Woyzeck (buechner), English 6a633z

WOYZECK (c. 1836)

By

Georg Büchner (17 October 1813 – 19 February 1837)

WOYZECK, a soldier ANDRES, a soldier MARIE, Woyzeck’s common-law wife CHILD, of Marie and Woyzeck (named Christian) MARGRET, Marie’s neighbor DRUM MAJOR SERGEANT CAPTAIN [Officer} OLD MAN CARNIVAL BARKER SHOWMAN DOCTOR 1st APPRENTICE 2nd APPRENTICE IDIOT, name Karl JEW, a pawnbroker GRANDMOTHER INNKEEPER KATEY, woman at the Inn FIRST CHILD SECOND CHILD FIRST PERSON SECOND PERSON COURT CLERK JUDGE POLICEMAN Soldiers, Students, Young Men, Girls, Children TRANSLATION based on Mueller, Schmidt, & Keddrick VARIORUM TEXT: Büchner, Georg. Complete Works and Letters. Trans. Henry J. Schmidt. Edited by Walter Hinderer and Henry J. Schmidt. New York: Continuum, 2003. Paul Backer, 2015

Woyzeck pg. 2 A NOTE ON THE PLAY: “What is it in us that lies, murders, steals?" (Büchner letter) Georg Büchner was a young medical student from the German state of Hesse, and had just started a career teaching anatomy at the University of Zürich at his untimely death in 1837 at age 23. In addition to his study of medicine, he was ionately interested in history, in theatre and drama, and radical politics. He interest in drama led him to write three plays (Danton’s Death, Leonce and Lena, and the unfinished Woyzeck, all of which deal with historical subjects). His involvement in radical politics led him to write essays and a novella, and got him in trouble with the law on a few occasions. The play Woyzeck was inspired by a real murder case: Johann Christian Woyzeck who murdered his common law wife in 1821, stabbing her to death in a jealous rage. The case became famous all over Europe; it was one of the first murder cases in which the“insanity defense“ was raised in order to avoid execution. Woyzeck‘s guilt was never in question (He freely itted „ I hope she’s dead; she earned it“)—it was his state of mind. Woyzeck had had a troubled life, with a long history of what would call today psychiatric disorders. One of the most famous doctors of the period Johann Christian August Clarus was called in, and a lengthy period of psychiatric, medical and legal examinations took place. Finally, Clarus determined that Woyzeck was pathologically violent but legally sane. His conclusion was that Woyzeck “…in the course of an uncertain, desolate, thoughtless and indolent life [had sunk] from one level of…degeneration down to the next,” until “in the dark tumult of primitive emotion” he had “destroyed a human life.” Clarus was a determined er of the theory that humans have total control over their will and ions through reason, and that Woyzeck was not insane, but committed his crime due to the "confusion of subjective feelings with objective conceptions." Woyzeck was executed in 1824 in Leipzig (with thousands in attendance to witness the event), and Clarus work a book chronicling his examination and conclusions. The controversy around the sensational crime, lengthy trial, psychiatric examinations and final execution continued for many years, and was part of the “standard” literature of the medical profession. Young Büchner undoubtedly knew about the case from his father, who was also a doctor, and from his own university studies. Büchner was fascinated with the debates between “reason and ion,” between “free will and nature,” between “science and the spirit,” and the influence of heredity and social environment on humans. He also has a sense of fatalism about history and the human condition. The play Woyzeck examines all these issues, raising many questions but offering few definitive answers. Even as a very young man, Büchner was deeply philosophical. He wrote a poignant letter in 1833 (at age 20) to his fiancée Minna Jaegle, a Protestant minister’s daughter. Büchner was in exile at Strasbourg at the time due to his radical politics, and had been reading about the French Revolution. He was particularly troubled with guilt by the fact that he escaped punishment because of his exile, while one of his friends and comrades was imprisoned and brutally tortured. The letter is referred as his “fatalism” letter: "I have felt as though crushed beneath the fatalism of history. I find in human nature a terrifying sameness, and in the human condition an inexorable force, granted to all and to none. The individual is no more than foam on the wave, greatness mere chance, the mastery of genius a puppet play, a ludicrous struggle against a brazen law, which to acknowledge is the highest achievement, which to master, impossible. I no longer intend to bow down to the parade-horses and bystanders of history. I have grown accustomed to the sight of blood. But I am no guillotine-blade. The word must is one of the curses with which Mankind is baptized. The saying ‘it must needs be that the offenses come, but woe to him by whom the offense cometh’ [Matthew 18:7] is terrifying. What is it in us that lies, murders, steals?" (qtd. Gilman, 13-14) NOTE on the TEXT: No “definitive” version of Woyzeck exists. The “text” was Four Drafts (of various lengths and each incomplete), along with various scenes, and fragments, some of which were barely legible. The play is barely mentioned in any of his correspondence, though a letter to one of his brothers refers to a play that is “almost ready” for publication. However, Büchner became suddenly ill and died before he could finish the text (or if all the scenes he wanted to use are present and completed, collate them into his desired order). Although a few of Büchner’s works were published soon after his death in 1837 at age 23, Woyzeck remained unpublished. The handwritten drafts remained in deteriorating condition in his brother’s Ludwig’s attic, until the 1870s, when they were retrieved by Karl Emil Franzos, a prolific Jewish novelist. He transcribed the drafts and fragments as best he could, and first published them in a Viennese newspaper the New Free Press in 1875, and then incorporated it into his edition of Büchner’s complete works in 1879. Unfortunately, being an author himself, Franzos liberally altered and added to the text, and even invented entirely new scenes in order to have the play become, as much as possible, a conventional dramatic narrative for the period. Later editors removed Franzos’ alterations and additions, and the current text is restored from the original drafts. However, there is no definitive proof of exactly what order Büchner would have wanted the various scenes. The scene order in this edition is one most commonly used, based on interpreting whatever evidence Büchner left behind, but is by no means “definitive.” Editors and productions often create their own scene order for different dramatic effects. At the end of play text is a complete list of the correspondence between the Four Drafts. NOTE on MARKINGS: 1. For each scene, the numbers in [brackets] indicate the Draft and Scene Number in that Draft, e.g. [4,2] means the scene was the 2nd scene in the 4th draft. Also added is a simple plot title that editors often use, merely for reference. 2. Stage notes in (parentheses) are from Büchner; stage notes in [brackets] are editor/translator additions.

Woyzeck pg. 3

SCENE 1 — An open field. The town in the distance. [2,1; 4,1 – Cutting Twigs, “All Hollow Down There” ] WOYZECK and .ANDRES cutting twigs from the bushes. WOYZECK. Andres? You know this place is cursed? Look at that light streak over there on the grass. There where the toadstools grow up. That's where the head rolls every night. One time somebody picked it up. He thought it was a hedgehog. Three days and three nights and he was in a box. (Low) Andres, it was the Freemasons, don't you see, it was the Freemasons! ANDRES (sings) Two little rabbits sat on a lawn Eating, oh, eating the green green grass… WOYZECK. Quiet! Can you hear it, Andres? Can you hear it? Something moving! ANDRES [sings]. Eating, oh, eating the green green grass Till all the grass was gone. WOYZECK. It's moving behind me! Under me! (Stamps on the ground.) Listen! Hollow! It’s all hollow down there! It's the Freemasons! ANDRES. I'm afraid. WOYZECK. Strange how still it is. You almost want to hold your breath. Andres! ANDRES. What? WOYZECK. Say something! (Looks about fixedly.) Andres! How bright it is! It's all glowing over the town! A fire's sailing around the sky and a noise coming down like trumpets. It's coming closer! Let's get, out of here! Don't look back! (Drags him into the bushes.) ANDRES (after a pause). Woyzeck? Do you still hear it? WOYZECK. It's quiet now. So quiet. Like the world's dead. ANDRES. Listen! I can hear the drums inside. We've got to go!

