523. 1119 ft.1278 ft.525, 2605 ft.526, 2776-78 ft.527, 1009 ft.528, 2571-72 h# Vim 492 a.529, 2733-35 h# Vim 496 ft.550, 2447 0.531. 2711-12 ft.532* 2945-47 ft.533* 2948 *.536* 2732-83 ft.535* 3037 ft. VH38 498 m.536. 959-60 ft.53% 1025 ft.538, 1116 ft. 539. 2603 % vxm 566 h. 540* 2604 m, n .m 566 h«54X, 2613-14 » .542, 2613-15 a .543. 2616 a.544. 2617 a.548# 2641-42 ft.545*. 2645 ft.546. 2646-47 m.547. 2659 ft.548. 1389-90 ft.549. 2697-99 ft.550. 2967-68 ft. -233- ASTFR1A ACHILLES 551» 2631-32 s . 552. 2446 s . 553. 2607 a . 554,. 2695 a* 555. 2977 e . 556. 3000 c . 557. 1420 e . 558. 2833 e . 559. 2664—65 a . 560. 2618-20 a . 561. 2636-38 e . 562. 2602 e . 563. 1452 e . 564. 2404 a . 565. 2601 a . 566. 2603 h , nOE 539. 540 a . 567. 2657-61 h , VILE 547 s . 569 0 . 568. 2666-68 h . 569. 2657 0 . 570. 3 d 5 0 . 572. 753-56 0 . 573. 750-51 a . 574. 750-52 a . 575. 767-68 e . 576. 779 a . 577. 78—79 e . 578. 1417—18m, 71 EE 617 « . 579. 1460-61 . j 580. 1469- 70 , V'UJE 627 h . 581. 1612—13 a . 582. 1754 a . 583. 1768 m. 584. 1782 ra. 585. 1809-11 m, VIBE 60S e , 628 fa. 586. 1810 a , VIEK 628 h . 587. 1 8 2 3 a . 58S. 1829 n . 589. 1841-42 s . 590. 2170-71 a . 591. 2251-52 S . 592. 596-97 a . 593. 597-98 a . 594. 1428—29 a . 595. 1877-78 s , VUE 610 e . 596. 1877-80 s . 597. 1881-83 a . 598. 2007-11 a . 599. 1992—93 a . 600. 2293 a . -284- 601, 602. 603. 604. 605. 606. 607. 606. 609. 610. 611. 612. 613. 614. 615. 616. 617. 618.619. 620. 621. 622. 623. 624. 625. 626. 627. 628. 629. 630. 631. 632. 633. 634. 635. 636. 637. 638. 639. 640. 641. 642. 643. 645* 646* 64?* 643# THE GREEKS 649# 650, 653L* 587-89 *♦ 2476—78 m* 2478-60 $# 2497 *# 2547 s# 595 0* 1774 « • 1811 ft# XS6X—•63 #» 1877 •« 1884-86 «« 2088—89 ## 2247-43 e» 2249 0 * 2291 2457—53 ®# 1417-13 e* V1I3EB fm B* 2237-38 « • 620 «* 621 * • 1533 2455 «* 2449*50 ft * 503 «# 6Q3 e* m u 640 o« 2470 •* m m 634 0* 1469*70 h , v im 500 » • 1309*11 h# Vim 585 »* 5&6 s# 608 «* 2031-32 h* 2230-33 k* 2518-26 h* 593-94 ®# 2229* B* 2470-71 of V im 626 a* 2497-99 Of v im 604 a# 2 $28 0* 2528 ©• 2528 ft* 2528-31 ©♦ 602-04 Of 1415-16 Of 1521 Of 2457-59 O f 2459 Of 2481-82 0 # 254I ft* 1991 0 # 2091 ft* 286-83 ft# 289-91 6 * 290 a# 285- 652. 303-05 a . 653. 306-09 s . 654. 310 a . 655. 309-10 m. 656 . 314—15 657. 325-28 s , 658 . 346-47 a , 659. 397—98 a . 660. 388 s . 661. 389-90 s , VII® 708 o . 662 . 399—40 s . 663. 341-42 8 . 664. 4O5-O6 8 . 665. 405-07 ra. 666. 419—21 8. 667. 246 s . 668. 246-48 a . 669. 249 8 . 670. 249*50 8« 671. 251-52 m. 672. 252-55 at. 673. 256 » . 674. 256-57 a . 675. 368-69 «• 676. 385-86 a . 677. 270-71 » t VIIJP 686 c , 705 h . 675. 272 s . 679. 430-32 8 . 680. 436-37 a . 661. 459-60 a . 682. 462-63 a . 683. 537 8 . 684. 981-62 8. 685. 2362—64 a . 686. 270-71 e . Vim 677 a , 705 h . 687. 370 « . 688. 394 e . 639 . 4^4 8 . 690. 471 « . 691. 484 8 . 692. 2355-56 e . 693. 415 « • 694. 415 «• 695. 316-17 «• 696 . 342—43 3 . 697. 393 « . 696. 425-26 8 . 699. 454 e . 700. 246-43 8 , VIDE 667 8 , 668 m. TOO.. 981-82 0 , VICE 684 8 . 702. 250 8 . 7Q3. 361. 8 . -286 - 704* 475 e* 705* 2 6 9 —7 0 h , VIE® 6 8 6 m# 7 0 6 * 4 3 6 -3 2 h j VI im 6 3 0 m* 7 0 7 * 3 7 2 c* 7 08* 3 8 9 o« 709* 408 o* 7XC* 448—43 o* 711 # 4 5 4 ©* 712* 4 6 4 o* 713* 4 3 2 ©# ODYSSEUS 714* 34-35 a* 715 * 3 6 m* 7 1 6 . 37-38 a# 717 * 5 0 -5 3 a , VIE® 7 6 2 o* 70S. 63-65 s* 719* 6 6 -6 7 a * 720# 6 8 -7 1 3# 721# 8 4 -8 3 a* 7 2 2 . 9 9 -1 0 2 a « 7 2 2 a . 1 1 8 -1 9 si# VIDE 7 5 1 • * 7 2 3 . 1 2 0 m# 724* 1 2 1 in# 725# 122—24 £3# 7 2 6 * 1 2 5 -2 9 si# 7 2 7 * 1 3 0 -3 1 a # 728# 1 3 0 -3 2 m* 729 * 2 1 3 -1 7 m# 730 * 2 1 8 m* 7 3 1 * 2 1 3 -1 8 s # 7 3 2 # 2 1 9 m* Vl'EE 7 4 7 7 6 $ d* 733* 220 9 * 734* 221-25 a# 7 3 5 * 5 2 8 -3 0 s . 736# 2515-17 £* 737# 2 5 1 7 s # 738* 2509-10 s# 739. 3-5 s* 7 4 0 . 1 0 m . 741 * 1 1 si# 742# 26-28 si# 7 4 3 * 4 8 6 -8 7 0 # 744* 4 8 7 e# 7 4 5 * 4 9 1 -9 2 0 * 746* 5 2 0 e . 747 * 2 1 9 e . 748* 2 2 9 5 -9 6 0 * 7 4 9 . 2 5 0 8 ©• 7 5 0 * 5 7 -5 3 « # 7 5 1 . U S e , VIDE 7 2 2 a m* 7 5 2 . 5 3 2 -3 3 ©• -2 8 7 - m oicras 753. 7-9 e. 754. 244 «. 755. 97-100 h. 756. 528-29 o. 757. 625 o* 758. 2500—3 o. 759. 2527 o. 760. 488 e. 7631. 6 o. 762. 50-53 o » VI IF 717 s. 763. 209 e. 7 6 4 . 582-86 o . 765. 219. 8t Schm idt. Kota to line 219. lot B&rkiochj aueh in der oTflzlellen Sprache, ' ................................. - - - - 732 a . 766. 139-43 0 . 767. 143-45 m. 768. 146 1 , 769. 146-47 » , VIBE 789 « . 770. 148-49 m. 771. 149—50 w. 772. 150-52 au VXIF 790 • . 773. 15%*5® a* 774. 163 m. 775. 163-66 » . 776. 182-84 8, nm 738 h . 777# 55MA ®» 773. 553—57 s . 779. 229-31 » • 780. 234-37 0. 781. 2490-92 0. 782. 2493-94 s . 783. 542—45 0 . 784. 187 e . 785. 540-41 a . 786. 2274 0. 787. 2463 «• 788. 2548 e . 789. 146-47 « . VIBE 768 a , 769 a . 790. 152 0. 791. 547-43 • • 792. 351 • . 793. 1447 «• 794. 232 at Schmidt. Beta to lin e 232. das Laertiadea (210) a lt V irgila lariaaaem (M g f 2, ' tarlaaier keM llm . V« 795. 2487-88 a . 796. 1463 a . VHX 799 o . 797. 177-78 h . 798. 183-84 h , VIE®: 776 0. *288- 799* 1463-64 o 9 n m 796 ©• 800# 15H o« SOI# 51S—19 0* 802# 244 0* AmiOCHOB 803# 493-97 s# 804* 489-99 n* VIEE 811 h , 815 0* 805# 500 m# 806# 500-02 m# 807# 273# e* BOB# 622 Bm 809# 207—08 e* 810# 331 e# 811# 49o -502 ,h# 91DT-: 304# 805* 806 812# 12-13 0* 813# 39 0* 814* 282 0* 815* 498-99 o# 01IB 304 811 h# 816* 56 c* -289- MS KASTHGHF4V ?0K HSItBBOMI K le is t q u ite J u s tly c a lle d Eftthehen the opposite po le D rai P e n th e s ile a , f o r th e ir c h a ra c te rs a re d ia m e tric a lly opposed* B at th e re a re ra re opposite® about th e two p lays th an those 1m th e c h a ra c te r of th e two hero ines# to m ention h o t a few* in Das K&tfachen th e re i s no r e e l love scene between th e hero ine In th e whole play* th e hero in M s Kftthchen has co n sid erab ly more a c tio n th an th e h ero in e and m a r ly doable th e masher o f f ig u re s o f speech* th e re i s a r iv a l f o r S tra h l* s a ffe c tio n s* and th e h e re is * f o r a tim e , ensnared fcgr h e r w iles* Moreover* th e mmmr&m co u n te rp lo ts in Das Kttthchcn a re com pletely lack in g in P ea tliesilea* The®# d iffe re n c e s between th e two p lay s m ight ha expected to generate g re a t d iffe re n ce s in th e ©motional th e ses which evoke th e f ig u re s o f speech in th e two so d if fe re n t p lays* I t w ill be in te re s tin g to n o te th e d iffe re n c e s as w a ll a s th e g re a t s im ila r it ie s * DEB GRAF VOS STRAHL In s p ite o f th e absence o f any r e a l love scene w ith X&thchen and d e sp ite & trahl*s In d ec is io n about h is love f o r her* th ir ty - fo u r o f M s sevetffeyedl&ht metaphors and s im ile s a re in sp ire d by love fo r her* He r e la te s to th e lodges th e s to ry o f Kftthchea’s p u rs u it o f him and q u estio n s h e r fear th e i r b e n e fits —da H a s t s i# S irs w le ic h ereach©* g le ic h e ln e r Bess* (1 ) entachltB saert m F ttsssaj s i s «b s i s was t e d h srsb g ssc h n slt w ftrsl (2 ) D u lS g e t s i r * Jungfrau? S i l l s t s a in M ssan tSusehen? &ir* d e r docb das Gefbhl d i r gmm ta ae trtc k t? (3 ) M r* dessesk B liek du d a lle g s t* w le d ie Boss* B is ifcrsn Juagen Eelch den L ich t e rso h lo es? — (4 ) >290- Th# Judges acquit his and be soliloquizes! torn will Ich hier* mi# eia SchAfsr* (5) liegen nad kXag*&« He p a in ts a scene In h is imaginable*** ***um Rich her flattert# els# Sehar auatrer Made* (6) w 41# Seafser* 41# Miser* ren Os# sehr gepresstem* Bmet entquillen* grades# as der gates Getter <31ir *a tragexs* (7) Ulrtdich xmd eahrhaftigl I eh id liM ii# imtteFBprache durchbiattern* (8) mad das gana# nelchs Kapltel* 4s# dl#ss# Bbeneehrift fOhrtt Ihpflnduag* (9) dergestalt plttadern* (10) dees kein RedUasebaidt nehr auf els# net# Art* soil sagos ktcment ich his betrdbt* AUss* ass die Mvsmt Hiusadei hat* m ill ich asfbi#t#n* Dust is dss Tod gshexsls Betrftoadui sldi fldnveeheelii* and Stlws* si# sines Tinner (IX) durch all# Becgaagen hindurch ffSSinaa* die Seel# bezsubern*** (12) Kftthchen* Kltheben* Kgthchenl Da* dsrea Juage Seale* •X# ale heat saefcl ror sir stand* (13) vea iwollttetiger SchOcdielt ginslidi trleft#* (14) #1# die sit uLea gesalbt# Brant elans Perserkflsigs* (15) sens ale* amf all# Teppiche nlederregxtead* (16) is sals Gamach gefthrt sirdl Fhiolea der BradElfldisag* Mjssllaeh© und irdische* sill idh erSffhea* (17) uad else seiche Mischmg res trassa* sines Erguss so eigentlkslleber Art* so heiUg *mc>rlch mud ajgslg* zmsansemsebftttefi* Jeder Mesxeeh glei ch* an deeeen Hals ich sie seine sagas sell* si# fliessen dera Rftthchen res HeiXbreanl — — — Ihr graces* bartigen Alton* see wilt ihr? Warns verlaast ihr sure gcXdnes TTstinum^ (19) ihr Ibid—*" meiner geharnlschten VAter* die nsinea Mstsaal (20) trad tretet* in umruhiger Vereaswltmg, hier as aid* berms* ears dutlnhiM M s s ecbmttdnd? (21) Grauer Alter! Ich kfess# dir die Bead* (22) end danfee dir* das# ich Mai doch hattest dm si# an die stihXerne Brest gedrftekt* (23) dm bAtteet sin Oesohleebb rm Kbnigcm erzeugt, mad Better mas Strohl Mess# Jedee Gebot am? BrdenI (24) Ich eeiss* daas leh sdeh faases ^LM A A A ^ * d h S f r . 'S ' < ■ ■ ■ ? A H A ?IA fcaN flh JfA #ke s sol### fnSaa# s c t IjW P screet cess seuwrae sunae veraarbte nieht der Mensch? His eeird conversation later eitb the sleeping girl opens visions of marriage with KAthchem -291 Beh mlr$ Mein G elet* von Wonder lic h k e i t geblendeb, (26) Schmankt an aes Wahnsinas graTsaeia Hang m&mrl (27) Dean aria beg reif* Ic h d ie VerktbKtlgiing, Ilia s i r xieeh a ilb e rn m i« d erk lin g t‘ i» Ohr 9 (28) Dass a le d ie T ochtor m eines K aisers s e l f He f in a l ly r e a l is e s he does n o t love Ktmlgmnde* la s 1 s t su tmnt mein H erat (29) ^as i a t am le ssen ? th e Kaiser*8 proclam ation a g ita te s S tn ah lt 0 H«rB| was pecbet du? (90) Him sbcht* ic h r o r der Bochgebeaedelhem In Stasfe a ic h merfen* ihren Fees ergreife**# End m it des Daaks g lu th e ls se r T rine eaechesi^ (31) He vdahes to give he r a k ia s i Mein Maud h a t j e t a t d i r e taaa s a v e rtra m * (32) D er Hlrach* d e r von der ^ itta g a g ln t g#«paibt Den Grtsnd s e rv tk lt* a l t s p ita ig e a Qeeelh* F r aeh a t a ic h so b e g ie rig n le h t , Tea* Felaen In den 15aXdetr«a a ic h am stftrsen* Den nelaeenden* a le ic h . (93) J e ts t* In a l l s d e ise Jmngen R aise ss id u (34) There is,how #ver# a grasp o f fo u r m etaphors and s im ile s in * sp ire d by S tra h l’s d e s ire to be r id of b ars •••m iasm w i l l ic h # vftros ic h verdanmt b ia* s i e , e ln s r Martoe g la lc h 9 (35) m it a i r henm am ith m a ) wiaaen* mamm a le h in te r m ir h e r s e h re ite t , d a m Honda g le ic h . • • (36) —Fs i a t mahr# a la der b lo sse syiap&thlscha Smg das Hersens$ ea 1 s t lrg en d t von d e r H d le aagefach t* (37) e in Wahn9 d er in lh re a Busen s e in S p ie l t r e l b t . (38) The second la rg e s t group o f f t r a h l1® m etaphors and s im ile s i s evdead by h is ©hivaXnois and in s tin c tiv e d is l ik e o f anyth ing d ish o n o rab le . He p ro te s ts h is Iim oosaee to th e jiid g est la m d e r T eufel e e ln S p ie l n i t ih r tre& btf so bnaucht e r s&ch dabei# m le d er A ffe d ie k fe te n d e r Kalse$ (39) e in SoheXm m ill Ic h sa in* h o lt e r dm Buaskem f i r silch . (A©) -292- • ##w«nn s ie e ia Wort s a g t, aueh v m fe rn d u ften d , (41) w le dies® G@dank«m, so aerait mieb den Ormfea won der stinkenden P f& tse, Oder w le ms sc n s t ©urea gerech ten Gnw illen b e lie b t* ZtmWL rebukes F reiburg f o r a ls tr e a tin g Wm,igtmdet P ie Jun g frau , d i r vo® T eufel in d e r Hbll© , m t Knebeln wed w it Banden, a n g e tre a t? (42) So fa h r e a r H dlle M » , so b er da kaw st, (43) Hod fair® delne F l i t t ©rwochen d r tn t (44) The apparen t change in th e fo n ae rly ch iv a lro u s F reiburg amasses S tra ta t Sin Trews e re c h e in t s l r ^ t# (45) Be I s mere than w illin g to d e a l w ith Theobald, f a r he i s sum o f th e rig h teo u sn ess o f M s causes Mein k a ls e r lle h e r f le r r l B ier 1 s t e ta Arm, Von Kr&ften s tre ts e n d , m arkig, s tah lg escM efit • G eschlekt In Kanpf den T eufel an begegnenj (4o) Treff* ic h an f Jen© g rass S e h e lte l dorfc, F lash s c h e a ttr1 ie ti si® , w le ©tnsn Sehweiaerk&se, i e r g&rend au f dws B re tt des Sonnem Xiegfe* (47) Fvea w ith to y a m o r S tra h l would be co n fid en t o f v ic to ry ! Be s o l l tc doch se ln K arras, Funken spr^hend, A bprallen , tied in ell® Eeken s p l i t t e r n , A I s h a tt* s t da ei&fls PisBBant g e tro ffe n , (4&) P er Welt swBi Z eugnls, dassrmGhwahr gespreeheisl Be f e e ls com pelled to rev ea l th e source o f M s knowledge abou t K&tehen's parentage* F in Cherubim, d e r w fr, in G ians g c rS s te t, £u Bacht e rse h ie n , a la ic h im Tods la g , H at w lr , was leugn* ich*« U n g e r , v u s e n s e lis f t , E n tschep ft den Him m elsbrm nea, (49) anvertr& ut# Mag e s d ie a l t s Sphinx, d ie Z c it , (50) d i r U se n , Pas KSthehen ab e r 1 s t , w le ic h g e sa g t, P ie T oehter s e in e r hbchston M ajest& ti He a d a its th a t h is so u l has been m isled by Suxslguadsi -293- Das Maas, wouiit s ie , au f des Harfct d e r l e l t , ($1) Die D inre M o s t, 1 s t fa l» c h | ec^ieiiseX, ge Boehelb Hab* ic h fo r d ie a&lde R e rrlle h k e it e rs ta n d en t Re re a d ily accept® Theobald in to h ie c a s tle as th e K aiser *s cm co n d itio n fo r M s m arriage to KSthehen* In Bto&eni In meimes flerseas Hbnden (52) m ln* ic h ih n l A group o f e ig h t m etaphors and s im ile s i s in sp ire d by StraKL *s d is l ik e f o r Kuril gumde* At f i r s t he i s angry because she la a laay s try in g to cause him tro u b le t 1 s t das n lc h t das d r l t t e R e ic h s r it te r , den s ie m ir, eimem Huade g le ic h , (S3) au f den H als h e ta t , urn s i r d ie se la n d sch a ft absrajagenl Ic h g lau b e , das ganac Beich f r i s s t ih r aus der Hand* (54) K leopatra farad S in an , nod a ls d e r s ic b das Kopf s e r s c h e ll t h a t te , sehauten d ie anderenj doch ih r d le n t a l i a s , mas e tn a &ibbe m eniger h a t , a ls sie*** (55) —Ic h h&be d le s e r jungen A u fe ieg lerin vereprochen, wgnn a le d ie ISaffen ih re s k le in sn scholm ischen A ngeslchts (56) n lc h t ruhen l ie s s e e id e r m ich, so wftrd1 ic h Ih r tin e n Poasen su sp ie le n id s sen* dass a le es emlg in e in e r Schelde trag en scllbe*** (57) Having eared Kunigunde from F re ib u rg , S tra h l r e a l is e s th e p e r i l o f he r p o sitio n * So k aa t I h r aim dam Regen In d ie Tratxfe*** (58) A fte r h is b r ie f love f a r Kuaigopde, S tra ta ra m h e r in h e r tm e l ig h t and speaks ir o n ic a lly to h e r t Mein F rtta le ist, Euro Qfcte (59) macht mich stumm* Be sees Kunigunde w ithout h e r beauty a id s and asks R osalie mho i t mast Die,m&e d er Turn von P is a , (60) h ie r vorbeigfng? Three m etaphors a re in sp ire d by love fo r Kunigursd© as he pro­ te s ts tie r concern f o r h is mounded bands -294^ Die Hand se lh s t* se h t ih r* h a t es schom vergasssn* (€1) Vena1® F reiburg war* dos ich* im Ksaqpf na Kueh* Dies BXut gcaah lt* (62) so fcarn ie h w irkLich sageni S ch leeh t we* d er P raia* m den e r Booh varieauft* (63) kany o f StrahX*» m etaphors and s im ile s cannot be grouped under any of th e above em otional themes9 He t e l l s th e Judges eaXn&y about h is p u rs u it by Kftthehen* #*#und la g e r t s ic h Hacfct f t tr M»cht* so a l e d o r S tre ifsu g fo r ts c h re ite t* darin* a l s ob s ie so neiaeai Troese gehOrte# (6 4 ) •••en d wosch end f lic k te * a ls bb es so n st am Rhein n lc h t so. haben w&re***(65) When Theobald v is i te d hi® , S tra h l gave Mm good advice* »»*uie e r d ie Sachs* se in en vmnschen gemiss* u io d e r in s G elols rucken k&nae«*« (66) Theobald eas asto n ish ed to ace Kathchen beg S tra h l fo r p ro te c tio n from h er con fa th e rs G laieh e in e r S alssim lo (67) s te h t e r* b e i d ie se a Anblick* daj mid she Ich ssieh noch g e fa s s t hahe* cprieht e r action* das entaetaenevell© A n tlitc a u f a ie h g e ric h te t* *das 1 s t d e r Id fe h a f tlg s Sataai" and scfcaeisst a i r dan Hut* den e r in d e r Hand bait* in s G osicht* als v m ilt* o r ein Qretialblld v ers chainden maohen* (6S) tand IStEft* a l s e s ta te d ie ganse B&XJm ihm nach* (69 ) nach Heilbrorm stru ck * He q u estio n s K&thehen fo r th e judges* m i l s t den gebetaston d e r Gedantoea a ir* K athrina* d e r d i r Irgend* faas* a ic h wcM* l a Winkol uo das Horssas* (70) aebtusraart* (71) @sbestf KUthcben b rin g s th e l e t t e r from P rio r Hat to t Dein A n tlits s p e lt ja FXaamcnl — (72) He encourages h is aan to defend th e burning e a a tle i • * * flie g t s a f d ie W ile* kftapft und sch lagt ua each* w ie angeschossene Tb e rl (73) Be encourage# M s -295- Vor den 1’o ren , I h r H erm , und ehe i h r den HiegeL ■vorsehiebt, drinns T err& tere i, ini 1 nnern des fch lo ssec , h a t s ie Ihn g eb ffn e tl (74) Pe th inks of Dot'tsch a lk Than ha begins to . question K&thchen as she sleepss F re ie r le i h a t e r m ir ysscgt* elxraal, dass c io einen Cchlaf h a t , m o e in iFurm&Ltierj (75) sw siten s , dass s i c , wle e in J&gdhund, (76) Immr trttum t, end d rd tte n s , dass s.ie in Jc h la f sprieh t*#* He is surprised by KS.thchenfs self-assurancet I h r Dlauh1 1 s t , wle e in Turm, (77) so to s t gegrSndoti — T:e speaks to the F a lse r: r r ! a s s # in deiner *?uld vnd Gmde, m ir, f in itarchen, aberw it& ig, a irsnverw irrt, I i r darjsutun, das s lc h das Volk aus Z f m i r-Teigniesen, ausanimen s e l ts a a f r e i l ic fa , Tie d ie sjWL H&lftei e ines M ngae, (78) passend, /.lit. r&ss*gen Dch&rfsinri, an ©inander sotarte# * a * Only thi rty—three of 5trahlfs seventy epithets are devoted to K&thcben, b u t twenty—one o f these are in sp ire d by love* 0 du — — — wie nennfIch d ie lii ( 7 - ) ) KSLthchen? hanmi kann ic h -d ie t n lc h t .w in nennen? Pferd* dir, saein Xiobes Kind, (BO) and Wagon geben, hie si char nach GeiXbroen dich hcimgeleitoKU P hr1, irtarn Kindi (31) Kmwz herab, mein Kindi (32) IJeia, n e in , w in lie b e s K£thcheni (83) "e in lie b e s KStlieherU (34) K attirinchen, (H5) solan* i — ‘le r h a t d i r das geaagt? Hein Kind, (86) ic h glaub*, es 1 s t e in andeiw * Ich watr* d i r —? Herachonl (87) Dacron o o tss ic h n idh ts# Was du da schwat*fs t , w i n lie b e s Kind* (88) Hu n 8« & t# be ! ffi ein er fr ra * dia LQ gn er la l (1 05 ) Da schwOrt sie wtA verfliiGbt Sich# die lelehtfert’gs Dime* (206) nsstu** But lie i s genuinely angry when stie reappears a f t e r having b ra* r a n t assy* Die lEzxiif d ie i »«iia t^ i^ h s u d w n’tr s c b f is t t l (107) Ieh mill doeh eehsu eb ieh# veer loam Madchsn* (106) In mlnea liras nicht Huh* adr krai verschaffetu And ha i s ir p a tie o t when she i s caught in th e burning e a s t l i i If 1st der TSria (109) reebbS M s tette sis an dieses* O rt *a suchsn? His two e th e r e p ith e ts for KEthcben ami not re la te d to th e shove theses* After hearing about her dream* he expresses great respect by h ie e p ith e t f o r h e n Ole F riedbom (130) a te h t sa fa Schloss m meimer Mutter* It is he ebo reeds the Kaiser’s proclamation* «Bss KStfacben fh rd e rh in 1 s t M in e T echter* tmd K atharine h e ls s t s le J e te t von dknaben#* (111) Four o f Strafal’s epithets f a r Kunigmo&e ere evoked by his hatred f « r h e n D ie rem ad e Meg&rei (112) Ieh babe dleser jungen ^ txfeiegleria (111) versprocjhers**# Rcealie tells him that he has Just seem S ib y lla* her stepmother* fks* sind sie Haxsa (114) doppelt? G if ta is e b e r in l (315) Two e p ith e ts fee Kunlgunde a re in sp ire d by h is b r ie f lew s f o r her* Maine Kwtigimdel (H 6 ) Habt I h r s&eh s e lb e t n lch t* fmmrmtmf (11?) A ll six ef Strahl’s epithets fo r f rs tb e rg are m otivated by scornful reproach because of the Xatterfe seeming MgaUaatryt -298— Bad s e r h i s t d u , H iehtsirilrdl;?«r, (1U3) a&«9 da S ie delise O attlxt s a g s t , v e rf lu c h te r Bubs, (119) Bass du s i s ( t o n«nnat# g e t le r SSadc&enridber• • • (120) fie ln s t du , l e l c h t f e r t ’g er Bube, (121) uogestrm ft Bi© Antwort s i r m s ie ic h d i r t Du se fe rsi d ie h rn ir, du ftfterbr& utigosT (122) 1&ts g a i t d i r d le se Jung frau , du U nsal’ger? (123) Seven o f S tre h l9* e p ith e ts a re f a r h im se lf, b u t fo u r o f th e se a re r e p i t i t io o s o f sows t r m Khthehen9* can v ersa tio m *Hibf e ln G esch& ft, g se trsn g sr B *rr% (124) antw orieh sie### *F±», sp rlo h t s i e , *gestre»g«r Herr* •##(125) * E i, g estren g er H errl (126) I h r e l s s t 9® 3*1*— — thid f l t te te r te s t i " se in hochvew hrtw r Hesrrl (127) One m um frtm th e K aiser9s p ro e la sa tlo u t •P e r l la s i« l | u ls s e t , h a t ®ei» Her* g e s t e l l t . Das ^ o r t des Auserwtthlten (12S) elusutbsou##*41 The to o th a t S tra h l o r ig in a te s a re m otivated by th e m isery o f h is m ysterious s itu a tio n s i t h regard to K&thohsni • • • s d r E looden, (12 9 ) d er n ic h ts f a r s ie h h a t , mis das Happen muf s e in e s 3ch ild # IfoM s f l t le b t9 ic h , B lender, (130) v s r s i r s e lb s t? He has th re e e p ith e ts f o r Theobald f i l l e d u i th r id ic u le o r h a tred because o f Theobald9e p ersecu tio n o f h is t Der a l t • K eel, d e r! (1 H ) 8tan, dm G oit e e lb e t verdem ne, g l f te r f b l l to r F e r fd g e r s e in e r , (132) d e r d lch n ie b e le id ig t , Dhd delnes M Itle ld s eh e r efcrdlg u S re , So e e l ’s , M brdreufer, (133) dean , so s i e du u H l3 t# But he has h ig h reg ard f o r Theobald a f te r th e K aiser9* p ro c lsaa tio c if L east eimen Kns# a ic h , ? a te r , (134) eiaem Kms nor Auf th ro hiam olsttssen LIppen drftehsa* Three e p ith e ts f© r th e e b s r m l bom or# e re m o tlw ted hgr S tre h l1# n o b ili ty o f s p i r i t , mfc&ch causes him to t r e a t « HeroLds Lippc® a g p ltc g s i ha t* Mm accep ts th e hck o f room in th e ch arco al burners* h u ti So mhssem s i r helm G e s ta lr t asm b lansn Hiwael (196) U bem achten. He reproaches th e n ig h t e a t dawn* F i , so b la se du# dess d i r d ie Wm&gea b e rs te n t Fiscb® and Maubshrfe n lasem , dess Feuer 1 s t , (197) ytm b ran ch t ee deines got te s la s t e r l i ehen Gesangs, (198) u s es uns su verkttariigenf * * « Two o f F laaabesgls e p ith e t* a re In sp ire d bgr M s d is l ik e f o r th e u n kn igh tly behavionr o f F reiburg and M s a m i Sind das se ich e Sansc? (199) B eeA a^nahe^fatter (200) But h is tome changes to one o f re sp e c t ntiea he understands th e power o f th e i r m otivesf G if t , ih r gestrem gen Barren** * (201) -305* Hie th re e e p ith e ts fo r S tra h l shoe re sp e c t and sysp&thys G uftdigeter H enri (202) E l# gec tro n g er Herr*** (203) B alnea bejsemeniswttrdlgeB. H em *** (204) Two e p ith e ts fo r S tra h l9* mm a re evoked tor a s p i r i t o f h e a rty cam araderie# imf ih r F reuadel (205) Esseh* Brfcder, (204) reach* Be and G ettsch a lk tak e p rid e i s being th e f i r s t to c a l l Kttthchan by h e r nee raise* Well d ir* K&thchen von H eilb rann , k a is e r lie h e P ria se s s in von S d M t e l (207) » * * One of F laiaaberg 'a th re e hyperboles i s in sp ire d by h a tre d fo r Kunigunde, when S tra h l asks ehere h is enemy 1 s t Auf d e r Burg i w S tein* e o i h r acbon e e i t d r s i Tagan Prunkgelage g e fe ie r t warden* sasa d ie F este das Hiwaals e rk ra c h t, ttad Sonne* Mood \md S te rn e n lc h t aefar angesehen warden* (203) Bis e th e r two hyperboles a re n e t re la te d to th e above thews and n e t c la s s if ia b le under any o ther* Das 1 s t e lm K&eht* d ie W ife in dan K lSften on eiwi ^Qtsifoxma (209) F isehe uad ^aulw ttrfe e lseen* dass Feuer 1st*** (210) • » * There i s no p o ss ib le grouping aweng FlawRberg9® f iv e o a th s» Krieg* b e l s e in e s Eld* (211) X rleg l B ain Seel* I (212) rtfas h a t te t Ih r s i t d as B urggrafen s a seh affen ? -306- und r i e f O ctt sum feugen a n . . . (2 1 3 ) Bel G o tt, (214) s ie .a t « s | H a it i Gott im Himmell (215) & « # One oi* KLarmbcrg1© e p ith e ts i s a a ia le c t word* Sind das solche Kauae? (216) # # -2 ■» # CK5TTSC!'