467 DER FREISCHUTZ (The Free-Shooter') Opera in Three Acts Music by Karl Maria Von Weber Libretto by Johann Friedrich Kind First performed at the Schauspielhaus, Berlin, on June 18, 1821 CHARACTERS Prince Ottoker: baritone Cuno, the head ranger: bass Max, a forester: tenor Caspar, a forester: bass Agathe, daughter of Cuno: soprano ‘Annchen, her cousin: soubrette Kilian, a rich peasant: tenor ‘A Hermit: bass Samiel, the Wild Huntsman: speaking part ‘A Bridesmaid: soprano ‘The action takes place in Bohemia, in the middle of the XVII century THE PLOT ACTI At the target range, the peasant Kilian defeated Max the forester at a prize shooting. Max, being a forester and accustomed to the use of firearms, should have won, and it is disgraceful for him to have been defeated by a peasant. Kilian rubs it in and the men and girls join in the ‘mocking of Max. ‘The hereditary forester, Cuno, is worried over the poor showing Max has made not only that {day but for some time past. There is to be a shoot the next day before Prince Ottokar. Max ‘must carry off the honors in the competition to win the hand in marriage of Agathe, Cuno's daughter, as well as the eventual succession as hereditary forester. Max is in despair. Life will be worthless to him without Agathe, yet he seems to have lost all his cunning as a shot, and without it he cannot win her hand. A fellow forester, the brutish Caspar, is also interested in obtaining Agathe's hand. He enters. It seems that he has invoked the supernatural help of a devil named Samiel. He suggests that Max may need some ‘magical assistance the next day, whereupon he hands him his gun and points to an eagle circling far above and tells him to fire at it. Max shoots, and from its dizzying height, the bird falls dead at his feet. It is a wonderful shot, but Caspar explains to him that he has shot with a charmed bullet and that such bullets always hit what the marksman wills them to. If Max will meet him at the Wolfs Glen at midnight, they will mold bullets, one of which he will fire at the match the next morning guaranteeing Agathe's hand and the hereditary office of forester. Max, to whom victory means everything, consents. " A Free-Shooter in German lore was a hunter who shot with magic or "free" bullets supplied by the devil, bullets that would not miss their mark.468 ACTIL In her room at her father’s hunting lodge, Agathe is not too happy at the probable outcome of the shooting match. A picture mysteriously tumbles off the wall and hits her head. She takes it as an omen not helping her state of mind. She is about to tack it back onto the wall when her cousin Annchen enters. She is in a much better mood than her cousin and tries to cheer her. They discuss the absence of Max, who is expected shortly, and once Agathe is left alone, she prays for her beloved. Max arrives and tells Agathe of his impending visit to the Wolf's Glen. Both Agathe and Anchen, who has retuned, try to dissuade Max from going to such an evil place, but he insists on going. The scene changes to the Wolfs Glen, the haunt of Samiel, the Wild Huntsman (otherwise the devil), to whom Caspar has sold himself, and to whom he now plans to turn over Max as a victim, The young forester joins Caspar and together they mold seven magic bullets, six of which go true to the mark and the seventh wherever Samiel wills it. Together the two men call upon Samiel, and the Demon himself appears. The scene is wonderfully gruesome, with ghostly figures appearing, cadaverous, spooky-looking animals crawling out from under rocks, and Max's mother appearing to him in an effort to wam him away. It is a scene of incredibly telling grotesque spine-chilling horror. ACT UL Agathe is in a brooding mood. She is being dressed for her wedding to Max, but has serious ‘misgivings of a superstitious nature. One of these misgivings, as shall be seen in the final scene, is the fact that she dreamed she was a white dove, that Max fired at her and that she fell to the ground in her natural form as a maiden. Annchen and the girls manage at last to ‘convince her to finish her nuptial preparations. It is the big day and Max is to demonstrate to his prince Ottokar, and to his prospective father-in-law Cuno that he is a good enough shot to merit marrying his daughter. The Prince points to a white dove and tells Max to shoot, but just as he takes aim, Agathe appears and calls to him not to shoot, for she herself is the white dove. But it is too late, Max fires; Agathe falls, and everyone thinks he has slain his bride. But at the same time the villain Caspar falls. With his dying breath he curses the Devil Samiel and his soul is consigned to perdition, Agathe revives and Max explains how he went astray in dealings with Caspar and Samiel. Everyone pleads that he should be forgiven, but the Prince stemly decides to banish the young forester. Fortunately a wise old Hermit appears and the Prince leaves the final decision to him. Let Max be given a year's probation, he advises, and if at the end he is his old virtuous self, let him then marry the lovely Agathe. And henceforth let there be an end to these shooting contests. There is @ rousing chorus of jubilation.Der Freischiite, Act 1 469 ACTI (An open space in front of a forest tavern. There is a crowd of people. Max is sitting alone ata table in the foreground, a tankard before him. Shortly after the curtain rises there is a shot from Kilian’s rifle, and the last piece of a target in the shape of a star falls to the ground.) INTRODUCTION MaX glk tsu: "pacer Glick zu, Bauer! Good luck, peasant! CHORUS viktorja der —‘maestor zl ‘tebon Viktoria! Der Meister soll leben, Victory! The champion _ should ive, (Long live the champion,) dex ‘vakkor dem ‘fiemlaen den rest. hat ggerbon der wacker dem Sternlein den_-Rest hat —_gegeben, who bravely the littlestar =the ~— finish has given; (has finished off the little star,)' iim glaegat kaen fyts ihm gleichet Kein Schatz him equals no shot fon fem unt fon na:_—_viktorja von fern und von nab! Viktoria! from far or from —near!_—_Victory! (no marksman, far or near is his equal! Victory!) (The pole is brought down.) DIALOGUE? (He dejectealy hits the ground with the butt of his rifle and then leans it against a tree.) END OF DIALOGUE " The bull's-eye, propped on top of large pole was composed of a circle with many protruding stars and the last shot demolished the ast remaining star. ? Just asin the case of Fidelio, the dialogue included here isnot the extensive outdated original, but reflects the version currently used in major opera houses. Let the reader be aware of afew subtle differences in the phonetic transcriptions of the dialogues. In a word like immer you will see [ime] instead of ftmmar], with a "reduced" R and a single [m;frisch will be transcribed as fn}, with guttural [k} instead of the usual rolled R used in singing. In conversation, the double consonants are NOT audibly doubled asin singing,470 Der Freischittz, Act I (A procession is formed. In front the musicians play a march, then peasant lads carry the last piece of the target on an old sword and several new pewter trophies as prizes. Then centers Kilian, as king of the marksmen, with a huge bunch of flowers and a sash of honor to which are fastened the stars he has hit. Marksmen with rifles, several with stars on their hats, women and girls follow. The procession goes round in a circle and everyone who ‘passes Max points scornfully at him, bowing, whispering and laughing. Finaily Kilian stands boasifully before Max and sings.) KILIAN (pounding his chest) foo dex her mg an als_—_kotnig Schau' der Herr mich an als KGnigt Behold the gentleman me (=) as_—_—iking! (May the gentleman see me as the king!) (an/schauen is a separable prefix verb meaning "to look at") dyykt im —'maeno maxt su: 'vemig Dinkt ihm meine Macht zu wenig? Thinks he my — skill too _ slight? (Does my skill appear too slight to him?) glaeg tsiver dem hut —mosje: Gleich zieh' er den Hut, — Mosje!” Now takeoff your hat, fine gentleman! vimt ex frak ig Wird er, frag’ ich, Will you, Task, GIRLS (mockingly) He, he, he! MEN Wird er, frag’ ich? Gleich zieh’ er den Hut, Mosje! Wird er, frag' ich, he, he, he! KILIAN fem unt ftraos tak rg form ‘laebo Stern und Strauss trag’ ich vorm Leibe! Star and nosegay wear I in frontof my) body! (Im decorated with stars and flowers!) ‘kantors ‘sepporl treskt di: faba Kantors ‘Sepperl* trigt die Scheibe! The cantor's’ Joey is carrying the target! hat er ‘aogon mun mosje: Hat er Augen nun, —Mosje? Have you eyes then, fine gentleman? 2 This is a Germanized form of the French monsieur, obviously used in a mocking fashion. * Sepp is the German diminutive of Joseph, as Joe is in English. Sepper! is an added diminutive, as in Joey. If one realizes the action’s proximity to Northern Italy, consider the Italian for Joseph, which is Giuseppe, 5 A cantor isthe precentor or principal singer in a Protestant church service.Der Freischittz, Act I an vas tra den hethe: he: Was trafer denn, he, he, he? What didyouhit then, hee, hee, hee? CHORUS Hat Er Augen nun, Mosje? ete. KILIAN dart ig ‘etvas ‘oor ‘gna:dan Darf ich etwa eure Gnaden, May I perhaps Your Excellency ‘snesgsta mal sum ‘laxdon sinichste Mal zum —_Schiessen laden? the next time toa shooting match invite? ex gent ‘anda vas mosje: Er génnt andern was, Mosje! You owe others something, fine gentleman! (You, fine gentleman, owe these other folk a better showing! nun er komt dox hes her he: Nun, er kommt doch? he, he, he! Now you willcome _ then? hee, hee, hee! CHORUS. Er gdnnt andern was, Mosje, ete. DIALOGUE, MAX las mug ‘sufi Lass mich _zufriedent Leaveme in peace! Scene Two (Cuno, Caspar and several huntsmen plus the previous.) ‘CUNO vas gists hia ve —onte'ftert 21g ‘Was gibt's hier? Wer _untersteht sich, What is goingon here? Who dares ‘maenan ‘buofon ‘antsutaston meinen Burschen _anzutasten? my lad to lay their hands on? (Who dares lay hands on my lad here?) KILIAN sist Traelig ark ven de: 'baow —_‘aenma:l ‘stistfreilich arg, wenn der Bauer einmal Itis really deplorable, when apeasant everan Der Freischiitz, Act I ‘ybe den erg komt ber den Jager kommt. beats a huntsman, — (—~)- (Gber/kommen is a separable prefix verb meaning "to overcome”, "to beat") MAX 1g Kans mgt Toognan 1g habo nis gotrofon Ich kann’s nicht leugnen, —ich_—shabe nie _—_getroffen. 1 canit not — deny; 1 did never hit the mark. CASPAR dank axmjel ‘glaobo mio kamo'nait (@ank, Samiel!) Glaube mir, Kamerad, (Thanks to —Samiel!) Believe me, — friend, es hat dita ‘jemant ‘enon ‘vaetban gozetst es hat dir jemand einen Waidbann —_gesetzt, there has on you someone a jinx put; (someone has put a jinx on you,) den must dus ‘\wzon ‘ord du: trrfst_‘kaena_‘Klooa den musstdu —lésen, oder du —_triffst Keine Klaue. it youmust — break, or you. hit’ «= mo.