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SCENE 2 — The town [2,2; 4.2 – Marie sees Drum Major] MARIE with her CHILD at the window. MARGRET. A Military Patrol es by THE DRUM MAJOR leading. MARIE [rocking CHILD in her arms]. Ho, boy! Dada-da-da! Can you hear? They're coming! There! MARGRET. What a man! Built like a tree! MARIE. He walks like a lion. (THE DRUM MAJOR salutes MARIE.) MARGRET. Oh, what a look he threw you, neighbor! We're not used to such things from you. MARIE (sings) Soldiers, oh, you pretty lads . . MARGRET. Your eyes are still shining. MARIE. And if they are? Take your eyes to the Jew's and let him clean them for you. Maybe he can shine them so you can sell them for a pair of buttons! MARGRET. Look who's talking! Just look who's talking! If it isn't the Virgin herself! I'm a decent woman. But you! Everyone knows you could stare your way through seven layers of leather pants! MARIE. Bitch! (Slams the window shut) Come, boy! What’s it to them, anyway! Even if you are just a poor whore's baby, your dishonorable little face still makes your mother happy! Ta-da! (Sings) Maiden, now what’s to be done? You’ve got no ring, you’ve a son. Oh, why worry my head, I’ll sing here at your bed; Rockabye baby, my baby, is you, Nobody cares if I do. Johnny, hitch up your six horses fleet, Go bring them something to eat. From oats they will turn From water they turn, Only cool wine will be find, hooray! Only cool wine will be fine. (A knock at the window) Who's there? Is it you, Franz? Come in! WOYZECK. Can't. There's roll call. MARIE. Did you cut wood for the Captain? WOYZECK. Yes, Marie. MARIE What’s the matter with you Franz? You look so upset? WOYZECK. Marie, it happened again, only there was more. Isn't it written: "And there arose a smoke out of the pit, as the smoke of a great furnace"? MARIE. Oh, Franz! WOYZECK. Shhh Quiet! I've got it! The Freemasons! There was a terrible noise in the sky and everything was on fire! I'm on the trail of something, something big. It followed me all the way to the town. Something that I can't put my hands on, or understand. Something that drives us mad. What'll come of it all?

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MARIE. Franz! WOYZECK. Don't you see? Look around you! Everything hard and fixed, so gloomy. What's moving back there? When God goes, everything goes. I've got to get back. MARIE. And the child? WOYZECK. My God, the boy!—Tonight at the fair! I've saved something again. (He leaves.) MARIE. That man! Seeing things like that! He'll go mad if he keeps thinking that way! He frightened me! It's so gloomy here. Why are you so quiet, boy? Are you afraid? It's growing so dark. As if we were going blind. Only that street lamp shining in from outside. (Sings.) And what if your cradle is bad Sleep tight, my lovey, my lad. I can't stand it! It makes me shiver! [She goes out.]

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SCENE 3 — Carnival booths. [1.1; 1.2; 2,3; (2,5); (4,3) Scene reconstructed from these drafts.-The Monkey and the Horse] Lights. People. OLD MAN (sings while THE CHILD dances to the barrel-organ]) There's nothing on this earth will last, Our lives are as the fields of grass, Soon all is past, is past. WOYZECK. Ho! Hip-hop there, boy! Hip-hop! Poor man, old man! Poor child, young child! Trouble and happiness! MARIE. My God, when fools still have their senses, then we're all fools. Oh, what a mad world! What a beautiful world! CARNIVAL BARKER [in front of booth]. Gentlemen, gentlemen! ([points to a monkey]) You see here before you a creature as God created it! But it is nothing this way! Absolutely nothing. But now look at what Art can do. It walks upright. Wears coat and pants. And even carries a saber. This monkey here is a regular soldier. Hey there, take a bow! That's the way! Now you're a baron, at least. Give us a kiss! (The monkey trumpets.) This little customer's musical, too. And, gentlemen, in here you will see the astronomical horse and the little canary-birds. Favorites of all the crowned heads of Europe. They'll tell you anything: how old you are, how many children you have, what your ailments are. [(points to the monkey)]. He shoots a pistol, stands on one leg. It’s all matter of upbringing; he has merely a beastly reason, or rather a very reasonable beastliness—he’s no brutish individual like a lot of people, present company excluded! Enter! The performance is about to begin. And at the beginning. The beginning of the beginning! Observe the progress of civilization. Everything progresses—a horse, a monkey, a canary-bird. The monkey is already a soldier—that’s not too much, it’s the lowest level of the human race! WOYZECK. To Marie.] You want to go in? MARIE. Sure. That must be nice in there. Look at the tassels on him! And his wife's got pants on! [They go inside.] SERGEANT. Hold it! Over there! Look at her! What a piece! DRUM MAJOR. Hell, good enough for the propagation of regiments of cavalry and the breeding of drum majors. SERGEANT. Look at the way she carries that head! You'd think all that black hair would pull her down like a weight. And those eyes! DRUM. MAJOR. Like looking, down a well…or up a chimney. Come on, let’s go after her! [NOTE: from 2,3; after the Barker’s line “…it’s the lowest level of the human race!:” -----. Are you an atheist, too? I’m a dogmatic atheist. -----. Is it grotesque? I’m a friend of a grotesque. You see that! What a grotesque effect! -----. I’m a dogmatic atheist. Grotesque! WOYZECK: (To Marie) You want to go in?... etc. ]

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(Inside the booth) MARIE. All these lights! WOYZECK. Sure, Marie. Black cats with fiery eyes. SHOWMAN [bringing forward a horse]. Show your talent! Show your brute reason! Put human society to shame! Gentlemen, this animal you see here, with a tail on its body, and standing on its four hooves, is a member of all the learned societies—as well as a professor at our university where he teaches students how to ride and fight. But that requires simple intelligence. Now think with your double reason! What do you do when you think with your double reason? Is there a jackass in this learned assembly? (The horse shakes its head.) How's that for double reasoning? That's physiognomy for you. This is no dumb animal, that’s a person! A human being, a beastly human being. But still an animal. A beast. (The horse behaves improperly) That's right, put society to shame. As you can see, this animal is still in a state of Nature. Not ideal Nature, of course! Take a lesson from him! But ask your doctor first, it may prove highly dangerous! What we have been told by this is: Man must be natural! You are created of dust, sand, and dung. Why must you be more than dust, sand, and dung? Look there at his power of reason. He can figure even if he can't count it off on his fingers. And why? Because he cannot express himself, explain himself—he’s a metamorphosed human being. Tell the gentlemen what time it is! Which of you ladies and gentlemen has a watch? A watch? DRUM MAJOR. A watch? (He pulls a watch imposingly and grandly from his pocket.) There you are, my good man! MARIE. I want to see this. (She clambers down to the first row of seats; The DRUM MAJOR helps her.)

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SCENE 4—MARIE'S room [4.4 – Earrings] Marie sits with her CHILD on her lap, a piece of mirror in her hand MARIE He told Franz to get the hell out, so what could he do! (Looks at herself in the mirror.) Look how the stones shine! What kind are they, I wonder? What kind did he say they were? Sleep, boy! Close your eyes! (The Child covers his eyes with his hands) Tight! Stay that way now. Don't move or he'll get you! (Sings.) Hurry, lady, close up tight A gypsy lad is out tonight And he will take you by the hand And lead you into gypsyland. [Continues to look at herself in the mirror.] They must be gold! I wonder how they'll look on me at the dance? Our kind's got only a little corner in the world and a piece of broken mirror. But my mouth is just as red as any of the fine ladies with their mirrors from top to bottom, and their handsome gentlemen that kiss their hands for them! I'm just a poor common piece! (The Child Sits up.) Quiet, boy! Close your eyes! There's the sandman! Look at him run across the wall! (She flashes with the mirror.) Eyes tight! Or he'll look into them and make you blind! (WOYZECK enters behind her. She jumps up, her hands at her ears.) WOYZECK. What's that? MARIE. Nothing. WOYZECK. There's something shiny in your hands. MARIE. An earring. I found it. WOYZECK. I never have luck like that! Two at a time! MARIE. Am I human or not? WOYZECK I'm sorry, Marie.—Look at the boy asleep. Lift his arm, the chair’s hurting him. Look at the shiny drops on his forehead. Everything under the sun works! We even sweat in our sleep! Us poor people! Here’s some money again, Marie. My pay and something from the Captain. MARIE. God bless you, Franz. WOYZECK. I've got to get back. Tonight, Marie! I'll see you tonight! [He goes off.] MARIE (alone, after a pause). I am bad, I am! I could run myself through with a knife! Oh, what a life, what a life! We'll all end up in hell, anyway, in the end: man, woman, and child!