!ALK G otts chalk*© f ig u re s o f speech r e f l e c t h is m aste r1© love fo r K&thchen, b u t no o th e r of S trah l*a t i t l e s # His th ree metaphor® and s im ile s do no t f a l l in to a i c ;?roup# He t o l l s S tra h l of th e ©peed of the messenger* • ••Twrurc t:mbt Schloss ©in e iso ra e r Bogen und e r e in P fe il gewesea w are, e r b&tte n ic h t raseh er herangesehoss en (217) werden kbnnen* He- speak® o f the "Fraulein** in th e charcoal burners* hut* • ••das l&ge geknebelt und i d t verstopftcm Munde d a , wie e in E.s lb , das man aaar Jchlachtbank feringen w ill* (218) /•■nd he i s su rp rise d when K$thchen d e liv e rs the case she has found in the ru in s of the ca s tle * End u n v erseh rt, b e i co in er Treu, a ls war* 8 S te in I (219) © * » A ll of G©ttschalk*s e ig h t e p ith e ts are in sp ire d isf a f fe c t io n f o r K&thchem Du, tfJU&el? (220) Was? 0 da HersensaddelI (220.) Du? Gib h e r , raein lie b e s Kind* (222) Was i s t die© f h r ©in B rie f? ♦30%* Bts s ie h s t G ©spans t e r , TbehtercheaS (223) ~ Berna, lie b e s K ttheben, (224) Bass Ich dir das ersehdpft® Bars erquickai — lie, l«nge Maid! (225) Gib, gib* mein Herseben# (226) H ell d i r , K&thehan r « H eilb ronn , k aiaerllch© Primeeeim tcb Sdnebeil (22?) * ♦ * Three o f G ottochalk*8 te a oaths e re m otivated by affection, for KSLthehen* M e greases Bmkf bel Oefct, (228) eiad air dir schaMtgt • Seel*, (229) eeon aich kelxi Fehnaam Ihrer «rlaiili bo geht ale w l e m l Gotta Bllte auch , (230) Ktthetwa* Ba»t d a das gehG rt? Cm o ath la in sp ire d by h atred fo r Kaalgazide efaen he d isco v ers h e r d ece it* *Aktef die -chenkung, 9teoffea batreffend, von Friedrich Graf an earn Strahl* ♦♦ J©# wrfloehti (231) The r e s t o f h ie oaths are in sp ire d by no p a r tic u la r themes Was vma Beaker! (232) — — Bin Bote 1 s t angekonmen von B orer M utter* ##v«ein S e e l1* (233) w m Baer ScKLosa s in edeemer Begem m l er eln Bitail gesaesm airef e r hfttte n lch t rascher horangeschoesen warden Mein S eel*! (224) Ich hab* a le auch schon eo gehftrt* Baa 1 st* so smhr le h Xabe ~ (235) Gett, der Allmftehtlgei (236) Hod tm v a rseh rt, b e l maimer T ren , (237) a le e*r*a S te la i # * * -308* G ottschalk uses one d ia le c t forms Clock halb auf sab lf* (233*) * * * KVFCHTE ;>ES (BAFBIH VOM S1KAH1 Two oaths by unnamed servants are in sp ired by so lic ib tid c fur th e ir fe llo w servants and by so lic itu d e fo r th e ir lords B lits I (238) B le ib t surtick, ih r h inten dal Wes maeht ih r t Die lo it e r 1 st am l&agl H aiti Kenkerl (239) nabmfc ench in ach ti S trah l,» mother has three ep ith ets fo r Kanigunde, a l l in sp ired by cmfeigned a ffec tio n — and a l l o f them before the ursaas kings Mein teore© Frdsilsini (240) Mein l ie b e s , jtm ges, ombeseomeneo Kind, (241) Warn habt Ihr da getant G«t* g»t# mein Tbchterchea* (242) I s 1 s t sohcn got*** th e only theme in H eem ore1* fe e f ig u re s o f speech i s h e r deep a ffe c tio n fo r K&thchem* She has two m etaphors and one sim iles Sehamtp v ia d e M&dchen fu n k e lt, id o a s g lA m etl (243) Dmi Scbman© g le ie h , (244) der* in d ie B rest geworfen* Asm dee K ry sta lIsecs b lauen F lu ten s te lg b l She i s concerned by KMthchem** fe a r upon le av in g th e g ro tto s * « # * # • * Mir * d ir der Tod* in J e n e m e r s c k L e n e n * H it Kipp* end S tm d m gh S i ram Sehrecken kbnnte Dein Besom grinm iger e r f a s s t n lch t ee in l # ♦ a Hlftosor* has f iv e e p ith e ts fo r Katch-sbeu, in sp ire d by a f f e e t im t B i, ic h w ill mich m lt K*thchsnf d m k le in e n , holden Gas t # (246) &m vm d e r G raf in s Schleps g eb rach t, w e ll d ie ^ u f t so hej.es l e t , in d ie a e r G ro tte hedect# H ilf , G ott 1* H im e ll KAthchen* Kind* (247) m f e h l t d ir? ?&s 1 s t gesehehn, mein Kind? (248) ttas s c h i l t mm d ieh? Hein K indi (249) Wenn ic h in ir wiisst©# use es if tre ? In m leh en R atse ln sp r ic h s t du,, lie b c te e Egtbehan? (250) # » • Beer cm hyperbole p ra ise s Xftthchen’e beauty* r chant*, w le das Mfidchen fu n k e lt, wle es g la n s e tj (253.) * * * Two o f E leonora»s th re e oaths a re m otivated by love fo r ICtthchen* She la su rp rised to aee h e r rush fro a th e g ro tto and concerned because o f h e r apparen t f r ig h t* —O H err m in e s Jjebeosj (252) da l e t a le schcaal l i i l f , G ott l a H iirm ll (253) K tthehcot Her o th e r o a th Is an a ffirm sto ry one to R o sa lie s , E i, das K&thchen, so wabr id s le b e , (254) l o t d r in t * * * ♦ * B H iatnE The figure* o f speech used by th e S tra h l housekeeper have alm oat no e m b le m ! m o tiv a tio n , s in c e h e r p a r t in th e p lay i s confined alm cet e n t ir e ly to inform ing Ktmigunde about S trah l» s p a s t i l ln e s s and M e m ysterious drw m t •310- A lle s , was in se in e s Beraen v ersch lo ssen w ar, la g n an , im ^ahnsinn des F ie b e rs , (255) a u f s e in e r Ztmge*** (256) Leben eb er ©hue Liebe s e i Todf (257) d ie Welt n an n t1 e r e in Grab, (25B) t» d das Grab e in e W iege, (259) «nd se in te* e r w trde man e r s t gebonen wertien# — (260)# • •da eben das Ja h r w aeb se lt, heb t e r s ic h halb ram. Lager ompor, e t a r r t . a l s ob e r ©in* brscbeinting M tfce, (261) in s Zimme r liinein* •* • • • s tr e c k t a l le G lieder van s ic h , mad l ie g t v ie to t* (262) Wir horch ten mi se in e r B ra s t, e s v a r so s t i l l d a r in , v ie in e in e r lo e ren Kmner* (263)* —g le le h e a a , a I s ob es durch den (Hans d erse lb en veracheucht vurde* — (264) • • • e r h d t s ic h , too Stumt* a n , gew innt, v ie durch hissrH aehen Balsam g e h e il t , (265) se in e K rfifte v ied er* * . ♦ * e Each o f B r ig itte fo th ree e p ith e ts i s a sta tem en t o f v h at o th e r people liad c a lle d so©eon©, and w ithou t em otion on her p a rt* Two a re o r ig in a lly by S tra h l fo r th e g i r l and th e n a id he se e s in h is v ision* •••v ie es d&gelegen, das ho lds &ind**. (266) • ••d ie tmselig© Magd*** (267) The o th e r i s rep ea ted by S tra h l a s an e p ith e t fear h im self used by th e g i r l in h is v ision* "mein hofeer H erri» (268) e v e B r ig i t te ’s so le o a th i s in sp ire d by happiness a t Kimigtmde’s v is i t* Bun, b e l m einer T ren, (269) so kann ic h mlcii In s Grab le g en t d e r T rain des G rafen von ^ tr a h l 1 s t a n s i # * » * ♦ 11 I " I I H I 8 f hiEI* 8 H i ' * I §09 I1 4 & f t* f I f i f I f ‘ ¥ « m m ff °l ? $ % * tt t d- ►%H* i f ! I» 3 £ $S jj Q &r 1 1 1 1 1 I I I ! f I I i I I n | i 5 r ? h s H 3 3 I s 11 n p. p | s i I! * a t{& pB tt O « a m 2?II ! 1 5 * t 3 n W ~r*gtf S irr H m s3H P© ? cj»pv a 9 ff 5*1R§ % •I* l -U WS Ir * «*313-» Mein v e re h rte r Herr? (303) Mein* mein hoiier Herr* (304) J a , mein v e re h rie r H eir* (305) Hein* mein verehrfcer H err* (306) Keia* mein v e re h rte r Herr* (307) Hein* stein v e re h r ie r Herr* (306) Wes s jir ic h s t dn d a f Mein Metier H erri (309) Ifeia Metier H err I (310) la a a i* M itt* ich* Bueh toedeatem»--» Mein heher H erri (311) J a , mein v e re h r te r BerrS (312) {fori aneit dap sdiftos ^rftulein Snslgaodii Dee Orafen* sminee hoben Ear m e* (313) Braafc* i n i eeeheig Mem* jeetn Metier Herr* (314) b in siebssig* 2Jp©i E ith e r* ' Mein h«K?brerehrter Herr* (315) d ie ic h n ic h t kem te* t « | mein v e re h r te r H err (316) Mein* mein r e r e h r te r Herr* (317) G leleh* mein re n e h r te r Herr* (31B) Mein Metier ffe rri (319) Weiea n it* mein beher Herr* (320) Ustxn dc mieh n n r n ie h t schU tgst* mein Metier H errl (321) Mein holier H erri (322) Hein* mein ver ehr t e r Herr* (323) Das tu* mein heher H err* (324) Mein h eh er H erri (325) or <|ue ll» » » S a lt Jexacn Tag® £ e lg t a id 11m ntm# g la ic h e in a r Meta©* (434) in b lin d e r Frgebung* tc b Orfc sro Q rtf geffchrt an. s tr a h l se in e s A ngesichts* (435) ftinfdr& htig* (436) v ie einen 7wt# (437) um ih r * Seale g eleg t* *• (43d) ••*dnreh d ie %©bt vm w aehsener WfcLdert (439) *&* e in Hrnid, (440) d * r voa se in es B arren Scbmetss g flk estH i (441) a c h re ite t e le fa in te r ifam her**# ♦ ••d ie l i e g t 3©tst* e in e r Magd gleiefe* (4 4 2 ) in se in en St& llen* , « ♦ *• # T heobald 's e p ith e ts als© r e f le c t h is h n r t fo r Kdthehen end h is h a tre d fo r S trah l* There a re e leven in sp ire d by love f a r h is daughter* He t e l l s th e hedges th e a ffe c tio n a te m a ss h e r r e la tiv e s c a lle d her# • • • ih r lle b e s Mabneben* (443) ih r lle b e s BBsehsn*** (444) th e maids and ap p ren tice s a le e loved h e r t ••+ * h ll£ H h e d l Wes l e t d m Jb z tg fe rle la (445) T:idd#rfahr«&* ** • KAthehen*s ad v en tu re deeply touches Theobald! Seist d ie U hsel’g e i (446) Uhd dies main einslg Itafees Kind — t (447) Mein K indi Mein F in a ig e s I (448) l^ ein Klndl Mela K&thchenl (449) E a a d ieh in acht* mein lle b e s (450) Mein lie b a s Kathchen? (451) Sprioh* mein llebes K&tfaehenl (452) S ltb e b e ii Mein lle b e s K&theheal (453) Mine e p ith e t* fo r S tra h l evctod by hatred* Ich g«b 4m S atan m i d ie Seharan* dares* V arbrddarheo (454) ic h ib n aannte### o du—**«rtsch# ent(i©tslicfcer * al© s o r t fnssen* nod d e r Gedaalso erm lssi#** (455) Mord0chaim der B a s ilisk e n g s is t | (45&) Der H fille S&! du Satan I (457) Isa s ihr© vngimh^ ftT* * ©of* i| « m . pirn (1 ® ) *W »Q »W -3 2 9 - G ift* Tod nnd BacheS (535) Maeh* os* wl« dn w ills t* Booh serg e s i r * daso e ie»a him im tersfliiloelct* G ift* F o s ti (536) VimsYiBgl (53?) Bbtm® maehe a ie nod redo niefat# — des Tedes ste rb * ieii* (53$) ib a das A ffenangesicht n ic h t r t h r i t F o rt I In d ie Bftnste s i t ih r h in .* # (539) Too oaths a re m otivated fcy h a tred fo r Freiburg* In s G rahi (540) M e S chaoffeln b e r l E r sad gemsoextl (541) itftaii.wKii'fai bed h a tre d fo r S tra h l m otivates h e r f in a l oabttt Fast* Tod nod Rachel (542) B iesoa S ch isp f s d l t ih r a i r bfcssenl Too o f Knnlgtmde1* oaths do n o t f a l l in to th e above category o r any o ther* I h r H im nlischenl (543) H e prfcft ih r d ie se s H erat Hon, helm lebend*gen G ott* (544) ic h gl&ub*, le h trd n e e l ROaiUB One o f R osalie*a metaphors la insp ired by her hatred fo r KKtfeuchsn* ah© hue ju st discovered K\miprade*s se e r e ti M r eftr* bearer* Bn r iso ec t d ir d ie Amgen ana* a ls dasa s ie Ber Zunge amvertramtmi* m s s ie sahnl (545) Her other metaphor and sim ile are in sp ired by her love fo r Kmnigiinde* sh e has apggsm tljr su ccessfu lly foo led Strahl* tt Er trau t dan Amgen n ich t! Ich b in So froh lich* mie aln Eichhom in den F leh tea l (546) ^ nachsten Memo S tra h l, m o g H t* s f begrtlsst Erneli A ls Grftfin Kmnigmnde W ettexstrahll (54?) * * * -3 3 0 - Two of h e r fo u r e p ith e ts a re m otivated by love fo r Kunigunde* She d e c la re s S tra h l th in k s h ig h ly o f SoodlgBBBdai Base Ih r d ie Kftnigii* der Frauen (543) e e id . Ber n lc h s te a Sonne S tra h l, m s g i l t 1* , begr& set f&eh Ala GrAfin Ktmigtaade f e t te r s t r a h l l (549) Om e p ith e t I s m otivated by sim ulated a f fe c tio n fo r B r ig it te t B ie r , Mhttercfoem, (550) se ts* dleh$ One i s In sp ire d bgr sco rn fo r Kathehen# l e t ’s mahr, class James K ind, (551) das Ktttheham, gee te r n , Daa Ihr l a Schlosa beherbergt habt — ? a * * R o sa lia 1 s one hyperbole I s ©voiced by h e r love f o r Kmaigunde and h e r Joy a t th e gayety w ith ’which she mas rece iv ed a t S tsm hl- burg# I s f e h lte n ie h to , a l s dam d ie Glocken ihr© Zwxgm g e ia e t , und gerufem h a tte n t J a , J a , J a f (552) # * * Foot o f R osalie*s seven oaths a re e v d s d by h e r f e a r th a t Fnnigmnde1© s e c re t m ill be d isco v ered . She se es K&thchen casing fxom th e g ro tto # H iw aell (553) «hs seh* ic h d e r tf Main G o tti (554) H e koaaat Ih r h ie r h e re in , B arr G raft B d G e tt, (555) Ich s la s h * , I h r e e h e ra tl S ib y lla , stelme £ tte fa u fc tc r • • • vermQoschtl (556) Oca o a th i s in sp ire d by h a tre d f o r KJttbchen, mhen atto mama n o t to re v e a l mhat she has seem in th e g ro tto s •••helm H im eli (557) Ii £ 6 3 . J 3 I • I I M l1 8 3J £ I 8 H -a**s 14 H * | b 8> I % I -332- HOlle* Tod und Teufelt ( 563) Has haben diese Anstalten su bedeutent * * « * * FRFJTBC56D All but throe of Freiburg*® twenty metaphors and similes are motivated by hatred for K unigutide, eh© has jilted him, and -whose secret fee knowst Nun, OecGCg# all© Salten des Jnhels schlag* ibh ant (564) w ir haben s ie f a ir haban d iese Kunigunde you Tburaeckt 0 Georgl Du h lt t e s t a ia seben sdULen* v ia s ie daher g er itten kam* e lite r Fabel g leich * ( 565) von den E ittera des Landee isarlngt* g le io h ein er Sonne* ( 565a ) untor thren Planeteni (565b) War*s n ic h t, a la ob s ie an den Kleaeln sagte* (566) dor im ter ih r Funken spr&htans ih r aU sst s&r echzaelaen* wenn ih r s lo h oeh tt Be t e l l s Georg he i s preparing a d e lic io u s revenges Boaig von Rybla* (567) f i r dies© von D urst dear Each* su Hols vertroeknet© B rest* ( 568) Warns s e l l d ie s v w t n l s « B ild (569) lin g e r* e in e r olym plschen G fcttln g le ic h , (570) au f dan F u asg eo te ll prangea* (571; d ie H alloa dor c h ris t l ie h s n Xlrchert von vm uad to isers G leichon entvO lkernd? (572) t ie b e r an g efasst* uad a u f den E chutt hiaaos* das Gberrfce su u n te rs t* (573) d e a lt m tt Ai^oa arach au t vrirtl* das* k o la Q o tt in ih a wchnt? Georgl Georgl Wenn d ie T eufel isa e in e Brflnduag w rleg eu sia d t so aftssea a le einea Hahn fragaa* (574) dor s ic h vsrgebsws u» e tn a Heime ge& reht hat* (575) und h in te rh e r s ie h t* does a le* von A ussats se rfreseon* su s e in e s Spasae n ic h t tan g t* (576) E i, so s i l l ic h fiber a le ph ilo seph ierea* Bo u iH ic h ouch ainon raetapfaysischen Sate fiber s ie geben* wim P laton* (577) and ae inen S eta nactaher o rU u tem * v ie dor lu s tig e Diogenes getaa* (578) Freiburg *o three other metaphors and similes do not compose a group* Ho speaks o f th e g ro a t s te m s V&.r glesst vm Blarae! tmrmb, Wipfel wad B ergsp ttseii mr&Mmws&g (579) a l s cb s in e sw eit* S&adflmt heraabr&cha • (580) He t e l l s th e charcoal burner® he is n e t th e K aiser* mens n ic h t der, deeh elmer* dor hie? rcgierl* mmd den Sseptor gleleh vow let breshsa wird# m*s dir it selgssi* (581) * * * Flee, o f Freiburg*a e p ith e ts e re in sp ire d by *& ig n o b le end hawghty di s dain fey th e cshereoel hm raerst in g * n ic h t, da 3 ch lin g e l# (582) and each* <«f# H dlm keS (583) a p itsb u b e l (584) Os w ill* t h ie r l^ u c h te n t S itte rsleu fce* dm F lpgel* (585) ’Mb* ic h d ir schea fe s e g tl Dee 1 s t jenee Setiseeter* dm Sohmftj (586) mad ao iao OesHCOteeee Five e p ith e ts e re m otivated lay h is frie n d sh ip fo r M s fa ith fw l r e ta in e r , o e s rg t. Ich w il l d i r eagen , Framed ~ (^B7) U e b e ri (5@8) Omterl (589) H m nderllcheri (590) «~43*id d ies# ^imigimdet Fretmd##* (591) Two ©pi th e ts fo r S tra h l e s he i s resealxtg KuMgmade a re motfe* v a ted by hatred* Wer h i s t do* thexvfttl& er* ( 592) dess dm Blob n d o d s a s e e l V eraifilte d rS agst? Dm Raseader* (593) weleh e ls e Xbbt Two e p ith e ts e re se a le d by f*slbmx£*8 h a tred fo r ^unlgunde* th e f i r s t o f th e se I s Jrcmles&s # # «mir nicfct eof die FeheiteX* belegt alt Iretde* s e in e r l i s t e n Brewb* d er K o slian is wen fbmrae^e* (.994) >334~ •••d ie s w esenlcet1 Slid*** (595) # » # Two of F re ib u rg 1* hyperbole© a re in sp ire d by h a tred fo r Kunigtmde: ?*ar»s a ic h t , a le ©b s ie m den K ieseln s a g te , d ie taater ih r Ifezkfoen ap rilh tea i I h r te s o t s i r s c ta e la e tt, w nn Ih r ®ieh se h t? (596) Hia rew ag e s i l l b® sw eet, f o r he i s b i t t e r t Bonig veil H ybla, f ttr d ie s# ram D urst t e r Raehe su Hols v ertro ck n e te B rm t * (599) His o th e r hyperbole e c n e e n a th e atom * Baa g ie a a t rcm HIsssbI h e rab , l i p f e l a te Bfergspitsen ers&usfmh, aXa ob e in e s v e lte SB adflut heranbr& obe. — (598) # # # Two o f F re ib u rg 1* oaths a re a c tiv a te d by h la h a tre d fo r Kuniguad®* Be i s f la k in g o f revenge* So t e r Ic h nach s t e m V ater g e ta u f t b ta , (599) n ic h t im te a ganaen H lw sel, urn te n stelae ganse Jugend g eb e te t h a t , gob1 ic h d ie b u st s a g , d ie a i r b esch ert l e t , wonn c e r morgend® ta g a n b ric b ti — te la * G ott behtkt* n&ehl (600) Kelaem Xneeftt ate* ic h s n , s ie an ih r atx v d la ie h n * — M s o th e r th re e o a th s f i t l a t e no group* lie sees sorobadfcr approach th e hu t o f th e charcoal burners* Soarahr ich e in Matin bia* (601) d a r t e te ig t Remand vota P fe rd i Be ia ara&sod to see th a t Schaueraaim la bound* I h r G b tte rl (602) Was erb llck * ie h t Be la i r r i t a t e d by S trah l* B ela ^ e lb w ill ic h , to* Heaakarl ~ (605) « • * * « -335 - OEORQ G eorgia two m etaphors a re in sp ire d by h is d e s ire to g o t rarsmng© f o r h ie m e te r a g a in s t &unigunde# He i s g iv in g advice f o r S tra h lt • ••sag* lim p wenxi e r dsn H attptschl& ssel mahman* Old s ie in d e r Morgessettmde* wean ih re Belso t i t f den S tShlen lieg& i* sberrasehen w ells* so kOnne e r ee lne eigne Bilds& ule warden* (605) twd aleh* m r Ferewipang s e in e r H eldentat# b e i d e r K Shlerhatte a u fs ie lle n le e s e a l (6C6J * * . * bislik© h is m aster* Georg shoos deference fo r th e charcoal barns** in h is e p ith e ts fox* thesis Wir s in d re laan d e S itte r* ih r gates* Lento, (607) d ie das bngew etter Bberr&scht hat# 4ftf i h r gates* KShlsr#«« (60S) One e p ith e t fo r F re ibu rg shoes f r ie n d ly concern fo r hlms Ein Essender (609) h i s t d a l F e r ti G leich hlzsnegi « * * Geerg9* one hyperbole I s in sp ire d by h a tre d f o r K e d g s d t t • • • s o k tane e r se in e eigne B U dsgule werdem* and etch* stzr Verewigung s e in e r H eldentat* b e i d e r Kbhlerh& tte a u is te lie n Lmaeon. (610) * # # H is one oath Is mild* Aber in s l i e r Welt* (611) sag* s i r * mss ± a t9s* das d ieh » d t so raeendem Hass gegen s ie e r f f i l l t? * « » # * E lT im SgHAEEfOttWlf Soimaermatm mass to o e p ith e ts in sp ire d by hatred# The f i r s t i s f o r th e ch arco al bey oho b inds him and th e second i s f o r S trai& s -3 3 6 - Hei H olla4 Die B eetle* (612) Schaseisst den V'ereegmian (613) dooh g le ich am Bodea* PEE RHBXJfGRAF f€H STEIS A ll hu t two o f th e R he in g ra f ts e ig h teen m etaphors and s ls d ls s a r e I n s p ir e d b y h a t r e d f o r K u n igu n d et Ic h v l l l n ich h ie r , ado d ie 3plna*# (614) amsaawam knhucln , (615) dass ic h auasehen vim e in H&ufleija a rg lo se r S taabf (616) und wmm s ie lm Heta s i ta t* (617) dies© Kunlgtmde, hber s ie herf& hren, (613) — den St&ehel d e r Roche t i e f eindrOcken In ih re tre u lc se B ru sti (619) td ten * mid ih r Gerippe* s i s das Homnont e ln e r E rsbuhlsrlA * (620) In dem GebSQJas d e r S teinburg aufbesahraau • • • s o *111 lo h mcdne A rtigfceit* e l# s in Taschenmosoer* (621) susaraaenlegen, (622) und i h r d ie X rlegskastsn w ledsr abjagen* sd teat1 i c h s ie umkehren* (623) uzid Ih r den B etrag h e lle r s s ls e sue den Taschon herauss c h a tte ls# (624) Be p re d ic ts disappointifierit f o r Ktnlgunde and S tra h l before they reach the »barbor o f w rr la lfe t* Dor B lits s o i l ihr© Hasten s e r s p li t te ra * (625) she s ie ihn erreichen* (626) $%m Freiaadej Ihr© M o r e l g eh ts S i t diasem F u n s t s th e k * ( 6 2 7 ) m x G ra b sI (6 2 3 ) M itih b e t r c g a le und kelnen a c h rf d ie Helhe <3mrmr# d ie s i s am M arrensell g efflh rt h a tf (629) s c h lie s s t sa lt m ir ab* —■* Ons o th e r f ig u re i s m otivated by h i s c o n c e r n f a r s a fe ty In the face o f S tra h l* s a ttack * M o ser W etter von S tra h l k rach t* wie ytm Stmwmlad-getrageaia (630) h in te r uns dreim ***(631) * * « The Bhein£raff9 four epithets are inspired lay casuroeieahlp with M b vassal# s Da. h a s t du r e c h t, Fremd*** (632) Nun, Freund* (6 3 3 ) alls Grttese treuer BrtSdarsehaft ftber dichi •••Frsonde*** (634) 0ber die Bxiieke, Kinder, (635) kber die Br&ckaS * # # His one hyperbole Is m otivated by hotrod fo r Kunigund#* ♦ •♦mttsst* ich sie umkehren \m d ihr den Betrag hells reels© aus den Taschen herauaschtlttelxu (635) # a a The Hheingraf *» two oaths do no t correspond to any of th e above emotional themes and fo m no m w g© up of th e i r sen* He swears he w il l accep t l&jnigund«*8 d ism issa l i f h e r reason i s honorable t Bei s e in e r unsterblieifcsui Geele##* (637) He thinks of the possibility that ills two letter® are mixed* Nicht? — » — - Hismel und Hrdei (638) * * * The Ilie in g ra f uses one d ia le c t foxms ***Glock sieben gegen -v aeht#.* (638a) ■it •3#' '•* if & m im m m All of Hginhardt^s ten metaphors are motivated by his hatred for Kunlgunds's deceit1 •33S- 1 r e s id e , es i s t alias, wi© der Ttuf Tins e r z a h l t l S i e gefcen a i t vdlen Fageln auf desa Osean dor H ebe* (€>39) m d ehe der Mend, a ich e rae titf s ind sie In den 1 ©fen dor Vh® e itigela irfen . (6AO) m00w tn n Blicke redon, Mierwn schreihen und Hands drticke siegeln kOnnen, so Bind d ie ~hsp& fertig* (641) He ridicule® h e r answer to the fheinrrstf * 3 1b ttort Sie sei so gerffirt, da;?