—prey. cUNO ‘posen, fomlaots —‘bubo du: bist, aen allo wvrerflo- Possen! Vorlauter Bube! Du bist cin _—_falscher Wairfler! Nonsense! Impertinent lad! You are a ifalse dicer! tbo aox du: maks zit dig fore feist du: ‘morgen ‘Aber auch du, Max, sich dich vor ~ fehist du morgen But also you, Max, take good care ~ ifyou fail tomorrow bae dem ‘protofus zo: ist 'mestgan ont dist bei dem Probeschuss, so ist + Mildehen und Dienst at the shooting trial, then willl be girl and job fy dig fea'lowan fiir dich _verloren. for you lost. (if you fail at the shooting trial tomorrow, you will lose both Agathe and the job [as forester}.) KILIAN vas) st das ‘aegantlig =—=mit’_—dexm_—_'prosbofus Was ist das eigentlich ~—smit_- dem ~—Probeschuss? What is it really, with this shooting trial? (What is really the point of this shooting trial?) cuNO macn ‘ur?eltefa:te hiss ‘kuno vi 1g Mein Uriiltervater _hiess Cuno wie ich My — ancestor wascalled Cuno like me,Der Freischitz, Act I 43 unt var frastliga ——aepfvts und war fiirstlicher and was the prince's aenst ‘triton di: honda ‘aenan hes he'ran Einst trieben die Hunde einen Hirsch heran, ‘One day were chasing the dogs. a == stag about (One day the dogs were chasing about a stag) oof dem aen —men{ sus fra:fo ‘angofmixdot va: auf dem ein Mensch zur Strafe angeschmiedet war. on which aman as punishment —_fettered was. (to which a man was fettered in punishment.) ‘dize ‘anblik ereckto das ‘mitlaet des fyostan Dieser Anblick erregte das Mitleid des Fiirsten, This sight aroused the compassion of the _ prince. veo den hrf earleige Wer den Hirsch erlege, Whoever the -—stag_—_ could fell ‘oma den 'misotext» ~—tsu:_—_feo"vundan ohne den Missetiiter zu —-verwunden without the malefactor to wound, (Whoever could fell the stag without wounding the malefactor, fhe decreed],) den ‘eanenaex —tsum ‘eapfoeaste den ernenneer zum —_Erbfrster. him he would make a hereditary gamekeeper. dex ‘vakro ‘laepfvts Teckta an de» haf ftvotsta Der —wackre Leibschiitz egtean, der _—_‘Hirsch stiirzte, The — bold ranger tookaim, the stag fell, deo —viltdizp bl ‘unfozert der Wilddieb—_blieb unversehrt. the poacher remained uninjured. KILIAN z0: ‘fronds mun vaes mans dox “0x So? Freunde, nun weiss man'sdoch——_ auch. Isthat so? Friends, now — weal know it to0. CUNO hoot das ‘ends ‘kunos ‘naeda- ‘Jtmootan 2a08 Hort das Ende. Cunos Neider streuten aus, Listento the end. Cuno’s envviers spread it about (that)474 Der Freischittz, Act I "kumo hab nigt —_gatsilt ‘rondo ‘aena ‘fraekugal _golaidan Cuno habe nicht gezielt, sondern cine Freikugel__geladen. Cuno had —not_—hitthe mark, but a magic bullet loaded. (Those who envied Cuno spread it about that he hadn't realy hit the mark, but instead had loaded his gun with a magic bullet.) KILIAN ‘zekso ‘trefen ‘abe dit ‘Zitbonto Sechse treffen, aber die siebente Six will hit the mark but the seventh gehoat dem ‘bovzan gehdrt dem —Bésen, belongs tothe Evil One; dex kan zi:fynon ——_vothins im bolispt er kann siefihren —_wohin's ihm betiebt. he can aimit wherever he pleases. CUNO os ‘di:zam ‘grunde ‘maxta dew frost dem —‘tsuzats ‘Aus diesem Grunde machteder Fiirst den Zusatz: On — these grounds madethe prince the added condition: (Based on this the prince added a condition:) edo fon ‘kumos ‘naxfolgon 'myso_aen‘pRoibefus —_“apleigan Jeder von Cunos Nachfolgern miisse ein Probeschuss _ablegen, Each of Cuno's successors must_ a_—_ shooting take voliaex ——earbfoeast ‘vewdan wollteer ——_Erbftrster werden - ifhe wanted a hereditary gamekeeper to become — (Each of Cuno's successors who wanted to become a hereditary gamekeeper had to submit to a shooting trial.) dus ‘aber maks nim — dig tsuzamon Duaber, Max, nimm dich zusammen, But you, Max, pull yourself together, dee ‘vaetban dew dia gazetst 1st 1st bo der Weidbann, —der_dir gesetzt ist, ist die Liebe. the jinx that hasbeen laidon you is love. END OF DIALOGUE ‘TRIO WITH CHORUS MAX (having just come out of his distraction at Cuno's tale) o: — ‘diza” ‘zonna furgtbar ——_ftaekt mist em'por © diese Sonne, furchtbar _steigtsie. mir empor! Oh this. sun, how fearfully _itrises before me!Der Freischiite, Act I 415 CUNO laet_ ‘odor ‘Vonna ‘baedss rut in ‘daenam rox Leid oder Wonne, beides rubt in deinem Robr! Grief or joy, both lie within your barrel!® MAX axe mus fertsagon das. der fos. golint Ach, ich muss verzagen, dass der_—-Schuss gelingt! Ab, oT must — despair that my shot is successful! (Alas, Iam desperate that my shot may not be successful!) CUNO dan must du: entza:gon Dann musstdu —_entsager Then you must give up! Leid oder Wonne, beides rubt in deinem Rohr! CASPAR (io Max, with meaningful secrecy) nur ae ‘kekkos 'vargon ists vas glyk —ernmnt Nur ein keckes Wagen ist's, was Glick erringt! Only a bold daring itis that luck achieves! (tis only bold daring that achieves good fortune!) MAX aigaston entzagon vis ~=—skoent igs. ertragon Agathen —entsagen, wie _—‘Kénnt' ich’s_ertragen? Agathe togiveup, how could I bearit? dox mig ferfolgot_—_misgefik Doch mich verfolget __-Missgeschick! But me — dogs misfortune! (But misfortune dogs me!) CHORUS. zet vir ‘dysstor ist zaen_ bik Seht, wie dister ist sein Blick! See how somber is his glance! ‘amuy Jaent im tsu:—_ durgbesbon Abnung scheint ihn zu ——_durehbeben! Foreboding seems him to pervade! (He seems pervaded by foreboding!) HUNTSMEN (to Max) las ‘hofnon dig baleesbon © lass Hoffnung —_ dich beleben, Oh, let hope stimulate you, ® In this tale of shooters and shooting, the "barrel" (Rohr) refers to the gun or rifle.416 Der Freischiitz, Act I unt fertra0o dem gofik und — vertraue dem — Geschick! and have faith in. destiny! CUNO, CHORUS lass Hoffnung dich beleben, ete. MAX vei tig ferliss das glk Weh' mir! Mich verliess das Gliiek! Woe isme! Thave been deserted by good fortune! CUNO, CHORUS o: fertraoa © vertraue! Oh, have faith! MAX ‘uncigtbaira—‘mecta ‘grollan Unsichtbare —Miichte grolien, Unseen powers are threatening, ‘bay ‘amon ft diz rust bange Ahnung fallt die Brust! fearful foreboding fills. my —_breast! CHORUS (O vertraue dem Geschick! MAX Unsichtbare Michte grollen, etc. ‘nummer tryk 1g den ferlust nimmer triig'ich den —Verlust! never couldI bear the loss! cuNo zos des ‘himmal ‘ecto wollen So's des Himmel Machte wollen, Ifitis heaven's powers’ will, dan track —‘menlig dem ferlust dann trag’—mannlich den Verlust! then bear in manly fashion the loss! (If itis the will of heaven, then bear your loss like a man!) CHORUS maen ex — try:k mgt dem _—_ferlust Nein, er trig'nicht den —_Verlust! No, he couldn't bear the loss!Der Freischiite, Act I bovust an bewusst, knows, ont und and ferlust Verlust! loss! keent gs ertraxgon konnt' ich’s ertragen? could 1 stand it? got fertraot Gott _vertraut, in God trusts Duilds well! unt ‘klyfton und Kiiften and gorges ‘frogdigo freudige Krieg! Joyous battle! ont ‘trfton und Triften, and pastures, ont ‘vftan und Laften and breezes CASPAR mack fortunas ——‘kusgol_‘tollon ‘Mag Fortunas Kugel _rollen; Let fortune's ball’ roll; ver zig ‘homer kraft wer hoh'rer Kraft whoever ahigher power trotst dem ‘veksol trotzt dem —Wechsel defies (the) — change (Whoever is conscious of superior strength defies change and loss!) MAX aigacton entzagon vir Agathen entsagen, wie Agathe togiveup, how CUNO ‘taige ‘Tage! Bear it! CUNO (clasping Max's hand) maen zon nurmut ver Mein Sohn, nur Mut! = Wer My son, have courage! He who (0 the huntsmen) jetst_ oof m ‘bergen Jetzt auf? In Bergen Now up withyou! In hills torpt ‘morgan dex tobt ‘morgen der will rage tomorrow the HUNTSMEN das vit’ «om fluxon Das Wild in Fluren The beast in meadows der ar =m Volkan der Aar in| Wolken the eagle inthe clouds ast unzar_ unt ‘unzar_ dest ist unser, und unser der is ours, and ours the ° The so-called " wheel of fortune”, such as the ball used in roulette,478 Der Freischiitz, Act I COUNTRY FOLK ast lustig di: ‘hoernar erfallan Lasst lustig die Horner erschallen! Let gaily the horns sound! HUNTSMEN vir Tasson hhoernar erfallon Wir lassen Horner erschallen! We let homs biare! ALL ven ‘aibont ergraot Wenn wiederum Abend ergraut, When again evening darkens, zl ego unt felzanvant —_thallon soll Echo und Felsenwand allen! let echo and cliff'face——_resounc sa:‘hussa dem = ‘brogtigaim —der_—_braot Sa! Hussa, dem —Brifutigam, der_—Braut! Hurrah forthe bridegroom and —_ bride! Scene Three (The previous, without Cuno and his followers) DIALOGUE, KILIAN (fo Max) komt cox om dis fenko Kommt auch in die Schenke— Come also into the tavern — nemex zig agen ‘mestgon unt tantsa ea nebm'er sich ein Madchen und _—_tanze er! get yourself a gicl and dance with her! es vera miso ‘tantson eswire mir wie — tanzen! Sure, really feel like dancing! ('m not in the mood for dancing!) END OF DIALOGUE DANCE AND ARIA (Kilian takes one of the girls and dances; the others follow suit in a Bohemian "Lindler"; ‘Some dance themselves into the tavern while the rest disperse themselves outside it. During the dancing it has gradually become darker.)Der Freischiite, Act I ‘Scene Four 479 (Max alone and later, Samiel, almost superhuman in height, dressed in dark green and flame color with gold. His large hat, decorated with a cock's feather, hides almost the whole of his blackish-yellow face.) MAX naen ‘lenor tak 1g mgt di: ‘kvarlon Nein, linger trag’ich nicht die Qualen, No longer will T bear the —_ torments, di anst. dis jexdo‘hofnuy roopt die Angst, die jede Hoffnung ——raubt! the fear that ofall_hope robs me! fyr —‘velgo Jolt mus 1 —_battsa:lan Fir — welche Schuld muss ich bezahlen? For what guilt have I topay? vas vaet_ dem —‘falfan glyk —maenhaopt Was weiht dem — falschen Glick mein Haupt? What dooms to bad luck my head? (What is it that dooms my head to misfortune?) dorg di: ‘veldar dorg ‘aon Durch die Walder, durch die Auen Through the forests, through the meadows ts0%k 1g ‘laegton zms dah z0g ich leichten Sinns dabin. Tonce roamed with a light heart. ‘allos vas 1g ont er faoon Alles, was ich —_Konnt" erschauen, Everything that. I could discem var des ‘zigam roms gov war des sichern Rohrs Gewinn. became my sure barrel's prize, (Everything that I espied fell prize to my unerring [gun] barrel.) ‘aibonts braxt 1¢ raege ‘boota bends bracht’ ich reiche Beute, Inthe evenings I brought (home) rich booty, ont bor ‘aegnas glk und wie ber eig'nes Glick, and asif over herown g00d fortune, ‘droant vol dem ‘moerdor drohend wohl dem —Mérder, even though threatening the killer,480 Der Freischiitz, Act I ‘frogta ig a'gartas lizbosblik freute sich Agathes Liebesblick! rejoiced Agathe's loving gaze! (In the evenings I would bring back rich booty, which pleased Agathe even though she disliked the idea of killing the [poor] animals.) (Suddenly it becomes quite dark.) hat den dex‘hummal_—_mug ferlasson Hat denn der Himmel — mich verlassen? Has then heaven abandoned me? (in the background Samiel takes a step out of the bushes and stands motionless.) di: forzigt. © gants- ir. aok_~—_gevant Die Vorsicht ganz ihr Aug’ gewandt? Providence quite its eye + tumed? (Has Providence quite turned its eyes away?) (with a gesture of despair) rol das ferderbon mig erfasson Soll das Verderben mich erfassen? ‘Must —ruination seize me? ferfid 1g m hant Verfielich in des Zufalls Hand? Have [fallen into chance's hand? (Samiel disappears again.) jetst st vor! ‘fenstor ‘offen Jetzt ist wohl Fenster offen, Now is perhaps window open unt zi horgt cof | ‘maenan tnt und sie horcht auf meinen Tritt, and she listens for my steps, lest nigt ap fom ‘trogen ‘hoffon asst nicht ab vom — treuen Hoffen: never ceasing of loyal hope: maks brit ‘tsaegon mrt Max bringt Zeichen mit! Max isbringing good _ tidings (Now pethaps her window is open and she's listening for my footsteps, never giving up hope that Ill bring good tidings.) (mit/bringen is a separable prefix verb meaning "to bring")Der Freischittz, Act I 481 ven zig ‘raofont ‘blettar ‘reigan ‘Wenn sich rauschend Bitter regen, When the rustling leaves move, (When leaves stir and rustle) vemnt zi: vol es me maen_ fuss wihnt sie wohl, es sei mein Fuss; she fancies it is my step; hypft for froodan vagkt entg hiptt vor Freuden, ——_winkt entgegen — she jumps for joy, beckons towards me — nur dem loop den ‘licbasgruss nur dem Laub den —_Liebesgruss. only tothe foliage the loving greeting. ({but) her loving greeting will be only to the foliage.) (An the background Samiel slowly crosses the stage with long strides.) dox mig umgaman ‘finstr ‘megto Doch mich umgarnen finstre Machte! Yet Tam ensnared by dark powers! mig fast fertsvaefluy —foltart Spot Mich fasst _-Verzweiflung, foltert Spott! Me seizes despair, tortures mockery! (Lam seized by despair and tortured by mockery!) o: dnt kaen firal durg ‘dia ‘negta © — dringt kein Strahl durch diese Nichte? Oh pierces no ray through these nights? (Does no ray [of hope] pierce through this darkness?) herft bint das ‘fikza: lept kaen got Herrseht —_ blind