Woyzeck pg. 9 SCENE 5 – [At the CAPTAIN'S] [4,5 – Shaving the Captain: Dizzyness] THE CAPTAIN in a chair. WOYZECK shaving him. CAPTAIN. Not so fast, Woyzeck, not so fast! One thing at a time! You're making me dizzy. What am I to do with the ten extra minutes that you'll finish early today? Just think, Woyzeck: you still have thirty beautiful years to live! Thirty years! That makes three hundred and sixty months! And days! Hours! Minutes! What do you think you'll do with all that horrible stretch of time? Have you ever thought about it, Woyzeck? WOYZECK. Yes, sir, Captain. CAPTAIN. It frightens me when I think about the world . . . when I think about eternity. Busyness,. Woyzeck, busyness! There's the eternal: that's eternal, that is eternal. That you can understand. But then again it's not eternal. It's only a moment. A mere moment. Woyzeck, it makes me shudder when I think that the earth turns itself about in a single day! What a waste of time! Where will it all end? Woyzeck, I can't even look at a mill wheel any more without becoming melancholy. WOYZECK. Yes, sir, Captain. CAPTAIN. Woyzeck, you always seem so exasperated! A good man isn't like that. A good man with a good conscience, that is. Well, say something, Woyzeck! What's the weather like today? WOYZECK. Bad, Captain, sir, bad: wind! CAPTAIN. I feel it already. Sounds like a real storm out there. A wind like that has the same effect on me as a mouse. (Cunningly.) I think it must be something out of the north-south. WOYZECK. Yes, sir, Captain. CAPTAIN. Ha! Ha! Ha! North-south! Ha! Ha! Ha! Oh, he’s a stupid one! Horribly stupid! (Moved.) Woyzeck, you're a good man, but (With dignity) Woyzeck, you have no morality! Morality, that's when you have morals, you understand. It's a good word. You have a child without the blessings of the Church, just like our Right Reverend Garrison Chaplain says: "Without the blessings of the Church." It's not my phrase. WOYZECK. Captain, sir, the good Lord's not going to look at a .poor worm just because they said Amen over it before they went at it. The Lord said: "Suffer little children to come unto me." CAPTAIN. What's that you said? -What kind of strange answer's that? You're confusing me with your answers! WOYZECK. It's us poor people that…You see, Captain, sir . . . Money, money! Whoever hasn't got money . . Well, who’s got morals, when he's bringing something like me into the world? We're flesh and blood, too. Our kind is miserable only once: in this world and in the next. l think if we ever got to Heaven we'd have to help with the thunder. CAPTAIN. Woyzeck, you have no virtue! You're not a virtuous human being! Flesh and blood? Whenever I rest at the window, when it's finished raining, and my eyes follow the white stockings along as they hurry across the street . . . Damnation, Woyzeck, I know what love is, too, then! I'm made of flesh and blood, too. But, Woyzeck, Virtue! Virtue! How was I to get rid of the time? I always say to myself: "You're a virtuous man (Moved), a good man, a good man." WOYZECK. Yes, Captain, sir. Virtue. I haven't got much of that. You see, us common people, we haven't got virtue. That's the way it's got to be. But if I could be a gentleman, and if I could have a hat and a watch and a cane, and if I could talk refined, I'd want to be virtuous, all right. There must be something beautiful in virtue, Captain, sir. But I'm just a poor good-for-nothing! CAPTAIN. Good, Woyzeck. You're a good man, a good man. But you think too much. It eats at you. You always seem so exasperated. Our discussion has affected me deeply. You can go now. And don’t run like that! Slowly! Nice and slowly down the street!

Woyzeck pg. 10

SCENE 6 — [MARIE'S room] [4,6 – Seduction] DRUM MAJOR and MARIE DRUM MAJOR. Marie! MARIE (looking at him expressively). Go on, show me how you march!—Chest broad as a bull's and a beard like a lion! There's not another man in the world like that! And there's not a prouder woman than me! DRUM MAJOR. Wait till Sunday when I wear my helmet with the plume and my white gloves! Damn, that'll be a sight for you! The Prince always says: "My God, there goes a real man!" MARIE (scoffing). Ha! (Goes toward him.) A man? DRUM MAJOR. You're not such a bad piece yourself! Hell, we'll plot a whole brood of drum majors! Right? (He puts his arm around her.) MARIE (moody). Let go! DRUM MAJOR. Bitch! MARIE (fiercely). Just try to touch me! DRUM MAJOR. Is the devil in your eyes? MARIE. Let there be, for all I care! What's the difference!

Woyzeck pg. 11 SCENE 7 — [At the DOCTOR'S] [2,6; 4,8 – The Doctor Reproaches Woyzeck: “Double Nature”] THE DOCTOR and WOYZECK DOCTOR. I don't believe it, Woyzeck! And a man of your word! WOYZECK. What's that, Doctor, sir? DOCTOR. I saw it all, Woyzeck. You pissed on the street! You were pissing on the wall like a dog! And here I'm giving you three groschen a day plus board! That's terrible, Woyzeck! The world's becoming a terrible place, a terrible place! WOYZECK. But, Doctor, sir, when Nature . . . DOCTOR. When Nature? When Nature? What has Nature to do with it? Did I or did I not prove to you that the musculus constrictor vesicae is controlled by your will? Nature! Woyzeck, man is free! In Mankind alone we see glorified the individual's will to freedom! And you couldn't hold your water! (Shakes his head, places his hands behind the small of his back, and walks back and forth.) Have you eaten your peas today, Woyzeck? Nothing but peas! Cruciferae! that! There's going to be a revolution in science! I'm going to blow it sky-high! Urea. Oxygen. Ammonium hydrochloratern hyperoxidic. Woyzeck, couldn't you just try to piss again? Go in the other room there and make another try. WOYZECK. Doctor, sir, I can't. DOCTOR (With emotion). But you could piss on the wall. I have it here in black white. Our contract is right here! I saw it. I saw it with these very eyes. I had just stuck my head out the window, opening it to let in the rays of the sun, so as to execute the process of sneezing. (Starts kicking him). No, Woyzeck, I'm not going to vex myself. Vexation is unhealthy. Unscientific. I'm calm now, completely calm. My pulse is beating at its accustomed sixty, and I am speaking to you in utmost cold-bloodedness. Why should I vex myself over a man, God forbid! A man! Now if he were a Proteus, it would be worth the vexation! But, Woyzeck, you really shouldn't have pissed on the wall. WOYZECK. You see, Doctor, sir, sometimes a person's got a certain kind of character, like when he's made a certain way. But with Nature it's not the same, you see. With Nature (He snaps his fingers), it's like that! How should I explain, it's like--DOCTOR. Woyzeck, you're philosophizing again. WOYZECK (confidingly). Doctor, sir, did you ever see anything with double nature? Like when the sun stops at noon, and it's like the world was going up in fire? That's when I hear a terrible voice saying things to me! DOCTOR. Woyzeck, you have an aberratio! WOYZECK (places his finger at his nose). It's in the toadstools, Doctor, sir, that's where it is. Did you ever see the shapes the toadstools make when they grow up out of the earth? If only somebody could read what they say! DOCTOR. Woyzeck, you have a most beautiful aberratio mentalis partialis of a secondary order! And so wonderfully developed! Woyzeck, your salary is increased! Idee fixe of a secondary order, and with a generally rational state. You go about your business normally? Still shaving the Captain? WOYZECK. Yes, sir. DOCTOR. You eat your peas? WOYZECK. Just as always, Doctor, sir. My wife gets the money for the household. DOCTOR. Still in the army? WOYZECK. Yes, sir, Doctor. DOCTOR. You're an interesting case. Patient Woyzeck, you’re to have an increase in salary. So behave yourself! Let’s feel the pulse. Ah yes.