$ ihre Afxgen , wie smtl Ccuellfiaa, (642) ni e d e r tr &u.t e It en , und ihre rchrift ertr&nktenj (643) — die Buraehe, an die sic aich wendcrn attsse, ihr Uaftlhl aussudr&cken, sei ein Battler* (64/,) — Mr babe, aisch ohne dieae® Qpfer, ein ewigec iocht an ihre Dankbarkeit, xmd es self wie mit einem Diamanten, {6 4 5 ) in ihre Brust gesehriebenj (6 4 6 ) — * knrz, einen 'Brief, veil doppelsinniger Fratzen, dor, wie der ehillertaftj (647) m i Farben spielt, (6 4 8 ) ’aid weder ja aagt# noch nein* # * * Fginhardt fs one epithet is evoked by friendship for the Eheingr&f and his men5 F r e u n d s* • • ( 6 4 9 ) # * # Hie one oath is evoked by hatred for Kunigund©1® deceit* Gott behtttei (6 5 0 ) Wann Mite sie Je einaa Freier ihre Hand verweigert? « « * # # m B tra c s Friedrich use® an oath to assure the Bheingraf that the two l e t t e r ® are not mixed* Tod and Ferderbenl (6 5 1 ) Du versiegeltest sie eelbstl « « « « * —339"* KKSGRTR DKS KHSIBGRAFEII The se rv a n ts o f th e Rhelngraf us© a metaphor to e a tre s s th e ir ©Baity fo r S trah l* Dies© FfeiXe mwt Antwcart d l r i (652) * « & » * • * GRAF OTTO Since th e Judges have no p erso n a l in te r e s t In fh seb aM , K&thchen, o r S tra h l, i t la n o t su rp risin g th a t th e tone o f th e i r em otional themes should be subdued* Three o f G raf 3 tto fe e ig h t s^tapfoer© and s im ile s a re in sp ire d by h is sea lo o s p ro fe ss io n a l u prigh tness* •••d en F revel aufsusucheii, d a , wo e r , in dor K&hle d e r B re s t, (653) gXeldh ©lnae Helena verkrochen , (654) vo® Am w e ltlie h e r G eree h tlg k e lt (655) n ic h t sufgefundan warden losuxn*** Three o th e r m etaphors a re m otivated fcrf d e ris io n o f Theobald*# s tu p id ity in b rin g in g unfounded charges a g a in s t S trah l* Did S tra h l win K&thehsn*s h e a r t J u s t because he was handsome? •••o d e r a l t irgend © inor Undent Boost dee h a llo a M ittapu** (656) l e r & berw ltsfge Trfcuasr, oabelc&ttnt SdLt dex* gaaaainofi Zaaber dor % tu r l ~ (657) H r sin d n ic h t d a , D ir d ie vorrlick ten Sinn© einsurwnJcen* (656) His rem aining m etaphor and s im ile have m iscellaneous m otivation# Be cannot b e liev e in X&thehen*s p ro p h etic pow erst Du ftftrr la , Jftagat d e r N abelschnar e n tla u fe n , (65? ) Usher kcrent d ie prophet •sch© Bonds d ir ? —340- Fo is surprised to find lier hi ddeu in the cave at Strshlsburgt Warm herbergst du, Itefi Sperber gleieh, (660) in dies nr Bbhl© Baua? * * # All but one of viraf Ott©fe eight epithets are xsotlvabed by d e ris io n of iboobald t Hun, du alter, wilder KXSgeri (661) S© red© I wunderlicher Alter##* (662) Bass© dich, Alter, (6 6 3 ) tmd eraShle den Hergang* Du wunderli cher Alter! (664) Has hast du ftSr ii nbildungen? uer aberwtts1 ge Trftumer### ( 665) cchseig, alter, grsuer for! (666) Echweig, Alter, (667) selteeig! The other epithet derides K&thchen* Du Darrin, (668) JtSngst der ^ abeleehanr entlaufen#*. •* ■» * His one oath is- inspired by concern for the falser* Alljpficht#ger GcttI (6 6 9 ) Ada fehlt der Majest&t? « * ■ » - » * wi-mri, Vtonsel uses a sisdl© in expressing surprise that &&tfcchen should prostrate hvrself before Strahl$ Hie vor de?i Hrlbaer hinges treclet! (670) * * * He uses an e p ith e t whleh r id ic u le s &&thchem Kann er dafttr, wenn slid) das Hers deines t&richten ti&dcheias (671) Ihm sugewendet? H ie one o a th e x p re s se s I lls s u r p r is e a t T h e o b a ld ^ s to ry * B sist H tam ell (6 % ) B is s e lts a m e r V o r f a ll . — * ♦ * e ♦ urns v m m m w m m B & resklau a sk s T heobald I f S tr a b l h sd g iv e s K uthehen o p ia te s* O p ia te , d ie d e s M encches l e r * # d o r s i s g e s i e s s t , s& t geheisodsvelS ej* Q e s a lt u s s tr ic k a n ? (673) * * « I l ls toe oaths are inspired by h is s u r p r i s e at tho course of the t r i a l * B el G o tti (674) 1 s t m e rh f tr t? Bela Elssteli (67$) £iXH f£l UuTI3t As wmatmd judge ridicules Theobald sdLth as epithets Bar Barr, derl (676) Der Fall 1st fclar* Is 1st hler nichts ssu richten* ♦ * * # ♦ BKH KAISKR There la so unifying emotional theme Is the Kaiser fs f&m f t p i«8 of speech* Be usee five metaphors* Graf Wetter® trabl, da hast, auf einea luge, Bor durch Heilbrenn dieh, vor drel Meades, fflbrte, Is edser Tdrla Btssesi ein^eschl&gen* (677) Auf, rest© dich, du h w s d dor Wiwwi •§ | Bess du b ist da, s it eisea Bart res Stahl, (678) la 7sa1 If epf ihrea Ausspoueh on baseless i #»#m3hresid d ie Hosik* firm von den Tanssaal hor, in den Dmft der Linden aiedeream eelte• • # (679) Die Welt mankt ana ihren Fugeni (680) • *#iaad djj# ga^wtf Geheiwais# das ieh M ir vi®r l t^ndem anvertraut* (631) ausbrimgei « * # Tt» % is«r use® two ep ith e ts in sp ired by deep respect f i r Strab lt Aiaf * rtsste d ieh , dm Freund der Hinmllaehem### (632) o « d tr Oraf van 8trah l# d leser Vertraute dor A te tn D ilU ttt t* (683) Him two ep ith e ts fe r H t b e te as be Questions Strabl abemt her ere m otivated by r id ie u le t (href n etteretra h l, dm hast# emf t h s e Znget Bar durch Beilbrsesn dich* voar d rei Mondettjr fO h stii In miner fh rin (684) B e s s eingeachlagen# K M elten Vater Jttagst verliess die Birae#*# (635) He r e a lis e s K m i|n d t*9 character end expresaei d isresp ect fe r her by am ep ith ets Itam der Qraf v a 3 trah l# d ieser fartram te dor Ausemahlten# eon der Btihlerin, (686) am d ie «r geknttpft i e t , loslasaem Items# Be usee one ep ith e t fo r Theobald t Hun* A lterj (687) h sr te st dm? • • # there la no m liy iQ t theme in the K aiser1* oaths t •••leh gKsihBi M se in e r 4 ^ h«e Ehre* (688) er hat rech tl 0 Hiflasell (639) Bie KdLt wankt aua Huron Fmgeal Beia Hisra*!, (690) 3a# das ta ta t dml -341- m m zB iB m m The mnshbiehop m m a k ind ly e p ith e t fo r TI»©fcaM$ €»©h h ia m d trh eb e dlefe md h o le ole, tm a l t e r m r r # (6922} md Imm* dim Saehe rufeaa| n i l beeqsb A ll three e f the h©rald*a figare© of &p*Mooh ©eaar l a th e ©eddlag prodmtldB that he r«ad« to the aa*«a&ly« Two ssetapfcor* are inspired by good aiahsa to the bridal pairt •Bw Hiawel eegne dm boh© Biaatpaar, « d aehBtte dgS ^ b w ftfllfejD JB WOO OlBCk# 4w WoHogft « o M t | ( 6 9 3 ) B b a r i b r e tm m m m B to p to r a a » |* ( 6 9 4 ) * * ♦ H a ether figure of apeecfa la «c& epithet far %**Kathartm, Prinaeoaia w o 'Sehoafeaa, foehter mmmrm dtsrchlasehtigotea H # m and lEaiaera#* (693) SOI K(3KHI^ ;EJI3®fG® The ymmg eh arco al b a rm r* s fa ir flp em a o f epeeelt mm maftfo* voted by ayapathy f o r th e bound and ge&ged naideiw Be tell* bar abfi Qjft otf ©1th M i odanort* trad dm ebt* a i r d ie B&ad* end b lA n ae lte , and epraeti a© vernohselSoh^ a le ©In kloger Beads (696) •aeeli* a ic h l a t # H ob f pjQtt odoh lo o t* teh*© a l t Aopa* hOrtd (69*7) ©ad a l t dect FI agora vero taad* (693) Bo i ^ t a aa atffeeticciote epithet that l a A p ^ had mmdL for Mat •oateb* adotx loo* t-idijfc SMbo&f (699) ■eoflh* aidi leal* • * « His eats oath I s in sp ire d by fe a r th a t 5 tra h l and h is son s i l l rev ea l M s presence by th e ir no ieineao * St* — Oat a l l e r B e ilig ea w iH ea* (700) dee 'iw.it? t o w m m th e second ch arco al b a n te r’s fo u r fig u re # o f’ speech have tie m i l l in g these* Be speaks o f th e fu ry o f th e s te m s Mam Wynn vor dffp b rs itaS n lig esi Benner (TOj) k e tii tart eersteh a* * a * I s speaks FsagW y to th e young charcoal bvm m rt Isaak* S ch lin g e ll (70(2) hfcrst n ie b t? Das S tra it e c b a ttle an£# Scbl ingel* (703) and d ie Decfcen dr& berhliu** s e a le uses axt oath to express w lllljjgzicse t o g ive s h e lte r front t h e f t t s r a i Mein S e e l’ . .* cm) • # # » a EIH HkClTfWAfXfflZSSl All of the watcfsNra*# figures of speech a r e inspired by his horror at the f ir s and the treachery ifctch started it i le r ft den Sehlaf nieder, (705) der. ale ain E iese* (706) htaer such liegtj (707) beainnt such* e r s te h t end erwacht* Feasr* t a r f re v e l sag auf ^ocken durch’a fori (TOO) Her Herd stekt sit Ffeil and Began Bitten an er ouch* (709) and die Verheenmg* an ihn sa leuchten, (710) sehl> ihre Faefcel an alls Eetaa der Burg* (711) Fener* Feuer* 0 dase ieti dns Imge von Er* (712) end ein tart hatte, dee aioh mebr sehreia** Heese* ale dlest Feuer* Fener* Feuar* -M 5- JAKOB mCB The iroskeeper xmmm two m spw ctfu l e p ith e ts fear th e E heiiigm f i ...g e s tre m g e r Herr* (713) Kienasid* gestrenger Berr*** (734) ram th ree oaths a re spoken bgr th e people* There i s no eetsrieetiag the& et K eiland d er Welt I (715) Da l i e g t 's in S ch o tt* •• 0 Eisffiell (716) Sch&atl Dm iJteg t s is * Biamsell (717) Graf w e tte r s tra h l h a t o b g esieg tl STKAKL 1* 189# 2* 189# 3* 198# 4 . 1Q£t*3*9# 5* 501# 6* an*" m 7* 211# 8* 231# 9* 231# 10* 211# U . 211# 12* 212# 13. 212# 14. 212# 15. 232# 16* 212# 17* 212# IS* 212# 3-9. 212, 20* 212, 21* 212, 22. 213* 23. 213, 24. 213, 15-16 . #* 6* s* 19* »• 19-21. au 22-23* »* VXD® X ^ « • 23-24# *# 71 IE 150 h* 23-25* *# THE 150 h* h . -3 4 6 - 25. 26. 27 . 28 . 29* 3©. » . 32 . 33* 34* 3 5 . 36 . 37 . 3 8 . 39* 40* a * 42* 43* 44 . 45* 4 6 . 4 7 . 48* 49. 50. 51. 52. 53* 54* 55* 56. 57. 58. 59* 6 0 . 61 . 6 2 . 63# 64* 65 . 66* 6 7 . 68* 6 9 . 7 0 . 71 . 72. 73 . 74 . 75* 213 284* 284 234# 300 305 30$ 307 308 308 275 275 275 275 138 192 226 226 227 293 293 295 295 296 300 307 £14 214 214 215 214 228 270 300 237 237 237 189 190 190 191 191 191* 297 197 257 259 260 276 4-6* si. 1 2 . si* 12—23* m* 14*46. a* 32. a . 15# ft. 31-306, 2 . » , VIIB 90 ft. 31 . f t. 7 - U . ft* 10-42. a . 25-26. ft. 25-27. ft. 29-31. f t. 3 1 . f t. 21-22. ft. 22-23 . f t. 14-46. ft. 30-31. m. 15 . ft, VI IB 164 ft. 1 6 . f t. 7 . f t. 11-43. ft. 14*46. ft. 26-29* ft. 2-5* a . 1 4 4 6 . a , VIBE 145 ft. 25-27 . f t. 10-11 . a . 27-29 . ft. 3 0 . ftt. 30-215, 1 . ft. 33-216, 1 . ft. 1-3* f t. 2 9 . f t. 14# ft. 4* ft* 1 . f t. 2-3* »♦ 3-4* f t. 23-24 . ft. 9 -1 0 . f t. 29-30. a . 2—3* •* 3 -7 . ft. 7 4 * s . 25* ft. 23-25. ft. 24. ft, ram 155 h . 31-32. ft, 2—4* * • 9*40. ft. -3 4 7 - 76. 276* 11—12. 0. 77. 278* 20. 0. 78. 293* 17-22. s . 79* 212* 6—7 . 0. SO. 258* X4"X5* 0 . S I. 282* 17. « . 82. 264* 20. 0. S3. 271, 2 . 0. 84. 277* 29* 0. S5. 279* 7 . «• 86. 279* 30. 0. 87. 280* 16. #• 88. 280* 27* #♦ 89. 231* 9 . 0. 90 . 305* JX. 0* 9 1 . 307* 30. 9 . 92. 307* 3©. 0. 93* 306, 4* 0. 94. 308* 29-31* 0# 95. 309# 1-2. 9. 96. 309* 3 . 0 . 97* 309* 15. 9. 98. 309* 32-33. « . 99. 312* 2—3 . 0* 100. 139* 11. 9. iau 189, 11-12. 0. 102. 194* 5 . « . 103. 198* 31. 196* 26-27. 0* mm 176 i0 5 . 201* 31. ♦* VIBE 158 9. 106. 202* 3*4* 0* 107. 252* 22. 0. ice. 253* 5*6* 0. 109. 262* 30-31. 0* 110. 284* 28. 0. 111. 305* 27—28. 9. 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ITS* 265* 24* ®* 179# 276, 5-8* ®* ISO. 281, 7 . 0 . M X. 281, 22. c« 182* 2B1, 29-30* 0, 183* 283, 4 . ®* 184# 283, 12* e* 185* 189, 8-9* 0* 186. 227, 26 . c* 187* 251# S* 0* 188* 259, 7* ®* 189* 259, 25-26* a* 190* 275, 1 -2 . a* m M m m m 191 . 2 U , 14-15* *« 192* 214, 15-17. m* 193. 223, 9-10* m* 194* 223 , 10-11. m* 195. 214, 1—3* ®* 196* 221, 27-28. a* 197* 260, 25-26. m» 198* 260, 26-27* m* 199* 223, 8 . ®, vix» 216 d* 200* 223, 8 . e . 201* 298, 1 3 . •* 202* 213, 27* #* 203* 215, 16* «• 204* 298, 9* 0# 205. 226, 20* a* 206* 266, 17* •* 207* 311, 25-26 . a* 208* 215, 25-28 . h* 209* 221, 13-14* h« 210* 260, 26-27* fc* 211* 214, 1* o . 212* 214, 11—12* a* 213* 215, 1 2 . 0* 214* 229, 9 . ®* 215* 267, 10* ®* 216* 223, 8* dtVXSB £171} 200 0 * OCm'SCHAtS 217* 213, 18-20. s . 218* 222, 5 -6 . a* 219* 274, 6* c , VIM 237 0* 220* 251, 17* ®* 221. 251, 1 7 . 0* 222* 254, 5-6* 0 * 223* 235, 6* ®* -350- 224# 257, 2—5# e* 225# 284, ^8* «* 226* 305# 21# «* 227* 311, 25-26* «f TOT 207 *• 228* 257, 4# a# 22?* 274, 33-34# *# 290. 285, 5# a# 231# 274 , 9-10* a# 232# 213, 9-00# ©• 233# 213, It# a, VIDE 217 a. 234# 251, 4# a# 235. 251, 10* ©. 236* 258, 32 # a# 237* 274* 6# 0 , V im 219 s* 237a* 256, 30 . d , m * # m e e M * * . 1 1 u n e ig en tlieh S le d n rc b den glockens ch lag befceichnete id ir s a it , w e l la a l a a d . g e l iu f ig , so sc&cia and*. .v©rmtii*li€l* In d e r £rag»*,«a$ 1 s t d ie glocke* l a N iederaadbaea. * * sch rif tapr& e& lieh b e l nd* ©den d*m a d . nahaas tehenden KSl'ECHft IBS QRlFGir VCK 238. 266, 26-27. 0 . STRABL. 239# 273, 1—2* 0 . m m n n 240. 239, 6 . ■©. m xm k 241# 239, 22-23* ©• 242. 240, 2* e . Etrmmm 243* 287, 5* m, VIE* 251 ft. 244# 287, 6 -7 . a* 245* 288, 9 - H . * • 246. 286, 11-43* •# 247. 287, 2 9 , « , VX9E 253 ©• 248* 288, 7* e . 249. 289, 6# ft 250. 289 , 1 2 . €t. 251# 287, 5 . VIm 243 s . 252. 286 , 25-26* 0 . 253* 287, 2 9 . 0 * 254# 286, 20 . 0 . m im r m 255* 231, 19-20* m. 256. 231, 18-20* m« 257. 231, 2 2 . m. 256. 231, 22—23* a# 259. 231, 2 3 . a . 260. 231, 23-24# a# 261. 232, 6-8* a. 262* 232, 13—14* a* 263. 232, 19—2 0 . 9 . ■351- IttETHCf®! 264* 232 31—32* 9 . 265* 233 S—0* 9* 266* 233 16. 9. 267* 233 2 3 . 9 . 268* 233 2 3 . 9. 269. 231 7 -8 . 9 . 271. 196 3X—3 2 . xt# 272. 195 2 . 9 . 273. 195 2—3* «• 274* 195 28-29. &. 275. 198 •9. **% 276. 198 5 -6 . a* VI D$! 360 ©. 277. 198 7 . a .Omo m «?. 198 8*9. a . 279. 198 XC^—UL. ib. 2so . 245 22-23. 9 . 281. 245 22-25. » . 232. 26-27. a . 283* 278 1 4 . 284. 281 14-15 . 8 . 235. 278 9* c . 236. 309 IO. 9. 287. 309 1 0 . 9 . 288 . 194 13-14* 9. 289. 252 26* 9 . 290. 276 33—34. 9. 271. 192 23. 9. 292. 192 3 2 . 9 . 293. 198 4 . 9 . 294* 198 2 8 . 9 . 295. 199 1 2 . 9. 296. 199 2 8 . 9. 297. 200 16 . 9 . 293. 201 16. 9 . 299. 201 2 5 . 9 . 300. m 2 9 . 9 . 3 d * 205 4 . 9. 3CO. 205 1 0 . o . 303. 205 1 4 . 9 . 304. 205 2 4 . 9. 305. 206 3. 9. 306. 206 1 4 . 9 . 307. 206 2 7 . 9 . 303. 207 1. 9. 309. 209 3. 9 . 3X0. 252 20 . 9. 311. 253 2 . 9 . 3X2. 253 2 1 . 9. 333. 254 11-12. 9. 3 1 4 . 255, 32. 0 . 315* 256, 8-9# 0 . 3X6. 256, 13. # . 317# 257, 9 . 0 . m * 258, 18. 0 . 319* 258, 27. 0 . 320* 269, 8 . ©, TOOK 374 dm m . 271, 11. 0 . 322* 272, 20* 0 . 323* 276, 20. 0 . 324* 277, 20# 0 . 325# 277, 32* 0 . 326. 279, 26. 0 . 327. 281, 12. 0 . 328. 281, 24. 0 . 329. 282, 2 . 0 . 330. 284, 5*6. 0 . 331. 285, T—8. 0 . 332. 285, 20. 0 , 333. 305, 19. 0 , TIM 376 dm 334. 308, 2 . 0 , 335. 310, 15""X6. 0 . 336. 195, 14. 0 . 337. 243, #* 0 . 338. 243, 31. 0 . 339* 244, 4 . # . 340. 244, 19. 0 . 341. 244, 29. 0 . 342. 245, 6. 0 , 343. 288, 17—18. 0 . 344. 289, 3 . 0 . 345. 289, 15—16* 0 . 346. 290, 10. 0 . 347. 290, 2 . 0 . 348. 194, 13. 0 . 349. 251, 12-13. 0 , 350. 207, 7-9. 0 . 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O* 6—7* 0 . 7*^ 9* 0* 13—2 5 . 0 . 15—26* 91* 16—2 7 . 0 . 17—19* 0 * 19-21 . s . 3 . 0 . 3—5 . 0 , 4810 0 . 466 0 . 191* 291, 191* 191, 292, 191, 191, 191, 5 -7 . m, 71 BE 469 ®. 7 -8 . 0 . 12-13. s. 21-2 3. a. 24-25* 0 , 3 . «U 15*26. a . 16—18. m* 19-22* a* 21—23* 8 . 23-85 . a* 2 5 . a* 2 5 -2 6 * m* 2 6 . m. 27 . m* 27-28 . a* 23-29. a* 29 . a* 29* »* 29-30* « . 30—31* 0 . • Mm191, 30-31 -3 5 4 - 416# 191* 51-32# m# 417# 191* 32-33# *# a s # 191* 33* m# a t # 191, 33-34* m# 420# 294# 12- 15* % n m 4S3 Of 471 ft# 421* 103* 8-43* ft# 422# 191, 16-17* «» 423# 191* 17-13* ft* 424* 191* 1 3 # Mm 425* 294# 22-23# % T im 459 ft* 426* 294# 24-26 . »# T im 460 ft* 427# 294* 27-29* m* VII® 46I e# 42S# 182# 4# ft# 429* 182* 8*10# m* 430* 182* 9-40# ft* 431# 182# 10—12. ft# 432# 295# 18-20# ft* t i m 433# 186* 5-8# ft# 434# 187* 30-31# ft* 435* 187* 31—32# ft# 436# 187# 32# ft# 427# 187* 32# ft# 438# 187* 32-133* 1# s&* 439* 188# 6-7# m* 440* 188# 7 . ft# 4 a * 188, 7 -8 . ft* 442# IBS# 11*12# 8# 443* 184# 2—3* ft# 444* 184# 3# ft# 445# !iN># 23—24# ft* 446# 195* 11# ft# 447* 208# 30# ft# 448# 209* 24# ft* 449# 210# 15# ft# 450* 242* 6 . ft# 451# 243# 2* ft# 452* 243* 30* ft* 453* 245* 12# ft# 454* 183* 4-5* ft* 455# 191# 15-3-6# ft# 456# 209* 30# ft* 457# 210* 7* «* V im 480 e* 458# 210# 8*9# ft# VIZ® 431 ft# 459# 294# 22-23. ft* VXm 425 *# 460* 294* 24# ft* 461# 294# 27# ft# 462* 295* 20* •« 463* 185, 26-27 . •* 464# 245# 13—14* ft# 465* 181, 22-23. •* 466* 187# 4# ft * -3 5 5 - 467. 192, 5. «. 468. 206, 18. «. 469. 187, 9-6. a. 470. 20e, 29. •. 471. 294, 12* i« 472. 191, 24-25. «• 473. 184, 14-47. h. 474. 242, 21-23. b. 475. 242, 33—243, 1. b. 476. 185, 30-32. fa. 477. 186, 27-29. h. 478. 187, 8. o. 479. 209, 29-30 e, VH» 456 •. 480. 210, 7. a, Vim 457 •. 481. 210. 8-U. «, V im 458 a. 481a. 186, 1748. ©. 482. 182, 7. o. 483. 294, 12. a, VI OB 471 a . 484. 307, 16. pr* Hoaxer. »aott. 1753. fan* Oott HMaanftigi, Hf. soil d«r n— m fc niefal • d w l t a i t ' OOTTFFelFD 486. 246, 3. •« Kimmmm 487. 223, 30-32. a. 488. 229, 14-46, a. V im 531 *. 439. 230, 12. n. 490. 236, 15-46. 8. 491. 238, 21-22. a . 492. 238, 32-34. % Vim 514 «. 493. 239, 16-17. a. 494* 2§9, 29-30. a. 495. 271, 6. a. 496. 291, 7*8. a. 497. 291, 13. a, Vim 539. a. 498. 291, 13-44. a. 499. 232, 17. e. 500. 264, 3-4. s. 501. 266, 10. a. 502. 268, 25-26. m. 503. 228, 6. «. 504. 229, 25-26. •• 505. 26$, 30* •• 506. 266, 2. a. 507. 267, 5* a. 508. 267, 34. a. 509. 236, 5. a . 510. 236, 5. a . 511. 237, 9. a . 512. 237, 17. a. *356- EDSAUE ERSTR IHID 2«B m TAME 513. 236, 1*2. e . 514. 236, 32* ft* 515. 230, 27. «i. 5X6* 234 | %6§ ft. 517. 228, 16-17. « . *£L3« 262 , U ). ft. 519. 263, 2 . « . 520. 264, 31-32. • . 521. 265, 9 . • . 522. 290, 18-19. •« 523. 269, 33-34. a . $24. 270, 26. ft. 525. 291, 12. « . 526. 239, 17. e . $27. 229, 17. ft. $28. 229, 20. # . $29. 224, 13. ft. 530. 226, 32. « . 531. 229, 15-16. ft, Vim 438 a . 532. 268, 10. e . 533. 268, 23. e . 534. 264, 2 . o« 53$. 290, 21-22. ft. 536. 290, 26. ft. 537. 290, 26-27. « . $38. 291, 13-12. n , VXOS 525 ft. $39. 291, 13. ft, VXtS 497 m. 540. 227, 14. ft. 541. 227, 14. ft. 542. 312, 9-10* o . $43. 229, 5 . ft. 544. 267, 33. o« 545. 287, 33-288, 2 . a . 546. 303, 23-24 . ft. 547. 303, 32-33. a , Vim 549 ft. 548. 303, 30. e . 549. 303, 32. ft, TUB 547 a . 550. 230, 31. o . 551. 301, 30-31. • • 552. 234. 5-6. h . 553. 286, 30. ft. 554. 299, 17. o . 555. 300, 11-12. ©. 556. 302, 6 . o . 557. 287, 32. ft. 558. 303, 28-30. e . Vim. 548 ft. 559. 311, 7-8 . o . 560. 261, 7 . a . 561. 261, 16-17. ft. -35’?- T?fORWCK FBFJBOB& GFOSIG 562. 311. 10* ft. 563. 311, 18-09 . «*. 56Lm 219, - 3-5 * £i« 565. 219, f t. 565*. 219,» 12-13 ft. 565b* 219, 13* a, 566* 219, 14-45 . ft, VI IS 596 h . 567* 23.9, 30* a, VI0E 597 It* 568. 220, 1* vs, VI t* 597 h* 569. 220, 2* m, n m 5 9 $ f t. 570* 220, 2- 3 . s . 571. 220, 3 . K. 572* 220, 3^4* f t. 573. 220, 4—7* f t. 574. 220, 15—16* m. 575. 220, 16-07 . n . 576. 220, 17-18* » . 577. 220, 27-29* ft. 578* 220, 29-30* ft. 579. 216, 15-16* » , VII* 598 b* 530* 216, 16—17* ft. 581. 217, 5-7* ft. 562* 217, 1* ft. 583* 217, 5 . ft. 584*.F—Aftftf^ 217, 14—15* ft. 585. 217, 2C W lt ft. 566. 218, 3-<* ft. 587. 219, 17 . ft. 588* 219, 3 0 . ft . 589. 219, 30 . ft. 590* 219, 30* ft. 591* 221, 5* ft. 592. 224, 21j—22* ft. 593. 226, 10* ft. 594* 216, lO-H* ft. 595* 220, 2* ft, VXIS 569 A* 596* 219, 14—1 5* h , n m 566 s . 597. 219, 30-220, 1 . b, VII® 567 » , 568 m* 598. 216, 15-17* h , VIIB5 579 a , $80 ft. 599* 219, 5—6* ft* 600. 220, 20-21* 0, 601* 221, 6-7* ft. 602. 223, 22 , i> . 603. 225, 10* ft. 605* 298, 30-299. 1 . A, 606* 299* 1-2* a, VIm 610 fe. -3 5 8 - EIT'ltR SCHAtratKMffl r>FS p e e i k r a f VOB STFlt m ism sirr m p rm c B 607. 217, 22-2 3, a . 60S, 218, 10. a. 609. 225, 21. a . 610. 298, 32-299, 2. h, VICE 60$ n, 606 a. 611. 220, 8-9. o. 612. 223| 1$. t, 613 . 226, 6 . a . 6U. 247, 9. a. 615. 247, 9-20. a. 616. 247, 10. a. 617. 247, 11. a. 618. 247, 11. a. 619. 247, 12. a. 620. 247, 13-24. a. 621. 247, 28. s. 622. 247, 28-29. a. 623. 247, 30. a, Tim 636 h. 624. 247, 30-31. a, VIE® 636 h. 625. 248, 9. a. 626. 248, 9-10. a. 627. 249, 11-22. a. 628. 249, 11-12. a. 629. 249, 12-24. a* 630. 272, 9-10. a. 631. 272, 9-10. a. 632. 247, 18. a . 633. 248, 3—4* a, 634. 249, 11. a. 635. 272, 8-9. a . 636. 247, 30-31. h, VH* 623 a, 624 a. 637. 247, 23. a. 608. 250, 1. «• 638a. 249, 21. d, VIE® 237 a. 639. 248, 5-6. a. 640. 248, 7-8. a. 641. 248, 13-24. a. 642. 249, 3-4. a, 643. 249, 3—4. a . 644. 249, 5-6. a. 645. 249, 6-8. a. 646. 249, 7-8. a. 647. 249, 8-9. a. 648. 249, 9-30. a. 649. 248, 5. a . 650. 248, 31-32. o. 651* 250, 6. o. •359- pmcim ms CBttF Off® tma&h kaks wm mmmmLm mm mcRTca DEE KAX5IE h e m zB isn m vm w n om 652. 272# 17#. ®#. 653. m* 12-13. *u 654. 181* 13*44* 8* 655. m* 13*45* *• 656. 182# 27-23* 8W 657. 207* 22-23. »* Tim 665 •« 658. 208* 24-25* «* 659. 195* 6-7. »* fllB 668 •* 660. 304, 11-12. 0 . 661. 183* 14. »* 662« 185* 12* ®* 663. 185* 23. e. 664# 191* 9-10* •* 665# 207, 22m ®* 466* 208, 24* «• 667* 210# 13* «• 668# 195* 7* t , VZ8B 659 «* 669# 296* 26. 0* 670* 197* 10. s. 671. 191* 12-43. «• 672* 187* 29 * o. 673* 192* 3-4. *. 674* 194* 18* 0* 675. 204* 15* 0* 676* 208* 1-2. •* 677. 292* 1042* »* film 634 «* 67a* 293* 6-8. m* VXSE 632 «• 679* 297* 16-43* »• 680. 297, 24* »* 681. 297* 30-32* a* 682. 293* 6* «* trim ( m m* 663. 297* 2 4 * 0 * 684* 292* 1042* 0* fim 677 m* 685* 292, 13* ®* 686* 297* 24-26. ®* VI IB 683 •* 687* 307* 13* ®* 688* 297* 3-4* ®* 689. 297* 23-24. ®* 690* 306* 18# 0* 692* 294* 9*40* « • 693* 311* 3-5. * • 694* 311, 4-5# * • 695* 311* 2-3* e* - 360- KOFHIERJWQB dee z w a w Komam KIB KACHtTAECHTKH JAKOB PBCH TOXA 696. 222, 2CM22. », Tim 699 *. 697. 222, 23-29. b . 698. 222, 23. B. 699. 22 A lrauaeatag , rSekf ic h nusjasitr ee feh lle© , A ls mar* c s e e ln Gebofe, (5 ) a ss ae in ea Lager sms* la d s te h * , am Kornmatag* ©era Teuteburger Wald* He asks F g inhard t f o r some s e c re t agents* ~563~ H ast da e ln B&uflein m e k rs r Leute (6 ) soh l* Hie man *u e ln e r l i s t gebrauehea kCnnte? T husnsltfa i s advised to p ro te c t h e r s e l f a g a in s t way p erso n a l a ttack * B elas &u! Hansel wind seder Hund nodi Dates krfihen* — (7) Henasm decides to nee ^ a lly #e body to in c ite th e tr ib e s t Der w ird in DeutocVitan. 3 tI « I I i i l l ! SIS !S f a ! ltllil 1 S i 3 «: 1a I He do es no t wa nt Fa st to ha ve the ho no r ©f ki lli ng ff cr ae t B o ll ic h , r m Sehaach dieti rein m oaschea, (57) Boat Hofa*, beta Jopiter, eatbehrea, Keefe im icfc dorch s s b lf dabre trwn gestrebt? # • * fa r the la r g est gro^p o f H«raann#e ain oty-oig lst ep ith etm la for his ili«« too of the® are mildly dsria&Tre* Er wfchnt £e such, do TSrifi, do, (50) td r dew I d a der Tab that Ventidios hat gaas reoht, rahrhaftlg, S sia Sebafehen, (59) fttr d ie Sctioraait, aioh so ktxrefu the other fart^whe epithets for Thuamelda are More directly in sp ired fcgr h ie love fo r hert ThuscberU (60) Thoaehenl (61) Geechaindi Id i b itte d ich i Ftirhek, aein Herts chenl (62) Liebst da ad chi Zortickel F ort, Herfcehen, (65) fo r t! Was gibfc*s, flfik Thuechen? (64) Wes erhitaet H i t s o t % rich l lb s 1 s t gesehata, aein Kind? (6 5 ) Was w o l l t 1 e r d ir , n eia H oad aat** (66) El, thoeehaa, (6?) aasl Eta Sehelm, aein H erschsa, (68) s i l l id t « d a , Wean ich d ie M&cht b e s lts * , es iba so sebrea* th s d s & l (6 9 ) Sl«b a ioh fnal sa l Non, Thnachen, (70) let* versichre dich**# ,*»Herschea»«* (70a) ~~Boeh, Thoschen, (71) s i l l s t do J eta t a lle in a i ^ la ©sent E l, Thoaehcal (72) Sleh* Mein S tera l (73) da, Kindi (74) -366- Kun, Ferscben, (73) sprieti, sis geht*a dir, msin Planet? (76) Abtf fhnseheal (77) Tbnseherii (78) Ma virst da ft«st«h&9 liefest* F m t (79) Hann dn skit einea teahlen Kopf slrst gehn? Ventidiua? fftal Ich steh* fttr rdehts ©in, stein Kind* (80) Xeh seiss nicht, Thuachen, (81) si* an bent dicfa crtellst* Ja, mein Thnschen, (82) la s 1st der Deutsche in der Himsr isgca? Ja* Thtaseheni (83) Hebete Fran, (84) snas soli leh mehan? Je n», mein Kind, (83) Man schlAgt lira wieder 9nans* Ja, Hehete Frau# (86) da bast dm rechtl Mtmf Thcsehen, (87) Icons*** mt Allen, Kind| (88) nicbt Finer bleibt an LebenJ ?en Ranpf, aein 7hndM| (89) tforigens, Bar Mer in Ort gikftq»ft wlrd eerden, H a st du snob n ic h t d a s M indeste sn fireh tea* * # — I%11 es sain Thuschan (90) let* Ber far 13m bittet, nag *r fliehrw.