das Schicksal? Lebt kein Gott? Rules blindly fate? Lives no God? (Does fate rule blindly? Is there no God?) (Samiel, who has now reached the opposite side, makes a convulsive gesture at the last word and disappears.) Mich fasst Verzweiflung, foltert Spott! ‘Scene Five (Max, Caspar sidling in, Samiel mostly out of sight; a serving girl from the tavern) DIALOGUE CASPAR ig ans migt_—fea'fmeatson das du: hie Teh —_kann's nicht _verschmerzen, dass du hier I can not suffer that you here482 Der Freischiite, Act 1 tsum pot de ‘davon gavordon bist zum Spott der Bauern geworden bist. the butt of the _ peasants become have. (Lcannot suffer you having become the butt of the peasants here.) vaen tsvae ‘beg kamonat du: must omit mie ‘tergkon Wein! Zwei Becher! Kamerad, du_—musst_ mit mir _—_trinken! Wine! Two glasses! Comrade, you. must with ome — drink! MAX ‘damm fes'fone mig Damit verschone mich. That spare me. (Spare me that.) CASPAR dex her —foeasta zl ‘ebon Der Herr Forster soll leben! (The) Master Forester should live! (Long live the Master Forester!) di: gazunthaet_—‘daenas ‘Tesheon Die Gesundheit eines Lehrherrn Tothe health of your employer vist du: dox —‘mrttrankon wirst du doch mittrinken? will you now — drink? END OF DIALOGUE DRINKING SONG CASPAR hir im rdfan ‘jammarta:) Hier im ird’schen = Jammertal Here inthis earthly vale of tears ver ox —migts als plak unt kvail wir’ doch nichts als Plack und Qual, there would be really nothing but drudgery and_—_torment, uyk der tok mgt ‘traobon trig’ der Stock nicht Trauben; bore the vine not ~—_grapes; (if the vine bore no grapes;) ‘dao bis tsum —‘etstanhoox darum bis zum letzten Hauch therefore until. “my — last. breathwets 1g cof gat setz' ich auf Gott place 1 in god ‘maenan ‘festan meinen festen my firm Der Freischiitz, Act I ‘baxus baox Bacchus’ Bauch Bacchus! belly ‘glaoban Glauben! belief! 483 (Therefore, to my dying breath I will place my beliefs upon the belly of Bacchus!) DIALOGUE du; most ‘mitzmjon Du must mitsingent You must sing along! MAX Jas mig Lass mich! Let me be! CASPAR |junfe: aga:ta zal ‘le:bon ve di: gozunthaet_—‘zaena braot ‘Jungfer Agathe soll leben! © Wer die Gesundheit seiner Braut Long live the maiden Agathe! Who tothe health ofhis bride ‘cosflyga vena dox'vanlig —aen fut ausschliige, wire doch wahrlich ein Schuft. won'tdrink would be really a low scoundrel MAX du: vist ‘unfe-feamt Du wirst unverschimt. You are becoming impudent. END OF DIALOGUE CASPAR gens ist gens ont draezint_drae Eins ist eins und drei sind dreit One is one and three is three! drum a‘ddist nox ‘tsvaearlae su: desm = zaft dew —_‘reibon Drum addiert noch zwelerlel — zu—dem = Saft’ der eben But add yet twomore to _—the-— juice ofthe grape; ‘kartonfpil unt ‘vvrfollust. = unt gen int mit ‘rundor_brust Kartenspiel und Wirfellust und ein. Kind mit runder Brust cards and dice and a girl, with round breasts, ult tsum ‘evgon Tesbon ft zum ew'gen Leben! help towards etemal life!484 Der Freischiitz, Act I DIALOGUE, mit die st arbe- cox gts ‘antsufanan Mit dir istaber auch nichts anzufangen! With you there's nothing to be done! nz her fest zo ‘le:bon ‘Unser Herr First soll leben! Long life to our prince! MAX nun den ‘abe dan "kaenan tropfon mez Nun denn, aber dann keinen Tropfen mehr. Now then, but afterwards nota drop more. END OF DIALOGUE ‘oma trifodiom ——gispts-kaen‘vairas ‘gaodium Obne dies Trifolium ——_gibt's._ kein wahres Gaudium Without this trinity there's no true rejoicing zat dem ‘eustan ‘bol ze maen a: be: tse: seit dem ersten Ubel. sei mein A,B,C, since man’s first sin Little bottle, be = my A,B,C, wrrfal ‘kartan “ka:tarla ‘maeno ‘bildarficbal Wiirfel, Karten, Katherle meine Bilderfibel dice, cards, (and) Katie my picture-primer! DIALOGUE MAX ‘edlend- agate hat — Regt Elender. Agathe hat Recht, Wretch. Agathe is right ven zi mig ma fom = di» ~—varnt wenn sie mich immer vor dir warnt. when she me always about you wams. CASPAR blaep nox unt las dit» ‘raston Bleib' noch, und lass dir raten! Stay awhile and take some advice! dix ‘koento gar vol gaholfon ‘veedan Dir konnte gar wohl geholfen werden ~ You could very well be helped — da: nim ‘maena ‘bvkso du; den ft dort Da, nimm meine Biichse. Siehstdu den Stisser dort - Here, take my — gun. Doyousee the bird of prey there -Der Freischitz, Act I 485 Sis Schiess! Schiess! Shoot! Shoot! (Max shoots.) ‘herlig getrofn dex» gReista ‘ftaen?a:dla- Herrlich _—getroffen! ~—»-dDer_—grdsste Steinadier! Brilliant shot! The biggest golden eagle! MAX vas hast du: gollasdan vas var das fy ‘gene ‘kugal Was hast du geladen? =; Wass war das_—sflir_~«eine-—-Kugel?” What did you load? What was that for a bullet? (What kind of bullet was that?) CASPAR ‘vystast du: “viaklig migt vas 'aeno‘fkaekugol—zaigon vil Wiisstest du wirklich nicht, was eine Freikugel sagen will? Did you know really not what a —_ charmed bullet (Could it be that you really don't know what a charmed bullet is?) MAX hast du: nox mew ‘zolgo "kurgal Hast du noch mehr solche Kugel? Have you still more(of)_— such _bullets? CASPAR es van di: ‘Tetsta zi: ‘harbon goRa:da ‘cosgaraect Es war die letzte. Sie haben gerade ausgereicht. It was the _lastone. They were just enough. MAX ‘aosgaraegt vir das Ausgereicht? Wie das? Enough? How so? CASPAR, vael ve om diz naxttsu:—bakomen = zint Weil sie in dieser Nacht zu bekommen _ sind. Because they on this night to be obtained are. (Because more can be had tonight.) MAX ‘fab mix 70:'aeno Schaffe mir soeine Kugel! Get me sucha bullet! CASPAR zae —pugkt tsveelf ue m dew» volisfluxt Sei punkt zwolf Ubr in der _—_Wolfsschlucht — Be atexactly the stroke oftwelve. in the -—- Wolf's Glen—486 Der Freischitz, Act 1 Jvaek ‘gegon \jedoman Schweig' gegen jedermann! Notaword to anyone! MAX glok tsvoelt 1g ‘koma Glock zwoif- ich komme! Stroke of twelve- Tl come! (Max leaves.) :ND OF DIALOGUE, Scene Six (Caspar alone) ARIA CASPAR Jvaek damit diy ‘nismant varnt ‘Schweig damit dich niemand = warnt! Keep silent- so that you noone can warn! dex‘holla nets hat dig umigarnt Der Holle Netz hat dich umgarn Hell's net has _—_ensnared you! nigts kan fom tifon fal dig ‘retton Nichts kann vom tiefen Fall dich retten! Nothing can froma deep fall rescue you! kan dig'retten fom —‘tifon_ fal kann dich retten vom _tiefen Fall! can rescue you. froma deep in it jaestar mit ‘dunkal bovine ihn, ihr — Geister, mit Dunkel beschwingt! hhim, you spirits with dark wings! (Surround him, spirits winged with darkness!) (Surround him, you winged spirits of darkness!) Jon treckt ex “knurfant ‘bora ‘kettan Schon triigt er knirschend eure Ketten! Already hhecarries, _gnashing his teeth, your chains! triumf di: taxo golint Triumph, die Rache —_gelingt! Triumph, revenge is assured! END OF THE FIRST ACTDer Freischit, Act If 487 ACTIL (An antechamber in the ranger's house, with doors at the sides. Stags' antlers and dark hangings with hunting pieces give it an old-fashioned appearance and indicate that it once was a prince's hunting lodge. In the center is a doorway covered by a curtain and leading to a balcony. To one side is Annchen's spinning wheel and to the other a large table on which are a burning lamp and a white dress with a green ribbon.) Scene One (Annchen, Agathe. Annchen, standing on a ladder, has been rehanging the portrait ofthe first Cuno and is now hammering home the nail,) DUET ANNCHEN (talking to the portrait) Jelm halt fest 1¢ vil digs Jexron Schelm! Halt fest! Ich will dich’s lebrent Stay put! Twill teach you! Jpukoraen kanman —entbexn «=—sm_~— zal ‘altom_‘oglonnest Spukerei'n kannman —_entbehren in solch__altem_Eulennest. Spookiness one can dowithout in such an old_ owl's nest. AGATHE (taking a bandage off her forehead) las das ‘amanbit’ =m ‘exron Lass das Ahnenbild in Ehren! Show the portrait some respect! ANNCHEN ae dem ‘altan hem tsol 1g ‘axtuy gem Ei, dem alten Herrn zolt' ich Achtung gern; Oh, tothe old gentleman ‘pay my respects gladly; dox dem ‘knegta ‘nt ‘leon doch dem Knechte —_Sitte lehren, however, tothe servant manners to teach kan respekt nigt‘verron kann Respekt nicht wehren. can respect not command. (but respect can't prevent me from teaching the servant some manners.) AGATHE, Jpn ven maenst du: ‘velgon knegt Sprich, wen meinstdu?_- Welchen Knecht? Tell me, whom do you mean? What servant? ANNCHEN nun den ‘naxgol kanst_ du: fragon Nun, den Nagel! Kannst du fragen? Ofcourse, the nail! (How) can you ask? zolt ex —"zaenon hem mgt ‘traigan Sollt’ er seinen Herrn nicht tragen? Should it its master not support?488 Der Freischitte, Act It iss falln var das migt—_‘flegt Liess ihn fall'n, war das nicht schlecht? (it)let him fall; was that nota bad thing? AGATHE ja: gavis das var —migt—regt. Ja, gewiss, das war nicht recht. Yes, certainly, that-~« was not_— right. ANNCHEN Liess ihn fall'n, etc. gous das var regt Gewiss, das war recht Surely, that was quite bad! (She comes down the ladder.) AGATHE, ‘allas vint dix tsum festa Alles wirddir zum este, Everything for you isa jest, tallas boot disr ‘laxon unt ferts alles beut dir Lachen und Scherz. everything isa pretext (for) laughter and joking, ovis ‘andors fyit maen_ herts © — wie anders fuhlt mein Herz! Ob, how differently feels. my heart! ANNCHEN ‘gnllon zint mir ‘boza_‘gesta Grillen sind mir bse Giiste! The dumps are forme bad guests! (Thate people who are always in the dumps!) ‘immer mit'laegtom = zin—_tantson durgs Immer mitleichtem Sinn, tanzen durchs Always witha light heart, dancing through das nur ist horxgovin das nur ist’ Hochgewinn! that alone isthe greatest reward! ‘zorgan unt gram musman —_ferja:gon Sorgen und Gram mussman —_verjagen. Cares and sorrow one must dispel. AGATHE ver — batsvint des ‘burzons "flaigan Wer bezwingt des_—-Busens Scblagen? Who canrestrain the —_bosom’s beating? (Who can restrain the beating of a heart?)Der Freischitte, Act It 489 ver — derr'liba ‘zysson. ments Wer der Liebe —_siissen Schmerz? Who love's sweet pain? (Who [can restrain] the sweet pangs of love?) Stens um dig galirptar ‘tsaxgan Stets um — dich, Geliebter, —zagen Always for you, beloved, fear mos dis ‘amunsfolla_herts muss dies ahnungsvolle Herz. must this anxious heart ‘ous heart must always fear for you, my beloved Max.) ANNCHEN Grillen sind mir bise Giste! etc. (She inspects the portrait.) DIALOGUE AGATHE es ist oect fil © unt ‘aenzaim hie Es ist recht still und einsam hier. It is very quiet and —_ isolated here. vo: nue maks blaept Wo nur Max bleibt? Where can Max be? ANNCHEN ‘un?angane:m ists ‘fraelig hia am —_polte?a:tont Unangenehm ist’ freilich hier am Polterabend Unpleasant itis certainly here onthe eve of the wedding party fast ‘mutozeilan?alaen —tsuz_—zaen fast mutterseclenallein zu sein, almost completely alone to be, (to be almost completely alone,) ven 21g 20: ‘e@vyedigo wenn sich so chwiirdige, especially when such venerable, lenst fea'modats —‘herfafton Lingst_ vermoderte Herrschaften long decayed ‘gentry (as that old gentleman in the portrait) fon dem —'vendan he'eapbemyson von den Wiinden herabbemithen, from the —_walls, hhas a mind to fall down, (has a mind to fall down off the wall,)490 Der Freischitz, Act II da: lopigmia diz_—slebendigan— unt jue. da lob'ich mir die _—_Lebendigen und Jungen. then Iprefer the liveones and _the young ones. (Lrather prefer the company of men, live ones and young ones.) END OF DIALOGUE ARIETTA ANNCHEN komt aen ‘flanker burl gegarjen Kommt ein schlanker —-Bursch gegangen, (if there) arrives a slender lad a-coming, (Ifa slender lad comes by;) blont. fon —‘tokkon ‘oxor broom blond von — Locken oder braun, blond of —_ locks or brown, (with blond or brown hair,) hel fon ook unt rot. fon 'varjon hell von Aug’ und rot von Wangen, ‘bright of eye and red of, cheeks, (bright-eyed and rosy-cheeked,) ae nax dem kan man vol faon ci, nach dem kann man wohl schau'n. well, at him can one really look (well, he's really worth looking at.) tsvart flekkt man das ok ~—aofs ‘middar Zwar sehligt man das Aug’ aufs Mieder, Ofcourse one drops one’s eyes. down onone’s bodice, nax ferfemter —‘mestgen art nach verschimter Madchen = Art; inthe bashful maiden’s way; (Of course, one drops one's eyes, as befits a bashful maid;) dox ferftodon expt mans visdor doch verstohlen _hebt man's wieder, but unseen one lifts them again vens das “hergan mgt gavast wenn's das Herrchen nicht _gewahrt. when the lad isnt watching, zltan ja: mig ‘btkko findon Soltten ja sich Blicke finden, Should then the —_ glances meet, nun vas hat das cox. fy not nun was hat das auch fiir Not? now what is that also. for harm? (then where is the harm in that?)Der Freischiite, Act II 491 man vi drum nigt — glaeg erblindon Man wird drum nicht gleich erblinden, One becomes ‘on account of it not immediately blind, (One wouldn't be blinded immediately,) vit man cox aen‘Vemnig_roxt wird man auch ein wenig rot. (although) becomes one also a iittle red. (although perhaps one might turn a litte red.) {although one might blush a little.) ‘blikeon hm unt bhik hety:bor Blickehen hin und Blick herdber, Alittle glance here anda glance there, bis der munt Ig 00x vas traot bis der © Mund sich auch was traut! until the mouth also dares (to speak)! ex z0fist ‘Fornsta zit Jpmgt ‘bor Er seuft: "Sehonste!" Sie _spricht: "Lieber!" He sighs: "Fairest! She says: "Beloved!" bait haests ‘brootigam unt _—_braot Bald heisst's Brdutigam = und —Braut. Soon it's bridegroom and bride. ‘mmar ‘near iba ‘ootgon Immer niiher, liebe Leutchen! Always closer, dear young people! volt ir mig m_—— “rants wollt ihr mich im — Kranze seh'n? Wish you me ina — garland to see? (Do you wish to see me garlanded?) get das gen ‘nettas.