Woyzeck pg. 12 SCENE 8 — Street [2,7; 4,9. Scene is a conflation of these two drafts. -Captain and Doctor. Captain taunts Woyzeck: “In a hurry”] CAPTAIN and DOCTOR. THE CAPTAIN comes panting along the street, stops; pants, looks about. CAPTAIN: Where are you so fast, most honorable Mr. Coffin Nail? DOCTOR: Where are you so slowly, most honorable Mr. Drilltheirassesoff? CAPTAIN: Take your time, honorable tombstone. DOCTOR. I don’t waste my time like you, honorable… DOCTOR. I'm in a hurry, Captain, I'm in a hurry! CAPTAIN. Doctor, I’m afraid for the horses when I think that the poor beasts have to go everywhere on foot. Don’t run like that! Don’t wave your cane around in the air like that! You’ll run yourself to death that way. A good man with a good conscience doesn’t go so fast. A good man. (He catches the Doctor by the coat). Doctor, allow me to save a human life. You’re racing…Doctor, I'm so melancholy. I have such fantasies. I start to cry every time I see my coat hanging on the wall. DOCTOR. Hm! Bloated, fat, thick neck: apoplectic constitution. Yes, Captain, you'll be having apoplexia cerebria any time now. Of course you could have it on only one side. In which case you'll be paralyzed down that one side. Or if things go really well you'll be mentally disabled so that you can vegetate away for the rest of your days. You may look forward to something approximately like that within the next four weeks! And, furthermore I can assure you that you give promise of being a most interesting case. And if it is God's will that only one half of your tongue become paralyzed, then we will conduct the most immortal of experiments. CAPTAIN. Doctor, you mustn't scare me that way! People are said to have died of fright. Of pure, sheer fright. I can see them now with lemons in their hands. But they'll say: "He was a good man, a good man." You devil's coffin nailmaker! DOCTOR [extending his hat toward him]. Do you know who this is, Captain? This is Sir Brainless,, my most honorable Captain Drilltheirassesoff! CAPTAIN [makes a series of folds in his sleeve]. And do you know who this is, Doctor? This is Sir Manifold, my dear devil's coffin nailmaker! Ha! Ha! Hal But no harm meant! I'm a good man, but I can play, too, when I want to, Doctor, when I want to . . . WOYZECK comes toward them and tries to in a hurry Ho! Woyzeck! Where are you off to in such a hurry? Stay awhile, Woyzeck! Running through the world like an open razor, you're liable to cut someone. He runs as if he had to shave a castrated regiment and would be hung before he discovered and cut the longest hair that wasn't there. But on the subject of long beards . . . What was it I wanted to say? Woyzeck, why was I thinking about beards? DOCTOR. The wearing of long beards on the chin, remarks Pliny, is a habit of which soldiers must be broken. CAPTAIN (continues). Ah, yes, this thing about beards! Tell Woyzeck have you found any long hairs from beards in your soup bowl lately? Ho, I don't think he understands! A hair from a human face, from the heard of an engineer, a sergeant, a . . . a drum major? Well, Woyzeck? But then he's got a good wife. It's not the same as with the others. WOYZECK. Yes, sir, Captain! What was it you wanted to say to me, Captain, sir? CAPTAIN. What a face he's making! Well, maybe not in his soup, but if he hurries home around the corner I'll wager he might still find one on a certain pair of lips. A pair of lips, Woyzeck. I know what love is, too, Woyzeck. Look at him, he's white as chalk!

Woyzeck pg. 13 WOYZECK. Captain, sir, I'm just a poor devil. And there's nothing else I've got in the world but her. Captain, sir, if you're just making a fool of me . . . CAPTAIN. A fool? Me? Making a fool of you, Woyzeck? DOCTOR. Your pulse, Woyzeck, your pulse! Short, hard, skipping, irregular. WOYZECK. Captain, sir, the earth's hot as coals in hell. But I'm cold as ice, cold as ice. Hell is cold. I'll bet you. I don't believe it! God! God! I don't believe it! CAPTAIN. Look here, you, how would you . . how'd you like a pair of bullets in your skull? You keep stabbing at me with those eyes of yours, and I'm only trying to help. Because you're a good man, Woyzeck, a good man. DOCTOR. Facial muscles rigid, taut, occasionally twitches. Condition strained, excitable. WOYZECK. I'm going. Anything's possible. The bitch! Anything's possible.—The weather's nice, Captain, sir. Look, a beautiful, hard, gray sky. You'd almost like to pound a nail in up there and hang yourself on it. And only because of that little dash. between Yes and Yes again…and No. Captain, sir: Yes and No: did No make Yes or Yes make No? I must think about that. He goes off with long strides, slowly at first, then faster and faster. DOCTOR (Races after him). Phenomenon! Woyzeck, you get a raise! CAPTAIN. 1 get so dizzy around such people. Look at him go! Long-legged rascals like him step out like a shadow running from its own spider. But short ones only dawdle along. The longlegged ones are the lightning, the short ones the thunder. Haha . . . Grotesque! Grotesque!

Woyzeck pg. 14

SCENE 9 — [MARIE'S room] [2,8; 4,7 – Woyzeck confronts Marie: “It should show”] WOYZECK and MARIE WOYZECK (looks fixedly at her and shakes his head). Hm! I don't see it! I don't see it! My God, why can't I see it, why can't I take it in my fists! MARIE (frightened). Franz, what is it?—You're raving, Franz. WOYZECK. A sin so swollen and big—it stinks to smoke the angels out of Heaven! You have a red mouth, Marie! No blisters on it? Marie, you're beautiful as sin. How can mortal sin be so beautiful? MARIE. Franz, it's your fever making you talk this way! WOYZECK. Damn you! Is this where he stood? Like this? Like this? MARIE. While the day's long and the world's old a lot of people can stand in one spot, one right after the other. —Why are you looking at me so strange, Franz! I'm afraid! WOYZECK. It's a nice street for walking, uh? You could walk corns on your feet! It's nice walking on the street, going around in society. MARIE. Society? WOYZECK. A lot of people through this street here, don't they! And you talk to them--to whoever you want—but that's not my business!—Why wasn't it me! MARIE. You expect me to tell people to keep off the streets—and take their mouths with them when they leave? WOYZECK. And don't you ever leave your lips at home, they're too beautiful, it would be a sin! But then I guess the wasps like to light on them, uh? MARIE And what wasp stung you! You're like a cow chased by hornets! WOYZECK. I saw him! MARIE. You can sec a lot with two eyes while the sun shines! WOYZECK. Whore! (He goes after her.) MARIE. Don't you touch me, Franz! I'd rather have a knife in my body than your hands touch me. When I looked at him, my father didn't dare lay a hind on me from the time I was ten. WOYZECK. Whore! No, it should show on you! Something! Every man's a chasm. It makes you dizzy when you look down in. It's got to show! And she looks like innocence itself. So, innocence, there's a spot on you. Do I know it? Do I know it? Who can prove it? [He goes off.]