* — Sieh da, osia schemes Ttroscbenl (91) Bin Zttfall, aein Thuacben, (9®) hab9 lot schon geeagti Tfeuscheni (93) fhnseheni (94) B ent, wmn d ie Kaebt sihkt, Thaecben, (95) SchlAgt dir der Rache afltsse Ftande jal finsdml (96) Mela mcbtoam i»lb| (97) Lob9 wohl, Thtamelda, ©ein geliabtes iMLbl (98) A sto lf b a t deine Raehe tkbernooma* Mein Beltanes thnsehenl (99) Heldix* (100) grass9 ieh dichl There are only three epithets for the Gasmans inspired by Hermann9* derision and scorn beeans* of their disharmony* msl W«s| Me deutsehexa Urenl (101) Die SehsCtsir, diet (102) 1© has l i t t l e sympathy f i r Fuet*8 ta rd y repentance t Sai ’vejrwftoe oht, G efa lln e r Scfen dee T e a t, (109) s i t d e in e r H a s t But th e re a re mm& f la t te r in g e p ith e ts in sp ire d hy Hsrsann*a le w ©f h ie countrymen* E le r s e h i , ih r Freunds! (104) S e ts t eneh, ih r Freunds! (105) I h r Fntukd1! (106) Ich b ltt* eucii, kansert ©ash Bhse s m s TKaaJ^fc id^teBsaisriii1 wed jaBwOf BISI SeiJMf iOuiXtfiTv Iu(!SB»| ««*lhr Brtder*** (1OT) V eraeibtl — Ich aero1 mwsfa s e is e seek ers Fretxnde*** (108) Hein, FreiMBile# *# (109) SMi F reesd s, (110) sets* ie h dran»»* Wehrheftig, n icht d ie aindeate* Ih r Freunds# (111) M e h ta , aeii*© Freond1! (U S ) Xeh keen’ e ss a s la n a B elts* •» » lh r Br&ler*#* (113) S t i l l , F resnde, (114) e t l l l l f 'illk e sn a ii, se in e Freund©! (115) ftefi, F reeodel (116) I*aset use ih * Xhr eh e r k o n st, ih r ‘wackem SShse Tests**# (117) f i r s ta r oner* F nkel, s e in e Brttderi (110) Hsiwma pretends he is angry ©hen h is sold iers reftxse to attack Barked* Xhr w eigert, ih r Verx&ter, (119) s ir dsn BteaetT There Is ess ep ithet fo r fbralskeear inspired lay friendship* t e l Frfnmdi (120) An ep ith et for t® itgar is a lso inspired hy friendships -3 6 3 - •••Freund L u itgar* ,* (121) Ker»annfe to© e p ith e ts f o r Fglnh&rdt a re m otivated by affections t o hftp*| schiek« s i s dea F aroe, Freund*** (122) J ilc tits , H ebe t e r , (1 2 |) sense s d r d ie Baaon n ic h t! Me to e deep sympathy f o r ^uthaLd* B r i e h , Fc&bemrater, (124) amf *** There a re to o e p ith e ts o f frie n d sh ip fo r F gberii •••dm Btosrfelnd*** (123) Bisnaxid, neta Freund! (126) Heznarn** one e p ith e t f o r M n fried exp resses frien d sh ip * —-Bu, B ruder, (127) sp ric h f a r w ith , ie h b t t to dloh* The one e p ith e t f«p A sto lf I s m otivated ty frie n d sh ip s Dank, Freund, (128) f h r J e to t l Three e p ith e ts fo r Barhod a re in sp ire d by a f fe c tio n a te re sp e c ts Amf, ih r C herusker, am don to ffcm ! Booh i t a n ic h t, fcfarbod, raeine® Freund©*** (127) H e ll, Marbod, meiness edelm&t*gam Trmm&l (130) tod w nn G eraanlen metne S tto ee to r ts B e ll itiM B grossem O te i to r s mad KSctigi (131) Hermann*® on ly e p ith e t f o r a German In sp ire d by h a tre d l a fo r th e t r a i t o r A ristans •••dm to& eliger* ** (132) For th e Beans* Beraasn siam latea c lo s e s t frie n d sh ip u n t i l to i s able to reveal h is true feelings* fo r the Benins in gnsazal th e re i s one e p ith e t la s p iie d by h is stM fta tad frie n d sh ip and f e w In sp ire d by h a tred s -369- hmm steins gnben Fr&wMie (133) sind*0 #«« I eh *£11 d ie hOhnlecfa* Bamonenbrnt (134) o le h t lieb saS Bit schdadlfcben 77i«i9M)ikmehtt9»» (135) He speaks iro n ic a lly ©f an wrnmmd Hoasni Dm goto Hers I (136) Beam eh f doeh, seh* ic h ®in, ©rschwingt der Kg*!* d e r W elt Vor d le a e r Iq rd b ru i (137) fceine Hotae, Als Mji 4m kantasat gana sersttSert*#* He sim u la tes frie n d ly adm irati~ Ue±n bmstmr FOrst**# (267) He uses an a f fe c tio n a te e p i th e t fo r Ottofear* ¥ e re te h , Freund O tto k ari (268) Der Kdaig mainb —« ♦ # * Fginhardt** two oaths a re in sp ire d by hatred f o r the ikasmas# He stands b e f o r e B ally *o corpse i Ihr grosson# h e llig e n \m& «rw,gen GOtteri (269) l a t r i e s to warm Hermann of ferns* p o ssib le a r i l s tra teg y * B ela S iyx l (270) e r se n d e t, sw eifle n ich t# G leieh einen Haufen ab# in deine® Et&eksm# ¥ U13*1P ! II sllill 1 8 e ► £ t8«rt £ « U 2 $f»N |I £ I* % $ Ii v* <1 « 1 | 1111. 3 * * 4* 4 & S *3 35 - i$ 1 I I II© 5* ?Vi B *> % 9 1 $31 e ii •H ©U0)W>m 1 *"%&!* I ©$ i !S io 1 3 S iiIi 5 pl «r wi th V to ot id ltt s* -3 8 6 - tm wi r f s t dem W alftsch , s i# das Sprichw crt s a g t# Zvm S p ielan e lite Tonne v o r* .. (353) # * * ♦ < * GKRTftUD A ll o f G ertrud’s e ig h t e p ith e ts a re in sp ire d by human sympathy* She use* te e In txy ing to p reven t h e r beloved queen from carrying o a t a b a rb a ric revenge m V entidiua t Doehf meins g rcsse H errscherin* (354) f ile r se rf* io h a lc h sn F tesen d i r t Die Kaebe d er B arbaras s e i d ir fern* G eliebte KCniginTi (355) She la d isg u sted when th e a c t of revenge tak es place* Tm Furl® , g rfts s lic h e r, a ls Worte sagen — 1 (356) —Das Ifegshsu’r l (357) m e G rftssliche* (358) She 1© frig h te n e d by C hilde r ic h ’s approach w ith th e b ee r and la te r begs Mr, to save V entid ins: Da ziaht d e r A llsup ttak tliehe (359) s ie h school F rre tt* lh n # te s te r a l l e r M^nschenklnder *• • (360) She sees V entid ins approach the enclosed gardens Da sc h la ic h t der Ungl&cksel’g© (361) schcn h m n l e # » A ll o f G ertrud’s fe a r oaths a re likewise in sp ire d by sympathy fo r h e r f e l l 0w*feelaga* She endeavors to h e lp V en tld lu e, atom she tMnks unhappy,to arrange a rendesvoos with his supposed beloveds Bat and bescheor e r mleh* be! a l ie n Kindern Zeus’ * (362) Ih a in gehelm *u ffaeht Gehttr so sehaffen*** -3 8 7 - CM lderlcfe»s approach frig h te n s her* O ott in HlanslS (363) She looks fo r th e key to re le a se Ve&tidiias* Der Schltteeel* G ott das Elmmels, (364) s te e k t e r n ic h t? She sym pathises w ith Thosnalda when she re a lis e s what agony th is revenge has c o s t her* I h r &v*g«n Hiomsels&t&chtel (365) Da f a l l t s i s einnberaub t s i r in den A m i CKiia}EHICH Child©riehf8 metaphor and simile are motivated lay JmB of his hear* Wenn ich dabei bin* utttest Ihr wdsssn* 1st sis so saha, wie sine Jmnge Katse* (366) Sis wSrds Wit«% wen grissiger Art, each maehea# (367) fenn9® each gelfcsten sollte* sle sa mck*a9 « # * child©rieh9s one epithet is inspired by t a n sympathy* Ihr Rasemdenl (368) Was glbt*s? Was machtet ihr? Wen liesst ihr in den Swinger ein# eagt an? * * * iil® three oaths are also Inspired by human sympathy* Hein Seel9* (369) ich hoff9* solang die Bftrin dxizm, Wird niemand senders sich der Pforte nahn? Wan, bei den I lfen# (370) hfcrtf netsat ewefa in achtl V entldius* d er Legat? Ih r h a il* gen G e tte r4 (371) * # * **388** G fcilderteh uses one d ia le c t expressions —-Adh, so habt Eueh dochi (372) « « « • * HARBOD Although karbod has a l l ie d h im self sd th the Remans* e ig h t of h is te n metaphors a re m otivated by h a tred f o r the Romans* because they have played him fa ls e s llnd* im M orast des Teutoburger Walds* Die gsnae g ift* g e B rut der H ftlle (373) *a v e r ti lg e n . ~ Das Eachsefcwert 1 s t a chon Hher ih n g esd ek ti (374) Er g laubte* m tr d ie Grube an erdffhen* (375) Dnd sc lb a t* s d t s e in e r garden R otte* Zur neunten Il&Lle schm etternd a t d ra t e r n ie d e r, (376) Wo is t* sag* an* e d i t * ic h d ie F re ih e ltsa e h la c h t versuehen* Wach dee Axrainiua K rl«g^«ntrarf* Dsr Ort* an dem d ie W ttrfel f a l le n so llen ? (377) Dnd eelchen Tag* unfeh lbar und b e s tiw t* Hat e r aim F a ll d e r m trfe l (378) f e s tg e s te l l t? Zu Worten hfttt* ic h keizse Z e it gehabtt M it Taten mfird* ic h ihn d ie A nteort aeh re ib en i (377) D ie Horaen eerden e ln O eri cht* Des Schicksalo fB rch te rlich e G&ttlmem* Im Teutoburger Wald* dem Heer dee Varus haltexu** (380) On© m etaphor i s in sp ire d by re sp e c t fo r Hcnsannt End m ail d ie Krone sonst* su r Z e it d e r graoexi vater* Bel deinem Stamm refaalich ear* Auf deine S C o i ta l fa H e a le aur&ckl (381) He reads an o th er m etaphor from the l e t t e r from F u lv iu si *August jedoch* dass du ea e is s e s t* H at den Armin au f seine® S its ext&ht* Und d i r — d ie S tufen je ta o m eiat e r anl* (382) * * * -3 8 9 - There a re no e p ith e ts fo r th e Romaae, whom Marbod h a tes so in ten se ly * Three e p ith e ts fo r Henman a re m otivated by re sp e c t and adsd rati 0211 Auf j e t a t , dass ich den T refflicfaen (38%) beg rttsset B e il, m f 1 ic h , Hermann, d i r , dem B e tte r iron OerraanienS (J8&) H ier llbergeb* ic h , O berster d er D eutschsn, (385) Ben ic h in Waffen aufgefangan, A ris ta n , FU rsten d i r d e r U bieri He uses a ffe c tio n a te e p ith e ts fo r L u itg a r, A tta rin and h is v assa ls* —A ra in iu s, d er C & eruskerffert, L ftsst m ir durch jenen wackem Freund {386) d a r t addon* V&rue s e l ihm , au f S chats und Trufcs, verbunden* L ass, la s s ih n , FroundA (387) Auf, m lt d er ganaea Macht, ih r Freunds**« (388) ATTAEIH U nlike h is m aste r, Marbod, A tta rin d is t r u s ts h is .felXo*"Germana and p re fe rs to put h is t r u s t in th e Romans* Two m etaphors a re m oti­ v ated by th e form er theme and two by th e la t te r * He ad v ises !4arbod no t to t r u s t H ersam o r h is messengers* Mein F ftrs t, trau* diesem Fuchs, (339) ic h b i t t e d ic h , Dem Hermann, n ic h ti Lass d ie V errftte rb ru t (390) g le ieh In Verwahrsara b rin g en , Und ih n , d er s ic gebracht b e t , dasu t Be defends the Raman p o sitio n s S ta h lt ssan d ie B ru st, d ie man durchbchren w ill? (391) Dein Lager 1 s t von Kdmern v o l l , Der h e rr lle h s te n P a tr is ie r sohnen, Die h erg esan d t, d e in Heer d ie Balm dee S iege an fUhren* *• (392) • « « ?% e j? I 3f ia i 5 * i “ o I f 43 I %o I t ja3 *» * ’ lM I > ! II %** 4» gI Ia © i >1 ©© ^s; I 1 Is -? 15 « i i J f t £ T3 £ S s© > 1 4* Ig I I j ~ p i l lBJ s i « ^ o£ »• fa £ 5 a j £ 3 3 1 I I 1 | i? s -! j S i S I* • i" ? I .! | s l | 3 * I S .! « ? ! • * • -1 I S |i i I ! I * 1 1 M g !3 J Ja3g 1 1n Ife*4* t#g> w« u;i )! 'i l l V.* * S £ - 1 ; n * 3 1 H s * ll tw 3 h 31 S i l l © u Pe er of F us t1 ® fir © m eta ph or © are m ot iv at ed by hi s ha tre d of •391- t tom f o r having made him fo rg e t hi® German b ro th ers# He prepare® to k i l l V&vwt Dm ftech t, b a i Maim# weim do e® v erlan g st* M it B lu t echreib* ieh*s au f deine schfine S t i r a t (4G4) Vmx Schandfleck wasch* ic h ab in seinem i^Lute### (405) Auch noch im Tode 2apf * ic h das B lo t d ir ab . (406) das r e in mich wascht* (407) His f i f t h m etaphor i s in sp ire d by frie n d sh ip fo r H m m t Hermann, du b is t © ir bft®f mein Bruderheras, B e il io h den S iegskran* echelraiach d i r geraub t? (AOS) * *• * Four of Fust*s s i t ep ithets- art? m otivated by a ffe c tio n and • • .G b ttlic h e r .»• (409) Hermann! Hein B ruderherst (410) ^as hah* Id a d i r g e ta n t Has B lu t des bea ten Deutsche** (411) f U l l t in staub# Hermann* dtu b i s t m ir btte* mein B truderhera ... (412) Two e p ith e t* a re in sp ire d by hatred f o r Varus* S teh , HbHenhnndi (413) Bor M ordknocht*.. (414) # * * Two oaths a re in sp ire d by a f fe c tio n fo r Hermann* Ho has ac c i­ den tal Xy given h is hero a s u p e rf ic ia l wounds Bass m ir d ie Hand verdeerrtel (415) K ell* n f * such ic h , boim J u p ite r ! (416) A th ird oath i s m otivated by h a tred fo r Varus* Baa Becht* b e i Mans* (417) wenn da es v erlan g jst, Mit B lu t schrelb* ic h fe au f deine achbm S t im l e « # * # ~39a~ omztm G u eltarrs th ree metaphors a re m otivated by hatred fo r Varus* r te h , iSoXf vo®. T ifeerstrande, (413) f ile r a ind d ie J ig e r , (419) d ie d ich f a l le n woXleiu (420) « * * M s e p ith e t f o r th e Renans and th a t f o r th e Geanaa&s a re bo th in sp ire d by h a tred fo r th e Returns* S teh# Wolf vo® T lberstrande» • • (421) •• •d ie «fftger»«* (422) * # # Hi© one oath i s m otivated by coneen* fo r Hermann* B eia S tyx l (423) Er kaonls d e b t leugnen* B in t r b te t Itaa den A ral * * # « * MS VOgg Various members of th e populace use a to ta l o f tw elve e p ith e ts* Thm Chorus kaa guides sim ulate re sp e c t f o r Varus* Hach P fif f lk o n , mein hocshverehrter Herr» (424) J a , mein © rlauehter H err, (425) so iart*s* Doeh v i r s ln d sc h u ld lo s , mein v e re h rte r Herr* (426) Two e p ith e ts are in sp ire d by h a tre d fo r th e Romans t Brei*n d ieo er g a llo n apenln*schen ffunde, (427) Ale man d ie T at ih a m eldete , Hat e r das Hera g le ic h m lt dm. Reinsert durehbohrtl Triumph* Triumph! GmmmXmm Todfelnd (423) s t& ra tl th ree e p ith e ts a re in sp ire d by sympathy fo r Hally* Da kcxrjat d ie Ifnglttcksel*ge (429) ©chon h e raa l -393* } G des ©lenden, s ehaachbedeckten Wesens I (430) Dsr fcot&ewilftttgi* Aii B n » t und liaupt &©rtrtaaert©n G estalt# (431) The people use a sy sp a th s tla e p ith e t fo r TeuthoCLdt Bteh au f j u n s s l 'g e r A lter* (432) Ttiesr ©peak to mm ano th er as friends* Kola* Freund* (433) Vcm we? H ist* , Freund©* (434) feitt* le h l F a ss t deal ¥at©r v o rl There i s p rid e 'in th e i r vo ices when they th in k o f Hermann as an sneey cf the Romans* Hermann* dein E&eh@r (435) is t* s* d er v o r d i r s te h t e «• * Two oaths are in sp ire d fey h a tred fo r the Romans t Seim Himmell (436) Da e rsc h e in t d e r d r i t t e schcnl Kun* so lche Z tige llo sigkait* balm hbhon Hiamel* (437) In Freundes lend noch obenoln* Bard doch* seltdem d ie Welt s te h t* n ic h t © rlebt# One oath i s m otivated by sympathy fo r Bally* I h r Gutter* (43B) The two reaa in in y oaths are m otivated by minor themes# They bear about the man who had b-en repaid fo r th e lo s s o f M s house fey arson* aid they are to ld of the death of Ventidioa* Eel Oott* (439) der 1 st mm re ichea Mana geworderi#*# Bel © lien G5ttern* (440) welch ©In 7 o r fa l l l « • * # # # TUB GERMAN GUMMikUl AMD CAPTAIH8# The German a o f f i c e r s use two metaphors m otivated fey hatred o f th e i r enemy • On© of th e men t e l l s of a Honan*s unspeakable -394~ c ru e lty and another asks fo r d e ta ils o f the ^ q h s defeat* Des Kindes Fch&del, die Ky&n®, (441) raoead An seiner Mutter Sch&del @Ingeschlagezu L a ss hfcren, EcmaTj Und spar1 d ie losterftO.Iten lort® (442; niehtt * # * Three e p ith e ts are m otivated by re sp e c t and admiration fear • Hexiaanns H e? Mein erlauchter H err4 ( 443) Kein, mein Gebieter, (444) davcn weiss Ich nichts* Kell, Hermann 1 H ell dir, Ifkiig von Gem&itLenl (445) One e p ith e t i® in sp ire d by h atred fo r th e B.c*aan®* • ••die Byline* •• (446) a # « T heir one o ath Is in sp ire d by h a tred o f th e Romans* Mein Ftlrst, die tmgeheuren Dnordnungen, die sich dies R&aarhser erlaubt, Beam Hiiimseli (447) tlbersteigen alien Glauben* * a * a * TEUTKOCD Two of Teuthold's metaphors a re motivated by his feeling o f p erso n al honor, which lead s him to k i l l M s d isg raced daughter* Ich will si© f&hren, wo si# hingeh&rt. (448) Und tiber deinor Graft Schlag1 ©w*g© Vergessenhett srasaxtsnsnl (449) One metaphor is Inspired by hatred for Hone* Hermann, mein K&eher, sagt Ihr? Kam er Rom, Das Drachennest, (450) voa Ei-denrund vertilgen? » # « ►395- Two ep ith ets are motivated by lo re fo r Bally* B a lly , w&in T inalgee, (451) was widerfuhr d ir? B ally 4 loi® Sing* see I (452) Bab* ich*s recht gemacht? Otoe ep ith e t i s insp ired by friendsh ip for h is fell<»M 3*m sisii H en, m ± m 'Fret® do? (453) An ep ith et fo r Hemann demonstrates Teuthold*s hatred fo r the Romans? Hermann, mein Richert (454) sa g t ihr? « # # Ten thold*s one oath is motivated by h is love fo r HaLlyt Gett i® Hinaasll (455 ) * # # * * CHOSl DEE BAT'BEH The fiv e metaphors used by the bards are a l l inspired by th e ir love o f freedom md honor * Poch endlieh dr&ckt des Jocfces Schwere, (456 ) Bud ab geecM tteli irilX e s s e in i (457) Du e lr s t n ich t esnkea und n ich t meieben* Vm Amt, das du d ir tefthn erhdht Die Regung wird dich n icht h m chlei.ehen, (453) Die dein getreuas foUc verr& t| Du b is t so m ild , o $dhn der O biter, Der Irtthling feann n ich t m ilder aelm S ei schreck lich h eu t, e in S’chlossenw ettsr , (459) tfcid B lita e le e s d e ls A o tllts sp ein l (460 ) * # « Their one ep ith e t i s o f adoration for Hermann* * ••0 Shtsn der Gfttter.** (461) a a * *396- They nee on© hyperbole In praying th a t '%msann w ill bm ab le to defend th e ir freedom aid honort Sei schrecklicfa h eu t# ©in -ch lo se^ w e tte r, bud E ltts e la s s dein A n ilits sp e in l (462) * # * * ♦ DIE AUUktiHB th e so rce re ss xmm mm metaphor in te l l in g fa ro s where he 1 s t £ s e i S c h r i t t m Cirab1* (463 ) Q u in itliu s ? a m s . . * * * * * * VSMTIDItlS H alf o f fem tid io s9 s ix te e n metaphors and s im ile s a re in sp ire d by M s sim ulated lev© fo r Tbusneldai Bas f t t r e in S tr a h l d e r Peons (464 ) s tr« m t# Mir u n e rirS g llc h , a l le O leider lflhmandt lu rc h den errtshckten Bases Mm*.* Dishy dam gem* i d i a l io s t Das g&mm doftende Oefllas won S e lig k e ltsm , (465) lets ic h in madmen krmen a i t te ra d h a lt© ..* He d ec la res hi© love fo r h e r e te rn a l* B is d as Q ig a n te n -Ja h r d as P la te n ahgeroO Llt, (466 ) Bis d ie g ran b S rt, gs Z©it s in Kind gewer&em*** (467) Thtasneldal Kama w*d l£eehe dies© Glut* (463) B oll ic h , g le ic h ©imam jungen H irseh , (469} Das K&upt voram, a ic h in d ie F lu t n ic h t starsem f —■ 0 s e i willkatffineny Do rae in er «hmo s tts s e I r i s * (4 70 ) Die m ir Flysium ©rbffnen s e l l I — (471) th e r e s t o f V entid ios9 mat&phors and sim iles a re in sp ire d in v ario u s way© by M s a t t i tu d e toward th e Oermm* He simulates frie n d sh ip by warning than o f Marbod9# power and te l l in g t bm boar % m in ten d s to help tMm a g a in s t Marbodt -397* Marbed* d&a Kind dm G ISeta* d er r a r s t d e r Suevon i©t*a- t%r* von den Dlesengpbtrgeii niodistrroXlend* {412} StetB siegreich* wia s in B a ll ▼«» Sehnee* (473) e io h gross gseSlst# (474) Ho let dor ML1* (475) && solebea Stars (476) au nehren? #»# so steht or Be* %rbod schcn* am Bord dor ftsser* gegeabber* Und sahlt, vorn an der Pfeile 11m das Mstsll* (477) das er gesagt* Dir ale Trlbut, der Trots*ge, ahsufordsra# fie l ie s th a t th e Boaans in ten d to e s ta b lis h a Gersaan c^m rlordeM p o ro r t lw Q ^rm m t Der Grandest®* das v e rs lc h r1 ic h dioh* teht# ode sin FeXesn* (473) feel Senat imd Volk* One e iss ile i s in sp ire d by eeom fo r H tn w m 'e people* In ©ineni Bftnnllng let* dor m d e r Tiber gm m t# Mehr Dog sad Trug* muss ich dir sagen* Ale in dea ganaen ¥olk, dsa er gehbrt# • (479) • * # line of Ventlditse * thirteen epithets are th e result of Ms sismlated love for Thnsneldat Be kaant Thuamlden, Herasnns Gattla* Kssat der erhabenen Cheraskerfttretin (4&0) m i Het G&ttllehe* (431) da sillst ~ t frrgife* e rlim c h te Frau* (432) d s» Freund* d es H anses* Fern er dm Fuss* unaagerufen* in deine gdttergleiche KShe setsb# 1Httr*S d ie ******lib# Y#b Tmp&iadosg nur dee Banks* vorehrte Fran### (433) •#•V©rg6ttert©•# # (434) 01b eine Locke* Abgott melaer Soelen* (435) Von dieses Hanpthaar sir### Die kaimt du adr* gsliebtes Seib* (436) nicht eelgem* &enn do nicht grass** midi 'rerhShnen s ills t# Do sselasr Juno sSss* Iris### (4B7) -3 9 3 - Thusneldeni Wic du mich entzttckstl Mir vSr* d ie Gottlieb® (4133) so »ah#? One ep ith et fo r Hermann i s motivated by sim ulated respect* Ja, mein erlauchter Herr* (439) Tib© ep ith ets fo r H&rbod are likew ise motivated by sim ulated friendship for Hermann, as explained above (VIIE 472-477) * Marbod, das Kind des Glucks, (490) der Fftrst der Suswem ist*s»«« • ••der Trots fge •** (491) An ep ith et fo r the Romans i s inspired by pride t Die E6oer warden MtShe ha ben, Die weltbesiegenden, (492) v ie raehr, o Herr, denn dn*»* » # # Ventidius uses s ix hyperboles, a l l o f them inspired by h is sim ulated love fo r Thusnelda* Ihr P fe il , auf mehr doim hundert Schribtc, Warf s i t der Maefat des Donnerkeila ihn nieder*** (493) Vergib, ©rlauchte Iran , dem Freund* des Hanses, leim er den Fuss, tatangerufen. In deine gb tterg leich e Bah© se ts t* (494) Had. s& sst9 ich so , in Anbetung g estreck t, 7m deinen Fbssen flehend lie g s n . Bis das Giganten-Jahr des Platon abge r e l i t , B is d ie gm ubftrtige Kelt e in Kind geworden, Tfnd der verH ehten Schafer Paar© wleder An Milch— und Honigstrbiaen s& rtlieh wandelnt Von d ie se s P la ts ©ntwsichen word9 ich n ic h t, Bis jener Wunsch, den se in e S ed a Genagt hat d ir %u nennen, a ir e r fttllt* (495 ) He t e l l s Thusnelda he has a lock o f her hairt —Has ich mt das Gold der A fem , Me Seide P ersians, d ie Perlen von Korinth, Bm a l le s , was d ie Rtfcaerwaffen «Je in dem Krais der Welt ©rbeuteten, n ich t lass©* (496) -399- Hichts* nichts* a le d iese Locket Loch e e lb st der Tod n ich t t,react s&ch isehr voan ihr* (497) Dor Satnm iden Wann* F rse tst s ir solche Augenblicke n ich ti (498) * # * Qm ©f I'Cntidlus1 oaths Is motivated by sim ulated friendship fo r Henuarm, who has ju st pledged h is a lleg ian ce to tb s Ramans $ Hun* bed dsn tfranidm l (499) Bteser Tag* Er 1s t der sehCnst# meines Lebenst HI# other three oath# are inspired by Ventldiu#1 fea r Ter hi# l i f e in the park* Zens* du* der Gbtter end dor Measchen Vateri ( 500) Was f w e ln Hlll«a-Ungesttte erbndc* ich? Zees* da* der GOtter and der &enschen Waterl ( 501) Si# bftsatt sieb smf, m 1 st vm mlch p s e N s i i Zens* da dor Gbtter and der Menschen Water* (508) Si« sc h ltg t d ie Klatm in m»ine welch# B rustl # # * Veatidiu# uses erne d ia le c t words Ho kreusend durch d ie Forat (503) d ie ^ildbahn brieht# Th© f ir s t three o f farus* metaphor# are ssoti'emted by h i# sim ulated respect and a ffe c tio n for Enrmanru He t e l l s Septim i’os in Kemum*# presence that the Roam so ld ie r who strode the f ir s t blew against the sacred oak ha# been eondsnmd to deaths Pod das Geset# v e r u r te ilt ihn des Kriogs* Das kein Gesncb entwaffnen kam* (504) n ich t ich* He presents a g i f t o f jew els from Augustus to Hmsmelda* Bin k lein es Rftetseug* schreib t e r , Cupidoe* (505) .A ugaet, e rla u c h te F rau , b e m ffn e t dein© SchO nheit, (506) Eaait dm Hermanns grosses H©rs F te ts in dor F reuadsebaft Baaden ih n © rhaltest* But th e re a re seven m etaphors and sim ile© in sp ire d fcgr h a tred fo r Hermann mad th e German# a f te r H®ma#js*, s aH innee w ith Marfood i s d iscovered ! lfr*d w lrf d ie dentsehe Hdlfsehar g le ic h , P ie meimm Zug* h lerin r g a fc lg t , zxmasmmt Znr H&LIe, (507) m it le id lo s ... lmz<& sehn, wle er # ich fassen w ird, t'enn ic h , d ie % ff«n in der %ndt G leich