‘brootgan Gelt, das ein nettes Briiutchen, Truly, that is a —_pretty_ little bride, ont dex —burf rugt ‘mundo Jon und der Bursch nicht minder ‘schon! and the lad no less handsome! DIALOGUE AGATHE ont dew busf mig ‘mindo- fon Und der Bursch nicht minder schén.. And the lad no ess-——_—handsome.. zaet 1¢ ‘howto fondem © eme'mitton—_tsutvkka:m Seit ich heute vondem —Eremiten —_zurtickkam, Since I today from the Hermit came back,492 Der Freischiitz, Act IT hat miss vis aen_—ftaen oof dem = ‘heotson galesgan hat mir’s wie cin Stein auf dem Herzen gelegen. ithasonme like a stone upon the heart been laid. (Ever since I returned from the Hermit’s today, I've felt as if Ihave a stone laid upon my heart.) ex ‘varnta mig fo ‘geno unbakantan—‘grorson gefar Er warnte mich vor einer unbekannten, grossen Gefabr. He — wamed me about an unknown, great danger. nun ist "zaeno ‘vaRnuy jam eatfvlun ge'gagan Nun ist seine Warnung ja_—in’_~—«Erfllllung——_gegangen, Now has his waming really in fulfillment gone, (Now his warning has been fulfilled,) das —_heRapftyatsonda built ‘theta mig ‘toto “koenon. das herabstiirzende Bild hiitte mich t&tenkénnen. the falling picture could me — killed have. (that falling picture could have killed me.) ANNCHEN las uns su: ‘beta ‘geran Lass uns zu Bette gehen. Let us to bed go. (Let us go to bed.) AGATHE mict ex bis maks da: st Nicht cher, bis Max da ist. No sooner than Max here is, (Not until Max arrives.) ANNCHEN hat man nigt_‘zaena_nost mit 96g ‘lsbastootgon Hat man nicht seine Not mit euch _Liebesleutchen. Has one not his troubles with you lovers. (What trouble you lovers are!) END OF DIALOGUE ‘Scene Two (Agathe alone) SCENA AND ARIA AGATHE vi ‘naita mix dex ‘flummar Wie nahte mir — der Schlummer, How couldcome tome sleep befor 1¢ im bevor ich ihn before 1 him (How could I sleep until I've seen him?)ja: bo Ja, Liebe Yes, love fees stets always Der Freischittz, Act II pfleskt mt pflegt mit manages with hant mhant — tsu: Hand in Hand zu hand in hand to ‘kommer Kummer anxiety 9 gel go! 493 (Yes, love does go hand in hand with anxiety!) 2p mont cof ‘zaenam pfart vol laxt Ob Mond auf seinem Pfad wohl lacht? Does themoon on _ its path really smile? (She steps out onto the balcony and raises her hands in devout emotion.) vele fora naxt Welch schine Nacht! What a lovely night! ‘Taeza ‘romma ‘vaezo Leise, fromme Weise, Softly, gentle song, Juin dig oof sum ‘ftemankraeza schwing' dich auf zum Sternenkreise. soar up tothe starry circle. lit erfalla facornt ‘vallo maen gabeit Lied erschallet_ —_Feiernd walle mein Gebet Song resound! Solemnly bear my —_ prayer sur ‘himmolshalle zur Himmelshalle! tothe hall of heaven! (looking out) o vir hel dit ‘goldnan ‘fterna © wie hell die gold'nen Sterne, ‘Oh, how bright those golden stars, mit vi: ‘raenom glants zi gly mit wie reinem Glanz sie gliih'n! with what pure radiance they glow! nur dot om der berga ‘fema Nur dort in der Berge Ferne Only there in the mountains’ —_ distance Jaent en ‘vettor ‘coftsutsin scheint in Wetter aufcuzieh’n, seems storm to be brewing. (Only there in the distant mountains a storm seems to be brewing.)494 Der Freischittz, Act Il dort valt ox Jverpt aen heir Dort Wald auch schwebt ein Heer There woods also hangs a host. ‘dunklor ‘volken dumpt unt fet dunkler Wolken dumpf und schwer. of dark clouds, gloomy and heavy. tsu: dir 'venda ig ‘henda Zu dir_—wendeich = die_—-“Hiinde, To ‘Thee tum my — hands, her on anfan unt on endo Herr ohn’ Anfang und ohn’ Ende! Lord without beginning and _—_ without end! for gafairon ons ts vairon Vor Gefahren uns zu waren From dangers us to protect, ‘vendo ‘daeno ‘enplfarron sende deine Engelscharen! lenst dex nu Hingst der since long t0 ‘vaelost dus weilest du? are you tarrying? ‘aefing eifrig eagerly laoft Iauscht, listens, raoft rauschts rustle; haen Hain grove hhexo hehre sublime ‘ull Stille. stillness. ‘gnllo Grille send Thy hosts of angel (end down Thy hosts of angels to protect us from danger!) ‘allas pfleskt Jom Alles pflegt schon Everything has gone already (Everything has long since gone to rest;) ‘traotor froont vas trauter Freund, was dear friend, why op macn Zor ox Ob mein Ohr auch Though my ear also nur dex ‘tannon ‘vipfol nur der Tannen Wipfel only the _firtree tops nur das ‘birkonlaop =m nur das Birkenlaub im only the birch leaves. inthe ‘flvstart durg dis flistert dureh die whisper through the nur dis ‘naxtigal vont Nur die Nachtigall und ‘Only the nightingale and cricketDer Freischiitz, Act It 495 faent dex ‘naxtloft ag tur fron scheint der Nachtluft sich zu freu'n — seem the night air to enjoy, dox vir toot mig mgt maen 70 Doch wie? Tauscht mich nicht mein Ohr? But what? Deceives me not. = my _— ear? (Do my ears deceive me?) dort klmts ‘fre dort gos de: ‘tannon ‘mitta Dort _ klingt's wie Schritte! Dort aus der Tannen Mitte There it sounds like steps! There out of the middle of the pines komt vas herforr err ts Kommt was hervor! Erist's someone is coming! It's flags dex tbo mak ven Die Flagge der Liebe mag weh'n! The flag of love may wave! (Then let the flag of love wave!) (She waves in his direction with her white handkerchief) daen ‘mestgan vaxt nox om der naxt Dein Madchen —_wacht noch in der Nacht- Your maiden iswatching still inthe night — er Jaent mig nox migt teu: Er scheint mich noch nicht zu He seems me not yet to ({t doesn't seem he has seen me yet!) got tooft das ligt’ des momts mig nigt Gott, tuscht das Licht des Monds mich nicht, God, (if) deceives the light of the moon me not, (if the moonlight does not deceive me,) Smvkt aen —‘dlumonftraos den so schmiickt —ein.--Blumenstrauss den there adorns a bunch of flowers his (his hat is adored with a bunch of flowers!) gous ex — hat dem —‘beston. us gotan Gewiss, er hat den_—_besten Schuss getan! Surely he has the ~— best _— shot done! (he has made the best shot!) das ‘kyndat glk fy ‘morgan an Das kiindet Glick fir morgen an! It bodes goodluck for tomorrow (=) (an/kiinden is a separable prefix verb meaning "to bode", "to announce’496 Der Freischiite, Act II o: zy hofnug ‘nogbale;ptar mut 0 siisse Hoffnung, —neubelebter Mut? Oh sweet hope, newly revived courage! al ‘maeno ‘pulza_‘laigon ont das herts_valt ‘ungaytym ‘Al! — meine Pulse schlagen, und das Herz wallt ungestiim, ‘All my pulses arebeating and my —heart_isthrobbing wildly, ays entsvkt entge:gan, siiss entzlickt —_entgegen in sweet enchantment towards ont iy das_—tsu;—hoffon ‘vaigan Konnt’ ich das zu__hoffen. wagen? Could 1 this to hope dare? (Could I dare to hope?) ja: es'vanta aig das glvk Ja, es wandte sich das Gliiek ‘Yes, has changed the luck zu dem teuren Freund zuritck, for my dear friend back, (Yes, my beloved's luck has changed,) vil zig ‘morgen trop baveron will sich morgen tren bewahrent itwill tomorrow true _ hold! (and will hold true until tomorrow [the day of the shoot}!) sts igt_ tofu ists migt_ vam Ist’s nicht Tiuschung? Ist's. nicht | Wabn? Isit not adelusion? _Isit_ not _—_a fancy? ‘himmal um des dankos tse:ron Himmel, nimm des Dankes Ziihren Heaven, accept these tears of thankfulness fyr diss pfant dex —‘hofnun an fiir dies Pfand der Hoffnung for this pledge of hope q (an/nehmen is a separable prefix verb meaning "to accept") AII' meine Pulse schlagen, ete. Scene Three (Agathe, Anchen; Max enters, distraught and in a violent mood.) DIALOGUE AGATHE bist du: ‘ently da: ‘lib maks Bist du endlich da, lieber Max? Are you — finally here, dear Max?Der Freischiitz, Act It 497 MAX ‘maeno atgasto ‘taeda “koma 1g Meine Agathe... leider komme ich My Agathe... unfortunately Tam coming nue —aof'vemiga—_‘aogonblike nur —aufwenige _ Augenblicke. only forafew moments. AGATHE vas hast du: gotrofon = maks Was hast du getroffen, Max? What did you hit,’ Max? MAX var gar nigt —baem ‘teanfiison Ich war garnicht beim —Sternschiessen. T have. I was notatall_ atthe _star-shoot. dem ‘groston —‘naopfogal harp 1¢ den grossten -—--Raubvogel_—_ hab’ ich the biggest bird of prey did 1 cos den ‘volkon geholt aus den Wolken geholt.. out ofthe clouds shoot... (Look, I shot the biggest bird of prey right out of the clouds...) du; du: fra@st dig nigt ‘aenmail dany:bo. du... du freustdich nicht ——_einmal dariiber. you... you aren't happy even about it Ist das aox ‘tbo Ist dasauch —_Liebe? Is that love? (You...you aren't even happy about it. Do you call that love?) AGATHE zo: ‘gRo'so ‘naopfeigal —‘haibon ‘ima ‘etvas ‘fuogtbaras So grosse Raubvogel haben immer etwas furchtbares. Such big birds of prey have always something _—_ dreadful (about them). MAX te mus ‘vide fort Teh muss wieder fort. T must again go away. AGATHE nox ‘aenma:l " sHit" in the sense of "shoot"; What did you shoot?498 Der Freischittz, Act It MAX ja dox jag habe ‘aenon hief — gefoson Jadoch, ja!