Woyzeck pg. 15

SCENE 10—THE DOCTOR’S courtyard [3,1; this is an ‘optional’ scene that editors often put in different places. – The Doctor’s Lecture: “The Subject to the Object”] STUDENTS and Woyzeck below, THE DOCTOR in the attic window. DOCTOR. Gentlemen, I find myself on the roof like David when he beheld Bathsheba. But all I see are the Parisian panties of the boarding school drying in the garden. Gentlemen, we are concerned with the weighty question of the relationship of the subject to the object. If, for example, we were to take one of those innumerable things in which we see the highest manifestation of the self-affirmation of the Godhead, and examine its relationship to space, to the earth, and to the planetary constellations…Gentlemen, if we were to take this cat and toss it out the window: how would this object conduct itself in conformity with its own instincts towards its centrum gravitationis? Well, Woyzeck? (Shouts.) Woyzeck! WOYZECK. Doctor, sir, she's biting me! DOCTOR. Damn, why do you handle the beast so tenderly! It's not your grandmother! [He descends.] WOYZECK. Doctor, I'm shaking. DOCTOR (utterly delighted). Excellent, Woyzeck, excellent! (Rubs his hands, takes the cut.) What's this, gentlemen? The new species of rabbit louse! A beautiful species… (He pulls out a magnifying glass; the cat runs off). Animals, gentlemen, simply have no scientific instincts. But in its place you may see something else. Now, observe: for three months this man has eaten nothing but peas. Notice the effect. Feel how irregularly his pulse beats! And look at his eyes! WOYZECK. Doctor, sir, everything's going dark! (He sits down.) DOCTOR. Courage, Woyzeck! A few more days and then it will all be over with. Feel, gentlemen, feel! [They fumble over his temples, pulse, and chest.] DOCTOR. Apropos, Woyzeck, wiggle your ears for the gentlemen! I've meant to show you this before. He uses only two muscles. Let's go, let's go! You stupid animal, shall I wiggle them for you? Trying to run out on us like the cat? There you are, gentlemen! Here you see an example of the transition into a donkey: frequently the result of being raised by women and of a persistent usage of the Germanic language. How much hair has your mother pulled out recently for sentimental remembrances of you? It’s become so thin these last few days. It’s the peas, gentlemen, the peas!!

Woyzeck pg. 16

SCENE 11 — The guardhouse [1,4; 4,10 – Woyzeck goes to the dance] WOYZECK and ANDRES ANDRES [sings]. Our hostess she has a pretty maid She sits in her garden night and day She sits within her garden… WOYZECK. Andres! ANDRES. Hm? WOYZECK. Nice weather. ANDRES. Sunday weather.—They're playing music tonight outside the town. All the whores are already there. The men stinking and sweating. Wonderful, uh? WOYZECK [restlessly]. They're dancing, Andres, they're dancing! ANDRES. Sure. So what? [Sings.] She sits within her garden But when the bells have tolled Then she waits at her garden gate Or so the soldiers say. WOYZECK. Andres, I can't keep quiet. ANDRES. You're a fool! WOYZECK. I've got to go out there. It keeps turning and turning in my head. They're dancing, dancing! Will she have hot hands, Andres? God damn her, Andres! God damn her! ANDRES. What do you want? WOYZECK. I've got to go out there. I've got to see them ANDRES. Aren't you ever satisfied? What's all this for a whore? WOYZECK. I've got to get out of here! I can't stand the heat!

Woyzeck pg. 17

SCENE 12 — The inn [1.5; 1.11; 2.4; 4.11 – This scene is a conflation of the three drafts. Woyzeck sees Marie and the Drum Major together: “On and On.”] The windows are open. Dancing. Benches in front of the inn. APPRENTICES. FIRST APPRENTICE (sings) This shirt I’ve got on, it, is not mine And my soul it stinks of brandywine… SECOND APPRENTICE. Brother, let me be a real friend and knock a hole in our nature! Forward! I'll knock a hole in his nature! Hell, I'm as good a man as he is; I'll kill every flea on his body! FIRST APPRENTICE. My soul, my soul stinks of brandywine! –And even money eventually decays! Brother! Forget-me-not. Friendship! Oh, the world's a beautiful place! Brother, my sad could fill a barrel with tears! I wish our noses were two bottles so we could pour them down one another's throats. Brandy, that’s my life! THE OTHERS [In chorus]. A hunter from the Rhine Once rode through a forest so fine Hip-hip-hooray, he called to me From high on a meadow, open and free A hunter's life for me. (WOYZECK stands at the window. MARIE and THE DRUM MAJOR dance past without noticing him.) WOYZECK. Both of them! God damn her! MARIE. (dancing past) On and on! On and on! [Start insertion from 1,5] WOYZECK. (Chokes) On and on! On and on! (Jumps up violently on the bench, trembling, as he looks from there through the window). Listen! Listen! Ha, they’ll roll around on each other, roll and turn! On and on! On and on! she says! IDIOT. Pah! It stinks! WOYZECK. Yes, it stinks. Her cheeks are red, red, why should she stink already? Karl, what do you smell? IDIOT. I smell, I smell blood. WOYZECK. Blood? Why arc all things red that I look at now? Why are they all rolling in a sea of blood, one on top of the other, tumbling, tumbling! Ha, the sea is red!—[End insertion from 1,5] On and on! On and on! (He starts up ionately, then sinks down again onto the bench.) On and on! On and on! (Beating his hands together.) Turn and roll and roll and turn! God, blow out the sun and let them roll on each other in their lust! Man and woman and man and beast! They'll do it in the light of the sun! They'll do it in the palm of your hand like flies! Whore! That whore's red as coals, red as coals! On and on! On and on! (Jumps up) Watch how the bastard takes hold of her! Touching her body! He's holding her now, holding her… the way I held her once. (He slumps down in a stupor.)

Woyzeck pg. 18 FIRST APPRENTICE (preaching from a table). I say unto you, forget not the wanderer who standeth leaning against the stream of time, and who giveth himself answer with the wisdom of God, and saith: Why does Man exist? Why does Man exist? Yea, verily I say unto you: How should the farmer, the cooper, the shoemaker, the doctor, live, had not God created man for their use? How should the tailor exist had not God gave man a feeling of shame? How could a soldier exist, if men didn’t feel the necessity of killing one another? And therefore doubt ye not, for all things are lovely and sweet! Yet all that is earthly is ing, and even money eventually decays. In conclusion, my beloved brethren, let us piss once more upon the Cross so that somewhere a Jew will die! Brandy, that’s my life! Brandy gives me courage! Amid the general shouting and laughing WOYZECK wakens. PEOPLE are leaving the inn. [Start insertion from 1,11] ANDRES. What are you doing there? WOYZECK. What time is it? ANDRES. Ten. WOYZECK. Is that all it is? I think it should go faster—I want to think about it before night. ANDRE'. Why? WOYZECK. So it'd be over. ANDRES What:' WOYZECK. Scram. ANDRES What are you sitting here by the door for? WOYZECK. Because it feels good, and because I know—a lot of people sit by doors, but they don't know—they don't know till they're dragged out of the door feet first. ANDRES. Come on, let’s go! WOYZECK. I’m alright sitting here, and I’d be even better ling here. If everybody knew what time it is, they’d get undressed and put on a clean shirt and have their coffin measured.. ANDRES. He’s drunk [Andres goes off] [End insertion from 1,11] [Start insertion from 2.4 Lines assigned to an apprentice] WOYZECK. The world is out of order! Why did the street-lamp cleaner forget to wipe my eyes— everything's dark. Devil damn you, God! I lay in my own way: jump over myself. What happened to my shadow? There's no safety in the stable any more. Shine the moon through my legs again to see if my shadow's here. (Sings.) Eating, oh, eating the green green grass Eating, oh, eating the green green grass Till all the grass was go-o-one. [End insertion from 2,4] WOYZECK.[From end of 1.11] What’s that lying over there? It’s flashing. It’s always floating between my eyes. Look how it’s shining. I’ve got to have it. [He rushes off.]