eine® Kber, (506) jetsst h ineln mich st& rasi Ba nahi der Derwlseh (509} a ir , Armln, der F srst der {510} I oh warf, .von Saha® a r f tllib , d o rt in den S c h llf des M oors, Mich in des eignen Schwertes Spits© ©chon; Boch mein© Ribb®, lisa verbusden , (511) B esch ira te mleh«*« Korn her, dtt dort im F e ll dm s© tt1 gem USmm, Bnd 3a s s mich sehn, oh dm Hemkles M stl (512) lard ©olche Schaach i® h eltk reis j© erleb t? Ala w&r* ich e ln g e fle c k te r Hiiwch, Der, a l t Bwfclf Baden, dnreh d ie Forsters b r ich tl ~ 513) Five m etaphors and sim ile s a re in sp ire d by Varus* bew ilderm ent a t Um defeat o f h is aim iest Pa sin k t d ie gross© ^eltherrschaft m Um Vor e in m tlld e n T its smfta&en, wnd kceiai, d ie Wahrhoit aw g m teb n , H r wle ©la dvmmr S tra it der Knaben wort (514) Um, (515) wenn, gebl& ht vest G ltck , (516) da sa lt drei m r te la doeh Hicht ne&n&eha Aagen werfen w o llte s t l (517) H e Z elt noda kehrt s ic h , w le ©in Hands chub, (513) um#** tbe sorceress pats fear in to Verna1 heartland e ig h t lastftphcrs and © ladles are in sp ire d by th is fear* Varus 1© unable to grasp -4 0 1 - th e s ig n ific a n c e o f th e d ire prophecy o f th e so rce re ss and w ishes h er to speak more c lea rly * Sind deine £©rt© so gepr& gt, (519) Dass du , wie ftiKeken Golden, (520) s ic b erechnest? —Du s in g s t j a , wie e in Eabei (521) Die h a t doe Lebens F itt ig (522) is ir H it ih re r Zunge scharfcm S tah l (523) gelahwfcl (524) H ier war e in Eabe, (525) d er mi p ro p h e se it, ttod se in e h e isre ftiisrae sprach* das Grab I (526) * * * Three o f F aroe1 e p ith e ts a re in sp ire d by sim ulated frie n d sh ip fo r Hermann* h e in , Freund krmln§ (527) beiia J u p ite r , m g i l t I B ist du aufrieden, Freund? (528) —’fte isst du noch sen e t was ansufcerken, Freimd? (529) However, fiv e o f h is ep ith ets are m otivated by h atred fa r %m&nn a f te r th e la tter* s v ic to ry i A rm initts, d e r F e rrS te r, (530) w atm t, Miefa durch den A nblick der G efahr zu schrecken*** Da s in k t d ie gross© elth errsch & f t von Rem For e in es HI B en (531) t i t s susanmen*** Da nah t d er Berw lseh (532) a& r, Armin, d e r F ttn rt der Grew*** (523) Du sebnbder, p fau en sto lsc r Schelm**. (534) Four o f F aros1 e p ith e ts a re in sp ire d by hatred, fo r th e o th e r G-naans* if© r a ils a t h is Cheroskan guides* Bibs w e lsst du ni c h t, verw ftnschter G a lg en strick , (535) Vm b is t ©in Bote? So hftngt der fc h u fte (536) ©inen a u f, Vnd gerfet don beiden andem d ie Rttckenl Even Aristaa* the RoB&nophil©* i s not respected by Varust Und du* Verrater* (537) fo lg s t ctorn Aufruf n icht? Ho uses on ep ith e t fo r o i l tIso Ctenumst Mo gansa Neuter brut#** ( 538) Varus* f ir s t ep ith et for the sorceress i s m otivated by respect* but a fte r hearing her prophecy* two ep ith e ts are insp ired by the opposite emotions Stammftttsrehsn Cheruakas* (539) sag1 a ir ass* Bo ksm* loh hart Saht ih r e® auch* das sinirrerrOckte Welb? (540) Hier ear e in Babe* (541) der mir prophezeit**. Be sim ulates respect fo r the Oennanle god* Vodans Deem Wodan 1st* dass thr*s nor w icst* ih r Hamer* Der Zeus der Deutschen* Herr dee B litzes* (542) D iesselta der Alpen* so 1 L0 Jen seits der*** He uses an ep ith et showing respect fo r Augustas« Von August* meinea hdhen Berra*•• ( 543) He sim ulates friendship and admiration for Thusneldai Him* scfebtie Frau, (544) so b itt* ich — Fur© Band! August* erlauehte Frau* (544a) hewaffhet deixie Sohttafeeit#** An ep ith et fo r h im self i s motivated by h is confusion Just before itexmaaan1® attack* Du sieh st* d ie %cht hat a ieh Verirrten (545) hberfalleti#** * * * One of Varus1 seven oaths is in sp ired by S im la ted friendsh ip fo r Hermanns Hun* Freund Aralnj beim Jupiter* (546) es g i l t ! The remaining s ix oaths are a l l insp ired by hatred fo r the Germans s CO &»A I I I *A I iIIi n f s 1 5 1 O■H 3 I ?am us es on e di al ec t ex pr es si on * #* *d tjr ch die Fo re te iw ** (5 54 ) aa»os p*» parqirq jfq peqBApqom aa© 9*ioqdeq«B » —404-** He speaks fa ls e ly o f th e f’csaans a s frie n d s o f th e Germans and mdth pride th in k s o f th e Homans as i ft® favored o f the gods* So le t es imhr? krmLt&m sp ie lte fa lsch ? V errlet d ie Freund©* {560} d ie ihn sch atsen seOtXte&f Die G etter warden Hue Sdhne (563.) schtStseal ffee ep ith et sim ulates resp ect fo r Thusnald&i Das 1 st aim Erlegspaniar* erhabne Frami (562) SCAEFXO i l l four o f SeSpio’s swtaphois are insp ired by praise o f fhnsnelda*® courage In face of the aurochs* Probably M e praise i s sin cere t Dir ward e in Hears iron par*schem Maxmel* (56?) FSrstizii Dee todies Naeht schlug tiber mi eh s s e s s R U it (564) £©rgf aberflog* ® lt keiner Woils©* (565) Den h e item H ijnsi deines Angeeichtsl (566) • * # E ls one oath i s in sp ire d by th e same th o se s Bel a lie n Hclden des Hosiers t (567) ERSTFK, ZmiTFR XMB DEI Tim FEUXQSR S ix o f the metaphors and sim iles used by the Homan officer® are siDtiTated by th e ir amassment a t the te r r ib le weathers Das® durch den Mantel doch* den stiuTmsei'rissnen, Der Hftcht* (568) der m d ie Kfcpf * una httagt* (569) Fin €sins*ge© Sterab ild sehiascemd n iederb linktoi Wenn auf j t hundert r'ch ritt« n ich t Fin B lits s tr a h l sischend vor mm n ied erk eilte* Wir warden* wle d ie Ful* am tags* (570) Baupt nnd Gsbeim urns iaa Gebfcsch serschaHenl **4®$•* tdr ki&mmn kcinan c h r itt fortan# In dtesem ^qrtigrtmd, (571) 'm ite r r&cken* T s 1 st so &£h v ie 7ogellelsa geworden* Daa Heer sehleppt h&lb Ghoruska an dsn Betnexi, (572) Vnd wird nooh, wlo e ln bunt«r %®cht# (573) £ u la ts t , © it Haot vsmI H&sr, drsn kleben b leib ea . Four metaphors and sim ile s are motivated tor scorn o f the German languages P fiffik c ti! Iphikonl Has d as, belm Ju piter! FSr e lm Spraeh© le t ! Ala schlttg* e ln Steeken An s imem. a lie n , re^tserfressnoa Halal (574) f in GrsmLaysteia von Wortan, (575) n ich t geach ickt, 2 w i s o ld ii Ding*, a le fag mid % cht, (576) Dureh einen tlgneii U m t m uiite rscheldeo. Ich glaub*, e ln tim ber «ar*a# der das GeheuL (577) erfund**. Bad an dem Mtulern sehen a le s la b 's ab* # # ■# th e second general speaks to a Rcssan w ith friendsh ip t Das 1 st e in Irrfcua, Freund! (578) • # * One oath i s in sp ired by scorn for the German Imxguaget P fiff ik c a i IjM k a ii Tias d as, bdm J'^&.terl (57?) F h r sin e Sprache 1 st! Tim three remaining ep ith ets a re motivated by foreboding o f d isa ster t $m 9 beim Jupiter! (580) G elt s i r den T eotd w rp r a id durchatebn, Der erete Mensch, der n e n B lick begegnetl Bel® Ju p iter , dam Gott der F»eltl (581) Balm O stasi (582) Fine Hama! H alt91 s i s f e s t ! * * * * * m m ®s Crmmxm ©isaalates r@©jp©ct fear fhusnelda vdth an ©pithed* Varus9 Liktoren* kbnigliche Frau* (583) Die des Gesetaes b e ll9ges R icbtbeH trsgen* # # # * # DFR H€®MBR Cm of the Romans uses an oath to v e r ify the truth o f h is new® about % rl»d,a d efection ! i>l© Kunde? l& si Bel® Zeus* (584) M tr von rair se lb a tl * # * * # ARXSZAM uriatan la the only German to rem ain lo y a l to the Hcsaans u n til a fte r th e ir defeat* three o f hie metaphors are in sp ired by h is lo y a lty to the Romans* Den X'eutoburger M id umring«n ele* K it deinem ganaen Ueere dieh In der Mortste Tiefen an erstick en i (585) fed droht* jadwedes Haxgpt* das er in ?iaffe» Ersehatien w ird, d ie Sadie Im e varfechtend* Mlt einesi B e il# von forapf hcrab* ana Knee (586) Auf der Germania h©il*gen Grund an not*gen* He swear® be has never thought o f deserting h is Resaan frien d s t Sens* Donnerkell S o il mXcb h ier g le lch ssnr Frde sc h se ttem , Venn der Gedank9 aueh rrar mein Hsra b esch lich i (587) A m taphor and sl& lle are inspired by hatred o f h is feUdHe** Germanst Stand* ein er Glueke glelch * (588) d ie Rotte der HebeLlM* fed brtttete* d ie Sfcffsn plusterad* (589) Gott ee les* welch eine In tat aus*** a # * ••407— Three ©f Artstan*a ep ith ets er© motivated by hatred for Hermann and th e G ormans t Er sp rich t von Ereih©it# Vaterland* mud Hadbe, tu f t mm — ich b l t te d ic h l d er g i f t fgo M&utar* (590) auf*#* la s si© dasu gesagt? Die gleiBsrnerlschen GaunerS {59CL) Si© fa lle n all© von d ir abl ♦ ..d ie Rott© der H eb ellea* .. (592) To© la te Aristan r e a lise s h ie 1 ove fo r h is felloiadjerHnHit E6rt ndcfe* ih r Brtlder —4 (593) * * * A ll three o f Aristan*® oaths are motivated by lo y a lty to the Remans as he g ives them news o f th e Germans* In su rre c tio n i flier lie® den Brief* bei a lie n RtSoiergOttern* (594) Den er rait P fe ilen eben je tg t H ess in d ie Fen*r der Deatschan sohiesaett, Die deinem Heeressug hierher g e fd g t l taad b rtitete , d ie Vfcfifaa plnsternd* Gott meiea* {595} tmlch eine Bntat a m ♦*» &®im* Domerkail Soil mleh h ier g le ich «nr Erd© scbssettern* (596) Itan der Gedahk* auch nur mein Hera b esch lieh i # ♦ * Aristan vmm on© d ia le c t word* •♦ •d ie Bfcffen plosterad*** (597) # * * « « KXRIttlQI 1* 332-33. a , VIDE 163 o* 2* 334* s* 3* 334*35* »• 4* m .0-12. m* V im 121 •* 5* fiSWQU s* 6* 945*46* a* 7* 1105-6. m* Vim 196 par. ~406— 8* 16X6-17. n , VIDE 158 h . 9* 1618—1 9 . » # VI OR 159 h# 1 0 , 1620. m, Vim 160 b* IX . 1619-20. m. 1 2 . 1681-82. n . 1 3 . 1682-83. 8* 14* 1698-99. sa. 15* 1723. « , VI IB 134 8* 1 6 . 1816-17. a , VID8 95 •* 1 7 . 2175—76. a . IB . 2190-92. a , VIOE 151 a . 19* 2202-4* »* 2 0 . 2632-33* a , VII* 137 e . 21 . 2634-38. a . 22 . 518-19. % ¥X.m 178 o . 2 3 . 523. su 24* 683. a* 25* 2 6 . 684. a , VXXE 70a. 8 . 9 % . ®* T im 75 ** 76 « . 2 7 . 977. a . 2 8 . 998-99. n$ m m 185 o . 29 . 1000. 8 . 3 0 . 1008. 8 . 31 . 1081. 8 . 32* 1033-34. % TIDE 59 «*• 33* 1034. a . 34* 253-54. ®* 35 . 342*46* a . 3 6 . 350-52. m. 3 7 . 442—4 4 . s . 38 . 1509-10. a* 3 9 . 15H —14* a . 4 0 . 1515—1 7 . 9 . 41* 228—31* ®* 42* 316. « . 4 3 . 317. a . 44 . 318. 8 . 45* 319. a . 4 6 . 319-20. a* 4 7 . 320. a . 4 8 . 321* a . 4 9 . 4X4-15. 8 . 50. 4 L6 . El. 51 . 1$S6. m. 52. X6O8-X0 . Ti m 124 0 . 53. 1624* 8 . 54. 1656. 8 . 55. 1657-58. 8 . 56. 1659. «*. 57 . 2503-5* a . 58. 520-21. 0. —409— 59* 1033-34* «•# VIDE 32 m9 6 0 . 504* 0* 61. 507* o . 62 . 508. 0 . 63 . 522. 0 . 64* 609* #• 65* 611. 0 . 66 . 619. 0* 6 7 . 639. • • 68 . 645-46. 0 . VIBE 193 ©. 69* 664. 0. 7 0 . 678. 0 . 70*. 684* 0. VIDE 25 ®* 71* 694. e . 72 . 956. 0* 7?* 956 . 0 . 74 . 964 . e . 75 . 967* 0 . 76 . 967. t 9 VIDE 26 a. 77 . 995 . 0. *73$/ o . 995. e . 79. 996*97 . 0 . SO . 1036. 0. 8 1 . 1058. 0. 82 . 1069-70. 0. S 3. 1083* 0. 64* 1083* 0. 8 5 . 1092. 0. 8 6 . 1105. 0 . 8 7 . 1667. 0. 88 . 1688. 0. 8 9 . 1689-91* 0. 9 0 . 1733-34. 0 . 91* m . 0. 9 2 . 1782. e . 9 3 . 1815. 0* 9 4 . 1815* # . 9 5 . 1816*17. 0 p v ir s 16 SB. 96. X82Q» 0 . 9 7 . 1820* 0 . 9 8 . 1860- 61* 0 . 9 9 . 2543. 0* 1 0 0 . 2543. © • m . 938 . 0. 102 . 1 4 9 6 . 0 . 103. 2501-2 . 0 . v i m 75 0 . 104. 77 . 0* 105. 137. ©. 106. 226-27. 0 . 107 . 232 . 0 . 108. 258. 0. 1 0 9 . 2 9 7 . e . 110. 330. a. 1 1 1 . 3 3 9 -4 0 . a * 112. 1582. a. 1 1 3 . 2 1 6 3 . a . 1 1 4 . 2 1 7 5 . a . 1 1 5 . 2 5 4 2 . a. 1 1 6 . 2 5 6 8 . a . 1 1 7 . 2024 . a. 1 1 8 . 2 6 3 1 . « . 1 1 9 . 2 1 4 6 . a . 1 2 0 . 2 0 3 . a . 1 2 1 . 3 1 1 . a . 1 2 2 . 9 4 9 . a. 1 2 3 . 15O8 . a . 1 2 4 . 1 6 0 8 . e , VIDE 52 a . 1 2 5 . 2 1 5 3 . a. 1 2 6 . 2 2 7 3 . a . 1 2 7 . 2 2 4 6 . a . 1 2 8 . 2 5 6 0 . a . 1 2 9 . 2 1 6 7 -6 8 . a . 1 3 0 . 2 5 6 9 . a . 1 3 1 . 2 5 7 0 -7 1 . a . 1 3 2 . 2 6 0 1 . a . 1 3 3 . 8 8 7 . a . 1 3 4 . 1 7 2 3 . • » VIDE 1 5 a . 1 3 3 . 1 7 4 9 . a . 1 3 6 . 2 1 8 6 . a . 1 3 7 . 2 6 3 2 -3 4 . a , VI IE 2 0 a . 1 3 8 . 1 1 5 . a . 139 . 1 1 6 . a . 1 4 0 . 41 1 , a . 1 4 1 . 9 6 8 . a . 1 4 2 . 1 1 1 1 -1 2 . a . 1 4 3 . 21 6 9 * a . 1 4 4 . 2 4 8 2 . a. 1 4 5 . 1 1 1 3 -1 5 . a . 1 4 6 . 1 1 1 6 . a . 1 4 7 . 2 2 1 6 -1 7 . a» VI1SJ 1 7 3 o . 1 4 8 . 3 4 2 - 4 3 . a . 149. 784-86. a . 1 5 0 . 9 6 5 - 6 6 . a . 1 5 1 . 2 1 9 0 -9 2 . 0 * VIDE 1 8 a . 1 5 2 . 3 5 0 - 5 1 . a . 1 5 3 . 4 3 7 . a . 1 5 4 . 2 2 3 1 -3 2 . a . 1 5 5 . 2 2 7 . a . 1 5 6 . 9 3 3 - 3 4 . a. 1 5 7 . 1 5 0 6 -1 1 . h, Vim 3 8 a . 1 5 8 . 1 6 1 6 - 1 7 . h, VIDE 8 a. -411- MOW 159. 1618-0.9. h # vm 9 si. 160* 1619-20* h , VIT® 10 m. 161* 284* o# 162* 326* o* 163* 332-33* o# n m 1 m* 164* 981. o . 165* 981—82* o . 166* 1215-16* ©. 167* 1473* o* 168* 1482-84* o . 169* 1522* e* 170* 1718. o* 171* 2149-51* o* 172* 2208-9. .^ 173* 2216-17. ©*V1BE 147. e . 174* 2269* 0* 175. 2501-2* 0, VIDE 103 «•176* 2503-5. ©. 177* 514. o* 178 . 518-19* ©, VI IB 22 a . 179* 639-41. 0.ISO* 648 . 0. 181* 664—6 5 * 0* 182* I04I. 0* 183. 1089* 0 . 184* 679-80* 0 . 185. 998-1000. 0, VIDB 26 . a. 186* 1004* o# 187. 1018* 0* 188* 1053. 0# 189* 121. ©* 190* 226«57« 0* 191. 252-53. 0. 192* 643 . 193. 644-47. O. VIOB 68* *« 194. 987-88* o* 195. 2276. ©*196* 1105-6* p r i Zander* "X rflhen. *6 Boa kreit rdch nmn& or Bin na.* VICE Tta. 198# 2* a . 199. 2* a . 200* 3 . 8 . 201* 3 -4 . a . 202* 5—7* a . 203. 145-46* a* 204* 147-49. a . 205. 2548-51* a* 206* 2552-53. a . 207* 72* ra# 208. 7 2 . m. —4X2— 209* 72-73* m* 210* 73* a* 211* 73—74* *# 212. 14—16* si# 213* 322*25* m* 395* a . 215. 395* a* 216# 395-96* a# 2X7# 371* ®* 2X8* 371* ®* 219* 371* t* 220* 372—73* ©* 221* 2540* 91* 222* 2541* ®* 223* 255* ©* 224* 17* «* 225* 302* of flXS 228 a* 226* 72-73* €# VIDE 207 m, 208 m, 209 227* 11—13* a# 228. 302* d# V im 4171* VH3K 225 a* 229* 28* a* 230. 151-53* a* 231* 2Q3—4* ®* 233* 161*63* a* 234. 198-200* m# V im 241 *>. 235. 173-75. a# VIBE 249 a* 236* 215* a# 237* 220-21* e# 238* 272-73* «* 239* 336* e* 240 . 376—77* e* 241* 198* a* 242* 22* a* 243* 37* #* 244* 38* «* 245* 68# a* 246# 186-87* a* 247* 2 d —2* s . 248* 30* a* 249* 173* a# 250* X64—66# a* 251* 196-97* 0 * 253* 363* 0 * 254* 364* a* 255* 44^*47# a* 256* 40# a* 257* 239-40* €>• 25a* 361* O* —4X3— SFtCAR 259* 64-65 . fe* 260# 361-62. • • rxaw&Bift 261* 1518* »* 262# 947* « • 263# 839. 264# 944. • • 265# 1520* e* 266# 1842. e# 267# 1476* e* 268# 939 . « . 269# 1592. 0 * 290# 1848-50. 0 * LUITOAI: 291# 794. **. 272# 795. a . 273# 821* tt* 274. 709. •* 275. 731. • . 276# 779. e . 277. 834 . • . 278* 1449* •* 279 . 1455. *♦ 280* 726* •* ASTCLF m * 2435-37. a* 2 8 U , 2432# a* 262* 2426-28* 3* 283* I 84I# A. 284. 2430- 32* 0, TIDE 281a a* WIKFRJEP 285 . 2252-55. » • 286* 2145. 0 . EQBJBT 287* 2127-28* » • 288* 2129-31* m* 289. 2X3%40. a* 71DB 292 e* 290* 2279-81* a . 291# 2U 3# c . 292* 2139-40. e # n m 289 a* 293. 2134* 294. 2171. o* DIE im STEH 295. 133. »• fHUSSEU* 296* 614-15. a , VIDE 353 p r . 297* 616—18* a* 298. 654*55. a . 299. 1206* a* 300. 1207-8* a * 301.* 1208* »* —/j*j 4*** 302. 2321—22 . Mm 303* 1079-00. *♦ 304. 128W S . m. 30f>* XB00**2 • 84 306. 1795# » • 307. 1795. s» 308. 2300# s . 309. 2301-2. * . 310. 2302. » . 311. 117-18* e . 312 . 1024-25# « . 333* 1668-69. e , VIX® 351 o . 314* 1687. ©. 315. 1726-27* «• 316. 1744. e . 317. 1744* 8# 318. 1780. # . 319. 2542. 0 . 320. 962. «. 321. 1020. e . 322. 1068. e. 323. 1093# ®* 324. 1700. t . 325. 1709. *• 326. 1709. •* 327. 75 . e . 328. 76. 329. 634-35. 330. 1754—57. 0 * 331. 1808. VXIE 340 o . 332. 2372. 9 . 333§ 2406-8. •» 334. 2409. « . 235. 2410—11. 4# 336. 696—9 7 . 9m 337. 2371. e , VIBE 343 o . 338. 515* <*• 339. 515—1 6 . o . 340. 1808. a* VTt® 331 o . 341. 1813* o . 342. 2367. o . 343. 2371. Q, VICE 337 •» 344. 1054. ®* 345« 1054. ®* 346 . 1055. o* 347. 1076* 348* 1042. ®# 349* 979-SO. o . 350. 1067. o . 351. 1668-69. o# n m 313 •* 352. 1804-5. o . -as- 3 5 3 . 6 1 4 * ~ 1 5 prt r e n d e r * tt£&lfi£ch* * 6 * D csq I J a X f ls c h d ie rothe Tonne hinworren* (demand einen Gmgrnmtmd der Bftsch&ftlgung b ie ten , m se in e A iifm«T«krefnnW»4 t mid Kr&ffe VOO ftb&Ul&nksnu dnrch deren A ngrlff er gefftfarlloh warden kam *)11 VICE 296 b. GF'FTKUD 354. 2315*317* ft. 355. 2367. e* 356. 2390* « . 357. 2417. f* 358. 2424. « . 357. 2324. ft. 360, 2403. «• 361. 2353. ft. 362. 2294-95. 0 . 363. 2323* 0* 364> 2415. ft. 365* 2426-27* 0. CHIIBEFJCR 366* 2328-29* 8 . 367* 2344-45. m» 363* 2400—1 . ft. 369. 2334*35. o . 370. 2341. f t. 371. 2405. ft. 372* 2327. d t Schssldfe, He 2327, H otet «S lch poh^i jafirk isch t s ic h andtftU dn, aiereti** u m im 373* 1331-32* bu 374. 1445. ®. 375* 1446 . B* 376* 1447-48. a . 377* I 45O-52* a . 378 . 1454-55. a . 379# 1463- 64 . * • 380. 1468-70. a . 381 . 2582-84* m* 382. 1436-38. a . 383. 2463 . « . 384. 2578* f t. 385. 2596* e . 386* 1320-22* e* 387. 1443 . ft. 388. I 47I* ft. to m a n 389. 1337-38. m» VXtfi 393 ft. 390* 1359-60* a , VIDE 394. •* 391. 1405. » . 392. 1406-8* m* 393. 1337-38. e , VIDE 389 a . -416- m * 1359* ** Vim: 390 a . 395* 1442* •» TIDE 399 o* 396* 1338-39* ©* 397* 1386. o* m * » 1431* £#399m U42* 0 , ¥HE 395 •* KOMAR 400* 2447-4S* 8M. M . 2 4 5 9 - 5 6 . 1 , 402. 2 4 5 7 . a . 4©3* 2457-58. a . fW f iQyUP^p*r88'*8- 2492-93. a , VISE 417 0 . 405* 2497* a . 406# gyyt-aa. % 407. 2522* a# 408* 2833-34. a . 409* 2900* «• 430* 2527* a* 4 H # 2$29* •• 412* 2533. • • 413* 2483. e . 414* 249^* #• 43*5* 2530. a . 430* 2587. a . 417. 2492-93. 0 , vi rE 4 0 4 au m m m m 418* 2483. a , VISE 421 t . 419. 2484* ** VISE 422 •• 420* 0 4 4^ r *t 421* 2483. •» VISE 418 a . 4 2 2 . 2 4 8 4 . 0 . VISE 419 a . 423. 2513. 0 . m s wmM 1 9 0 8 . t . 425b 1919* •* 426. 1923. •# 427* 1539"4l. #* 428* 2524* «• 429* 1542* #* 430. 1545* 8 * 431* 1546»47* 8*432. 1599* •# 433* 1537. #* 434* 1553* *• 435* 1600* * . 436* 918. 8* 437* 940-42* 8 * 438* 1575* O* 439. 0 . 440. 2434. 0* -417- TBF QI’FJSUi ( E i m S AND CAPTAINS TECIHOU) CHOE SIR BAKm DIE AIRMS® YBf'Timm 909-10# m, VI IE 446. e . 442# 24U -42# m# 443* 917# #* 444* 935* «* 445* 2585* *•UA- 909* «* TIDE 441 a* 447. 894-96* 0 # 448. 1569* a# 449. 1574-75. a# 450. 16G1-2. % TIDE 454 •# 451. 1565# op vmH (00X) »-*aq»TI *«F»P VPTH •a m qap a* (06) *»|oiaawii aesaqSTI *Vlow sr^am i(»i •••asKmooi; ana (36) *strp»H «n»2 (06) m «q »ri *»e -92^ - -* 2 7 - S ix epithet® a re m otivated by f i l i a l , love fo r th e K urfdrsiim * 0 sain® M utter! (122) 0 M utter! (123) l&Leh ®in $©rt © prachst du? 0 le in e l e t t e r ! (124) D lass mich deine Knie* umfassen* M utter! (125) 0 meine Mutter*** (126) 0 G ottes w®lt# o M utter* (127) 1 s t so schftnl Thmre a re fo u r a ffe c tio n a te e p ith e ts fo r Hmburg1® frien d s* Guten Morgan* K cttw itsl — Guten Morgan* Freund® 1 ( 1 3 ) F olg t a ir* B rhderl (129) H olft* Freunds* (130) h a l i t l la s kann dor Sl«g each* ae lne BrUder* (131) geltea#** But he i s d istu rb ed mhen they complain o f th e in ju s tic e o f th e K u rfftrs t's decision* Tyrannen* (132) w ilt ihr Hinaue an Ketten s& eh wm Richtpiat* schlelfen? Two e p ith e ts a re m otivated by devotion to th e K urt& rsti F rie d rich ! Mein FUret* Main V ate rl (133) K&mtsn a i r 2u Um anfstaasaeln! 7ater* (134) segm® unsl Two e p ith e ts a re m otivated by a ffe c tio n fo r S tra n s i L leb erl — (13$) Lieber* (136) mas f t r e in Glams v e ifc re ite t o lch? two e p ith e ts a re in sp ire d by s e lf -p ity ! Bln h tlf lo e * c in ferlaaeiie r* (137) mid kann n ic h ts ! Ja* mas erschvdng* leh* Arms te r* (130) das d ich trd s te ? -42S~ One e p ith e t fo r Kottwits i s m otivated by Jo v ia l c r itic is m o f th e old soldier; another Is in sp ire d by hearty friendship* Bi, du vorvtts’ger Knabe, (139) der du noch Mlcht die sehn m&rklschen Gebobe kennstt Kottwits, gib deine Hand mir, alter Freund! (140) There ie an epithet of reproach for a servant and one of no particular emotional motivation for the night watchman* Be* Frans! Der Schurlce, (141) d er raich weckcn s o l l te ! Geachwind! Iauf , Alter! (142) # « * Three of Homburg*s five hyperboles are inspired by Me ambition f o r fane a id glory* Beat* Kind d e r GOtter, each1 ich, Fltehtigee, le h hasche dich im Feld der Schlaeht txnd sttlrse Dana deism Segen air am FfUmem mi Wftrst du such ciebenfach, mlt Klaenketten, Am sehned’sehea Siegesaagen festgebundexu (143) 0 C&sar Divusl Die Loiter sets9 ich am, an deinen Stem! (143a) Bun, © Unste? blidikeit, bist du gas mein! Du strahlst mlr , durch die Bind® maimer Augem, Hit Gians der tausemdf&ehem Sonne sttf Fs FlBgel mir an beiden Schultem, Durch still© Itherrame sehidngt maim Qeiot.*. (144) One hyperbole is inspired by love far Natalie* 'fame —- die ich asimal Urn StiMigebomer aftrd* ale mermen kdnnen! (145) The fifth is motivated by criticism of the KurfHrstt Eine T at, me weiss den D«y von Algiers brenmt, mlt KLtlgelm, Nach Art der Cherubim© , eilborglfinaig, Ben Sardaxmpel s ie r t , mid d ie gesaate Altr& aische Tyrannenreibe, scb u ld loe, Me Under, die am riitte rh u sen s te rb e n , Auf Gottes rechter Seit9 hindbemirftT (146) » # * -4 2 9 - Hc3®bisrgfs f i r s t fo u r oaths a re th e r e s u lt o f h is confusion because of h is scmBiaabuliams Bel meioea B id t <147) Ich u e lss n ie h , l le b s te r H ein rich , e© ic h b iru Base a ic h d ie Wacht v erecb lik tg '1 (14S) Mir umbewusst Im Mondscheln b in le h w ieder uatgewmdeltS B&d elnen Handechufa, ih r alln ilch t'gen G etter, (149) Da ic h erw ache, h a lt* ic h in der Bmidi Bel sts in er Llebe —I (150) Five oaths a re in sp ire d by hi© fe a r o f deaths 0 HimmeU (15X) Ifeine Hoifnungl Miemalsi, beim Himmeli (1$2) 0 G o tti (153) Was sa g s t da m ir? • ••G ott des H tonelsl (154) bcdt ic h mmin drab ©ah, m ill ic h n ic h ts , a ls leben*** 0 G o tt, (155) hftrt* ic h auch necht? Courage in th e face o f death m otivates two oaths s Siefa d a l Hbehst m m derbar, so wahr ic h la b e l ( I 56) Bel G o tti (157) so s e t s ' ic h h in t du tu s t m ir re c h ti G rief because o f the rep o rted dea th o f the K urfh rst in sp ire s two o a th s , and cm© is m otivated by f a i th in the K m rfdrstfs b a s ic goodness of h e a rts 0 G o tt, (153) wftr* e r j e t s t da, den w ir bevw inea, tin. Bund sn ©chaussil Bdm H innel, j s l (159) F in Orauseu m r* s au sehn. Bel den 1©bend'gen G o tt,(160) so w elt geht k e in e r , Der n ic h t gesonnen wftre, su b© gnad'g«u One oath i s m otivated by love fo r % ta lie when th e p rim e d iscovers th a t she has lo s t a gloves ~ A 3 0 ~ Herr meines Lebensl (163.) Bab1 ic h re e h t g a h lr tf One oath 1® in sp ire d by su rp rise a t the coarse o f b a t t le s such* « a Henker* (162) Der stand 3& g este rn auf dee Heenes linkea* And cm Is m otivated by* im patience to advance a g a in s t th e enemy* H issisl, F rd», mod B dlle* (163) * * * Heeiburg uses one X atln words 0 Cftsar Dimas S (164) * * * Bo^burg uses am d ia le c t expression* —*fc*s 1 s t d ie Glocke J e ts s f (164a) * * * # * E m u s The m ajo rity o f B a ta lie 1® metaphors and s im ile s i s m otivated by h e r disagreem ent w ith th e K orfS rst over P rince fr± ed rt«h*s fa te * This disagreem ent i s probably u ltim a te ly h u t an expression of h er love fo r th e y o u th fu l o ffic e r* G ott e ird d ie P fe ila (165) adr* d ie tre ffs a * re ieh en j —* Ic h w ill n u r, dase e r da s e i9 le ib e r 0nkel9 Fftr sieh* se lb s ts tS n d tg , f m i mnd unabh£ngig9 M e e ls e Bl«me9 (166) d ie a d r wohlgef& llb»• * 0 d ie s e r F e h ltr i t t* blond m it blAuen Augen»,# (167) ttod9 ach l d ie ^chranfce jug©ndlich durchbrochen9 T re t e r das Lindmim aftnnlich n ic h t amfs Haupt? (168) Das V aterlaad9 das dm mas g rte d e te s t* S teht* s in e fe s te Burg* (169) mein e d le r Ohms Das s l r d gan* andre Stttnse noch ertragesu* « -<31- Dm bar&ueht n ic h t d le se r Biadung, k a l t raid bd*, Am s in e s Freunds® B lu t, urn M eals H ertw t, Dan F rie d lle h pr&chtigem, (170) am ttberleben* H lerauf su r Antwort habf le h n ic h ta , a ls Tranen# (1*71) Der dsnkb Jja ta t n ic h ts , a ls nur d ie s B last K ettungl Den schaun d ie Rdhren. ast d e r Schtitaen Sohulbem , So gr& sslich a n , (172) d a a s , ttb e rraseh t raid stdiW lM elnd, Xhm ^Jsdsr ^unsco, a ls m ir am le b en , schwsigt*** (17?) «—&ch, welch e in Beldenhers h a s t du g e te ic k il (174) Aeh, 'E ars, (175) m s k lc p fs t dm a ls o an dein Hans? (1% ) Gleichtroh! w ill ic h tsa te r eineni H a t te , Das, in des Herm Dntseheidtmg, Hmg gebram dht, Als e in Gewicht kann in d ie Wage f a l le n , (177) Das ih a v ie l la ic h t ck>r» Ausschl&g e in & u le iten , Sogar wlllkoBSTasn 1 s t , mich n ic h t verw eigsrn ~ Ftire m etaphors a re in sp ire d by love fo r P rin ce F ried rich * He w ishes h e r to entadne her branches around h is b re a s ts ~-Sean ic h in s inn re Mark ih r eachmmn d a rf? (ITS) She wants him to save h im self a t any p r ie s t —Safct ih r d ie G raft n ic h t sehon im MQaster, l i l t offosm Baehem, (17^) Bush entgegeagkhnen? — (180) Der Augenblick 1 s t dringend* S i t s t end s c h re ib ti She Is d eso la te upon seeing Mm le d to h is executions 0 Ekde, (131) nisei in deixien f'chocs mich a u f i (182) Four metaphors a re m otivated by g r ie f upon hearing th e f a ls e new® o f th e KwrfQrst*® deaths J a , was s o il ich, mch diesam Wetter® cftLag, M#r u n te r a i r den Grand s e r r e i s s t , (IBS) begianen? Und je tsc t s in k t m ir d ie l e t s t S th tae a ie d e r , (134) t i e meines GlRckes Hebe au freeh t h ie lt# (185) Ich ward mm snseiten Male bent v e rw a is ti (186) One m etaphor i s in sp ire d by jcy upon d iscovering the f a l s i ty o f th e sew st ~432** Des Daseins G ipfel nism t mich m iader a u f! (X87) A metaphor and a s im ile a re in sp ire d by love f o r th e K urftlrsti 0 se in e ?