University of Virginia Library

2. PART II.

SCENE I.

An open Quinquangular space, five Streets there meeting, St. Bartholomew's Cross and Fountain occupying the centre of the Stage—the Streets and Cross illuminated.
Enter Rosalia, followed by Rinaldo, who leans almost fainting on his staff, perceiving the fountain, she assists him towards it—the water refreshes him, and he requests her to seek for food, while he there, worn out, reclines, and waits her return—a bell tolls—he starts up, and hastily conceals himself —enter in procession, by torch light, the Prince Roscella, Aurelia, the Abbess, and Nuns of St. Clare—Boys of the choir, &c. following.
CHORUS.
Pale, trembling, the Agents of terror to meet,
With heart piercing awe, we their vengeance await.

Bell tolls—enter Ministers of Vengeance.
DUET—NUNS.
Hark! yon summons, deep tolls! like, alas! thy death bell!
Aurelia, companion, forlorn one, farewell!
We offer up for innocence a prayer; and shed a tear—

(Bell tolls. Ministers of Vengeance approach.)
Min.
Aurelia! thou Traitress! appear! appear!

CHORUS repeated.
Hark! yon summons, deep tolls, like, alas! thy death bell!
Aurelia, companion, forlorn one, farewell!

After taking an affectionate leave of her Father, she is borne off by the Ministers of Vengeance— Abbess, &c. returning to their Convent—Rinaldo comes forward, much agitated, solicits Roscella's sword, and follows Aurelia, determined to rescue her or die in the attempt.

SCENE II.

Ruins; appertaining to the Scene mysterious yawning chasms—a practicable iron ladder, and a platform on which characters may pass, seen through an aperture in the Ruins.
Enter Minister of Vengeance, indicates that those Ruins lead to the awful spot where the secret Tribunal meet—stamps four times, and another Minister appears—while they are mysteriously consulting, Rinaldo cautiously enters, and, seeing others approaching with Aurelia, determines to explore their secret haunts—she is brought on, and blindfolded.— Rinaldo, while they are thus engaged, endeavours to steal in, but is prevented—the Minister again stamps four times—gong sounds—a chasm opens in the Ruins, and a ladder is lowered, which Aurelia is compelled to ascend, when it is suddenly drawn up, and the chasm closes on them, Rinaldo attempting, in vain, to follow!—Thunderstruck, he wildly gazes on the scene, and perceives them, through an aperture, pass across behind the Ruins, which, with difficulty, he climbs up to, and forces himself through, the following strain being sung at the same time within:
CHORUS OF SECRET AVENGERS.
The Traitress Aurelia's heart's blood is our prize,
And by art or by force shall Rinaldo die!

SCENE III.

Inside of a Vaulted Subterraneous Dome—over a Gothic Throne, a transparent blood-red cross, and radiated Eye—near it a Gothic Table, on which is a large Book, which is lettered with “Book of Blood”—at the upper end of the Stage a half obscured Cell, over which is inscribed, “Condemned by the Secret Avengers,” and which discovers on opening, Skeletons, &c.—on the opposite side flights of practicable steps.

Rinaldo is discovered cautiously descending; on reaching the last step, a solemn bell distinctly tolls four times—he starts—reads the inscription, and, bursting open the door, beholds a variegated mass of human skeletons—kneeling, to Omnipotence, he dedicates his sword to Justice and Revenge—the toll of the bell is repeated, and he conceals himself in the Cell.

Solemn March with muffled drums, a Procession of the Members takes place by torch light;

and the President having taken his seat under the Cross, Aurelia is brought forward, her accusation to the following purport being inscribed on a banner placed opposite;

The gong sounds—her eyes are unbound—she beholds with terror her melancholy prospect, and on her knees solicits mercy—the President sternly approaches, and thus addresses her:
To the plighted vows, false! what appeal canst thou make,
To induce the Eternal's Avengers to save?
(Throws off his black cloak and mask.)
In Rovezzo behold thy Accuser and Judge,
Death! death on the Traitress! a premature grave!—

The Book of Blood is opened, and in blood-red letters is inscribed:

She faints—Rinaldo, pallid, and breathless with agitation, steals from his hiding place, and, while they are busied in supporting Aurelia, disguises himself

in the Baron's cloak and mask, and mingles with the rest.—The Baron, unmoved by her prayers and tears, vindictively offering his dagger to the Executioner, commands her immediate sacrifice; Rinaldo officiously intrudes, and, snatching the dagger, solicits to officiate; he is commanded to be brief, the Minister of Vengeance being deputed to assist, and, steeling their hearts against every solicitation of their fair victim, the Avengers retire.—The bell again tolls, the door of the cemetery flies open—Rinaldo is ordered to “Strike;” but delays the blow—his companion, impatient, unfeelingly up-raises his weapon; the falling blow is caught by Rinaldo, and the would-be executioner stabbed to the heart—he falls! —Rinaldo exultingly throws off his disguise, the Lovers embrace, bend in thankfulness to Heaven, and, ascending with trembling steps the entrance of the Cave, escape.