Woyzeck pg. 19 SCENE 13 — An open field [1,6, 4,12 – “Stab the bitch”] WOYZECK

WOYZECK. On and on! On and on! Hishhh! Hashh! That's how the fiddles and pipes go.— On and on! On and on! —Stop your playing! What's that talking down there? [He stretches out on the ground.] What? What are you saying? What? Louder! Louder! Stab, stab the bitch to death? Stab, stab the bitch to death? Should I? Must I? Do I hear it there, too? Does the wind say so, too? Do I hear it on and on? Stab her! Stab her! To Death! To Death!

Woyzeck pg. 20

SCENE 14 — [A room in the barracks]. Night. [1,7; 1,8; 1.13; 4,13 – Woyzeck tells Andres he hears voices] ANDRES and WOYZECK in a bed. WOYZECK [softly.] Andres! (ANDRES murmurs in his sleep. Shakes ANDRES.) Andres! Hey, Andres! ANDRES. Mmmmm! What do you want? WOYZECK. I can't sleep! [Start insertion from 1,7] When I close my eyes everything turns and turns. I keep hearing it, the fiddling and the jumping, on and on! And then when I shut my eyes I see flashes, and there’s a big broad knife lying on a table by the window—it’s a dark alley and an old man is sitting behind the table. And the knife’s always between my eyes. [End insertion from 1,7] I hear voices in the fiddles: On and on! On and on! And then the walls start to talk. Can't you hear it? ANDRES. Sure. Let them dance! I'm tired. God bless us all, Amen. WOYZECK. It's always saying: Stab! Stab! And then when I close my eyes it keeps shining there, a big, broad knife, on a table by a window in a narrow, dark street, and an old man sitting behind it. And the knife is always in front of my eyes. ANDRES. You had a nightmare? WOYZECK. Andres! There's something outside. In the ground. They're always pointing to it. Don't you hear them now, listen, now, knocking on the walls? Somebody must have seen me out the window. Don't you hear? I hear it all day long. On and on! Stab! Stab the--ANDRES. Lay down. You ought to go to the hospital. They'll give you some brandy with a painkiller in it. It'll cut your fever. WOYZECK. On and on! On and on! ANDRES. Go to sleep! [ANDRES goes back to sleep.]

Woyzeck pg. 21

SCENE 15 — The inn [1,10 -- “I am Science”] WOYZECK. THE SERGEANT WOYZECK [sings]. Oh, daughter, my daughter And didn't you know That sleeping with coachmen Would bring you low? What is it that our Good Lord God cannot do? What? He cannot make what is done undone. Ha! Hal Ha!— But that's the way it is, and that's the way it should be. But to be on the safe side (Sings) Booze that’s my life Booze gives me courage. But to make things better is to make things better. And a respectable person loves his life, and a person who loves his life has no courage, and a virtuous person has no courage. Whoever has got courage is a dog. SERGEANT (with dignity). You're forgetting yourself in the presence of a brave man. WOYZECK. I wasn't talking about anybody, I wasn't talking about anything, not like the Frenchmen do when they talk, but it was good of you.—But a man with courage is a dog. SERGEANT. Damn you! You’ve broken your shaving cup! You watch or I'll see you drink a pot of your own piss and swallow your own razor! WOYZECK. Sir, you do yourself an injustice! Was it you I talked about? Did I say you had courage? Don't torment me, sir! I am science. Every week for my scientific career I get half a guilder. You mustn't cut me in two or I'll go hungry. I'm a Spinoza pericyclia; I have a Latin backbone. I am a living skeleton. All Mankind studies me. —What is Man? Bones! Dust, sand, dung. What is Nature? Dust, sand, dung. But those stupid people, those stupid, stupid people! We must be friends. If I had no courage there wouldn’t be any science. Only Nature, no amputation, no articulation. What is this? Woyzeck's arm, flesh, bone, veins. What is this? Dung. Why is it rooted in dung? Must I cut off my arm? No, Man is selfish, he beats, shouts, stabs his own kind. There, now. We must. Friends. I’m touched. I wish our noses were two bottles that we could pour down each other's throats. What a beautiful place the world is! Friend! My friend! The world! (Moved)] Look! The sun coming through the clouds—like God emptying His bedpan on the world. (He cries.)

Woyzeck pg. 22

SCENE 16—The barracks yard [1,8 -- Woyzeck hears gossip] WOYZECK. ANDRES WOYZECK. Didn’t you hear something? ANDRES. He walked past with a friend. WOYZECK. He said something. ANDRES. How do you know? Why do I have to be the one to tell you? Well, he laughed and then he said “She was some piece. She’s got thighs and it’s all so firm!” WOYZECK (quite coldly). So, he said that? What was that I dreamed about last night? About a knife? What stupid dreams we get! ANDRES. Hey, friend! Where you off to? WOYZECK. Get some wine for the Captain. Andres, you know something? There aren't many girls like she was. ANDRES. Like who was? WOYZECK. Nothing. I'll see you. [Goes off]

Woyzeck pg. 23

SCENE 17 — The inn [4,14 – The Drum Major beats up Woyzeck: “One Thing After Another”] DRUM MAJOR, WOYZECK, and PEOPLE DRUM MAJOR. I'm a man! (He pounds his chest)] A man, you hear? Anybody say different? Anybody who's not as crocked as the Lord God Himself better keep off. I'll screw his nose up his own ass! I'll . . . (To Woyzeck) You there, get drunk! I wish the world was schnapps, schnapps! You better start drinking! (Woyzeck whistles) DRUM MAJOR. Son-of-a-bitch, you want me to pull your tongue out and wrap it around your middle? (They wrestle. WOYZECK loses) You want 1 should leave enough wind in you for a good old lady's fart? Uh! (Exhausted and trembling, WOYZECK seats himself on the bench.) The son-of-a-bitch can whistle himself blue in the, face for all I care. [Sings.] Brandy that’s my life Brandy gives, me courage! A MAN. He sure got what was coming to him. ANOTHER. He's bleeding. WOYZECK. One thing after another.

Woyzeck pg. 24

SCENE 18—[Pawnbroker's shop.] [4.15 – Woyzeck buys the knife] WOYZECK and THE JEW WOYZECK. The pistol costs too much. JEW. So you want it or not? Make up your mind. WOYZECK. How much was the knife? JEW. It's straight and sharp. What do you want it for? To cut your throat? So what's the matter? You get it as cheap here as anywhere else. You'll die cheap enough, but not for nothing. What's the matter? It'll be a cheap death. WOYZECK. This'll cut more than bread. JEW. Two groschen. WOYZECK. There! (He goes out.) JEW. There, he says! Like it was nothing! But it's money!—Dog!

Woyzeck pg. 25

SCENE 19— MARIE'S room [2,9; 4,16 – Marie prays for forgiveness] [THE IDIOT. THE CHILD. MARIE] MARIE (paging through her Bible). "And no guile is found in his mouth." Lord God, Lord God! Don't look at me! (Paging further) "And the Scribes and Pharisees brought unto him a woman taken in adultery, and set her in the midst” . . . And Jesus said unto, her: “Neither do I condemn thee; go, and sin no more." (Striking her hands together)Lord God! Lord God! I can't. Lord God, just give me enough strength so that I can pray. (The CHILD snuggles up to her) The child is a sword in my heart. [To THE IDIOT] Karl!—[He’s sunning himself] IDIOT (Lies on the ground, telling fairy tales on his fingers) This one has the golden crown. He's the King. Tomorrow I'll bring the Queen her child. Bloodsausage says: Come, Liversausage… (THE IDIOT takes THE CHILD and grows quiet.) MARIE. I've strutted it in the light of the sun, like the whore I am—my sin, my sin! Franz hasn't come. Not yesterday. Not today. It's getting hot in here! (She opens the window and reads further.) "And stood at his feet weeping, and began to wash his feet with tears, and did wipe them with the hairs of her head, and anointed them with ointment." (Striking her breast.) It’s all dead! Savior! Savior! If only I might anoint Your feet!

