cisely from
a half-waking dream, in which the Prince supposedly received in advance
all that constituted the highest goal of his hopes, and which should
have been the most valued fruit of his endeavors--the making of the
wreath points to this, and the fourth scene of the first act confirms
it. The absent-mindedness which this dream causes in the Prince in the
fifth scene, and particularly the monologue with which the first act
closes, prove that I am not mistaken in my opinion concerning the
significance which the poet placed upon the scene in question.

In the second act we must first notice the second scene. In this the
real action begins and ends. That which precedes and that which follows
are connected with it like cause and effect. The Prince wrests the
victory from the enemy, and earns for himself death. Then the eighth
scene of this act is of the greatest importance; in it the Prince
declares his love to Princess Nathalie of Orange. I am minded to count
this scene among the most important dramatic achievements ever
accomplished by the greatest poets of Germany. Let us picture the
exposition that introduces it. A rumor has been spread abroad that the
Elector has fallen in the battle. The Electress, with her ladies, is a
prey to the greatest anxiety. Homburg arrives and confirms the rumor.
Nathalie says:[6]

"Who now will lead us in this terrible war
And keep these Swedes in subjugation?--

THE PRINCE of HOMBURG (_taking her hand_).

I, lady, take upon myself your cause!
The Elector hoped, before the year turned tide,
To see the Marches free. So be it! I
Executor will be on that last will.

NATHALIE.
My cousin, dearest cousin!

PRINCE.
Nathalie!
What holds the future now in store for you?

NATHALIE.
Oh, I am orphaned now a second time.

PRINCE.
Oh, friend, sweet friend, were this dark hour not given
To grief, to be its own, thus would I speak:
Oh, twine your branches here about this breast!

NATHALIE.
My dear, good cousin!

PRINCE.
Will you, will you?"

I believe that during this love-scene, lovers will not be the only ones
to find amusement, though this is the case as a rule. The tenth scene of
this act is the turning point of the play. The Prince hastens to the
Elector with the conquered flags, rejoicing in the victory and in the
certitude that the latter still lives. The Elector commands that his
sword be taken from him and orders a court martial