_—‘Ieh_— habe einen Hirsch geschossen, But yes, yes! I did a stag shoot, den — musi he'raenfafon zonst "fteslon isn den mussich —_—_hereinschaffen, sonst steblen ihn it Tmust bring in, otherwise will steal it des naxts di; baoen des Nachts die Bauern. during thenight the peasants. (Lshot a stag and must bring it in or else the peasants will steal it during the night.) AGATHE vo: likt dea haf Wo liegt der ‘Hirsch? Where is the stag? vaet bae dee —volfsfluxt weit.. bei der Wolfsschlucht. far... at the Wolf's Glen. END OF DIALOGUE TRIO AGATHE vi vas entzetson = dot, «sm dex_—‘rekonsfluxt Wie? Was? Entsetzen! Dort in — der_—_‘Schreckensschlucht? How? What? Frightening! There in the —_glen of horror? ANNCHEN dex ‘vildajexgor zal dort hhetson Der wilde Jager soll dort hetzen The Wild Hunter, they say, there stirs about menacingly unt ver i ergraeft di: fluxt und wer ihn hort, ergreift Flucht. and whoever hears him takes to flight. MAX darf — furgt im —herts des valtmans ——_‘haozan Darf Furcht im Herz des Waldmanns —_hausen? Should fear inthe heart ofa huntsman dwell? AGATHE dox ‘zrndict dew dew = got_—_ferzuxt Doch siindigt der, der Gott _versucht! But he sins who God tempts! (But itis a sin to tempt God!)Der Freischittz, Act IT 499, MAX te bm fertraot mit ‘jemom ‘graozan Ich bin vertraut_ —mit_—_‘jenem Grausen, T am acquainted with that fear, das ‘mitiamaxt im ~—valdo_verpt das Mitternacht im — Walde webt, which midnight inthe forest weaves, ven ‘fturmbaveskt ‘aegon ‘zaozan wenn sturmbewegt die Eichen sausen, when tossed by storms the oaks groan, hear kregtst di: 20lo fverpt der Hither krdchzt, die Eule schwebt. the jays screech (and) the owls hover. (He picks up his game pouch, hat and rifte,) AGATHE mis st 20: bay o: blaebo =o: 'aelamigt zo; fel Mir istso bang, 0 bleibe © — eile nicht so schnell! Tam so afraid, oh stay! Oh — humy not so quickly! ANNCHEN iar 1st 20: ban o:"blaebo Thristso bang, o bleibe! She is so afraid, oh stay! eile nicht so schnell! MAX (gloomily to himself looking towards the balcony) nox try=pt zig nigt dis 'momdanfaebo Noch tribbtsich nicht die Mondenscheibe, Still obscured is not the moon's disk, (The moon is still unobscured,) nox firailt ir fummar Klar unt — hel noch — strabit ir Schimmer Klar und hell, still shines shimmer clear and bright, dox balt vist dem Jaen ferliron doch bald wird sie den Schein verlieren. yet soon will it its gleam lose. ANNCHEN vist du: dem — hrmmol opzer'viron Willst du den Himmel observieren? Want you the —_ heaven to scrutinize? (Do you want to scrutinize the heavens?)500 Der Freischittz, Act II das ver nun ‘maena ‘zaxo mgt Das war’ nun meine Sache nicht. That wouldbe now my thing not. (That is certainly not my business.) AGATHE zo: kan dig "mang ast niet tyson So kann dich meine Angst nicht rahren? Then can you my fear not move? (Does my fear then not move you?) MAX mg ruft. fon ‘hinnan vort unt flict, Mich ruft von hinnen Wort und Pflicht! Me calls from here word and duty! (My word and my duty call me from here.) AGATHE, MAX, ANNCHEN lep vol Leb! wohl! Farewell! MAX (hurrying out but turning back once more in the doorway) dox hast du: cox fergesbon Doch hast du auch _vergeben But have you also given up den foxvurt den den Vorwurf, den your reproaches, your suspicions? AGATHE igs fydt maen herts als ‘beibon Nichts fiihlt mein Herz als Beben, Nothing feels my heart but shuddering, nim ‘maenor ‘varnuy axt nimm meiner Warnung —acht! take of my warning heed! ANNCHEN zo: st’ © das egorlesbon «mis mzk_— bate tk unt naxt So ist das Jiigerleben, nie © Ruh’ bel Tag und Nacht! So is the —_hunterslife, never rest by © day and _— night! AGATHE ve: mist ie mus dig'lasson —denk_ an algastas vort Weh' mir, ich muss dich lassen! Denk’ an Agathes, Wort! Alas, T must letyou(go)!_ Think of — Agathe's words! MAX balt vist dex mont —_erblasson Bald wird der Mond —_erblassen, Soon will the moon become pale,Der Freischittz, Act It sol maen ‘fikza:l raest. mig fort mein Schicksal _—_reisst_ mich fort. my — destiny tears me away. ANNCHEN (io Agathe) mux ‘besta dig tsu: fasson Such’, Beste, dich 2u fassen! Try, dearest, to compose yourself! (to Max) Denk’ an Agathes Wort! (Max rushes out violently, as he pulls his hat down over his face.) Scene Four The Wolf's Glen (Caspar, Invisible Spirits. A fearsome forest glen, largely planted with pines and surrounded by high mountains, from one of which a waterfall rushes down. The full moon shines feebly. Two thunderstorms are brewing from opposite directions. In the foreground a lightning- blasted tree, so decayed inside that it seems to glow. On the other side, on a gnarled branch, sits @ huge ow! with round fiery eyes. Ravens and other forest birds perch on the other trees. Caspar, without a coat or hat but with game bag and hunting knife, is busy making a circle of black boulders, in the center of which lies a skull; a few paces away are the severed wing ‘ofan eagle, a casting ladle and a bullet mould.) FINALE INVISIBLE SPIRITS mile des ‘momdas fil aofs —_kraot Mich des Mondes fiel aufs Kraut! Milk ofthe moon fell onthe weeds! ‘fpmvesp ist mit_—blust__bataot hus Spinnweb’ ist ~—mit_—-Blut_—_betaut! Uhuit Spiderwebs are with blood _bedewed! Uhui! e: nox ‘vitdar ‘arbant graot whur Eh’ noch wieder Abend graut, Uhuit Before yet again evening falls, Uhuit! it zis, tot, diz tsarta_ brat hus ist sie tot, die zarte Brut! Ubi she dead, the tender bride! Uhui! eo moxvidor zigkt di: naxt whut Eh' noch wieder sinkt die Nacht, Ubuit Before yet again sinks the night, Uhui! ist das ‘opfar ‘dargabraxt whut ist das Opfer dargebracht! Unuit will the sacrifice be carried out! Unit502 Der Freischiitz, Act IT Scene Five (Caspar and shortly afterwards Samiel. The circle of stone is now complete. As a clock strikes midnight in the distance, Caspar whips out his hunting knife and plunges it into the ‘skull. He turns three times and calls out:) CASPAR ‘zarmijel ea'faen bae des tsaobras ——_thiangabaen Samiel, erschein'! Bei des Zaubrers —_-Hirngebein! Samiel, appear! By the wizard’ skull! SAMIEL ? (appearing from behind the rocks) vas rusfst du: ‘Was rufst du? Why are you calling? CASPAR (throwing himself down at Samiel's feet) du: vaest das ‘maeno fist fir ‘apgolaofon.ist Du —_weisst, dass meine Frist schier abgelaufen ist ‘You know that my — term — almost has expired.. SAMIEL ‘morgen Morgen! Tomorrow! CASPAR ferlenre zit nox ‘aenmacl mist Verling're sie noch mir... Extend it once more for me... SAMIEL naen Nein! No! CASPAR bmp ‘note ‘opfar Teh bringe neue Opfer 1 ambringinga new — sacrifice to you... SAMIEL ‘velga Welche? ‘What (sacrifice)? CASPAR maen ‘jaktgozel ex nat Mein Jagdgesell, er naht... My fellow huntsman, he -—_is approaching... * Samie!' lines, since they are spoken, reflect DIALOGUE phonetics.er der nox nis daen“‘dunklas racy botrait er, der moch_ nie dein dunkles. Reich betrat! he who not ever your dark realm SAMIEL vas zaen boger Was sein Begehr? What (is) his want? (What does he seek?) CASPAR ‘fraekugeln —zints cof dis ex "hofnon Freikugeln —_sind’s, auf die er Hoffnung Magic bullets they are, on which he — (his) hopes (Magic bullets on which to pin his hopes!) SAMIEL ‘zekse ‘mefon ‘ritbon ‘efon Sechse treffen, sieben affen. Six hhitthe mark, seven mock, CASPAR i ‘banta zae daen Die siebente seid (Let) the seventhone be yours! os ‘zaenam ror lenk zit max "zaenar braot Aus — seinem Rohr lenk' sie nach seiner Braut! Out of his barrel guide it towards his bride! dis vist im dew fertsvaefluy vaen im unt’ dem Dies wird ihn der —Verzweiflung weih’n, ihn... und den This will him in despair plunge. Him... and her SAMIEL nox hap 1G ‘kaenan tal oan iw Noch hab! ich — keinen Teil an ihr! Still have T no hold on her! CASPAR (fearfully) ganykt er dir —aillaen Gentigt er dir __alllein? Suffices he foryou alone? (Ishe alone enough for you?) SAMIEL das findat 21g Das findet sich! That remains to be seen! CASPAR ox fenkst du: frst unt visdor oof drae Doch schenkst du Frist? Und wieder auf drei But — will yougrantmea _respite? ‘And again for three Der Freischite, Act IT 503 baot baut! builds! “fa Vater. father. jax Jahr’, years,504 Der Freischiitz, Act IT bry 1g im dix tsux_ ‘bot dar bring'ich ihn zur Beute dar! Til bring him you asyour prey! SAMIEL es ae bae dem —pforton deo thoelo Es sei- bei. den Pforten der Holle! So beit- by the —_ gates of hell! ‘morgen ex ode Morgen er oder Tomorrow him or (He vanishes. There is dull thunder.) Scene Six (Caspar and shortly afterwards Max. Later appear apparitions which however do not disturb the magic circle. Finally Samiel appears once again. Caspar stands up slowly, exhausted, and wipes the sweat from his brow. The skull and the hunting knife have disappeared and in their place a small fire with glowing coals rises from below.) CASPAR ‘weflig boidint Trefflich —_—bedient! Excellent service! (He takes a drink from his hunting flask.) gazergn es "zaxmijel ex hat mia varm_ gomaxt Gesegn' es, Samiel! Er hat mir warm gemacht! Here's to you, Samiel! thas me — warm _— made! (it has warmed me ‘abe vor blaept den maks Aber wo bleibt denn Max? But where is then Max? ‘rolta = —vortbrygig —_‘versdan ‘zarmjel lf Solite er —_wortbriichig werden? —-Samiel, hale Would he aword-breaker become? Samiel, help me! (Would he break his word?) (in some anxiety he paces back and forth in the circle. The coals threaten to go out. He kneels down, adds some wood and blows on the fire, making it smoke and crackle back to life) MAX (appearing by th waterfall nd leaning over the gle) forgtbax gemt dex — ‘dysstro ‘apgrunt Ht Furchtbar gihnt der —_diist're Abgrund! Ha! Frightfully yawns the somber abyss! vele en graon Welch ein Grau'n, What a horror,Der Freischiitz, Act IT 505 das ‘cogo vet =m —‘aenan ‘heellonpfuel_tsu:foon das Auge wahnt in einen Hollenpfuhl zu schau'n! my eyes seem in a —_helkpuddle to —look! (my eyes are looking down into the puddle of hell!) vi dort zig "vettarvotkon ‘ballon Wie dort sich Wetterwolken allen, How there (--) _ stormclouds are forming into balls, (The reflexive verb sich ballen means "to form into a ball") der momt ferlist fon ‘zaenom Jaen der Mond verliert von seinem Schein! The — moon is losing its gleam! gefpenstgs —‘nesbolbildar—‘vallon bolle;pt wt das gaftaen Gespenst'ge Nebelbilder _wallen, belebt ist das Gestein! Ghost-like mist-shapes hover, alive seem the stones! ont hit ho hop flikt ‘naxtgofoigel cof um und hier husch, husch, fliegt Nachtgevdgel auf im ‘And here, shoo, shoo, fly night birds. up from the ‘rotgraoe ——narbga ‘tsvaego Rotgraue _narb'ge Lweige Reddish-grey scarred branches ‘Jerekkon nax mir dis strecken nach mir die stretch out to. me _—their gigantic wrists! naen 2p das herts 00x —_graost Nein! Ob das Herz auch graust, No! Evenif my heart also quails, emus IG trots ‘allon ‘frekkon ich muss! Ich _trotze allen Schrecken! 1 must! TI willdefy ——all_—_terrors! CASPAR (spoken) (standing up and seeing him) dank "zamjel di: first ast gavonan Dank, Samiel! Die Frist ist —_gewonnen! Thanks, Samiel! My respite is won! (to Max) omst dus ‘ently kamarat ist das aox Regt Kommst du endlich, Kamerad? Ist dasauch recht You've come at last, comrade? Is that also right mig zo: allaen tsu:—‘lason mich so allein. zu me so. alone to _ leave? (ls it right for you to leave me here so alone?)506 ist du: nigt Siehst du nicht, Can you not see Der Freischiitz, Act IT mis ‘za0a vio wie — mir's sauer wird? how distasteful itis for me? (He fans the flames with the eagle's wing and while talking to Max lifts it up.) MAX (staring up at the eagle's wing) fos dem Teh schoss den T shot that ie kan nigt ich kann nicht 1 cannot ‘adlar aos ‘hoor loft Adler aus hoher Luft; eagle outofthe high ai (cut of the sky;) ‘rrkverts maen_ ‘ftkza:l nuft rilckwirts— mein Schicksal —_ruft! goback- my —_ destiny calls! (He climbs down a few paces, then stops again and stares at the rock opposite) ve: mise Weh' mir! Woe is me! CASPAR zo: kom dox dic tsaet aelt Sokomm' doch, _die Zeit eilt! Come, time is pressing! MAX, ie kan mgt hinap Ich kann nicht hina! 1 cant get down! CASPAR ‘hazonheats — klimst zonst vir ‘aena_‘gemzo Hasenherz! Klimmst ja sonst wie eine Gemse! Rabbit-heart!’ You clamber normally like a gemsbock! MAX zit ‘dorthin zis Sich dorthin! Sieh Look there! Look! (He points to a rock, where a figure veiled in white is seen raising a hand.) vas dort zig vaest ist ‘maenor ‘'mottar gaest Was dort sich weist, ist meiner Mutter Geist! What there is showing itself is my mother's ghost! zo: lak zim zark zo: mut, zim grasp So lag sie im Sarg, so rubt’ sie | im =— Grab! Thus lay she inher coffin, thus rests. she imher grave! > A faint-hearted, cowardly, fearful person, a “chicken”.zi fet’ mit 'Yamondom bik Sie fleht_ mit warnendem Blick! She pleads with a waning —_ look! CASPAR (to himself) Hilf, Samiel! (aloud) ‘albona ‘fratson hahah Alberne Fratzen! Hahaha! Ridiculous fancies! Hahaha! damt du: dis ‘folgon damit du die —‘Folgen sothat you the consequences ‘daeno- ‘faegon to@haet deiner feigen Torheit of your cowardly foolishness Der Freischiitz, Act It 507 vant mist tsulrrk Sie winkt mir zurtick! She — motions me back! zi: dox ‘aenmadl hm Sieh doch einmal hin, Look again, ea'kenst erkennst. can see. (The veiled figure has disappeared and now the figure of Agathe can be seen, her hair unbound and strangely decked with leaves and straw. She looks exactly like a madwoman and seems on the point of throwing herself into the waterfall.) Sprint m dem flus heap 1g mos Sie springt in den Flusst_Hinab! fch muss! Agathe! She isjumping into the — water! Down! Trust! CASPAR (mockingly, aside) 1g ‘denko vorl aox Teh dene wohl auch! 1 think so too! DIALOGUE MAX (fixedly, to Caspar) bm vas hap ets: tun bin ich! Was habt ich = zu tun? am I! What have I to do? CASPAR ful ‘ooganblike —zint_—_‘kostbar seit, Augenblicke sind Kostbar. Hush! Every moment is precious. ‘meoke aof vas ig hnaenveofon ‘vero Merke aut, was ich hineinwerfen werde; Pay attention (to) what I throw in will,508 Der Freischitte, Act II damit du: dix kunst_leonst damit du die‘ Kunst ernst. so that you the art can learn. (Pay attention to what I throw in so that you can learn the art.) hie est das blac Hier erst das Bi Here is some lead. ‘etvas goftosonas glas fon —_tseobRoxanan ‘kiagenfenston Etwas gestossenes Glas von _zerbrochenen Kirchenfenstera; Some ground glass from broken church windows; das findst zig das findet sich! ‘that's easily found! ‘etvas ‘kvekzilbe — drae‘kugelndi: fom ‘aenmal getrofan Etwas Quecksilber, drei Kugelndie schon _einm: getroffen! Some quicksilver, three bullets that already once hit the mark! das ‘Regia ‘aogo ‘aenas_‘visdahopfs Das rechte Auge eines Wiedehopfs! The right eye ofa __hoopoe! das ‘linko ‘aenas ‘luksas Das — linke eines Luchses! The — leftone ofa lynx! probastum est Probatum est! Proven it ist unt nun dem —_‘kugolze:gan Und nun den Kugelsegen! And now the _blessing of the bullets! ‘frtso dew im ‘dunkoln vaxt Schiitze, der im Dunkeln —_wacht! Protect us, youwho in darkness_—«=—_watches ‘zarmiel hap axt Samiet! Hab’ Acht! Take care! fie: mia bae =m “diz naxt Steh’ mir bei in dieser Nacht, Stand by me in this night, bis dex —tsaobo- ist fotbraxt bis der Zauber ist. vollbracht! till the spell is completed!Der Freischittz, Act Il 509 ‘zalbo mio zo:kraot_ untae Salbe mir soKraut und_—_Bilei, Bless forme the herb and lead, zegn es ‘zitbon noon unt drae segn' es sieben, neun und — drei, bless it seven, nine and three, das di: ‘kugal ‘twcug zae dass die Kugel tiichtig sei! till the bullet efficient be! ‘zaxmjel hearbae Samiel! Herbei! Samiel! Appear! (The mixture in the crucible begins to ferment and hiss and give off a greenish-white glow. A cloud passes over the streak of the moon so that the whole surroundings are lit only by the fire, the owl's eyes and the rotten wood of the trees.) CASPAR (pouring and letting the bullet fall from the mould, calling) aens Eins! One! ECHO (Forest birds fly down and settle around the circle, flapping their wings.) CASPAR tsvae Zwei! Two! ECHO Zwelt (A black boar crosses through the bushes, rushing across the glen.) CASPAR drae Drei! Three! ECHO Dreit (A gale springs up, bending and breaking treetops and making sparks fly from the fire.) CASPAR (anxiously counting) fire510 Der Freischiltz, Act I ECHO Vier! (Sounds are heard of rattling, cracking of whips and horses' trampling, four wheels darting {ire roll past without their real shape or the coach being fully visible because of their speed.) CASPAR, fynf Font Five! ECHO Fainft (Barking and neighing in the air; misty shapes of huntsmen on foot and on horseback; stags whirl past overhead.) END OF DIALOGUE CHORUS (sung) (unseen) dorg berk unt tal durg flont ont faxt Durch Berg und Tal, durch Schlund und Schacht, Through hill and valley, through gorge and ravine, durg too unt olkon form unt naxt durch Tau und Wolken, Sturm und Nacht, through dew and clouds, storms and night, dorg hole zompf ont ‘exdonkluft durch Hohle, Sumpf und Erdenkluft, through cave, ‘marsh and earth fissure, dorg oor ‘erda ze: unt ft dureh Feuer, Erde, See und Luft, through fire, earth, water and air, ‘vaovao hohoho: Wauwau! Ho! ho! ho! yoo-hoo! Bow wow! —_Ho! ho! ho! DIALOGUE CASPAR ‘veo das vildo hea veo zeks Wehe, das wilde Heer! Wehe! Sechs! Woe, the infernal hunt! Woe! Six! ECHO Sechs! Wehe!Der Freischittz, Act It sul (The whole sky becomes black as night. The storms, contending with each other, merge and burst into fearful thunder and lightning; rain begins to fall in torrents, dark blue flames ‘spout from the earth, will-o-the-wisps appear on the mountains, trees crack and are torn out by the roots, the waterfall foams and roars, rocks fall down, stormy clouds on all sides, the earth seems to quake.) CASPAR (crying out convulsively) ‘zaimjel ult “ribon Samiel! Hin Sieben! Samiel! Help! Seven! MAX Gumping out of the circle, seizing a branch of the tree and calling out) Samiel! (At this very moment the storm begins to subside and in the place of the rotten tree there stands the Black Huntsman, reaching out for Max's hand.) SAMIEL (in a frightening voice) ica bin 1g Hier bin ich! Here I am! (Max makes the sign of the cross and falls to the ground. The clock strikes one. There is sudden silence. Samiel has vanished. Caspar remains lying prone on the ground and Max starts convulsively to his feet) END OF ACT I512 Der Freischit, Act III ACT III Scene One (in a thick forest on a sunny day Max and Caspar are seen entering in conversation.) DIALOGUE MAX gut das vie allaen zint Gut, dass wir allein sind. Itisgood that we —_are alone, hast du: nox fon dem —‘glykskugaln gp Hast du noch yon den Gilickskugeln? Gib! Doyouhave more of those lucky bullets? Give me! deo frost ‘hata mig ms ‘coga_gafast. Der Flirst hatte mich ins Auge gefasst. The prince had me inthe eye looked. (The prince had his eye on me.) drae 'fyso harp 1 gota tsum e9'ftaonan Drei Schiisse hab’ ich getan zum Erstaunen— gib! Three shots Imade that were astonishing—_give me! CASPAR, naen unt ven du: mim tsu: © fy'son_fidost Nein, und wenn du mirzu Fiissen fielest. No, and evenif you at my feet fell. (No, even if you fell at my feet!) MAX du; Jott Du —Schuft! You bastard! CASPAR jetstgavint di: zeksto ‘kugal featbrooxt Jetzt geschwind die _sechste Kugel verbraucht. Now quickly the sixth bullet (must be) used up. di: ibanta di: topfalskugal Die siebente, die Teufelskugel, The seventh, the devil's bullet, heptes mia fom tsum proibofus cof, hebt er mir — schon zum Probeschuss auf. he's keeping forme already forthe shooting trial (—~-). (is being kept for me [by the devil] for the shooting trial.) (auffheben is a separable prefix verb meaning "to keep something for. (A fox scurries by.)Der Freischitz, Act III 313 dort oof aen Dort iuft ein There runs a dem di: ‘zeksto m dem pelts dem die —_sechste in den Pelz, forit the sixth one into its fur. (See that fox running? Shoot the sixth bullet into its skin.) (Max shoots) END OF DIALOGUE Scene Two (Agathe's room. Its furnished in an old-fashioned but neat manner. In one spot there is a small ptie-Dieu, at which Agathe, dressed in bridal white is kneeling. On it there isa bunch of white roses in a vase, lit up by a ray of sunshine falling on it through the window. Agathe stands up and sings with melancholy devotion.) CAVATINA AGATHE ont op dis ‘volka i: ferhvlla Und ob die Wolke sie verhiille, And evenif the —cloud(s) should hide it, di: ‘zonna_blaept am ‘hmmalstselt die Sonne bleibt am Himmelszelt; the sun remains at the vault of heaven; es valtat dot aen ‘haelgar ‘villa Es waltet dort cin heil'ger Wille, There reigns thee a holy will, rmigt—‘blmdam ‘sual dint di: velt nicht blindem Zufall dient die Welt! no blind chance serves the world! (the world is not subject to blind chance.) das ‘coga ‘ewig raen unt Klair Das Auge, ewig rein und Klar, That eye, forever pure and clear, simt ‘allor ‘vezon t var imme aller Wesen liebend wabr! safeguards all creatures lovingly ({God's] eye, forever pure and clear, safeguards lovingly all of creation!) (wahr/nehmen is a separable prefix verb meaning "to safeguard") fy Fir For mig vist mich wird me — will ox der auch der also the ‘fastor "zorgan Vater sorgen, Father care,314 dem “kantig herts ont dem kindlich Herz und toWhom ——likeachild heart and ont ver cox maen ‘etstor und war' auch mein letzter and were also my — last. vi mig zaen fatorvort als rief' mich sein Vaterwort als calledme His paternal word as Der Freischittz, Act III fertraot vertraut, Tentrust, an Sinn mind ‘morgan Morgen, ‘morning, braot Braut: a bride, (even were this my last morning, if His paternal word called me as a bride,) sein Auge, ewig rein und klar, His sumt ‘maenar ox mit ibe var imme meiner auch mit Liebe wahr! safeguards me as well with love (He would safeguard me as well, in His love!) Scene Three (Agathe, and Annchen all dressed up) DIALOGUE AGATHE, maks var om ‘diam ‘Jrekligon ‘veto im ‘valda Max war in jesem schrecklichen Wetter im Wale... Max was inthis. awful storm, inthe woods, mize ‘tRoomts 1; zae—m'aena ‘vaeso taobo feo'vandalt Mir triumte, —ich_—sel_—_imeine welsse Taube verwandelt, 1 dreamt 1 was intoa white dove changed, unt liga fon ast tsu:— ast und fliege von Ast zu Ast. and was flying from branch to branch. maks tsilta max mize ig fovattsta Max zielte nach mir, ich sttirzte, Max aimed at me(and) = «Tf, ‘abe num var di:_—‘vaesa_‘tooba_fea‘fvundan aber nunwar die _—_weisse Taube verschwunden, but assoonaswas the white dove disappeared, (but as soon as the white dove disappeared.) 1g var ‘vide aigarto ich warwieder Agathe, Twas again Agathe,Der Freischittz, Act IIT sis unt aen‘grose —‘fvartso ‘naopfo:gal und ein grosser —schwarzer__—-Raubvogel and abig, black bird of prey veltsta zig im ‘bluta wiilzte sich im lute. was wallowing inits blood. ANNCHEN felt mia den nigts ?aen ‘trooma su: tseatftrogon Fallt mir denn nichts ein, die _—Trdume mu —_zerstreuen? Can't I then think of something these dreams to dispel? 1g zelpst vaes da: en‘ graozanere:gandos Teh selbst weiss da grausenerregendes I myself know a horripilating END OF DIALOGUE. ROMANZA AND ARIA ANNCHEN aenst ‘tropmts ‘maenar ‘regan "baza inst triumte meiner sel’gen Base, Once dreamed my (God rest her soul) aunt, di: ‘kammortyx er cefia zig die Kammertir —erdffne sich, (that) her bedroom door had flown open, unt ‘kraedavaes.vart_ iro ‘naiza und kreideweiss ward thre Nase, and chalky-white became her nose, den ‘nesr furgtbar ‘nest fig en ‘ungehover denn niiher, furchtbar —nther_schlich ein Ungeheuer as closer, terribly closer crept a monster mit ‘oogon vis ‘fodar mit ‘klirrondar_—— ett mit Augen wie Feuer, mit klirrender —_Kette, with eyes like fire, with clanging chains, es ‘naito dem ‘betta m —_'velgom zis flit es —nahte dem Bette, in welchem —sie_schlief— it’ approached the = bed. in. = which she slept— tg 'maena dis bazo mit ‘kraedigor ‘naz ich meine die Base mit —_kreidiger Nase — 1 mean my — aunt with the chalky-white nose — unt ‘fto:nta ax zo: hold und stihnte, ach! so hohi! and itmoaned, oh, so._hollowly!516 Der Freischittz, Act III ont egtsta ax zo: tif und — achzte, ach, so tleft ‘And itgroaned, oh, 50. deeply! zis ‘krootsta ag rif Sie kreuzte sich, rief, She crossed herself (and) called out, nax ‘mangam ast unt ‘torsgabeit nach manchem —_Angst- und Stossgebet after several fast and furious prayers, suzanne margares Susanne! Margaret! unt zit ‘kasmon mit ligt Und sie kamen mit Licht, And they came with lights, ont ‘denko nur unt erfink mise mur nigt und— denkenur~ und— erschrick mir nur nicht - and— justthink~ and—_just don't be alarmed ~ unt graost mir dox unt der gaest und— graustmirdoch- und der_— Geist and— itstill frightensme- and the ghost, ‘nero dex —‘kettonhunt Nero, der Kettenhund! Nero, the watchdog! (Agathe turns away, not amused. Annchen continues, in a tender tone:) du: ‘tsymest mir dox —kanst du: ‘vemon Du —_zirnest mir? Doch kannst du wAhnen, You arecross with me? But can you _believe ie fyla mgt, «mt dir ich fidhle nicht — mit dir? 1 donotfeel —for_-—you? nur ‘simon ‘aenar broot mgt ‘tremon Nur ziemen einer Braut nicht Trinen! Only