*£iXde 1 s t u fe r lo s , (188) ic h eusst* e®, id e d ie See# ~ (189) * e « Cue th ir d o f N atalie*a tliir ty -n in e e p ith e ts a re m otivated by h e r lo re fo r Ho&burgt Ich dank* Each, e d le r P rim # (190) Mein l i e her > to u re r b e tte r ! (191) Mein l ie b e r , g u te r V e tte r! (192) Geh, jttnger H eld, (199) in deinea K srkers Baft*** 0 d ie ce r F e h l t r i t t , blond m it blauen Augen*** (194) Aeh, d ie sc r JttagU ng! (195) h e r Prims sswar, hear1 ich* s o i l , mein e d le r V e tte r , (196) Vom H errn, am eignem T rieb , bsgnadigt w r eten»»» L ieb er, g u te r V e tte rl (19?) 0 l ie b e r , atlaser Freund! (198) 0 se in e Greeemut, Freund, (199) i» t obne Qxm senl Mein stteser Freund! (200) • • • d i r Versenfctera*** (201) *~ 4lein te u re r , u n g ltc k se l*g er Freund! (202) Four e p ith e ts fo r Hoaburg a re in sp ire d by reproach whom N a ta lie f a l l s to understand h e r lover*# acceptance o f h is g u ilts Du D nbeg reifllcher! (209) Welch e lm ^endong? — Du Basender! (204) Was fttr e in W©ri sp rac h st du? Komburgl (205) Bine e p ith e ts f o r th e K urfU rst am in sp ire d by lo re and respect* Mich sc h a u e rt, l ie b e r Onkel* (207) Mela e d le r Oheim, (208) F rie d rich ron d er Mark I Ich w ill n o r. dess e r da ® «i, l ie b e r Onkel* (209) Fttr s ic h , sefbstim dtg*#* 0 lie b e r GnkeXI (210) IM nil** s c erhaben, l ie b e r ^ n k d # (211) Dace man ea f a s t uncm nschlich nenaaen kbnnt© *.. IM F a te rla a d , das du uas g ritad e te s t, r*teht# cine fesbe B urg, mein e d le r Ohm.** (212) &eh, l ie b e r Onksell (213) E e # mein e r la u e h te r Herr? (214) O L jebsterS (215) 1 s t es w irk lich wabr? F igh t e p ith e ts fo r th e K urffcrstln a re m otivated by a ffec tio n * le h w eiss n ic h t, H ebe X ante, (21b) meinen Mandschuh — O meiae M utterI (217) 0 se in e te u re M utterl (210) G elieb te l (219) l ^ s e d ic h l 0 meins M utterl (220) H err statues Lsbensl M utter, (221) h S rte s t dufs? M ela, racine te u re M utterl (222) 0 M utter, (223) l a s s l «ea s p r ic h s t du m ir van S itte ? There i s an e p ith e t o f a ffe c tio n fo r Bork and one fo r th e la d ie s o f th e c o u rti 0 H eb e Borkl (224) F olg t, se in e FkeundLlnuenl — (225) One e p ith e t i s in sp ire d by lo re f o r Matal&e’e deceased mother* M ir ru h t d e r V ata r, a i r d ie te u re M atter (226) X» Grab su Amsterdam##, -4 3 4 - Om e p ith e t p ra ise s rrob rnn fo r his? courage in b a t t le and ano ther c r i t i c is e s Kobtwits fear h is f a ilu re to support her cm aoletoly in h er ecsip la in t to th e K urftlrst* Der wackn® Frobonl (227) Der w underliche H err4 (223) Bald k&hxi, bald saglm ftS # # # N a ta lie 's one hyperbole I s m otivated by h e r disagreem ent w ith th e K u rftrs t over Hamburg*a fa te s Wer e ird In diesem lUuqpf, J e t s t dies© schneden n ied erh a lten ? l e r ?o r d le a e r W elt von Fetndem mm beschixm en, Die mm se in Glfcek, d ie uns ae in Rota* erworben? (229) » « e fe a r f a r Hamburg*s l i f e in sp ire s fo u r o f H * ta lle fs s ix oaths* ’l ie ? Was e a g te t Ih r? —«*► Mein G o tt, (230) das 1 s t j a g u tf das 1 s t v o r tr e f f l lc h l 0 G ott d e r W elti (231) J e ts t is t* s urn, ih n geschehml 0 G ott im Hinmeli (232) B im m li (233) Dio HTeude td te t ih n l One oath i s m otivated by g r ie f a t news o f th e K urf& rstfs supposed death and cm® by jo y a t news o f h is safety* 0 mmnBll (234) H err melxaes Lebensi (235) M utter, h& rteet du*s? # # # * # THE KURFtTTHST In tw elve o f h is eigh teen metaphors and s im ile s th e K urfftrst i s on th e defensive fo r h is a c tio n in reg ard to ffea&urgt -435- wur* ic h e in Tyrann, Peln T o rt, das ftihl* ich le b h a f t, h& tte m ir Bas Hers a chon in d er erznen B rurt (236) geschm elst* Boch we&l*a Hans K ottw lt* am do r P rie g n its 1 s t , Der s ic h m ir n a h t, w illk tlr lic ti, eigcnsa&chtig, So w ill Ich mich auf /£&rkfsche Weise f a ssen t Von den d re i Locken, d ie man, s i lb e rg lte z tg , Auf selnem SdJLdel s ie h t , f&ss* ic h d ie e in e , (237) Dnd fUhr* Urn s t i l l , m it seinen zw elf Schm drooen, liaeh A m etein , in se ln 'iIau p tq u a rtie r, zur&ck* (23$) K ottw itz coeiplafns th a t th e & urfttrstfs word has dashed a l l h is hopes to th e grounds So hebt e in Wort aueh wiederum s ie auf# (239) Mit welchem R echt, da Tor, erftaC fst da d a s , tenn au f dem Tchlachtanwagexi, eigenaulchtig , Mir in d ie Ztigel je d e r g reifest d a r f t (240) M einst d a , das Gluck word* inaserdar, wL© jtftngst, H it e in m Kran* den tTngehorMm lohnen? (241) Don S ieg n ic h t sag Ic h , d e r , e in Kind des Z u fa lls , (242) Mir won der Bank f i l l t j (243) das B esets w ill ic h , Die M utter m d n sr Krone, (244) a u fre e h t h s lte n , Die e in G eschlecbt won Siegen m ir © rssugtl (245) i4 n Schreiben Schickt* e r s d r mLnd»stena an , das anders la u W t, Als d er sp itaftlnd»ge I^hrbe g r i f f der F re ih e it , Ben da M e r, wie e in Knabe, (246) m ir e n tfa lte t# Und non, wenn ic h d ich anders re c h t w erstehe, T taast du , wie f o lg t , e in -chlossgebftu m ir a u f* .. (247) Four o f h is utetaphcrs a re in p ra ise o f Hombarg fo r h is p a tr io t ic h a tred o f Gustav Adolf t BltSht doch ans jed es F o rt, das du gesprochen, J e ta t m ir e in J ie g a u f , (243) d er zu Staub ihn isalm tl (249) P ilnz Hcmbargs B raut s e i s i e , ward* ic h ih n sch re ib en , Der F eh rb e llin s halb d m B esets v e r f le l , Und seinem G e is t, t o t vor den Fahnen sc h re ite a d , (250) K&npf1 e r , au f G efild der S ch lach t, s ie a b | (251) One metaphor expresses p rid e in the cap tu re o f a Swedish war banner, and ano ther i s m otivated by re g re t f o r th e so r r o w he i s causing N atalie* Sehau*, welehe Sa&t fd r unsera Huha gmtttrbl (252) Hid id b , dem ih re Frauds anvertraub* Musat* ih n e r h o ld ea Augen H iw ael (2 5 3 ) trctbenl * # * F ifte e n o f th e Kurfarst*® th irtj^ -o aa e p ith e ts a re in sp ire d by M» 1 e re fo r hi® niece* N ata lie t N ata lie l e t ®o s t i l l * mein sS sses Mftdchen? (254) ~ ^ a s f e h lt dem Kind? (255) Had gleiehwofal l e t mein TOchterehen (256) so e tch er* In ifa rer M utter Schoss e a r s i e 1 a n ic h t mehr* Hein Tbehtercben* (257) eas f e h lt d i r — ? He® e U la t du* Liebe? (253) Hein T dchterchsnl (259) Was f a r e in Wort e n t f ie l d i r t Mein eftsse® K iaH (260) 1 « « | mein Tbchtercfaen? (261) H® l e t geschehen? Helm* maime te u e re te N ata lie* .* (262) wa® 1 s t geschehn* mein liebe® Kindt (263) Was ee ts is t du? So fasee Mat* mein Klndf (264) so 1 s t e r f r a i l Ptknmthr, mala Tbchberebeo* (265) mein Nicbtcben* (266) u e in te f Hein liebe® Kindi (267) M a t du m ir rd ed er gut? Gemiss* mein FOchterche©* (2 6 8 ) g e a la s l The K urfttret#s f iv e epithet® fo r K ottw ita a re m otivated by m ild se em fo r th e o ld w arrio r who baa n o t y e t learned the ru les of d is c ip lin e necessary in th e aragri Hal Sonderbari — Da niw sst* da a l t e r K rieger* (269) Des P rinsen Tat in Schuta? Mlt welchem Tlecbt* du Tor* (270) exfioffat du das*** M it d tr* du a lte r* w underlicber Herr* (271) e^rd* ich nicht fertigl f a r f d e r du b ie t* (272) E ld s in a ig e r i (271) * 3 1s fi­ ls i f pm aoj: dtqsrpsioiaj £q pea^dm rs saw sqsq^pis of the co ar t en d the so ld ie re t e»fc «• 4*« 4 II $M j5 ^ i i * i i j i i i *; I 4 i l l l 8 i I %H pc S I a© 8v» 4*II s {*« If oto II "1 •§ 1 I I <*NI 'O $ I III ~438~ Htm denn* b e i G ott* (287) da® tib e rs te ig t d ie FabeXt f la w oetb® a re m otivated fcy sympathy fo r N atalie* Hein* sag 1# o r f le b t on Gnade? —► G ott ira Hiiaael* (288) isas l e t geseheha* mein lle b es Kind? Btxa denn* beiia G ott do® Hiamels mid do r End®* (289) So fsmm Mut* mein Kindj so 1 s t o r f n e l t Boi aeineat E id l (290) le h ®chsHlr*$ d i r au i On© o ath la m otivated by su rp rise a t llcxabtix^g** ®lee|>-o^i king $ S a lt era* beim M sm alt (291) H O H m o u m Five o f H ohensollern*s metaphors ami s im ile s a re m otivated by h is o f fo rte to convince th e K u rftro t th a t Hoaburg should mot be punished t Had e in ssm — einen Hands chtih i n dor Hand* Be© e r , n ic h t melee o r se lb er* mem? entries®© In Sehose d e r M lttem acht* b le ib t e r eurtlck# (292) Bexm* da ieh* durch dea G artens h in tre P forte* J e te t «u ib a setilaidM * a ls m*r*s voa ohngefShr* ftel 11m ormedte** ©ad o r d ie Sixmo sam eX tt G lesst d ie E rlmmmg freude ©bar lh a M » (291) Fin S ta in 1 s t e r f (294) d m B le ia t if t in d er Itesd* S teh t o r so a r da and seheim t ©in Lebendsrj Doeh d ie ^©pfindung* ©ie durch Zanbsrschiage* (295) In Ibm verl& echt*** Ic h b in s ic h sr* Mein m art f ie l* e in Gemiefat* (296) in deine B rest! F ive metaphors and s im ile s a re in sp ire d by amassment a t Hcoburg*s meepfiiaibMl lap** 2 |* A ufbrSh d e ^ S f ° h" adr(» an* Sloefc w hn su Hm S ; ^ 2 ! ! ? . ? lap 8M »w , S ieh *W ^ e h a e n d , (297) -439- • « *beseM ftiget* S lch trttansnd* se in e r signen Maehwslt g le leh* (298) Den pr& chtfgsn Krsns te e Bnbas ©inausinden* S teragttcker s ie h t ©r* wetfc* ich* 3 chon in G eist* Aus Sermon tin « n Siegeekrans ihra w inten* (299) Schate* ©wig schade* Dase M sr k sin S piegel in t e r KBbe i n t i Br wOrd* ih® e i ts l* wl© s in £@dchen* (300) nahn* Und slch . te n Kraus bald s o , end s i s t e r so* M s s in s H orn* Haobe (301) aufprbbieren# Two netaphor© e re eio tivatsd by i r r i t a t io n a t th e pages S t i lU d ie O ikatel (302) — Hunt liaa g ib b e t Heck* i3m m t deir^as. Z lrpen (303) « i r n ic h t a n f | Two metaphors a re in sp ire d by h atred o f th e Swedest S c h ie se tl S e h ie ss tl Pnd aach t dess Schose der E rte b e rs ts n l (304) Der B ias so U su re r le iohon O rabael o e in . (305) 0m metaphor expresses th e in s ig n if 1 csnc® o f Homburg^ f a l l from M s horses Fa 1 s t dsn Odea k e in sr Sorgo (306) w ert* Another r e fe rs to Hegteirg1* word o f honor as a bonds B is F sess l fo lg t den P rinasn a e f tern Fuss©4 (307) .« » • Seven o f B ohm io llem 9© e p ith e ts f o r Hcrabisrg a re m otivated by fr ie n d ly bu t stro n g critic± a* « Bias sa g t d e r Ter? (308) Ber R aesntel (309) Er 1 s t ~ In F ehrbellin* dn s in n v s m ir r te r T rta n r* * * (310) Scholia* d e r du M at* (3 H ) s i t te ia e n V istcn sa i Warm? «*— Ich gl&ub© gar* t e r Tor —? (312) Du B asendsri (313) Uriel tw sm f sth ia rt s ie h deine S icherfceit? Du ttnhesorai *ner T o ri (334) was m achtest duf Three o f h is e p ith e te fo r Bcsfcurg have no tra c e o f th is c r i t i c i s m Der F risia von Kcnfcrnrg* u s e r ta p f re r V etter*♦# (315) W elcher, Liefcerf (334) Bn ssisst* mein Freund # (3X7) d ieh davon tibereeugen* He ones a f r ie n d ly © pithet fo r th e la d ie s o f th e coiart and one tm r th e courfcieres I r 1 s t gwund* lh r B itle ld a v c ilm Frauen**• (3XS) L asst s is * le a s t s is * Freisadsi (3X9) He reproaches th e no isy pages S t i l l* M e C ikadei (320) There I s an a ffe c tio n a te e p ith e t fo r K o tts ita s Hier* A lter* (321) h ie r l He m m a f r ie n d ly e p ith e t f o r an o ffic e rs Rnhig* Freund* (322) And he quote® an e p ith e t fo r fciaeelf In addressing th e ICUrftrsts Kehrt er Ins Daseia sleder und befr> michs * L lah stert (323) m s h a t schon DOrfling* sag s i r *s, gesrtem* Balm Scfclachtbefehl, mich tref fend* vocrgebraclttt® » ' « « Three o f Fohenaoilera1 & to m hyperboles sore m otivated fcy aaaaenent a t H^0 licet*, Had d ie Geftlhle f l a t t e r a , n i t d e r Lerche, 'Zuv b e ite ra D eft dea iimaeXs iubelnd ® ufl — (353) He does n o t understand hen?, as Hcraburg say s, ha can rece iv e m ilita ry o rders from h is h ea rt t Ton mmimm Hereon? (354) * a * F ew ep ith e t* a re in sp ire d by re sp e c t and adm iration fo r th e K u rfh rstt T erg taoe, mein crbabtier K u rfd rst, (355) mlr**# Wle, xmin e r la u c h te r H e rrti (356) J a , main e rla n c h te r Herr«»* (357) H ie, mein v e rg d b te ri — angebo teter ~ t (35B) Three e p ith e t* fo r Remtourg a re in sp ire d by a ffe c tio n s S el a i r g eg rtte s t, mein Junger, e d le r P rin a l (359) Hein Sotrnl Mein l ie b s ie r Freund! (3&L) A fo u rth e p ith e t fo r Hanburg i s m otivated by amusement a t th e p rise* Is b rashnesst Ohoi W&mmt do s d r s o , mein longer H err? — (362) K ottiflta uses th re e f r ie n d ly e p ith e ts fo r h is fe llin M o ld ie rg t Her h i l f t vaa Pferde a i r , ih r Freund*? (363) S chaat, B rdder, (364) sohsuhl Ruhig, m ahlg, K inder! (365) He uses an e p ith e t o f h a tred fo r Qustav Adolf t Per Draehe*** (366) ♦ a * K ottw its*s one hyperbola i s m otivated by resentm ent a t Hmaburgfs in feren ce o f b is fo in theartecb iess | Den QaitL* ig dshor ip v D p t i schlepp * *#> nocb I» U o tfa ll m d m Schaoas dm msinen f o r t ! (367) * ■* * Thar© I s its emotion which in s p ire s any s ls e a h le group o f K ottw lts’s oaths* Two a re m otivated by su rp rise a t Homburg9s condemnation* Bel G o tt, (368) ic h b in sa f* s ftu sssrst* — I Basf helm Xebeaad'gsa G o tt, (369) 1 s t a&r an s ta rk ! Two oaths a re In sp ired by defense of Homburgt Bel G o tt, (370) e ln Scheist m&sst* ic b doch s e in , rmtm ic h Des F rin sen T at n ic h t mmt&r w iedarhalte* Bel dem lebend*gen G o tt, (371) Du hSsm test an Verderbens Abgrund s te h n , Bass e r , um d i r m h a lf a n , d ich sa r a t te n , Aueh nicht das Scheert mehr ss&ekte, taagerufon! His d iscom fort upon dism ounting fre® b is horse and tb s b e a u tifu l w eather each m otivate cue o a th t «—Oo£| Pass d ie P est m ichl (372) BAs schftner fa g , so wahr Ich Peben atom ! (371) He sneers upon hearing Dels suggest th a t he has found DSr£Xlmg9 and the excitem ent of b a t tle in sp ire s ano ther o ath t Zvm Hanker, n e in l (374) Blitz element1 (375) He i s su rp rise d th a t th e Kurftkrst does mot seem to kmotr about the o f f ic ia l o rd er he has fu s t received t < *as- Bel Gott* (3% ) metis fU rst xmd Herr* ie h w ill n ic h t hoffen* Dass d ir d ie Ordre fra e d t And he ro es th a t ha mould n o t r is k h ie U fa m erely to be a m ercenary so ld ie ry Behftte Gott* (377) daaa 1 s t os am g a tl * * * K o tts its m m one p r w e r t i R«a sa rd an eim ® Tags n ic h t sxtoeait* (378) THE SIEFDXRSTU A ll fo u r o f th e K urfferetln’s m etaphors and sim ile s a re in * sp ire d by g r ie f a t th e report o f th e KnrfHm t9s deaths F r s ta tte a i r B artoht* a te o r gestmkenl —CMd a le d e r B lita s tra h l* d er don W aidrer t r i f f t * Die W elt nocb e in a a l purpura ih » e rlsu e h te t* (380) So la s s dein Wort selztf Hacht* mean da gesproehen* MSg* fcber meinsa H&apt snasaairaenschlagen* (38X) E tn Stag* su te u * r e x te u f ti Ich mag lh n n ich t* Gebt a i r den F re ts* den e r gsfcoetet* w teder* (382) 0 a t t e s t a tc h n ic h t s ia in s l ssat Abgrund nie& eri (333) * # * Four o f tw elve e p ith e ts a re in sp ire d by love f o r N ata lies Bn h f tlte t ihn* Kind* (384) la ss* la s s m idi* L iebol (385) 0 aelsxe fo e h te r i (386) Kona* meins T ochterf (387) kmml Four o f th e K u rftirstin 1* e p ith e ts a re in sp ire d by sympathy f o r Bcefeurg* She says she could n o t re fu se aayhedy9s req u est sin ce she has learned o f her husband** safety* *-446- Bud d i r , du S ieger in der Sc&Lacht, ($88) sm le ts tl Mein Scfcnl (389) Steh a u f# mein Sotmj (390) s te h s o f l Mein te u re r Sohnl (391) But si® voices d isapproval when Homburg seem ingly breaks h is n v d by l aving p riso n to see h e n D er Unbesonnenei (392) Seixi Wert sat brecheni She p ra ise s Frobemfs s a c r if ic e fo r h e r husbandt Ber V o rtre ff lie h e i (393) There I s one e p ith e t o f s e lf - p i ty and cm o f fe a r a t th e approach o f the heralds Was aber fcana ic h f Innate* (394) to r Eeeh tun? Has b rin g s t d»* Herold des F n tsetsens* (395) a i r s ♦ * * th e K urfftrstin uses th re e oaths* th e f i r s t i s In sp ired by sympathy fo r Bomberg during h is ecranambuliaaj the second expresses joy a t me® of th e Iurffcrat*» sa fe ty § and th e th ird i s m otivated by su rp rise th a t Menfeurg should be a t h e r doors Der juugo Mann 1 s t kra»k# so ia h r ic h lobe* (396) 0 Gott* (397) e ie h e rr lic h k l& rt s ic h a l ia s a u fl 0 G o tti (398) # • e * # HOTDAIIEIf th e la d le s o f th e co u rt use th re e oaths in sp ire d by synp&tby fo r th e ^ u rfttrs tin because o f th e news o f th e KurfUrst* Hiamli (399) H ilf* G ott 1a H tea e ll (400) Ih re Sizsne schwLudaru 0 G o tti (401) An dein© B rest — GRAF SPAHIOT A ll a f Graf Sparrea*® s ix metaphors and s im ile s ar® sio iivated toy p ra ise of th e K urfdratfs b ravery in b a ttle * Gran©ten w£Lsten, Kugeln nod Kart&tschen* S ich *rie e in h r a ite r Todesatrcm (40®) daher* Hud a lia s * m da la b ia * a ic h sos Ufer* (405) mat er* d e r kthn© S e M te e r# (404) aan k te n ich t* Hud* s te ts den F ren ^ en atakaiid* naderi* e r (405) G etro st den Hdh*» 8% m d ie (M ile sprang* (406) Sporran r e f e r s ' to th e K nrftlrat’s remarks a s he chew ed from h is a h ite horse to a roan* Der H err s te ig t ab* s t i l l l&ehalnd* m d v e re e ts ii *Bie KOnct, d ie da lisa* A lter* Xehran e llls to * M rd er* sc&ang* es Tag 1 st* o cb eerlich lernen*.** (407) Sparren , s &m hyperbole i s m otivated toy g r ie f f o r th e K orftrat* 0 X asst d ie rS hrandste Begabenhait* Die s in (Sir v sn « n e ii* Eueh b e rie h te n i (410} Be quotes an oath need toy th e ^orf& reti •ncrw ttascht s e i h ea t m ir d ie ses ScMjeksI s Glams e# * ^ 411} # * e * * FETi)HAHSCIIADD JX^TUm A ll th re e o f D 6rfling*s metaphors a re m otivated toy h is d e s ire to change th e Korftlrst*® d ec isio n to have Bombiirg e^ecafeedt «?ed*edss Beer lle b t* v e ls s t da* seinen Heldsmt Lam d lesen Fanken n ich t* d e r a s durchglttfit* (412) E ln b e llie s fra sssa d Facer xm. s ic h gralfexi* (413) grwttnsch t i Er 1 s t Jedmedsss P fe il gaparuteri* (414) a # a ~44S- Bn usee one e p ith e t f o r th e s o ld ie rs sh e h ere signed th e p e titio n fo r Homberg^ pardon* Man a a g tf s le w o llten bent* d ie lasen d en l (415) Me B i t ts e h r i f t aoeh i» Seatons d i r Sberrfsicben*• • « « # Two oaths a re in sp ire d by sympathy fo r Hoaburgt VerwtSnschtl (416) — ?> 1 s t jedeedea F fe ll ftspam ert* 0 G ott d er B e lt! (417) Messt* e s M s dehln k m e s l Be se es a s oath to c m fin s th e K trrftasV s su sp ic io n s shoo t th e p e t it io n th a t I s being c irc u la te d aaoog th e am&t Balm h&chsten G o tti (413) Du h ast* s g e tro ffe n i ♦ ♦ e D brfling reads the L atin in s c r ip tio n on a captured flag* P er m m m ad astr& » (419) e r oamzmm One of the officers reminds Bomburg of the poser of his personal honor* V ergibi ~~ Deln so r t 1 s t e ls e F e e sd auch. (430) * » * Another o f f ic e r uses an e p ith e t m otivated by re sp e c t and adm iration f o r Ilcnborgi J a , mein e rla o c h te r fV iiau (431) * * * Four oaths a re In sp ire d by th e excitem ent o f b a t t le i -4 4 9 - Bel Gott* (422) g e i f r n t , t i s an di© K irchttm aspitsse Dos Dorfs* das M u te r i h m Rteken HegbS m brerm t* so m b r lo t leb’i (421) Bid m einer Ire***! (424} Wnd Renters*. rflckt vor* Den Marseh des reeh ten * l«gels sm bedeckeni Herr* du* d o rt oben, der den 8ieg v e r le ih t t (425) D»r WTangel k eh rt den Bdokezi s c ro ll One oath I s m otivated by th e amased d isapprove! of th e o f f ic e r whose sword Honbarg sn&tehes when th e o f f ic e r t r i e s to preven t Hfestborg from disobeying o rd ers t Hein Frlna* d ie Tat* b e i G ott ~ i (426) » # * • * GRAF TPA1CHSS Troches c sss th re e e p ith e ts m otivated by adm iration for th e K u rfttrsti Hein* mein erl& ueh tsr H errl (427) Ja* rue in e rla u c h tc r f le rrl (428) Wle* mein v e rg b ttc r t ~ © ngebeteter —? (429) # » « Two o f h is oaths a re m otivated by sympathy fo r Hamburgt 0 v e rf lo c h tt (430) 0 G ott d e r W elti (431) H is o th e r oath I s m otivated by mxrprime th a t Hamburg had cUs** obeyed o f f ic ia l orders* Beim Rimml* (432) ic h e rs ts a n e l H 50* uam xm fo u r metaphor® and s im ile s a re in sp ire d by p ra ise o f th e K urfhrotfs h e r o in In th e face o f death i H ier echlog so raO rderiseher E lsenrogen Entgegen ifa®, dass n in e R cniterscbar, H e e in e S an t, (433) s ic h kniehend n ied e rleg te# (434) in f ScfaisewOL. h e r r lic h imyy e r Im S crm enstrah l, d ie Balm dee S legs erleuchtend* (435) Den B&ren gXeloh, (436) Ton s e t gespomfc tmd Hache# B rlch t e r a l t one sn f d ie Verschansung les«»» # « * M ttraer, s one e p ith e t fo r th e K nrfbrstiB i s m otivated by re sp e c t and sympathy t ^as d io se Angen, le id e r* tear© Fm % (437) 2u f f t p a Jaasaer, s e lb e t gesehn# * o « E ls one hyperbole i s in sp ire d by p ra ise o f th e K urftlrst* A\if ilttgMi S ch lsm l hsrrX ich sase e r da# Ira Sorm enstrahl, d ie Balm des S legs ©rXeuehtend* (438) mm Gois uses two e p ith e ts m otivated by frie n d sh ip ! th e f i r s t i s Test K ottw its mid the second i s fo r Id s fe llsiH io E td iers t ld e r# A lte r , (439) h ie r t Beim manat1 , Freunde* (440) Anf dem linksai F l% © li * a * E ls th re e oaths a re .in sp ired by th e escdteuw nt o f b a t t le § 0 H iarael, (441) schatrb, fidch dfcnkt, das tte rf finer F en sri Bel G o tti (442) S d c h einen Bctmer des G eschtttses Hab1 ich. Z e lt se in e s Lebena n ic h t geh& rti Bm&m HimmX. (443) BreuadeS kuf dam lin k e n FX%@U graf m m s Htsms uses mm e p ith e t o f re sp e c t fo r N atalia* .