SCENE IV.

Outside of Paolo's Cave.
Enter Florella, goes to the mouth of the Cave, stamps three times, and Paolo appears; she informs him Rinaldo approaches with Aurelia—they conceal themselves.—Enter Donato (the Old Man of the Hill) whom Paolo, peeping out, perceives, and recollecting, him, the occasion of his disgrace and sufferings, pursues, determining to murder him!— Florella, on the lurk, is met by the Baron much irritated, and alarmed at Aurelia's escape, whom she informs is with Rinaldo hovering near, pointing off to them—he starts—gives her a purse to keep them in view till his return, with aid; she promises compliance, motioning her detestation of them both— Paolo returns with his dagger bloody, and Donato's habit and rosary—a thought strikes Florella—she requests their use, and they hurry with them into the Cave, dropping, in their haste, his blood-stained dagger.—Rinaldo and Aurelia enter, meeting Roscella and Rosaria; they affectionately exchange embraces; and Roscella, thanking Heaven and Rinaldo for his Daughter's deliverance, joins their hands—Rinaldo shudders, throws himself at his feet, and, drawing from his belt a proclamation, avows himself to be the daring Robber there proscribed! and, unworthy of so rich a prize, restores her to her Father, till penitence procures his pardon. Florella, disguised as Donato, approaches from the Cave, and bows to him—the Baron's trumpet sounds without—alarmed, Rinaldo requests Aurelia, &c. to seek for safety; he, determining to become an inmate of Donato's Cave—Roscella and Aurelia depart; Rinaldo follows Florella into the Cave, and Rosalia, exclaiming
May Angels looking down from Mercy's throne,
Grant thy Repentance may thy Crimes atone!

stumbles over Paolo's dagger, which perceiving stained with blood, alarmed for Rinaldo's safety, she snatches up, timidly pursues his footsteps, and enters the Cave.

SCENE V.

Interior of the Cave, consisting of an upper Apartment, to which a flight of steps from above leads, which is parted from the landing place by a curtain drawn round it on an iron rod; from the landing place another flight of steps descends to the lower Apartment—on one side of which is a gloomy recess, in which two or three Carbines, and a barrel of Powder are visible—on the other a circular aperture, which gives light to another recess, Paolo's Dormitory; to which a passage, from the other recess, leads—under the aperture, on a rocky fragment, is a Couch—a Guitar hanging up.
Rinaldo is discovered seated on the couch, his eyes fixed on Aurelia's miniature, otherwise insensible to all around him—Florella and Paolo in the recess, viewing him with murderous intent, and fixing a bayonet to a carbine, while Rosalia is cautiously descending the first flight of steps—he heaves a sigh, rises, and comes forward; at the same moment Rosalia gains the upper apartment, and is hid by the curtain—Paolo retires further into the recess, and Florella officiously takes down the guitar, and offers it Rinaldo for his amusement—he again seats himself, and commences playing—she motioning Paolo round to stab him through the aperture above, through which she intimates the bayonet's length is equal—Rosalia perceiving their actions, as he passes round, timidly descends into the lower apartment, and just as he is going to strike, screams! Florella, throwing off her disguise, points a pistol to her head—the characters groupe—a pause— shout without, and Rovezzo, at the head of his Troops, rushes into the Cavern—characters again groupe, and Rinaldo is commanded to surrender—refuses— snatches Paolo's carbine; in the struggle it goes off, pointed towards the recess, and the Cavern blows up! —Rovezzo, Paolo, and Florella falling the victims of their own malignity, and Rinaldo sinking wounded into the arms of Rosalia; on the effects of the explosion partly evapourating, the Ruins appear backed by

SCENE VI. AND LAST.

A Distant splendid Encampment.
Roscella and Rosalia discovered on their knees before the Grand Duke of Tuscany, attended by Officers, &c. soliciting Rinaldo's pardon, who, aided by Rosaria, faintly approaches, and throws himself at his feet, sighing forth:
Wounded Rinaldo repentant—unforgiven—
Craves pardon for his Crimes of Man and Heaven!

His pardon is granted—the Prince joins the lovers hands, and the characters forming an interesting groupe, the curtain drops to slow music.