Woyzeck pg. 26

SCENE 20—Open field [1,12 – Woyzeck buries the knife] WOYZECK WOYZECK (buries the knife in a hole). Thou shalt not kill. Lay here! I can't stay here! (He rushes off.)

Woyzeck pg. 27

SCENE 21—The barracks [4,17 – Woyzeck gives away all his possessions] ANDRES. WOYZECK rummages through his belongings. WOYZECK. Andres, this jacket's not part of the uniform, but you can use it, Andres. ANDRES (Blankly replies to almost everything with]. Sure. WOYZECK. The cross is my sister's. And the ring. ANDRES. Sure. WOYZECK. I've got a Holy Picture, too: two hearts—they're real gold. I found it in my mother's Bible, and it says: May pain be my reward Through pain I love my Lord. Lord like thy body red and sore, So be my heart forever more. My mother can only feel the sun shining on her hands now. That doesn't matter. ANDRES.. Sure. WOYZECK [pulls out a paper]. Friedrich Johann Franz Woyzeck. Soldier. Rifleman, Second Regiment, Second Battalion, Fourth Company. Born…today? [The Feast of the Annunciation, twentieth of July]. Today I'm thirty years, seven months and twelve days old. ANDRES. Go to the hospital, Franz. Poor guy, you've got to drink some brandy with a painkiller in it. It'll kill the fever. WOYZECK. You know, Andres—when the carpenter puts those boards together, nobody knows who will be laying his head on them.

Woyzeck pg. 28

SCENE 22—[street] [1.14 – The Black Fairy Tale] MARIE with little GIRLS in front of the house door. GRANDMOTHER. Later WOYZECK GIRLS [singing]. The sun shone bright on Candlemas Day On fields of golden grain As two by two they marched along Down the country lane. The pipers in front, The fiddlers in a chain, Their red socks… FIRST CHILD. I don't like that one. SECOND CHILD. What do you want, anyway? [OTHERS, overlapping] Why’d you start it? Yeah why? I can’t. Because? Who’s going to sing? Why because? FIRST CHILD. You sing for us, Marie! MARIE. Come, you little shrimps. ([Children’s games] “Ring around the rosy” and “King Herod”) Grandmother, tell us a story! GRANDMOTHER. All right, you little crab apples!—Once upon a time there was a poor child with no father and no mother. Everyone was dead, and there was no one left in the whole wide world. Everyone was dead. And it went out and looked for someone night and day. And because there was nobody left on earth, it wanted to go to Heaven, and the moon looked down so friendly at her, and finally when it got to the moon, it was a piece of rotten wood, and so it went to the sun, and it was a faded sunflower, and when it got to the stars, they were little golden flies, stuck up there as if they were caught in a spider's web, and when it wanted to go back to earth, the earth was an upside-down pot and it was all alone, and it sat down there and it cried, and it sits there to this day, all, all alone. WOYZECK [appears]. Marie! MARIE (startled). What is it? WOYZECK. We have to go. It’s time. MARIE. Where to? WOYZECK. How should I know?

Woyzeck pg. 29

SCENE 23—[A pond by the edge of the woods.] [1,15 – Woyzeck kills Marie] MARIE and WOYZECK MARIE. Then the town must be out that way. It's so dark. WOYZECK. You can't go yet. Come, sit down. MARIE. But I've got to get back. WOYZECK. You don't want to run your feet sore. MARIE. What's happened to you? WOYZECK. You know how long it's been, Marie? MARIE. Two years from Pentecost. WOYZECK. You know how long it’s going to be? MARIE. I've got to get back. The evening dew is falling. WOYZECK. Are you freezing, Marie? And still you're so warm. Your lips are hot as coals! Hot as coals, the hot breath of a whore! And still I'd give up Heaven and earth just to kiss them once more. Are you freezing? When you're cold, you won't freeze any more. The morning dew won't freeze you. MARIE. What are you talking about? WOYZECK. Nothing. (Silence.) MARIE. Look how red the moon is! It's rising. WOYZECK. Like a bloody blade. MARIE. What are you going to do? Franz, you're so pale. (He pulls out the knife.) MARIE. Franz! Stop! For Heaven's sake! Help me! Help rne! WOYZECK. Take that, and that! Why can't you die? There! There! Ha, she's still twitching—not yet? Not yet? Still alive? (Stabs once again) Are you dead? Dead! Dead!

Woyzeck pg. 30

SCENE 24 – Two People [1,16 – “You Hear Something?”] FIRST PERSON. Wait! SECOND PERSON. You hear something? Shh! Over there! FIRST PERSON. Oooo! There! What a sound! SECOND PERSON. It's the water, it's calling. It's a long time since anyone drowned here. Let's go! It’s bad to hear things like that FIRST PERSON. Ooo! There it is again! Like someone dying! SECOND PERSON. It's weird! It’s so fragrant—some gray fog, and the beetles humming like broken bells. Let’s get out of here! FIRST PERSON. No, it's too clear, it's too loud! Let's go up this way! Come on!

Woyzeck pg. 31

SCENE 25—The inn [1,17 -- “Blood”] [WOYZECK, KATEY, INNKEEPER, IDIOT, and PEOPLE] WOYZECK. Dance! Everybody! Don't stop! Sweat and stink! He'll get you all in the end! (Sings.) Our hostess has a pretty maid, She’s in her garden night and day, She sits inside her garden Until the bells have all struck twelve And stares at all the soldiers. ((He dances) Ho, Katey! Sit down! I'm so hot, so hot! (Takes off his coat)] That's the way it is: the devil takes one and lets the other get away. Katey, you're hot as coals! Why, tell me why? Katey, you'll be cold one day, too. Be reasonable. Can't you sing something? KATEY (sings) That Swabian land I cannot bear And dresses long I will not wear For dresses long and pointed shoes A servant girl should never choose. WOYZECK. No shoes, no shoes! We can get to hell without shoes. KATEY [sings]. For shame, my love, I’m not your own, Just keep your money and sleep alone. WOYZECK. Sure, sure! I don’t want to make myself all bloody! KATEY. Then what's that on your hand? WOYZEEK Who? Me? KATEY. Red! It's blood! (PEOPLE gather round him) WOYZEEK. Blood? Blood? INNKEEPER. Blood! WOYZECK. I think I cut myself. Here, on my right hand. INNKEEPER. But how did it get on your elbow? WOYZECK. I wiped it off. INNKEEPER. With your right hand on your right elbow? You're talented! IDIOT. And then the Giant said: "I smell, I smell human flesh." Phew, it stinks already! WOYZEEK. Damn it, what do you want from me? Is it your business? Get away or the first one who… Damn you! Do you think I killed someone? Do I look like a murderer? What are you looking at? Look at yourselves! Look! Out of my way! (He runs off)

Woyzeck pg. 32

SCENE 26—[The street] [1,18 – Children go to see the body] CHILDREN FIRST CHILD. Let's go! Marie! SECOND CHILD [Marie]. What happened? FIRST CHILD. Don't you know? Everybody's out there already. They found a body! SECOND CHILD. Where? FIRST CHILD. To the left through the trench, near the red cross. SECOND CHILD. Let’s go, so we can still see something. Otherwise they’ll carry her away. [They rush off.]

Woyzeck pg. 33

SCENE 27—[At the pond] [1.19 – Woyzeck looks for the knife] WOYZECK, alone. WOYZECK. The knife! Where's the knife? I left it here. It'll give me away! Closer! And closer! What is this place? What's that noise? Something's moving! Shhh! Over there. Marie? Ah—Marie! Quiet. Everything’s quiet. Why are you so pale, Marie? Why is that red thread around your neck? Who helped you earn that necklace with your sins? They made you black, black! Now I’ve made you white. Why does your black hair hang so wild? Didn’t you do your braids today? Something’s lying over there! Cold, we, still. Got to get away from here. The knife, the knife—is that it? There! People—over there! (He runs off).