••G n& digste,* , (444) * * * Hi* on© oath 1* m otivated by disagre<’®ent w ith th e Kurf&rst fM * rg * a fa te s •**het G o tt, (445) i« h s&adbe la X ieese g ltiek lieh ein© ^ b s k r ip tio n , Balm gansan Haw d er M arker, o ich er& ffaasal # * a # # The w&ichn&xt uses two oaths in sp ire d by g r ie f f o r th e Kur f i r s t* Mein F rias* kau» iseg1 ie h , beim lebeisd’geai G o tt, (446) Balch ©in Gerftcht a t oh a u s s tro u t, Fuch zu Rieldeai Seim hohen HiaacmLi (447) G raf Bpmrven b r in g t d ie K achricht ebes* her* fiOmVAUQER The c o u r tie r usee mm re sp e c tfu l e p ith e t fo r th e peasan t and M.S w ife I GXttek a u f, ih r eackern L entet (44B) Kdbt i h r F la ts* In eurem H«mm G&ste aufeunehaen? * * # * ♦ zmxtm miwcK Mm e p ith e t fo r tIsa K u rftrs t I s m otivated by re sp e c ts -452 raedn erlaxichter H#rrl DEE B&tEE tIHD DIB IEAO T h e ir «o© o a th I s m o tiv a ted by eurprI© « t Der Sieg e rfo c h ta n ? — K lanaU (450) * •*■ * * # PEI M2 I* 971-72. n9 VIDE 126 *«2* 973-75. a . 3# 934*06* a . 4* 987*03. m.5# 990. «• 6 . 939*90 . m. 7* 991. a . 8# 992. a . 9*10. 1015. »• 1016—18* s .11. 1026. 8 .12. 1027* a .13. 1027. 8 .u . 1030-33. « . 15 . 1034-35. a .16. 1036. a . 17 . 1065-67. m, VI» 118 e .IS. 1068. » . 19 . 1286-87. a .20. 1287-88. a.21. 1288. a. 22. 1289. a . 23 . 1290-92. a . 24 . 1329. s . 2 5 . 1328-29. a.26. 1753-58. a# VIXB 131 «• 27 . 1770. a . 20 . 1305-6. a* VISE 132 a . 29 . 1830. a. 30. 1831-32. a. 3I . 1833. a. 32. 1834. »* 33* 1835-37. s. 34. 1838-39. a . 35 . 355. a . 36 . 357. « • -453- 37 . 356-57. a . 38 . 355-57. a . 39 . 358# a* 40 . 358. a . 41 . 359—60 . a* 42 . 361 . a . 43 . 362. a . 44 . 362-63* a . 45* 364-65. a . 46 . 581-82* a . 47 . 582. m. 48* 583. a . 49 . 583* a . 50. 713. a* 7IIS 143& 164 l a . 51. 714. a* 71H: 143a &. 52. 777. a . 53. 778-79. a . 54* 786-88. a . 55. 836-37. a . 56. 837-38. a . 57. 839. a# 58. 899. a . 59. 900*4# a . 60 . 90CL-2. a . 61 . 903* B#62. 9CES—3. a. 63 . 904. a . 64 . 906 . s .65. 904-7. a. 66. I 58. ft* 67 . 678-79. a . 68 . 852-53. ft. 69. 853-54. a . 70. 855-56. «♦ 71. 857-58* m. 72. 858. f t. 73. 858-59. a . 74. 1796. a . 74. 1795-97. a . 76. 15 I . ft* 77. 152* a . 78. 602. a . 79. 603. a . SO. 6C3^-4. a . 81 . 607. m. 82« 60S. a . 83 . 1039-40. a . 84 . 1041-43. ft. 35 . 1779-80. a . 86 . 1783. a . -454- 87 . 120*21. St. 88 . 121 . n . S9* 122 . 0 . 9 0 . 123. » • 91 . 141-45. 0 . 172*93. 0 . 93# 174. 8 . 94* 178-80. a . 95* 474. a* 96* 574-75. * . 97* 94 . 0 * 9S . 102. a . 99* 111 . 0 . 10 0 . 149 . 0 . 10GU 150. •* 102. 164. 0. 103* 164. 0 . 104. 206. 0 . 105* 791. 0# 106. 614. 0 . 107. 8$7. 0 . 106. 877. 0 . 109* STS. 0 . 110 . 925. 0 . 111. 931. 0 . 112 . 65 . 8 . 113. 65 . 8 . 114* 70. 8 . 115. 566. 0. 116. 600. 0. 317. 1039. 0 . 118. 1065- 66 . %$ vim 1? su 119. 1300. 0. 120. 1315. 8 . 121. 1350. 0 . 122* 63 . 0. 123. 710. 0« 124* 965. 0 . 125. 966 . 0. 126. 971. 0 * 127. 995. 0. 128. 405* 8 . 129. 497. 0 . 130. 772. 0. 131. 1753* 0. 132. 1605*6. « f VIDE 28 A. 133* 6 7 . 0. 134. 6 1 0 -U . 0. 135. 1344. 0. 136. 1846* 8. 137. 979. 8 . -*455- 138. IO44* a . 139. 486-67. e . 140. 1740. a . 109* a . 142. 620. a . 163. 361-65. h$ V im 42af 43 a* 44 n$ 45 a . 143a*F^*r*"* 713-16. k f 7IBE 50 a , 51 »* 144. 1830-34* k# T im 29 a* 30 a # 31 a* 32 a* 145* 147-48. Is. 146* 901-07. h# TO® 60 m# 61 m# 62 ra, 63# mt 64 a* 65 a . 147. 110-11. a , THE 99 a* 14a. 115-16. a . 149* 190-91* 0. 150. 199. o . 151* 910* o . 152* 914. a . 153* 924 . a* 154. 1002—3# a . 155* 1064* 0* 156. 1340# o . 157. 1358. 0 . 153. 609-10. 0 . 159* 654* o# 160* 844—45* 0 * 161* 291. o . 162. 436-37* 0 . 163. 470. 0* 164* 713, ta* T im 50 a . 124* T im Kft 237*. KATAXXB 165* IO69 . a# 166. 1087-89* 8f T im 209. 167* 1095. mt T im 194 a . 163* 1105-6. a* 169 . 1131-33. a . T im 212. 170. 1139-41. « . 171. I I 4 6 . B . 172. 1143—51. a . 173. 1151-52. a . 174* 1155. a . 175. 1188. a . 176. 3188. a . 177. 1231—'35. a . 178. 606. a . 179. 1325-26. a . 180. 1325-37. a . 181. 1808. a . 182. 1808. a . 183. 589*^0. a . 184* 597. a . 185* 596. a . 186. 599. a . r -*456— 187* 188* 189. 190* 191. 192* 199. 194. 195. 196. 197. 198* 199. 200* 201* 202. 203* 204. 205. 206* 207. 208* 209. 210* 211* 212* 219* 214* 217* 218. 219* 220* 221. 222. 223. 224. 225* 226. 227* 228* 229* 290* 291* 292* 233. 234. 235* THE KtiKFUKBST 236* 297* 629* m* 1319-20* m* 1320. 8* 318* «»* 587* ®* 605* « . 1053. « • 1095. *$ n m 167 m. 1145* •» 1228*29. «* 1301* « * 1315* « . 1345* •* 1362. «* 1365* «* 1803* «» 1352. «* 1359* i t 1362* •« 1376. e* 242* #* 1079. i . 1087-83* «* 1094. «* 1109—10* i t 1131-32* VII« 169 H 45 . i« 1177* e* 1179. •* 286* #« 511. ®* 513. «* 556* ®* 549. i* 616. e , VXIB 235 o* 622* t« 1801. §* 290. «* 1284* «* 591-92* «* 680* ®* 1264* #* 577-80* h* 1332—33* i# 1339* o . 1378* 0* 1852. 0* 518* 0* 616. 0* v im 221 «• IllSwVtir IB* 1417-1421* m* W»5%* 23@* X422-33* a . 239* 1513. a* 240* X561*63. * • 241 . 1564*65 . * • 242, 1566* i« 243* 1586*67* a* 244. 1567-68* a# 245. 1566-69. « • 24$. 1617-20* 247. 1706-7* m» 248. 17BS-89# a# 249* 1709. a* 250* 1790-92. a* 251. 1792-93* « . 232. 753. » • 253. 3192-93. » • 254. 241. * » 255. 242* it 256. 243-44. a . 257. 285. a. 258* 1080* a . 259. 1092. *»• 260. 1112* a* 261* 1147* •« 262. 1156* a. 263. 1166* * . 264. 1176* a. 265. 1191* a* 266# 1191. a* 267. 1199* a* 268. 1206* I . 269. 1524-^5. 290. 1561* #• 271* 1609—10* a . 272* 1714. #• 273* 1714. «• 274. 54—55. a* 273. 1708-9. a# 2 % . 1716-17. a . 277. 1776* a* 27S. 207* a. 279. 312* a* 200* 40* a* 281* 73$. «• 282* 1029* a . 283* 233. a . 284. M93* 285. 1506. e* 2 8 6 . 1624*25. o . 287. 1629. o. 288. 1159-60. o. 711* 26? «. 289. 1175-76. #, VH3B 264 #• 29©. 1181 • 0 . 291. 54. o . 292* 1649-51. a . 293* 1655-58. a* 294* 1693-94. i« 295* 1695-96. * • 296. 1721-22. a . 297* 11-15. »• 26-28, 9 . 299* 57-58. a* f in : 335 &* 300* 59-61* i . 3©1* 62—63 . 8 . 302* 79 . ** n m 320 « . 303. 80 . a . 304. 4&L. A* VUE 327 fc. 305. 462. m. 306. 383* « • 307. 949. a . 308. 66 . ©. 309. 69 . *• 3X0. 1X2. 0 . 311. 195. •* 312. 210. « . 313. 866-67. « . 314# 929. e . 313# 1 . # . 316. 428. 9 . 317. 908. 0 . 318. 35 . 0 . 3X9. 42 . • . 320. 79. «* TOK 302 a . 321. 366 . 0 * THE 439 • . 322. 764. 0 . 323* 1698—1700. # . 324. 43-45 . hm 325# 57-58. h , 299 a . 320* 1690-9 1 . fc« 327. 461 . h t ¥11$ 3©4 a . 328. 35-36. 0 * VIDE 318 # . 329. 51. 0 . 330. 6 7 . 0 . 331. 7 1 . 0* 332. 99-100. 0. 333. 199—200 . 0 . 334. 328. 0 . 335. 337. o . 336. 106-7. 0 . 337. 153-54. 0# 338. 192-93* 0 . 339. 865 . 0. **459** 34®* 887. o . 340a. 13* d , T im Kft 237 a . 3406. 126* d# WW m 237*. s o m r a 3Al_ 34^. 343* 344*u r i r f * 345* 346. 347. 348. 349. 350* 351. 352. 353. 354* 355* 356* 357* 358. 359. 360. 361. 362* 363. 364* 365. 366. 367. 368. 369. 370. 371. 372. 373. 374 . 375. 376. 377. THE &fJRFtJKRSTIll 380. 381. 382. 383# 384* 385* 1511- 12a 1547*49* si* 155®. a* 1 5 5 0 -5 2 . m . 1553-54* m. 1570-73. m. I573-74. si* 1579-80* # • 3.581. m. 1582*83. st. 1 5 9 7 -1 6 0 2 . s f T im 3 7 0 o « 3 7 1 —7 3 . a * 387-89. »* 476. a. 1483* 0. 1501. a* 1527. a. 1824* c# Tim 429 *• 401. «. 1763. a* 1763. «* 478* a. 367. ©* 457. e* 468 . 0 . 1550. e* vrm 344 * . 4 7 9 —8 0 . h . 752* ©. 763. o* 1601*2. o. 1325—28. 0 # 368. O. 384 . 0# 391. 0 . 438. 00 1494-95. O. 1590. Oft I 56O pr* Zander. "Rea. 52. Hem 2?m e in sn ia r rjioht. o rb a w t. S c b w e d .i...— Eon bygptfes ick a pm eti dag . 520-22. 0 * 523-24* a* 563-64* m* 621. n . 288. 0 . 536. a* «46D«» Fwmmm t-m * epipwnt{Jrt&j? AKKJu IS m w A BacnA U D orim iiio m e e r n s t m mAT w m m B 3 ^ # 630. « . 387* 952. #* 388* 709. #• m . 993* ®* 390. 1005. «# m * 1020. *» 392* 963. «• 393. 680. @# 394. 970. * . 395. 5X5. e . 396* 32 . 0 * 397. 695. 0 . 398. 960* 0* 399. 549. ©• 400* 565^ 0 . 40X. 630. 0 . 402* 64S«49 • 403. 650# m* 404. 651. *# n n 408 t . 405. 652*53. ®* 406* 654 . s*. 407• 666*68. 71. 408. 651. e* V I 404 a . 409* 667. mm 410. 639-40. h . 4H * 657. a# 41m I 46G—61. xu 4X3* ■ X *^X*p6«i. Mm m * X473* VXOE 4X6 O. m * 1.443 * &. 410. 1473 . 0* vim 414 a . 4X7. 10X0* 0 . 4X8* 1441* 0 . 4X9. 757. t a . 420* 947* a . 436. e* 422.1 1, V 44X-42. 0 . 423. ' 447* ®* i , o \ % 453-54. « . 423. 463- 64 . o# /Wt. 499. a* 427. 713. *« 428. 1396. <9# 429. 1824. «i 7SBC 358 t . 430. 75U 0 . 431 . 1764* c* 432. 743* 6# -A fx - IWRMER 433. 531-33. s . 434. 532-33. &. 435. 540-41. a, iTlCE 433 h. 436* 552-53. ». 437. 516-17. 0 . 436. 540-41. h# VIDE 435 ®. GOIZ 439* 366. c> VIDE 321 «* 440. 465. £ > 443 0* 441. 446. O. 442* 459-60. c. 443* 465. ©# CT3B 440 0. GRAF EFUSS //./.- 1222. c. 445. 1256—56. 3* MCKWFISTFS 446. 612—13. 0. 447. 614—i15* ®* mvuvuaasR 448. 49S-99* e. zwfiter 449* 1476* e. HFlDUCK WR BADER A5C. 505. O. BHD DIF. FRAU «<62- cowcumim PAET I In th e e ig h t im m ediately preceding chap ters we have a tremendous d ic tio n a iy of em otional eapreaeloaa# Some of th e fig u re s l i s te d a re le s s adequate than o thers* bu t in each p lay th e re a re fig u re s worthy o f the g re a te s t poets* Oar in te r e s t today* however* I le a n o t in th e ir in d iv id u a l beauty and aptness* tu t ra th e r in th e em otional theiaes* p a r tic u la r to each play* which m otivate groups o f th e fig u re s o f speech* In acme o f th e p lays th e fig u re s o f speech a re se re c lo se ly concen trated mmmd th e em otional thenea in d iv id u a l to eaeh piay* We s h a ll discus® these phenomena ***& a ttem p t to ex p la in +-Hiiit* C erta in c a teg o rie s o f f ig u re s o f speech occur much more f req u en tly than o thers* Table Wo* 1 w ill g ive one a c le a r a n a ly s is o f th e num erical frequency o f eaeh category o f f ig u re o f speech* Fro® th is c h a rt i t w ill he apparen t th a t the mwierleaX re la tio n sh ip between th e d if fe re n t ca teg o rie s la d if fe re n t fo r a b le s t every play* In ]% nthe® ilea. fo r example* we* fin d mors e x o $ ls s o f hyperbola than in any o th e r p la y j altJiough O ^lskard, f r t m a com parative b asis* in v ie s o f the f a c t th a t i t i s e*£y th e f i r s t a c t o f an uncompleted drama* ha® ©van more than P en th ssilsa* Bar serbrochene Rmg has mmm examples o f d ia le c t th an m y o th er play* Snob phenomena a ls o w ill be discussed* w ith a view toward e s ta b lish in g m o is t1® usage in th is respect* But f i r s t we s h a ll d iscu ss th e com parative co n cen tratio n o f fig u re s o f speech In in d iv id u a l plays* *463- Q&1SUBB Although Ouiskand i s b u t th e f i r s t a c t o f a tragedy vh ich K le is t never f e l t capable o f com pleting, the opposition fo r th e p lo t K le is t had in s in d i s so b e a u tifu lly unfolded th a t th is fragm ent i s no t th e le a s t o f tb s p o e t's ju s t dadtas to a p lace in tb s l i t e r a r y h a l l o f fame* There a re tso s a in a a o tio o a l themes in Ouiskard., ©ech mm to a c e rta in ex te n t h y p erb o lic , and each one cm plem entlng th e oth er in such a way as to magnify G uiskard 's g reatness* fe a r of the devesting plague and consciousness o f th e assay's g re a t la te n t power under O uiskard 's leadersh ip* T heir le a d e r has achieved alm ost superhuman success w ith M s army in th e pest* l a has never known d e fea t and i s even now on th e eve o f cap tu ring th e im p eria l c ity * C onstan tinople * But th e p lag u e, an enesy more powerful then man, has launched i t s dread a ttach * k good m ajo rity of the p eo p le 's fortjyMBine metaphors and ei#£\ »l r -w Fo ur hy pe rb ol es are in sp ire d by ha te s Ru pe rt us ee 2 (2 93 -2 94 ), T he ie tin er X (4 37 ), and AX dB bem X (4 51 )* On ly fo ur oa th s are in sp ire d by ha te s O tte fo r em it® X (1 09 ), Sy lv es te r X (1 69 ), Ru pe rt X (2 96 ), and the ga rd en er X (4 86 ) s h. « i I i j J•p O' ! o ! * S 25<%-# I SI i- 0* 3 I & I ** st ( i j i.* § I % S s £ H i «P T343 f-J ri « U s fi 1 3 t 5 ^ ®* s “* i * 111i l l s g § 1 $ a. 043 1 1 ! i s i £ so &4 £ s I I I I Ss3 3 13•H I 3 8 1 3 I A a N 1 £ I I l l *A I 1 «46S— 3ylv«*ter nsm 2 proverbs in sp ire d by lev© of jm stim (169c—I69d) and Jeronlsros uses 1 (377)* # # * 1 group o f nine e p ith e ts i s in sp ire d by d is re sp e c t and contem pt, b u t tbey a re n e t em otional enou^i to be c la ssed w ith th e f ig u re s in sp ire d by hate* H ubert usee 2 (285-286) and JmrmiMiM 9 (3$9*~363, 365-366)# a * * One hundred and th ir ty -d iv e f ig u re s a re n o t re la te d to th e above th eses o r to &tgr o thers* th is i s d o s e to th e number o f f ig u re s in sp ire d by the main these mod so re than th e Busbar a c tiv a te d by the second and th ird thanes* F ifty -n in e mm metaphors and sim ile s * OttoScar uses 14 (50-55* 6 1 -6 8 ), Johann 11 (207-218), Bupert 8 (274-381)* A g*» 3 (317-319)* Jeronim os 7 (351-357)* Mustache 5 (386-390), Gertrud# 1 (416), Barash# 2 (438-439), Sylvius 2 (457-458), Flatenrdjqg 1 (4 6 8 ), th e cbAxrch-et&rden 2 (481-483), th e se rv an t 1 (4 8 7 ), and S y lv este r 2 (148-149)* th e re a re 43 e p ith e ts* O ttokar uma 4 (8 2 -8 5 ), Johann 8 (229-234, 238-239)* Hupert 1 (2 9 2 ), Agnes 6 (320-323, 326-327), Jermimm 4 (358* 367-369), Fwstactie 8 (391-398), T h e ts tin e r 2 (435-436), Barash® 4 (440-443), F taU w in g 1 (4 6 9 ), Wmadm 3 (472- 474), S eating 1 (4 7 8 ), an th e chambermaid 1 (484)* Only 3 byperbdles o f th e to ta l o f 21 a m An th is l a s t groups Johann 1 (245), Rwperi 1 (295) and F in tonring 1 (470)* Tw enty-eight oaths are in th is group* OtteJsar uses 2 (107-108), S y lv este r 2 (I6 9 a -l6 9 b ), Johann 1 (2 4 6 ), Agnes 5 -4 6 9 - (332-336)* J e r animus 7 {370-376}, Eustache 2 (409-410), B&imbe 3 (444^06)* iOdbbera 2 (452-453)* Sylvius 1 (462 ), F in t*» ring 1 (471)* U rsula 1 (475) m d Santing 1 (479)* Eupert uses 1 proverb th& t f a l l s in to th is l a s t category (298a ) end S y lv este r m m 1 d ia le c t expression (170)* JUPHITKXQ* Ji&ffiMtiaren I s K le ist^ s paeon to m arried love* Although based on llo lie re ’s c la s s ic a l comedy o f th e same name, K le is i g re a tly changed b is o r ig in a l by th e ad d itio n of the se rio u s n o te o f Alkmens*® *OefCKL0verid.rrung* v&wn she fe e ls th a t she has m - w lttlR g ly been u n fa ith fu l to h e r husband, though she loved Mm and honor more th an l i f e * The comic elem ent o f th e p lay i s , ha«*~ e v e r, n o t lo s t a t a l l , and in amm say s K le ia t even improved upon th e comedy of th e French p lay by added r e a l i s t ic touches* The two th eses sfeich y ie ld the la rg e s t groups o f fig u res of apmdtk a re those of love and reproach fo r la c k o f love* The only e th e r th ese ^ p r e ­ sen ted by fig u re s o f speech o f mere than one person i s th a t o f revenue f s r Arsphitrycm# Mercury9# ac tio n s throughout the p lay a re in sp ire d by th e d e s ire to help h is m aster and to d isco m fit th e o th e r ch a rac te rs as much a© possib le* Soslas* personal cowardice p rov ider a group o f f ig u re s a s la rg e as th a t in sp ire d by th e d e s ire f o r revenge fo r b is m aster* Tbs se rio u s theses o f AUcmone's doubts about h e r fa ith fu ln e s s to Amphitryon and her m isgivings about h e r p o ssib le g u il t in being u n fa ith fu l in sp ire s th e sm a lle s t number o f fig u re s of speech of any o f th e p lay 9# themes# —470— There are 116 fig u re s of speech in sp ire d by love* * b rty - f iv e o f th ese ar© metaphors# 29 by J u p ite r (416-444)# 15 by ilka©!*® (3H -325)f and only 1 by Amphitryoti (2X 8). Of th e 55 e p ith e ts in sp ire d by love 30 a re by Ju p ite r (456-485), 18 by Alkraen© (349-366), 4 by to p M try m (258-261), and 3 by Chari®. E igh t o f th e play*® 15 hyperbole* a re m otivated by loves 3 by J u p ite r (504-506), 3 by Alteon* (400-402), and 2 by Amphi­ try o n (2BO-281). Only 8 oaths a re in sp ire d by loves 5 by JC taene (409*433)® 2 by tephttryoa (3OT-3Q8)® and 1 by Jupiter (50?)* * « ♦ Cue hundred and m e fig u re s o f speech are imtpir^A by th e th e m th a t complements th e above them e, reproach fo r lack o f lo v e , There a re 48 metaphors and s iia ile s included in th is groups to p h itry o n uses 18 (178-195)® C harts 13 (603-615)® BmUm 10 (19-38)® and AUonen* 7 (326-332). T hirty -seven e p ith e ts a re m otivated by th is s p i r i t o f rep roach t C harts has 16 (621-636)® Alkmene 14 (367—380), Amphi­ try o n 4 (254*257), and S oslas 3 (88 -90 ). ffee s p i r i t o f reproach m otivates 8 oath®# 5 by Amphi­ try o n (302-306) and 3 by C harts (645-647). Three proverbs f a l l in to th is category* 2 by Sesia® (166-167) and 1 by Chart® (648 )* F ive o f th e p lays 9 v u lg a r itie s a lso f a l l in to th is groups 3 by Chari® (650-652) and 2 by Soaiaa (173-174)• Th© only e th e r therne which include© figure® o f speech, o f so re than ooe c h a ra c te r i s the d e s ire fo r vengeance a g a in s t th e fa ls e Amphitryon* But th is th m e , w ith 39 f ig u re s , inc ludes f a r few er than each o f the shove two themes* There a re 20 meta­ phors and stadia® * Amphitryon uses 17 (196-212), th e f i r s t ed e c ie l 2 (653-654), and one o f th e generals uses 1 (663)# There a re 14 ep ith e ts* 9 by Amphitryon (262—271), 2 by the f i r s t co lonel ( 658- 659) , and 3 by th e f i r s t ami secoad general® (667-669). Om hype rbo le used by Amphitryon (282) fa ll® in to th is category* two o f h is oaths (299, 901) and 1 by th e f i r s t co lonel (660) a re in th is gxo i^ , as w a il a s 1 proverb spoken b y the f i r s t co lonel (662)* * w # The o th e r th re e themes expressed in groups of fig u re s o f speech are a l l in d iv id u a l themes rep resen tin g fig u re s o f in d iv id u a l c h a ra c te rs . The most im portant of th e se 1® Mercury*® e f f o r t to d isco m fit the o th e r characters# M.th 78 f ig u re s , th is group i s ex a c tly tw ice a® la rg e as th e revenge those# There e re 27 m etaphors (510-536), 36 epithet® (538-573), 1 hyperbole (579 ), 9 oath® (580-588), and 5 proverb® (591-595). * e # Sosias* cowardice in sp ire s 39 figure® o f speech , th e sane maaber as th e revenge them e, b u t only h a lf so many a® M ercury1 s theme* There a re 15 metaphor® and sim ile s (1 -1 5 ), 5 e p ith e ts (5 2 -5 6 ), 2 hyperbolas (99 -100), 15 oath s (104 -11 8 ) , and 2 proverb® (163—164)# * » ♦ <**47*2* Alkmene's worxy about her p o ssib le g u i l t , which sligh t be c a lle d th e 11 ra iso n d ’e tre " o f th e cossedy, m otivates only 25 fig u re s o f speech* % ere ear© 13 metaphors and s im ile s (333—345), 6 e p ith e ts (386*391), and 6 oaths (403-408)* # #. « two hundred sev en ty -th ree of th e p la y 's to ta l o f 671 fig u re s o f speech cm n o t be re la te d to m y o f the above themes* This r a t io i s cloe© to th a t found in th e two p lay s a lre ad y discussed*. Thera a re 63 lact&phers and s im ile s t S osias uses 26 (16*18, 2 9 -5 1 ), Amphitryon 11 (214-217, 219-025)» 103mmm 3 (346-348), J u p ite r 11 (445-455), Mercery x (5 3 7 ), Charts. 5 (616-620), th e f i r s t co lonel 3 (655-657), and th e f i r s t mad second genera ls 3 (664-666)* There a re 117 u n re la ted e p ith e ts t Sosias uses 39 (57-87 , 91 -98 ), Amphitsyon 36 (226-253, 272-2??), Alknen© IS (381-385, 392-399), J u p ite r 18 (436-503), Hereury 5 (574-578), Char i s 5 (637-638, 642- 644) , and th e co lonels and generals 1 (6 7 3 ). S osias uses th re e hyperbole® which a re u n re la ted (3X31-103 )* There a re 70 oaths in th is f in a l groups S osias usee 44 o f them (119-162}, Amphitryon 16 (283-39$), Alkaene 2 (414- 4 1 5 ), J u p ite r 2 ( 508*509), Mercury 2 (589*590), th e f i r s t mid second genera ls 2 (670-671), th e people 1 (6 7 2 ), ami th e co lonels 1 (674)* £t t a1 69 *( 9£ S- *£ S 'T JS -S OS *9 lX 0 *8 9* “« 9* *9 0 3 * 2§ if5Q& 2 tt ^ 4. S»P* o €«■ 8 f IT *X P* ftP f p I VA $ He * u> & HH* 0tr H 05 I*H 9 % IS 9 j£ gE iD sG or Td sr ar x JtS R^ o qs m ® j » j o^ ox P ir» ^q o aj td b ^ 201-225, 325-331, 402-406, 452-453, 479-488, 511-514, 523-528, 537-538, 540-541), a l l 36 examples of d ia le c t (239- 250 , 334* 343, 408-413, 490-491, 530, 539, 542-543), 4 w iO g ^ tie s (4X4- 416, 4 2 9 ), and a l l 4 m sm plm o f L atin (255-256, 454-455) ®re in th is group# Although th e num erical r e la tio n between th e u n re la ted fig u re s and th e to ta l o f those lia to d under th e d if fe re n t Motional themes Is n o t g re a tly d if fe re n t from th e ease re la tio n * sh ip In th e th re e plays d iscussed above, I t w ill be oted th a t th e re la b u t one em otional theme In which fig u re s o f more than t t o ch a ra c te rs a re rep resen ted ! and th a t theme la cmi which does n e t m otivate a c tio n , a s s im ila r themes d id in Ouiskard and ■* a « a # f>E!fTifESX£&A Cnee more tu rn ing to the t i t a n ic fig u re s of a n tiq u ity , in P en th esilea K le ls t p resen ts a love so powerful th a t i t lead s th e b e a u tifu l queen o f th e Amasons to break w ith a l l th e a n c ie n t preem pts o f h er ra c e , includ ing even a l l eecxventions o f brawn sympathy, when she k i l l s th e hero she loves and then commits su ic id e by sh eer fo rce o f w ill poser# th ese t i t a n ic em otions a re re f le c te d in th e fig u re s o f speech the poet chose fo r th is tragedy# By f a r th e la rg e s t group o f fig u re s of speech is th a t m otivated by lo v e , sympathy, and adm iration fo r e i th e r of th e A two lead ing c h a r a c te r , A chilles or P en th e sile a , com prising more than a th ird of th e to ta l 814 fig u re s in th e play* JnXy a fere fig u res in th is group a re in sp ire d fay lo v e , sympathy, and adm iration fo r m y o th e r than th e two lead ing c h a ra c te rs . This them motivate# 140 metaphors mud sim iles $ PfiatheeiXea uses 65 (1 -6 5 ), A ch illes 23 (578-60G), Prothoe 20 (265-234), the unnamed Asiasorts 20 (332-399 , 415-416), the High * n e ste sa 3 (498-500), Meroe 3 (543-550), Antiloehos 4 (803-806), and th e unnamed Greeks 2 (675-6% )* There a re I3Q e p ith e ts in th is category! P en thoeilea tu rn 35 (146-166, 172-135), Prothoe 43 (301-337, 346-351), th e unnamed Amasene 12 (432-440, 453-460), th e High P rie s te s s 3 (516-513), Meroe 5 (557-561), A ch illes 13 (606-613), th e taw named Greeks 7 (686-692) , Odysseus 6 (743-746, 750-751), and M aaedes 6 (704-786, 789-791)* F uartem o f the p lay 1® 36 hyperboles ei^pbasiise th is thaws* P en th esilea uses 7 (220-226), A ch illes 5 (627-631), th e unnamed Amazons 1 (466 ) , and A ntilochus 1 (811)* Tiwanty-eight oaths f i t in to th is gretg>t A ch illes has 7 (640- 646) , th e rammed Amazons 7 (467-473), Prothoe 7 (364 - 369, 3 % ), P en th estlea 2 (259-260), th e Hi^b P rie s te ss 2 (534- 535), I&enedes 2 (801-302), and A ntilochus 1 (315)* # * * The second la rg e s t them e, w ith 134 fig u re s o f speech, is h o rro r a t ^en thesllee** various act!sm s* There a re 65 meta­ phors and p sim ilesf Penthoeilea h e rs e lf uses 17 (122-133), -478- Prothoe 16 (285-300), the High P rie s te ss 15 (483-497), Mares 10 (539-547), and Mis unnamed t e t c o s 7 (400-406)# The 39 e p ith e ts in th is category a re d iv ided m fo llow s, P en th esilea 4 (2Q3-206), Prothoe 3 (333-345), th e w in e d l i s s n 6 (426-431), the High P rie s te s s 12 (504-515), Meroe 5 (552-556), A ste ria 2 (576-577), Odysseus 1 (7 5 2 ), and A ntilochus 1 (810)• S ix hyperbolas a re in th is group* M em uses 3 (566- 568), the High P rie s te s s 2 (528-529), sad Prothoe 1 (363)* Twenty-four oaths a re m otivated by th is h o rro rt Pentfoesilea h e rs e lf uses 14 (245-258), th e High P rie s te ss 4 (530-533), Prothoe 3 (370-372), and th e unnamed Ammom 3 (474- 4 76). # * * A group o f fig u re s only about h a lf so la rg e as th e above Is m otivated by th e Greeks1 amaaesnont a t P en th ea ilsa and th e Amasons* prowess in b a ttle # Two hyperboles by th e tasnsmed A n s o n a re Included In th is group# F if ty -f iv e metaphors and sim ile s a re evoked by such amaaezamt* th e unnamed Greeks us© 26 (649-674), Odysseus 16 (714-728), and Dicraedes 13 (766-778)# E ight e p ith e ts express th is themes th e urasamed Greeks am 7 (695-701) mod A ntilociius 1 (8 0 9 ), Seven hyperbolas f a l l in to th is groups th e unnamed Amasons use 2 ( 4640-46 5 ) , the unnamed Greeks 2 (706-707), Diomede* 2 (797-798), and Odysseus 1 (755)# A ntilochus uses 3 oaths (8124SX4) which f a l l in to th is group# * * * The fo u rth and sm allest group i s m otivated by h o rro r a t A c h illa s1 various actions* There a re 14 metaphors and s im ile s in th is groups Odysseus uses 10 (729-738) and Dicoedes 4 (71??