become a bride not tears! (Only tears do not become a bride!) (A bride shouldn' be in tears!) ‘wytbe ‘cogen ‘lspgon ‘taogen ‘aenam ‘holdan ‘brosteon nigt Tribe Augen, Liebchen, taugen einem holden Briutchen nicht. Sad eyes, dearest, suit a lovely bride not. (My dear, sad eyes do not suit a lovely bride.)Der Freischiitz, Act III 517 das dug ‘blikko ti: erkvikko unt baiglykko Dass durch Blicke sie erquicke und _—_beglicke That — through glances she (should) refresh and — delight unt —beftmkke alas um zigher ——_enttsvkka und bestricke, _—allesumsich her _—_entzticke, and charm (and) all about her enchant; das st iro Jounsta pfligt das ist ihre schnste —Pificht. that is —_her_—_loveliest duty. (Her loveliest duty is to refresh, delight and charm with her glances, and to enchant everyone around her.) las m_—‘gsdan_‘maoon ‘bysorinnan —traoom Lass in éden Mauern Biisserinnen trauern, Let within bare walls penitents mourn, (Let penitents mourn within bare walls,) six vigkt ‘roxzgor ‘hofiuy ligt dir winkt ros'ger Hoffnung Licht! you beckons arosy hope's light! (the rosy light of hope beckons you!) Jon entsyndot aint’ «diz kertson Schon entziindet sind die Kerzen Already lighted are the candles tsum feraen gotroger zum Verein getreuer forthe union (of) faithful ‘holda ‘froondin ——tsaiga_ mgt Holde Freundin, —zage nicht! Dearest friend, fear not! DIALOGUE nun mus 1g ‘abe ox gafvint dein krants ‘holon Nun muss ich aber auch geschwind = den_—-Kranz_ holen! Now must I (but) also quickly the wreath fetch! (But now I must quickly go and fetch the wreath!) Scene Four (Agathe and bridesmaids in festive local costume, but without wreaths and flowers) ANNCHEN org, da: ‘komen di: ‘bRaotjunfon Horeh, da kommen —die-_—-Brautjungfern. Listen, there come the bridesmaids. END OF DIALOGUE518 FOLK SONG FIRST BRIDESMAID vir ‘vinden dir de:n Wir winden dir den We — weave foryou the mit ‘faelgonblaoor mit —_veilchenblauer in violet-blue vir fyyon dig tsu: wir flhren dich zu we lead you to tsu: glk ont m Gillick und to happiness. and Der Freischitz, Act III ‘junforkrants Jungfernkranz, ‘bridal wreath. "zaeda Seide; silk; Sr Spiel playing and unt tants und Tanz, dancing, “libostropda Liebesfreude! joy of love! ALL (dancing in a ring around Agathe) ‘Yomnar ‘gry:nar Schéner, _—_griiner Lovely, green Veilchenblaue Seide! ‘SECOND BRIDESMAID! lavendal = myrt Lavendel, —-Myrt" Lavender, myrtle das vekst m das wiichst in they grow in vi: lay laept dox wie lang bleibt doch how long will tarry ‘junfornkrants Sungfernkranz! bridal wreath! unt ‘tysmian und — Thymian, and thyme, ‘maenam ——_‘gartan meinem Garten; my garden; dex fraeorsman der Freiersmann? the suitor? (but how much longer will the suitor tarry?) te kanes. Teh kann es I can it (Lean scarcely wait for it.) ALL Schdner, griiner Jungfernkram: kaom ervartan kaum erwarten. hardly wait. Veilchenblaue Seide! "ven though the score lists only one Bridesmaid, sometimes a conductor may assign the four verses to four different up-and-coming young sopranos, or even have Annchen sing one ofthe versesDer Freischiitz, Act II 519 THIRD BRIDESMAID zi: hat gofponnen—‘zitbon jaxr Sie hat —gesponmen —_sieben Jahr’ She has spun (for) seven years den ‘goldnan flaks am ‘rokkan den gold’nen —Flachs am =—_Rocken; the golden flax onthe distaff? das ‘hemtlaen ist’ = vik Jpmvep Klar das Hemdlein ist wie Spinnweb’’— klar her shift is like cobweb fine unt gry dex rants dei ‘lokkon und grim der Kranz der Locken. and green the wreath on her locks. ALL ‘Schoner, griiner Jungfernkranz! Veilchenblaue Seide! FOURTH BRIDESMAID ont als dex = 'Jmokko ‘fracor kam Und als der —schmucke “Freier kam, ‘And when the handsome suitor came van ‘ribon jar ferronnan war'n sieben Jahr’ verronnen; there were seven years gone by; (seven years had passed) unt vael ex dit ‘hertslispsta_—— asm und weil er die —-Herzliebstenahm, and when he the —_belovedone took. (and when he took his beloved) hat dem rants gevonnen hat sie den Kranz gewonnen. did she her wreath win. (she won her wreath.) ALL Schéner, griiner Jungfernkranz, etc. Scene Five DIALOGUE ANNCHEN (entering with a round box tied with string) das bit des ‘alton ern ‘kuno wt ‘dizo naxt Das Bild des alten Herrn Cuno ist diese Nacht The picture of old Herr Cuno did lastnight * A rotating, vertical staff that holds the bunch of flax or wool in hand-spinning. Figuratively, a ‘woman as the holder ofthe distaff; the female sex.520 Der Freischiite, Act IIL tsum ‘tsvaeton mal fon dew vant _gofalon zum — zweiten Mal von der Wand _gefallen. forthe second time from the wall fall. (fall off the wall for the second time.) AGATHE fast ‘konto es mig ‘enstigan Fast konnte es mich dingstigen. Almost could it me frighten. (It could almost frighten me.) ANNCHEN fief nox'aenma:l das ‘endo des ‘litgons Frisch! Noch einmal das Ende des —Liedchens! Comenow! Once again the end _—_of that ttle song! END OF DIALOGUE BRIDESMAIDS, ANNCHEN ‘Schiner, griner Jungferakranz, etc. DIALOGUE ANNCHEN (opening the box and taking out the wreath) ‘aeno toitankro:ne Eine Totenkrone! A funeral wreath! (The bridesmaids look at one another. Agathe gazes quietly before her and looks down, vwringing her hands.) AGATHE filaegt istdis aen vink fon ‘orbon Vielleicht _istdies ein © Wink von oben! Perhaps thisis a sign from above! dea eremit gap mie di ‘vaeson ‘Rowan Der Eremit gab mir die weissen Rosen, The Hermit gave me — some white roses; “vindat mi — daraos di: ‘braotkros windet mir — daraus die Brautkronet weave forme fromthem my bridal wreath! (Anchen takes the roses out of the vase, shakes the water off. and weaves them quickly ‘around the wreath and sets it on Agathe's head.) ANNCHEN Zi ‘flezn diz-‘alolicpst zmt Sie stehen dir allerliebst, They look lovely on you; sing, (all of you)! END OF DIALOGUEDer Freischiitz, Act IIT 521 BRIDESMAIDS, ANNCHEN (with subdued voices, as they go) Schéner, griiner Jungfernkranz, ete. Scene Six (A beautiful, romantic spot. On one side the prince's hunting tents, on which noble guests and courtiers are having a banquet. On the other side huntsmen and bush beaters are camped, likewise feasting; behind them stags, bears and other game as trophies of the hunt. Prince Ottokar is at a table in the main tent. Cuno is at the bottom end, Max is near Cuno ‘but outside, leaning on his rifle. Caspar is outside, listening from behind a tree. Finally Agathe, Anchen and the Hermit, the bridesmaids and a procession of country folk enter the precinct. Servants are milling about.) HUNTING CHORUS HUNTSMEN vas glaegt vol gof_ewdon dem —_jesgarfergny:gon Was gleicht wohl auf Erden dem — Jiigervergniigen? What resembles on earth the ~_ pleasure of the chase? (What pleasure on earth can compare with the chase?) vem ‘Jprusdolt dex ‘beger des ‘esbons zo: raeg Wem sprudett der Becher des. Lebens so reich? For whom sparkles the cup of _—iife so richly? (For whom does life's cup sparkle so richly?) baem ‘klar dex ‘hoemar m —‘gryman tsu:—igan Beim Klange der Horner im Griinen m Atthe sound ofthe hors onthe green (grass) to den hf —tsu: ferfolgan dug “dikkagt unt taeg den Hirsch zu verfolgen durch Dickicht und Teich, the stag to pursue through thicket and pool, it frrsthige ‘ropdo ist ‘meng ferlajon ist flirstliche —Freude, ist miinnlich —_-Verlangen, is aprincely pleasure, = isa_—manly desire, erftarkat i: ‘glidar ont ‘vyrtsat das mail erstarket die lieder und —wiirzet das Mahl. itstrengthens the limbs and spices the meal ven ‘veldar unt felzan uns ‘hallont omifaron Wenn Walder und Felsen uns —_hallend umfangen, When forests and rocks us resoundingly surround, (When forests and rocks resound all about us,) tent fraeor unt —frovdgar = der folla pokail tént freier und freud’ger der _—volle Pokal! sounds freer and joyfully the full goblet! (a full goblet sounds more freely and joyfully!) joho: tralalalal Joho! Tralalalat522 Der Freischiite, Act IIT “kundig di naxt ts kundig, die Nacht zu skillful the night to am tago ir ‘dunkol wie labend am Tage ihr Dunkel how refteshingly by day darkness dem ‘blutigon —volf unt. «dem ‘esbor su Den blutigen Wolf und den Eber zu The bloodthirsty wolf andthe boar to dex ‘girg di: ‘grymendon—‘zaitan der gierig die griinenden —_Saaten who greedily the greening crops erhellon erhellen, brighten; ons kylt uns kilt. cools us. ‘felon fallen, fell, durgvy:lt durchwahit, uproot (To fell the bloodthirsty wolf and the greedy boar who uproots the greening crops) ist flirstliche Freude, ist minnlich Verlangen, erstarket die Glieder und wiirzet das Mahl, ete. DIALOGUE OTTOKAR genuk dew froodan des ‘matlos ‘vewte jakktgonoson Genug der Freuden des Mahles, werte Jagdgenossen. Enough ofthe pleasures of the table, worthy hunting compani ‘kuno dex fon 0g ga'veilta ‘aedam gafelt mio Cuno! der von Euch gewahite —-Eidam gefilit mir. Cuno, the — by chosen son-in-law I approve of. (Lapprove of the son-in-law you have chosen.) vo: ist diz ‘june fts ist du: dort di Siehst du dort die Doyousee there that di: ‘aofgabo st —_laegt is Die Aufgabe —ist_—_leicht- ‘chiess! The task is easy~ shoot ! AGATHE (stepping forward, anxiously) Js nigt maks 1¢ bin di: ‘taoba Schiess nicht, Max! Ich bin die Taube! Don't shoot, Max! I am_— the -— dove! > The goddess of the moon, hunting and the woodlands. junger Schiitz! young marksman! ‘vaes taobo weisse Taube? white dove?Der Freischitz, Act III 523 (Max shoots. Caspar falls. The Hermit comes forward from behind Agathe, picks her up and then is lost again in the crowd.) END OF DIALOGUE (dnnchen, Max, Ottokar and some country folk are attending to Agathe in the background. The rest of the chorus is standing in various groups, anxiously looking at Agathe and Caspar, who is lying inertly on the ground.) FINALE CHORUS Jaot Joot ex traf dit ‘aegna_braot Schaut, o —— schaut! er traf die eig'ne ‘Braut! Look, ‘oh ook! He shot his own bride! SOME dex jegor ‘forsto fom baom Der Jager stiirate vom Baum! The —huntsman fell from the tree! CHORUS vir ‘vaigens kaom snus ‘hintsufaon Wir wagen's kaum nur hinzuschau'n! We barely dare to look over there! 0: forgtbarr ‘fikzasl o: — graon © — furehtbar Schicksal, 0 = Grau'n! Oh dreadful fate, oh horror! ‘unzra ‘hertson : ‘tsa:gon Uns're Herzen beben, zagen, Our hearts are throbbing, pounding, di; Jrekkonstait gpfen die Schreckenstat gescheh'n? this fearful deed (really) happen? vil es das_—‘coga Kaum will es das Auge Barely wishes it the eye (Our eyes barely dare) ver das ‘spfar zae su: zen wer das Opfer sei, zu seh'n. who the victim be to see. (to see who the victim might be.) (Ottokar and those nearest to him have hurried to Agathe, the huntsmen to Caspar. Agathe is carried to a grassy knoll in the foreground. Max is on his knees before her.)524 Der Freischiltz, Act Ill AGATBE (regaining consciousness from a deep faint) vo: bm iG vas traom mur das zak Wo bin ich? War's Traum nur, dass ich sank? Where am = 17, Wasit_ a dream only that I sank? (Was I only dreaming that I fell?) ANNCHEN co: asso dg O fase dich! Oh, getahold —_of yourself! MAX zz lest Sie lebt! She — isalive! MAX, CUNO, CHORUS den’ ‘haelgon praes unt dank Den Heil'gen Preis und Dank! Tothe saints (our) praise and thanks! zit at dit ‘aogan ‘offen Sie hat die Augen offen! She has her eyes opened! SOME (pointing to Caspar) his ‘ditzor 1st gatrofon Hier dieser ist getroffen, Here, this one has been shot, dex rot fom "plusta lick der rot vom Blute liegt! hewho (stained) red _—_fromhis blood is lying! (This man is shot, lying here stained red with blood!) CASPAR (writhing convulsively) % den ‘kloosnor bac ir ftem Tech sah den ‘Klausner bei ihr’_—steh'n 1 saw the hermit by her _ standing; dex hummel zikkt es ist um mig gofem der Himmel _ siegt! es ist um mich gescheh'n! heaven triumphs! Tam done for! AGATHE (gradually recovering and getting up) ‘atmo nox dex == frek nur varf mig ‘nisdor Teh atme noch, der Schreck nur —_warf mich nieder. 