Woyzeck pg. 34

SCENE 28—[In front of MARIE'S house] [3,2; Optional scene usually placed here – Woyzeck returns to his child] IDIOT. CHILD. WOYZECK. IDIOT (holding THE CHILD on his lap) He fell in the water, he fell in the water, he fell in the water! WOYZECK. Son! Christian! IDIOT [looks at him fixedly]. He fell in the water. WOYZECK (wanting to embrace THE CHILD tenderly, but it turns from him and screams). My God! IDIOT. He fell in the water. WOYZECK. I'll buy you a horsey, Christian. Da-da! There, there. (THE CHILD pulls away. To the IDIOT). Here, buy the boy a horsey! (THE IDIOT stares at him.) WOYZECK Hop! Hop! Hip-hop, horsey! IDIOT [shouting joyously]. Hop! Hop! Hip-hop, horsey! Hip-hop, horsey! He runs off with THE CHILD.

Woyzeck pg. 35

SCENE 29 – Woyzeck at a pond. [1,20 – Woyzeck sinks the knife in the pond] WOYZECK. Down it goes! There, into the water! (He throws the knife into the water.) It dives into the black water like a stone! The moon is like a bloody blade! Is the whole world going to give me away? No, it’s too far in front—when people go swimming! (He wades into the pond and throws it out farther) There! Now! But in the summer when they dive for mussels? Ha, it'll get rusty, who'll recognize it! I wished I’d smashed it! Am I still bloody? I've got to wash myself. There, there's a spot, and there's another . . . [He goes farther out into the water]

Woyzeck pg. 36

SCENE 30 – The morgue , COURT CLERK, DOCTOR,. WOYZECK, JUDGE [CLERK]. A good murder, a real murder, a beautiful murder—as good a murder as you’d ever want to see. We haven’t had one like this in a long time!

[THE END]

Woyzeck pg. 37

PRELIMINARY DRAFTS Scene(s): 2,1 2,2 1,1; 1,2; 2,3; (2,5)

2,8 2,6 2,7 1,4 1,5; 1,11; 2,4 1,6 1,7;1,8; 1,13 (1,10) (2,9) .

CORRESPONDENCES BETWEEN THE FOUR DRAFTS Büchner’s REVISION [4th draft] Total Scenes Scene: 4,1. Open Field. 1 4,2. The Town. 2 (4,3. Carnival Booths, Lights. People.) 3 4 4,4. Room. 5 4,5. The Captain. Woyzeck. 6 4,6. Marie. Drum Major. 7 4,7. Marie. Woyzeck. 8 4,8. Woyzeck. The Doctor. 9 4,9. Captain. Doctor. 10 4,10. The Guardroom 11 4,11. Inn 12 4,12. Open Field. 13 4,13. Night. 14 4,14. Inn 15 4,15. Woyzeck. The Jew 16 4,16. Marie. Karl, The Idiot. Child. 17 4,17. The Barracks. [end of Büchner’s revision] [Scenes from 1st draft] 1,14. Street. 18 19 1,15. Marie And Woyzeck. 20 1,16. Two People. 21 1,17. The Inn. 22 1,18. Children. 23 1,19. Woyzeck Alone. 24 1,20. Woyzeck At A Pond. 25 1,21. Court Clerk. Barber.Doctor. Judge. 26 [two optional scenes] 27 3,1. The Professor's Courtyard. 3,2. Karl, The Idiot. The Child. Woyzeck. 28

“The Woyzeck manuscripts consist of five double-pages in folio format (First and Second Drafts), one page in quarto format (Third Draft), and six double-pages in quarto format (Fourth Draft), containing groups of scenes and scene fragments, some apparently written in such haste that numerous ages are nearly illegible. The Fourth Draft is clearly a revision of earlier attempts, and it therefore must take precedence over them when one attempts to reconstruct the play without seriously violating the author's intentions. Büchner’s revision begins with "Open field. The town in the distance" (4,1) and breaks off after "The barracks" (4,17). Traditionally the scenes from the First Draft beginning with "Marie with girls in front of the house door" (1,14) through "Court Clerk. Barber. Doctor. Judge" (1,21)—the "murder-complex"—are added at this point. The ending nevertheless remains inconclusive: is Woyzeck eventually arrested and brought to trial? The "Court Clerk" fragment might seem to imply this, but it is doubtful that Woyzeck and the Barber are the same person. The only certainty is that Woyzeck disappears from view after Scene 1,20, experiencing neither divine retribution, perpetual isolation, nor punishment at the hands of society. There is general agreement about the order in which the drafts were written and the arrangement of pages within them. Using as a guide the incomplete revision and the assumption that Buchner planned to include the murder of Marie in the drama, we can roughly determine the work's genesis: Buchner first sketched out the infidelity-jealousy-murder action (First Draft), interspersed with scenes of generalized, often ironic commentary (the Carnival Barker, the Barber, the Grandmother). In retrospect, these scenes function as the middle and end of the plot. Then he added a beginning (Second Draft), in which the name "Woyzeck" is introduced for first time, and where the protagonist is placed in confrontation with figures that constitute his social environment. The Fourth Draft a revision ot the beginning and the middle, in which some scenes ,o.erc incorporated with only minor changes (e.g., 4,1 and 4,2); some were considerably altered or expanded (e.g., 4,14 and 4,16); and five were completely new (4,4-6; 4,15; 4,17). As noted in the text, scene 4,3 consists only of the title, "Carnival booths. Lights. People," followed by one and a half blank pages. While revising, Büchner crossed out many, but by no means all scenes in his earlier drafts, leaving the question unresolved as to what material might ritually

Woyzeck pg. 38 have been included, had Büchner lived to complete the work. The "Synopsis- on p. 225 gives an approximate idea of the correspondences among the drafts. When examining the relationship' between Scenes 2,7 and 4,9, one may wonder why Büchner omitted Woyzeck's dramatic confrontation with the Captain and the Doctor in his revision. Two reasons suggest themselves: Woyzeck seems to be be somewhat out of character at the end of the scene when he speculates about the “hyphen between yes and no.” More important, the Captain’s taunts about Marie’s infidelity appear to take Woyzeck entirely by surprise. In the Fourth Draft this would be illogical, because Woyzeck has already accused Marie of infidelity two scenes earlier. In the Second Draft, however, the equivalent scene with Marie takes place immediately after the Captain/Doctor/Woyzeck dialogue. The Third Draft consists only of two scenes, and we do not know Buchner intended to place them in his final version. Instead of incorporating them arbitrarily into the reconstruction, as numerous editors have done, we present them here as "Optional Scenes," which readers ought not overlook and which might well be performed in theatrical productions. A portion of ‘The Professor’s courtyard’ (3,1) derives from an experience of Buchner’s in Giessen: one of his professors habitually brought his son to class to demonstrate that the ear muscles have become obsolete in human beings, but not in apes. His son was then obliged to stand and wiggle his ears. The second scene, ‘The idiot, The child, Woyzeck,’ would seem to take place after Woyzeck returns from the pond (“He fell in the water…”). But one might also argue that Karl’s line, which is also a children’s counting rhyme, might anticipate Woyzeck’s search for the knife, and we are left once again without conclusive evidence of his ultimate fate.” (Schmidt) Büchner, Georg. Complete Plays and Prose, trans. Carl Richard Mueller (Hill and Wang, 1963) Büchner, Georg. Complete Works and Letters. Ed. Walter Hinderer and Henry J. Schmidt. Trans. Henry J. Schmidt. New York: Continuum Publishing Co., 86, 2003. Gilman, Richard. The Making of Modern Drama: A Study of Buchner, Ibsen, Strindberg, Chekhov. New Haven: Yale University Press, 2000.