—782). A la rg e r maaber o f e p ith e ts f a l l s in to th is groups ther© are 26 o f them, d iv ided as fo llow s» th e unnamed Azaaaons have 9 (441-449), PenthesU ea 5 (1674171), Prothoe 3 (352-354), th e un­ named Greeks 2 (693-694), Odysseus 3 (747-749), Diomede® 2 (787- 788), and Antdlochus 2 (807*808)* Six oaths a re in sp ire d by th is h o rro rt 4 by Odysseus (756-759) and 2 by Dioraedoe (799-300)* * * * Two hundred fo rty -n in e of th e p lay #0 to ta l 814 fig u re s of speech cannot be c la s s if ie d w ith any o f th e fo u r above theses* There a re 106 im clas s if ia b le metaphors and sim iles s P en th asilea uses 63 (66-121, 139-145), the unnamed Aaaaens 17 (407-414, 417- 4 2 5 ), th e High P rie s te ss 3 (501-503), Meroe 1 (551 ), A ste ria 3 (572-574), A ch illes 5 (601-605), th e unnamed Greeks 9 (677-683), Odysseus 4 (739-742), and Diomedes 1 (783 ). tineljta wi f*i * h if © pithete i nc lude 82 o f th e play*if to ta ls P m th ec ilea uses 30 (186-202, 207-219), Prothoe 8 (355-362), th e mmmmd $mmmm 12 (450*457, 461*464), Una High P rie s te s s 9 (519* 527), Heroe 4 (562-565), A ste ria 1 (5 7 5 ), A ch illes 8 (619*626), th e remained Greeks 3 (702-704), Odysseus 2 (753-754), and Dianedaa 5 (792-796)* Nine o f F e n th a s ile a 's hyperboles (227-235) f a l l in to th .s category* -4B 0- F if ty oaths a re unclass I f ia b le s P en thesilea has 12 (236-244# 261-263), Froth©* $ (373-375# 377-3*3®)# the unnamed Amasson® 5 (477-431)# th e High Priest© ** 3 (536-533)# a^ros 2 (569-570)# A chillea ID (632-639# 647-643)# the urasasaeti Greeks 7 (707-713)# O dyssey 5 (760-764)# and A ntilochus 1 (HX6)* P en theo ilea’s one proverb (264) and Odysseus* one esmmp'iM o f d ia le c t (765) f e l l in to th is uncl& seifiab le group* I t w ill be no ticed th a t th e r a t io o f u n re la ted Figure* o f speech and re la te d fig u re* remain* about the same fo r ren tfaeg llea a* fo r th e o th e r p lays a lread y discussed* * * * * * m s m?mmm vm hsilbrcw As th e opposite pole fro * Fentheeilea# H e is t p resen ts 1® ^mb K&tbcben yen H eilbrcnn th e w ry epitome o f fem inine s e r - r i l i t y * th e two lo v ers a » w r apeak to each o th e r o f th e ir lo re u n t i l th e w ry end o f th e p la y i n ev erth e less th e the®* o f love loans la rg e r then any cither in th e play* Bet th e here** fig u re* in th is group rep resen t only about h a lf the to ta l# and th e r e s t o f th e group i s eoepeeed o f fig u re* m otivated by pabexm l o r s i s te r ly love* O ther ©motaons in sp irin g groups o f fig u re* o f speech a re h a tre d fo r Kunigtxade# sense o f honor and uprightness# KSthehen** htoable re sp e c t fo r S trah l# and Kunigiiade’s sim u lation o f innocence and love fo r S tra ta# The l a t t e r two themes arouse only very em ail groups o f fig u res* One hundred twenty-tw o fig u re s a re m otivated by th e theme o f lo w fo r Kfithehen* There axe 62 metaphors and sim ile* in th is r€» mo la rg e a# the ab ov e gr ou p* Is in sp ire d by ha tre d fa r I to m * i!c* o I I s ® « JJ 8 5 £ 1 I^ 0 ; 1 **“h 1 w H f f 8 1 <* & $ c"NON H If Hw 01: * I f * t i I 03 S t fr* * 01 1 1 I 4TV s * * m w »A - 8 CM > i I i * r4 # ia y&w oi * I si pom Jtotsoq jo esues 4 aza^ ot& xeqo ^uaaajjrpp —482— would expect in a Hittardrame# Forty metaphor® and similes a re included in th is groupt S tra b l uses 14 (39 -52), M thcbeti 12 (271-282), Theobald 5 (428-432), Flaamberg 6 (193-198), and G raf O tto 3 (653-655)* Fleven e p ith e ts ere in th is c& tegoiyt 9 by StroKL (118— 123, 134-136) and 2 by Ilaimaberg (199-200)* fu s itjv fo u r oaths a re found in th is groups 12 by S tra h l (157-168) and 12 by K&thehen (358-369). « « « By number® Ktthchen*s e p ith e ts fo r Strahl inspired by her humble re sp e c t make a more im portant group than R raignnda'a figures in sp ire d by h e r sim ulation of homer and lev© for Strahl# Kftthchen uses 49 such e p ith e ts fo r S tra h l (288—335* 3 4 8 ), b u t there are no ether fig u re s by KSthehoa in sp ire d by this theme# « * « In h er sim u lation Xunigund* uses 3 metaphors and s im ile s (437-494} and 20 e p it e ta (503-522), * * * This leaves 363 fig u re s o f speech uneL assified in any o f the above groups# This i s s l ig h tly mare than half th e to ta l figures in the play* a much higher ratio than Hi the five pre­ ceding plays* One hundred eigh teen metaphors and s im ile s a re ur** c la s s if ia b le * Theobald uses 36 (402-427* 433,-442)* S tra h l 22 (35-36* 61-78)* Brigitte 11 (255-265), G ottscfaalk 3 (21%219}* fdtheben 2 (283-284)* KunigmRde 3 (495-502), R o salia 3 (545-547), —483— th e f i r s t and second aunts 1 (560)# F reiburg 3 (579-581), th e E heingraf vcct S te in 2 (630-631), the se rv an ts o f th e Khelagre* 1 (652), Graf O tto 5 (656- 660) , Wense1 1 (6 7 0 ), Hans von sarenklau 5 (677-681), th e h era ld 2 (693-694), ib« charcoal burner boy 3 (696- 698) , the second charcoal burner 1 (901 ), and the n ig h t m tc h n a B (705-712)* One hundred f i f ty - f iv e , ^ore than h a lf th e to ta l e p ith e ts a re unclassifiab l© t S tra h l has 3? (100-411, 116-117, 124-133, 137—149), K&tbchen has 24 (285-287, 336-347, 349-357), Theobald 19 (454-472), Flasimberg 7 (201*207), G rSfte Helena 3 (240-242), B r ig itte 3 (266-268), G o ttfried 1 (4 3 6 ), Kunigunde 11 (523-533), E osalie 4 (548-551), th e H itte r tu b Thurneck 1 (5 6 2 ), F reiburg 12 (582-593), Georg 3 (607-609) R itte r Schauersam 2 (612-613), the Kheingraf vest S te in 4 (632- 6 3 5 ) , Kginfoardt 1 (6 4 9 ), G raf O tto 8 (661-668), Bonsai 1 (6 7 1 ), a judge 1 (676), th e Archbishop 1 (6 9 2 ), the h era ld 1 (6 0 5 ), th© charcoal burner bey 1 (699 ), th© second charcoal burner 2 (702-793), and Jakob Pech 2 (713-714) • Min© hyperboles a re unclasslfiab l© t S tra h l uses 3 (154-156),:.. Ffcwwberg 2 (209-210), Theobald 2 (476-477), Rosalie 1 (5 5 2 ), end F reiburg 1 (598)* Seventywdlius oaths f a l l In to th is category* S tra h l uses 15 (175-178, 180-190), Flassaberg 5 (211*215), G ottsehalk 6 (232- 2 3 7 ), S tra h l1© v assa ls 2 (233-239), H ecncre 1 (2 5 4 ), B r ig itte 1 (2 6 9 ), K&thchen 4 (370-373), ^© obald 6 (473-481, 482-483), Kuniguad© U (534-544), R osalie 7 (553-559), the f i r s t and second aun ts 1 (5 6 1 ), tho ^an tlsnen o f fhuxrieck 1 (563), ^ i b u r g 3 (601-603), Georg 1 (6 1 1 ), the P heingraf r m S te in 2 (637-638), ir ie d r ic h 1 (651), G raf O tto 1 (669) , Wens&eOL 1 (6*32), Kans von Bfireid&au 2 (674-675), th e K aiser 3 (6 ^ -6 9 0 ) , th e ehareoal hum or bey 1 (700 ), th e second charcoal burner 1 (7 0 4 ), and the people 3 (715-717). The pl*y»B erne prorerb, used by Theobald, fails into th is group (A8£). AH s ix eases of d ia le c t a re a lso tnol& s& ifiaihle t K&thchen uses 3 d ia le c t expressions (374-376), Flarstberg 1 (2 1 6 ), Gofctschalte 1 (237a), and th e Rheingr&f vara S te in 1 (638a). * * # # ♦ nm mmmmscmMm In th e guise of the stogy o f th e Bcama d e fe a t at T euto- b u rg , K le ic t expresses h is h a tred f o r th e French who defeated Germany under Napoleon* Sue ©an a^y th a t Die HeraamnsschXacfat i s K le la ttB h atred d is t i l le d in to d ie m . The la rg e s t p'roup o f figure© o f speech i s in sp ire d by German h atred fo r th e Homans. Two much sm alle r groups a re m otivated by the Eoo&as* sim ulated frie n d sh ip fo r th e Germans and by th e ir tru e fe e lin g of h a tre d . The only o th e r theme which arouses a group o f fig u re s o f speech i s th e treacherous V entld iua1 sim u lation o f love fear Thusnelda. One hundred th i r ty fig u re s o f speech a re m otivated by th e various Germans* h a tred fo r th e Romans. There a re 66 metaphors and s im ile s In th is category* Hermann uses 21 (1 -2 1 ), Wolf 9 (19S-206), Tfcuiskcatar 3 (229-231), K ginhardt 1 (2 6 1 ), f jillg a r •435— 3 {271-273), A s td f 2 (2SX -2Sla), W infrled X (285), E gbert 2 (287-288), Thusnclda 2 (302-303), Marked 8 (373-380), Komar 4 (400-403}, Fust 4 (404-407), G ueltar 3 (4X8-420), the Goman genera ls and captain® 2 (441*442}, and Tetithold X (450)* Tw enty-three epi^net® faX l in to th i s group* M&rmmm hsm 7 (134-137, 143-144, H 7 ) , Wolf X (2 2 6 ), fh isk o sa r 2 (246-* 2 4 7 ), Egbert X (2 9 3 ), 3 (329-330, 3 3 6 ), A ita rin X (3 9 5 ), F ust 2 (4X3-414), G ueltar 2 (421-422), the people 2 (427*428), th e German general® and captain® 1 (4 4 6 ), and Touthold X (454)* th re e of Hemaim9® hyperbole® a re in sp ire d by hatred fo r th e Kmmxm (158-160) • Thirty^-eeven oath® a re in thi® groups B srasm uses 16 (161-176), Eginherdt 2 (269-270), A s td f 1 (284), m n frie d X (2 8 6 ), Egbert X (294 ), Thusnelda 10 (338-347), A tta rin 2 (398-399), F ust X (4X7), th e people 2 (436*437), and the 0**rrao« general® and cap ta in s X (447)* One proverb need by Hermann i s a c tiv a te d by h a tred fo r th e Bonea* (196)# * « • The theme o f s in n la te d a ffe c tio n fo r Thnsnelda efvotoa® 23 fig u re s of speech from V entidins* There a re 8 metaphors wad simile® (464-471), 9 epithet® (480-483), and 6 hyperbole® (493— 498)* » « * The Honan®9 sim ulation o f frie n d sh ip fo r th e Goman® e lic it® th e same em ber o f fig u re s o f speech a® th e above these* Th ere are 10 m et ap ho rs and si m ile st V en tid tu s has 7 (4 72 *4 78 ) i i ! •»& I 3 Oi 8 Si I«N 6 $ I j -I> S 1 * 1 s I I j | H S " i i f i i I usus i * 13 i f I I & * i ep ith et s are in sp ire d hy ha tre d fo r th e mI * IUS f*k I <8 v\ 0* I I I 8 M * &clCk t * I I | # o K i g |s-# M i - 1 1 1 ! 1 1 i ! I } 1 1 I l * ' 5 * 1 ? i «h<*■* § I % I 34» *1 Vt * o a g h a I h m 1 -2 t Ml H i „ 5 I £ 5 £ HI ♦» I * «A CM 1*AOI *-487— 2 (448-449), th e chorus o f bards 5 (456-46Q), th© tiXxmm X (463} , Tanto 33 (514-526), S clp io 4 (563-566), the Roman general® 6 ( 568- 5 % ), and A ristan 3 (535-537)* There e ra 207 e p ith e ts in th is u n re la ted groups Hermann us©# 93 (5S-133, 133-342, 345*146, 148-153), WdLf 10 (217-225, 2 2 7 ), m iiBko® ar 12 (236«a45, 246-249), Bagobert 1 (256), S elgar 2 (259-260), Fginhardt 6 (263-263), huitgar 7 (274-280), A otolf 1 (2 3 3 ), Egbert 2 (291*292), th e Garmon p rin ces (295), Thumnoldo. 24 (313-328, 331-335, 3 3 7 ), Gertrud 3 (354-361), G hildarich 1 (3 6 8 ), Ifarbed 6 (383-38S), A ttarin 2 (393-394), Fust 4 (409-412), th e people 10 (424-426, 429-435), the German general® and cap ta in s 3 (443-445), Teutfacld 3 (451-453), th e chorus o f bards 1 (4 6 1 ), i^ n tld iu s 1 (4 9 2 ), ?arus 6 (539-543# 545) , the Roman genajmle 1 (57S), and Croesus 1 (583)* Only two hyperbole* f a l l in to th is groups 1 i s spoken by Hermann (157) and 1 by th e charm o f bards (462)* There asm 55 d& thsi Hermann uses 19 (177-195), TteiiialecHar 2 (250-251), Oagobert 2 (257-258), Tfauanelda 5 (348-352), Gertrud 4 (362-365), C h ilderidx 3 (369-371), A tta rin 2 (396-397), F o rt 2 (415-416), GueXtar 1 (4 2 3 ), the people 3 (438-440), Teutheld 1 (455), Ventidius 3 (500-502), Sctpi© 1 (567), the Hasan generals 3 (580-582), the Hasan 1 (584), and Aria tan 3 (594-596)* Thusnold&«s am proverb (353) f a l l s in to th is group* A ll f iv e examples o f d ia le c t in the play are u n re la ted to a ry o f th e em otional themes of th e p lays Wolf has one example -439- (2 2 8 ), C hilderieb 1 (372 ), F en tid iu s 1 (5 0 3 ), Varus 1 (5154), and T ris ta n 1 (597)* # « « # # p n m frxfoixck von na&Bmio Although th e hero o f F ria s F rie d ric h w Hamburg u lna a b r i l l i a n t v ic to ry over th e eneoy, be disobeys an im portant o rd er o f M s Kurfffcrst In doing so* The problem of the p lay i s th e psychological development th a t th e Km,f t r s t l8 r@ sM.tant death sen tence w ill e f f e c t In such a p rin c e , loved by a l l , anti h im self in love w ith th e K urftrst*® b e a u tifu l n ie c e , P rincess % ta lle * His fri«?ndef love fo r him ad® them to o b jec t fo rc e fu lly to th e SAhtHHMxity of th is ro u tin e sen ten ce , and th e p rin ce h im self a t f i r s t considers the K urfSrsV s ac tio n ty ran n ica l* But f in a l ly P rin* F rie d rich re a lis e e h is g u il t and understands th a t hi® irau b o rd in a tio n c o n s titu te s a m ilita ry crime ju s t ly punishable by death* This v ic to ry over h im self i s th e s ig n tlie F u rfttrs t has bean w eltin g fo r to quash th e sentence and to heap the P rince w ith honors fo r hi® v ic to ry over th e enemy as w ell a s to g ive Mm H a ta lle ’s hand in m arriage* Although th e problem of th e p lay i s P rin ce F rie d ric h 1® developm ent, th e two theme® in sp irin g th e la rg e s t am ber o f figure® o f speech have nothing to do w ith th is developments they a re love and re sp e c t fo r th e Kurfftzmt and disagreem ent w ith M s d ec isio n to have th e d isobed ien t P rince executed* The n ex t moot im portant theme 1® th a t of th e love of N ata lie and the Prime#* -490— Two much sm alle r themes* c lo se ly connected w ith Hamburg *s development* a re h is Tear of death and h is l a t e r courage la th e face o f death* There a re 55 fig u re s of s p e c h in sp ire d fey love and re sp e c t fo r th e Kurfttrot* Tw enty-six metaphors and siisH os a re in th is groups Hamburg uses 10 (66—75)* G raf Sparrea 6 (402-407)* th e K iirftirstin 4 (580-383)* M Sm r 4 (433-436), sad N a ta lie 2 (188-389). Twenty -ep ith e ts f a l l in to th is category t N a ta lis uses 9 (207-215)* K ettw ita 4 (355-358)* Troches 5 (427*429)* H ostel* 2 (133—134)* Graf Sparren 1 (408)* and th e second Heiduck 1 (449)# Ttpo hyperboles a re m otivated fey love and re sp e c t fo r th e Kurff trs ti U grasr uses 1 (458) and G raf Sparren the o th e r (410)* Seven oaths f a l l in to th is groups Homfeurg m m 3 (158—160)* N ata lie 2 (234*235)| and th e i t t c h s s i 2 (446—447)# # a * The theme o f disagreem ent w ith th e K u rftrs t in sp ire s only two fig u re s 1? as than the above theme# There a re 46 m etaphors and s im ile s« Hoaa&urg uses 14 (52-65)* N ata lie 13 (165-177)* K ottw ita 11 (341-351)* Hobeosclle r» 5 (292-296)* and Dftrfling 3 (412-414)# There a re 2 hyperboles in th is ca teg o ry t 1 fey Hcatoorg (146) and 1 by N ata lie (229)# Five oaths a re m otivated by disagreem ent w ith th e K urfftrstt 4 a re used by Kottw it* (568-371) and 1 by G raf Reuse (445)# ♦ * * -491- Batali® and Hoaburg*® love in sp ire s & smaller group o f 40 fig u re s o f speech* H*ere a re 14 metaphors and s isa ile s t Hamburg uses 11 (76-66) and N*taU* 5 (178-162}* Kmbnrg usee 10 apltii&hs in sp ire d by lo re (113-121) and la ta l i e uses U (190-302)* Hamburg uses 1 h$pert>ol© to em phasise Ms love (145) » « # KcnbusK*® fe a r o f death In sp ires 23 metaphors and sim iles (1-23) and 5 oaths (151-155)• * # * His la te r courage l a the faee of death m otivates 11 metaphors and s im ile s (24*34) and 2 oaths (156-157)* * « « Here then h a lf the play*® to ta l number of figure® of speech cannot be c la s s if ie d w ith th e above grasps* th is r a t io o f 264 to 453 1® no t q u ite m h igh as was th e ease in E a Bera«mnsscilacfat> There a re 65 u n re la ted metaphor® and a i s l e s i licuburg uses 27 (35-51* 87-96), the X n fltev t IB (236-253)# H ohenzollem 11 (292-301), V a ta lls 5 (163-167), lo ttw itss 3 (352- 354)* and. th e officer® 1 (420)* One hundred tw enty-s i r e p ith e ts f a l l in to th is uaa— c la s s if ia b le groups Haabusg m ss 34 (97-111, 122-132, 135-142)* HataXie 17 (209-206, 2 1 6 -2 3 ) , th e K w f* rst 31 (254-284)# m tm m & llam 16 (308-323)# K o tta its 8 (399-366)# th e % rflS re ti» 12 (384-395), ® rsf Sparren 1 (409)* n a m in g 1 (415)* th e o ff ic e rs 1 (4% )* M6mer 1 (437), O d s 2 (439-440)* Gref Reus® 1 (444)* and a H ofkavaller 1 (448)* i? .5iH| a r\ r4 ISm | l l me I 1I I § r4 I i *i % l i • ? If 11 a 1 " 3r4 p _ w CM faei SO \0 SI 1 f t 145* <*■% a I b h ft I H | H8 IIM I .5 O a © n ** &p\w wi th re la tiv e ce rt ai nt y, ot he rs th e two most 3 y ric plays* hyperboles occur witt* much m&m frequency than in th e o th e r plays* Almost 10$ o f a l l th e fig u re s in Quiakard nr** hyperboles f in ffen thesilea they rep resen t alm ost 5$ o f th e to ta l* l a ad d itio n to being th e most lyrics o f th e e ig h t plays* the heroes in those two lafctarH ^ntioRedi p lay s have the la rg e s t s ta tu re * approaching hyperbole them selves* Thus K lelst has a n ic e e o rre la tia n between th e ch a rac te rs and th e ir use o f hyperbole m f ig u re s o f speech* There i s m no tab le d iffe ren ce in frequency of hyperbole in th e o ther plays | a l l o f them f a l l in between these th ree extreme plays* * » « Metaphors w*& s im ile s a lso occur much more frequently in the th ree ly r ic plays* cmlskard* Schrolf en stein and In these three plays metaphors and sim iles represent s lig h t ly mere than h a lf the to ta l figu res o f speech in each play* In Sc&roffengteln there i s l i t t l e o f the hyperbolic q u ality o f Cuiskard and Penthasflca* I t m m t be the ly r ic q u a lity o f these th ree p lays which in sp ires worn metaphors and sim iles in them than in the other plays* In contrast to these throe ly r ic plays i s the r e a lis t ic comedy, Per zerrfrrochems Krug* ■where metaphors and a laH es comprise only o n e-fifth th e to ta l figu res of speech* But in d e i s t 1® other ocetsdy* AmribitCTaa* apprcsdmately one-thirdt the to ta l figu res o f mpmmh a re metaphors and sisalles* In Aiaphitryofl th m * la a se rio u s elem ent, which i s a lso ly r ic a l i the love st0* F -Sf H■vt SO ‘A tij ■Sf s * ■P S3 C ! h S 3 CA so ot vq n H C?\ us rs ps r - h i HI H sj- r—I US CMH CM H C' O O HCA H C- O H 04 CM CV iA £> S3H £> fA CM :a q> O' X--.5 r i vO PA tr\ o £ o wi 5*3 0 A ■H 5& W •P a 0 O vi> i>H ?*•! o \ § c - £ C H Si;S • C P C <8 A ■ ■V § f;r tiS 1! “j“ t Sm I 5>i 4 s o' C"! 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* 3 OS Hi «V .C». a. O CSS f p & Km > W * r i 65 &•' &*« «5* g £•> £ui X* "D p t\;. © Jr ’ *¥•“5 p 05 t'i V< ,S. 6 - -p * «a o -5 0 2 - c ■<': rd '" r ( 1 0 2 ) 29 ( 4 2 ; 1 44 , ch vc f fcnsU - in 7j ( 3 5 - ) 2 r; ' (1(9*} 490 /aaphlfcryon 7V-, ( j 9 9 ) 41 ( 27 3) 6 n l Kin* 66 •-• (35?) 3 4 ' (190) 547 :•i.-n thesilca 69 ^ ( 9 6 5 } 311 (2 4 9 ) 014 Kttthchen 49 (351) 51)3 ( 3 6 . 3 7 1 9 3c.r^:--rjissch)i;^9it. 7 7 (2 1 9 ) 6 4 ) ( 7 ) 5 7 5 9 0 :7o::7;ui-r • 2 ( 1 5 9 ) 33 ’ (2 -43 453 -503- ocixxumTx O niskard 2 s h r o f f e r a t c in Amphitryon Krug '’e n th e s ile a K&thchen He n a an n ssch lach i Komburg TAB,.-, i l l W. FHKw^SNCI OF PXGUitES aHDECK t o t a l l in o s 'to ta l figon** number o f l in e s in p la y o f speech p e r o ccu rren ce o f one fig u re 524 144 3*64 2725 493 5*53 2362 671 3*52 1974 54? 3*61 3043 £04 3*70 3200* 719 4*45* 2636 596 4*42 1B58 453 4*55 * S ince a l i n e o f p ro se i s c o n s id e ra b ly lo n g e r th an most l in e s o f p o e try , th e mmsber o f "p o e try l i n e s ” in Kathchen has had to fee approxim ated as c lo s e ly a s p o ss ib le * P £ 0 u-: & 1 a * ?! i l I III I I 1*3a f 3 •c ac K\ ►5 *«P Wl - 505- Spargcew* C aroline France# Eleanor# Leading Motive# Itt ttyc Imagery o f Shakespeare1# Tragedies* London, Oxford =*------- Shatogpeare*# XwmmuvI I I II I - » »^ MaOKtlXlSHl£ 19>l» **•*» IjMMHT ( i ) » ( i t ) ' ^ S a s S j s ^ T fela fforic Londoa, E . M ilford , 1931. T aylor, ^archer* jfrgyejft* Cambridge, Mass** Harvard IM v e rs lty P z«8i| 1931* french* R ichard Cheneviac* th e Lea eons to ftrawcgtw* Hew York, Ee&field* 1855# itetxicr* to r i F ried rich M lhelm , ed* ______ _ _ leadkcfu L e ip rig , F* A, BroeMiewc* 1867-80# VITA Naaet Hose Jlwooci Backenetosa, J5r* Permanent Address t 3134 ^tebec ELaee, N* la^& ngbcii, D.C* Degree and Dates Fh* B*, 1943# Date o f B irth s Hovanber 2 , 19X4* Place o f B irth s ^aeM agton, B* C# Secondary Educations Central High School, D* C# C o lleg ia te Educations Date* Degrm and Date ¥00 Unschuld U niversity Of M usic, 1929-34 B* M* 1934 American U n iv ersity , 1931-35 B. A* 1935 ^ein ar-Jcn a Sunmer C ollege, M Ueur, Germany, 1934 Diploma, 1934 tlta iv ersity o f Horth C aro lina , 1935-37 If* A# 1938 Ind iana T Jhiversity , 1937-38 {Ho Degree) George Washington U n iv ersity , 1938—40 (Ho Degree) U n iversity o f M aryland, 1938-42 Hi* D* 1943 P o sitio n s H eld, Including P resen t o r P rospective Occupations! Teaching Fellow in GenMua, B n iw rs ity o f N orth B&roliim, 1935-1937* Teaching Fellow in Genaan, Indiana U n iv ersity , 1939*1933# Graduate A ssis tan t in Modern Languages, U niversity o f M aryland, 1938-1942* Second Vice P resid en t o f the Beard o f T ru s tee s , Von Onschuld TAiivereity o f Mueie, e lec ted January , 1942 — In s tru c to r in Modem Languages, d iv e r s i ty o f M aryland, Septcaober, 1943 —