1 breathe stil; the fright ‘only prostrated me. (Lam still breathing... just fainted from fright.) te ‘atmo nox dit Tisphigo loft Teh atme noch die liebliche Luft! 1 breathe still this lovely air!Der Freischittz, Act III 525 CUNO zit ‘atmat frae Sie atmet frei! She is breathing freely! MAX zit ‘legate ‘vider Sie Lichelt wieder! She issmiling again! AGATHE O Maxt MAX di zys0 Jumma rut Die sisse Stimme ruft! That sweet voice is calling! AGATHE oo maks 1g ‘lesbo nox O Max, ich —_lebe noct Oh = Max, I amstill alive! MAX algasta du; Tesbost nox Agathe, du lebest noch! Agathe, you —_arestill alive! ALL Den Heil'gen Preis und Dan (Unseen by the others, Samiel rises out of the ground behind Caspar.) CASPAR (seeing Samiel) ‘za:mjel Jon ir Du, Samiel, schon hier? You, Samiel, already here? 20% hiltst. du; daen ferfpregon mise So hielt'st du dein’ Versprechen mir? Like this held you your promise tome? mm ‘daenan, raop ie trotso_ dem ferderbon Nimm deinen Raub! Ich trotze dem Verderben! Take — your prey! 1 defy perdition! (He clenches his fist and shakes it at heaven.) dem ‘hummel flux flux dist Dem Himmel Fluch! Fluch dir! To heaven (my) curse! ‘Acurse on you! (Course heaven!)526 (He collapses. Samiel vanishes.) Der Freischiitz, Act III CHORUS. ha: das var zaen. gabet im —_‘fterban Ha! Das war sein Gebet im —_Sterben! Hal That was his. prayer in death! (dying prayer!) CUNO ex var — fon je: en ‘bpizavigt Er war von je ein Basewicht! He — was always an evilone! im traf des tummals ‘fwraifgarigt Thm traf des Himmels _Strafgericht! On him fell heaven's punishment! CHORUS. Er war von je ein Bésewicht, ete. SOME er hat dem'himmal_zelpst_gofluzxt Er hat dem Himmel selbst geflucht! He did heaven itself curse! (He cursed heaven itself!) ‘CUNO, CHORUS fernasmt ins mgt er = rif dem “bo:zan Vernahmt —ihr’s- nicht? Er —rief den ‘Basen! Heard youit not? He called the Evil One! (Didn't you hear? He called the devil!) OTTOKAR fort fvrtst das ‘foozal m dis ‘Volfsfluxt, Fort! Stiirzt das Scheusal = in Wolfsschlucht Away! Dump the monster into the Wolfs Glen! (Some huntsmen carry the body off.) OTTOKAR (to Max) nur du: kanst “‘dizas. ‘restsal ‘le:zan Nur du kannst dieses Raitsel sen; Only you can this riddle solve; vol ‘vero ‘umtat ist gafen wohl schwere Untat ist _gescheh'n! some dire misdeed has taken plac ve: dis vilst du: migt “alls tro gaften Weh' dir, —willst du nicht alles trew Woe toyou ifyoudonot everything truthfully confess!Der Freischiitz, Act IH 527 MAX her ‘unvest bin ig ‘o0ror_‘gnaxda Herr, unwert bin ich Eurer Gnade; MyLord, unworthy = Tam of your mercy; des ‘toitan truck ferlokta mig des Toten Trug verlockte mich, the deadman’s. deceit tempted me, das aos fertsvaefluy 1 == fom dass aus Verzweiflung ich vom sothat out of despair 1 from the dex froemmigkaet_ unt —_‘tugant vig der Frémmigkeit und — Tugend wiel of godliness. and—_virtue strayed. fir ‘kugoln di: ie hoot ferfos Vier Kugeln, die ich —_heut’ _verschoss, (The) four bullets which T today fired, ‘fraekugeln —zints ie omit jemom gos Freikugeln —sind’s, ich mit jenem goss. ‘magic bullets they are, which T with — that man cast. OTTOKAR (angrily) zo: ‘aelamaen gobist tsu: ‘maedon So elle mein Gebiet mu meiden, Then hasten my domain to leave, (Then make haste to leave my domain,) unt ‘kerra ‘nimmor m dis lant und — kehre nimmer in dies Land! and return neveragain to this-_—_land! fom ‘hummat mus hoella —‘faedan vom Himmel muss die Holle scheiden, From heaven must hell be separated; ni: empfenst du: ‘diz>‘raenohant ie, nie empfingst du diese reine Hand! never, never will you obtain this pure hand! (never, but never wili you obtain [Agathe's] pure hand {in marriage}!) MAX ie darf_—nigt’vagon ‘mug tsu: boklagon Teh darf nicht wagen, mich zu beklagen, 1 must not dare ‘to complain, den Jvax var 1g op'vod Kaen ‘boxzavigt denn schwach war ich, obwoht kein Bésewicht. for weak Iwas, although not wicked.528 Der Freischiitz, Act IIT CUNO ex var zonst ftets gotro0 dex pfligt Er war sonst stets getreu der — Pflicht! He was otherwise always faithful tohis duties! AGATHE oO: raest nigt aos ‘maenen ‘armen 0 reisst nicht aus meinen Armen! Oh, tear him not away from my arms! HUNTSMEN ex st zo: bra fol kraft unt mutt Er ist so bray, voll Kraft und = Mut! He isso. good, full of strength and courage! COUNTRY FOLK oer var immor tro unt — gut 0, er war immer trew und gut. Oh, he == was always faithful and good. ANNCHEN gnedgar = her o:_—shaypt_erbarman Gniid'ger Herr, 0 abt Erbarmen! Gracious. lord, oh have mercy! CUNO, CHORUS Gniid'ger Herr, 0 habt Erbarmen! ANNCHEN habt Erbarment OTTOKAR naen agaita wt fy im tou: Nein! Agathe ist flr ihn zu No! Agathe is for him too (to Max) hinvek 0s 'maenom Hinweg aus meinem Away, outof my daen hart dex —‘kerkor kext du: je: tsurvk Dein harrt der Kerker, kehrst du je curiiek! You awaits a prison, should you ever come back! (A prison shall await you,) (The Hermit enters. All draw back respectfully and greet him humbly; even the prince uncovers his head.)Der Freischitte, Act IIT im zo ‘frenon ihn so _strengen him sucha severe it er olgor ist er solcher is he of such (Ishe deserving of such penitence for a mere lapse?) HERMIT ver lekt oof Wer legt auf Who lays on zen feiltnt Ein Fehitritt, A misstep, OTTOKAR bist dus es Bist du es, Are you he, den vaet_— unt den weit und whom far and zac mist gogrysst Sei mir gegrisst, Tgreet you, dir bm Dir bin To you am (Lwill gladly also defer to you.) Sprig dus zaen Sprich du sein You pronounce his ‘daenan ‘villon deinen Willen your will HERMIT laegt kan des Leicht kann des Easily cana unt 'y:berfraetan und — diberschreiten and stray from ven lisp unt wenn Lieb’ und when love and ‘haelgar ‘man heil'ger Mana, holy man, braet dix breit die wide — this gozergnotor Gesegneter blessed one ox ge ——_gahorzam auch ich —_gehorsam also I obedient ‘urtael Urteils sentence; vil fropdig ie will freudig ich shall gladly I ‘frommon hers ox Frommen Herz auch pious heart also rect unt pfiigt Recht und — Pflicht, right and duty, forgt dex — tugont Fureht der Tugend fear of virtue (the) 529 ban Bann? banishment? ‘byssun vext Biissung wert? penitence worth? ext ehrt? honors? gem gern. gladly. erfyllon erfiillen. carry out. ‘vankon ‘wanken ‘frankon Schranken, barriers (and)530 Der Freischiitz, Act IIL fertsvaeflon ‘alla demmo brigt Verzweiflung alle Damme bricht. despair all defenses breaks. (Even a pious heart can easily waver and stray from the right path and duty, when love, fear and despair break down all the defenses of virtue's barriers.) sts rect cof ‘aenar ‘kurgal_loof Ist's recht, auf einer Kugel Lauf Isit right’ on a _—_bullle’s course tsvae ‘edlor ‘hertson. glvk su: zetson zwei edler Herzen Glick mu setzen? two noble hearts’ happiness to._stake? (ls it ight to stake the happiness of two noble hearts on the course of a bullet?) unt untarli:gan zi: den ‘netson Und — unterliegen sie den Netzen, ‘And should they be overcome (by) the nets vosmtt zi: Taedonfaft—umfligt womit sie Leldenschaft _umflicht, with which them passion embroils, (And should they be overcome by the snares in which passion embroils them,) ver hsp den enstan ftaen vol oof wer hob! den ersten Stein wohl auf? who shall lift the first stone then (—) (who then shall cast the first stone?) (auffheben is a separable prefix verb meaning "to lift up") ver gut m —‘zaenan ‘bu:zan_ mgt, Wer griff in seinen Busen nicht? Who wouldsearch in his. bosom not? (Who would not search his own heart?) drum ‘finda ni: dex 'procbofus. mer fiat Drum finde nie der —Probeschuss_ mehr stat! Therefore take place never the shooting trial any longer (—-)! (Therefore [I say], let the shooting trial never be held again!) (statt/finden is a separable prefix verb meaning "to take place") (looking reproachfully at Max) im her der fer gazyndigt hat, thm, Herr, der schwer gesiindigt hat, For him, my lord, who deeply sinned has, dox —zonst Jets raen unt ‘birder vair doch sonst stets rein und bieder war, but otherwise always pure and ~—honest_ was,fergoent dafyr vergonnt —dafir be granted Der Freischitz, Act III aen ein for that reason a 331 ‘prosbojai Probejabr! ‘year's probation! (Let him, my lord, who has deeply sinned but otherwise always been pure and honest, be ‘granted a year's probation!) unt blaept er dan vi ig im —ftets_erfant Und — bleibt er dann, wie ich thn stets_erfand, ‘And should he remain then as T him always found, zo: ‘verda zaen agattas hant so werde sein Agathes Hand! then will be his Agathe's hand! (And if he remains as I have always found him, then let Agathe's hand be his!) OTTOKAR daen vort_ gony:got mir Dein Wort geniiget mir. Your word isenough forme. an ‘hosror Sprit 0s dir Ein Hoh'rer spricht aus dir. A Higher Being speaks through you. ALL hael‘unzarm fvrst er vitdarfte:t mgt Heil unserm Farst, er —_widersteht nicht Hail toour prince; he does not object dem vas dex fromma ‘Klaosnor ——_prigt dem,was der fromme Klausner spricht! to what that holy hermit says! OTTOKAR (to Max) boverst dus dig vi dig dex graes erfant Bewihrst dudich, wie dich der Greis, erfand, Ifyou prove yourself as you that _—_grey-haired man found, dan knypf ig ‘zelbor ‘oor bant dann kniipf ich —selber ener Band! then shall tie myself your knot! (Prove yourself as the old man found you and I will preside at your wedding myself.) MAX zl maenherts_ bovexran soll mein Herz bewahren, shall my heart prove; Stes ‘haelig ze mir rect. unt_—_pfligt stets heilig sei mir Recht und Pflicht! always holy be forme right and duty! (may right and duty ever be sacred to me!)932 AGATHE (to Ottokar) Der Freischiitz, Act III Jest dem dayk =m —‘dizzon_tsesron © — Ies't den Dank in diesen Zahren; Oh reads my — thanks in these tears; das 'Jvaxo vort — goinyskt iim nugt das schwache Wort _geniigt ihm nicht! my — weak words suffice for it not! (are not sufficient to express [my thanks}!) OTTOKAR, HERMIT dex 'yibor 'Jteman ist fol ‘gnada Der iiber _Sternen ist voll Gnade; He above the stars is fullof_ mercy; drum fyrstan tsu:— fertsaen drum Farsten zu verzeih'n! therefore forprinces to _—_forgive! CUNO (to Max and Agathe) vaegt ‘nummor fon de:r‘tugont ‘pfarda Weicht nimmer von der Tugend Pfade, Stray never from virtue's path, om —‘99ras__‘glvkkas vert su: zaen um —eures Gliickes wert zu sein! for your happiness worthy to. be! (Never stray from the path of virtue, if you want to be worthy of your happiness!) ANNCHEN (to Agathe) o dan galirpta ‘froondm =“ fmykka dig © dann, geliebte Freundin, —schmiicke i i Oh then, beloved friend, adorn 1 you cofs noe = tsum ‘braotaltaxr fsneu zum Brautaltar! afresh for the bridal altar! (Beloved friend, then Tl adom you again for the bridal altar!) HERMIT dox jest. erhept nox ‘o6ra_‘blikko Doch jetzt erhebt noch eure Blicke But now lift again your eyes, su: dem fots dex unfult var m Dem Schutz der Unschuld war! to Him who protector ~—of_—innocence.~— was! (Now lift your eyes upward to Him who was the protector of the innocent!) (He kneels down and raises his hands. Agathe, Cuno, Max, Annchen and several of the country folk follow his example.)ALL ja: aa, ‘Yes, unt und and last uns asst uns let us fest cof fest auf firmly upon tum zum to di: die the Der Freischiitz, Act II 533, ‘himmal dis Himmel die heaven our ‘lenkug des Lenkung des guidance of the ‘blikko erhe:bon Blicke erheben, eyes raise, ‘ewigon ‘baon Ewigen bau'nt Eternal One build! (and firmly put our trust in the guidance of the Eternal One!) AGATHE, ANNCHEN, MAX, OTTOKAR, CUNO, HERMIT dex Der He who ont und and dart darf may raen rein pure ‘Jultloss schuldlos guiltless “kantlrg kindlich child-like Ist ist is fon vou in dex der inthe fon ‘hertson von Herzen of heart ‘Terbon Leben, life, ‘milds des Milde des kindness of the (may trust, like a child, in the Father's kindness!) ALL. Ja, lasst uns die Blicke erheben, ete. “faitors fertraon Vaters Father END OF THE OPERA