University of Virginia Library

1. PART I.

SCENE I.

The Appenines—Mountains, the tops of which are covered with snow—in various places bearing all the appearance of luxuriant vegetation—in others hanging woods of mountain-ash, fir, and pine, and avalanches of snow and rock falling into cataracts and waterfalls, terminating in a lake, over which a Swiss bridge is thrown; nearer the audience, a fire lighted under a projecting rock in a narrow dell.—Rinaldo discovered seated in a musing attitude over the fire, drawing, on his tablets; his dog basking beside him—Altaverde at a distance observing him—thunder, lightning, &c. the clouds dark, and the moon obscured.
AIR—ALTAVERDE.

Exit.
Rinaldo throwing his cloak round him, still keeps his eyes fixed on the tablet, and his hand employed in finishing the drawing—a sudden gust of wind is heard, and an old man hurries on, trembling with cold and alarm, a staff in his right hand, in his left a lanthorn, the light extinguished.—Rinaldo throws off his cloak, starts up, and grasps his pistols, demanding his name and errand?
RECITATIVE—OLD MAN.
My lamp extinguish'd by the boisterous wind,
Bewilder'd, bending to a Stranger's will,—
Permission to illume it were thought kind,
By the Old Man of Oriolo Hill.

Rinaldo raising him, complies with his request, then orders him to depart.—He bows, and retires.
RECITATIVE—OLD MAN.
The Cottage not far off, where 'lone I dwell,
At your approach will shelter you—farewell!— Exit.

Rinaldo thanks him, muses, gazes with rapture on the object he has drawn, and kisses it.—Enter from behind Florella (an amazonian of his troop) cleaning her pistols—she starts at seeing him so intent on the tablet—approaches him, he conceals it, but welcomes her—she demands what has engaged his attention? —Musquetry fired without—a shout, and bugle horn—the clouds disperse, the moon appears, and Altaverde is seen meeting Cinthio and Robbers descending the mountains—they approach, form a semicircle round Rinaldo, and saluting him, place their plunder, in trophies, before him.—Cinthio presents him a handsome miniature, the case of which in opening he lets fall; struck with its resemblance to that he had drawn, tears the latter from his tablets, kisses the miniature, and places it near his heart.—Florella views this action with jealous emotion, snatches up the drawing, and discontentedly retires.—A whistle is heard, Paolo enters, and tremblingly displays the following placard:

     

Venice	—	2000 Sequins.
Genoa	—	2000 Ditto.
Lucca	—	2500 Ditto.

Rinaldo, treating the rewards with ineffable contempt, takes from his belt several Purses, and disperses amongst his Troops presents to twice their amount. They hack the placard with their poynards to atoms; Rinaldo then orders them to regale, and after drinking their captain's health,

commences, in which the Banditti manœuvre with their carbines, introducing the

during this he appears busied writing, and at the conclusion gives Altaverde a paper on which is written

calls the band around him, and commands him to read it.

RECITATIVE—ALTAVERDE.
Our general Orders, be it understood,
Is glorious plunder!—death if any fly;—
But he who wantonly sheds human blood,
Whate'er his plea, Rinaldo dooms to die!—

Paolo, aside, murmurs at the latter part, the others huzza! bending in acquiescence to Rinaldo's will; and having armed themselves, he takes the lead, and marches them over the mountains.—Mulo (Baron Rovezzo's French Valet) enters terrified, approaches the fire, and takes with fear a gulp of the wine the Robbers had left; the Baron following with his sword drawn, and prince Rosella bringing up the rear; they intimate they have been plundered of all; the Baron regretting most the loss of a miniature (of which he there finds the case) as does Mulo his hat, which finding he proudly claps on his head, and, vapouring, threatens to destroy the Plunderers were they but there.—The robbers' distant march is heard, and Rinaldo seen leading his troop over the more distant hills.—The Baron, &c. precipitately exeunt.

SCENE II.

Outside of Donato's Hermitage, partly hewn out of the rock, and backed by mountains;

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the cottage extends about two thirds of the stage, the remainder is occupied by pines and firs, constituting an avenue of cut trees supposed to lead to the monastery of St. Clare; under the hermitage window is a lodge for the reception of Charity, over it written “Date obolum.”—Time sun rise.

Enter Donato listening to the chimes of St. Clare —Aurelia appears winding through the avenue, netting, and, timidly approaching him, presents a letter, the purport of which is,

as he peruses it, she sighs!—Enter Florella with Rinaldo's tablet, compares Aurelia with the drawing, and stamping on it in disgust, breaks it into innumerable fragments—a bugle horn sounded without!— Donato invites Aurelia into his hermitage—Florella perceiving Rinaldo approaching, hurries up the avenue —Rinaldo enters, giving orders to two or three Robber-Chiefs, and pointing to the charitable appeal attached to the hermitage, desires them to place wine and fruits there, intimating to Cinthio that in the attached avenue he first beheld the object of his adoration —a voice is heard without—they separate, Rinaldo entering the avenue—Rosalia comes on singing.
Who will purchase good luck, cross my hand, try the spell,
Rosalia, the Gypsey, your Fortune will tell.

As she passes the Hermitage, Aurelia through the window, beckons her, to have her fortune told; Rosalia perceives Rinaldo, and eyes both significantly —Aurelia comes cautiously from the hermitage, Rosalia examines her palm, and sings.
BALLAD—ROSALIA.
Rinaldo approaches, enraptured, but fearful of alarming her.
BALLAD continued.

Pointing towards Rinaldo, she retires, while Donato, issuing from the Hermitage unperceived, hurries Aurelia into it—Florella detaining Rinaldo, whom she had angrily seized by the wrist, he breaks from her, compells her to leave him, and follows Donato.

SCENE III.

Inside of the Hermitage, rustic folding doors in the centre, leading to another apartment; two antique tables, one covered with black baize, on which is a large book and crucifix; chairs, &c. through the folding doors are painted on the back flat a portrait of Aurelia—the folding doors are closed.
Enter Donato, welcoming Rinaldo, whom he requests to be seated; places wine and fruits before him.—Rinaldo perceives a piece of netting on the table and eagerly enquires whose work it is? but not obtaining a satisfactory answer throws open the folding doors, beholds the portrait of Aurelia!— Fills a glass and drinks to it on his knee, and, perceiving an inner door leading to a garden, rushes through, in spite of the old man's endeavours to the contrary, closing the folding-doors after him.—Fatigued, Donato throws himself into a chair—a crash is heard, as of breaking into the Hermitage, and Paolo enters, demands his purse, drinks his wine, and strikes him to the earth, other ruffians rushing on to his whistle—at this instant Rinaldo bursts open the folding doors, and angrily re enters, followed by Aurelia—a pause—he demands who has committed this outrage?—they all disclaim share in it, and point to Paolo—Aurelia flying to the assistance of Donato —Rinaldo discharges a pistol which terribly wounds him, and his comrades bear him off.—He then approaches and cheers the old man, (and tenderly attentive to Aurelia) casts himself at her feet—she gently raises him, sighs, and bids him depart, for she is destined to become another's, which Donato corroberates, and, Rinaldo recollecting he is a robber, determines to conquer his passion.—Mens voices are heard calling “Donato,” (the old man) informs him, they are Aurelia's Father and intended Husband, and intreats him to withdraw—he acquiesces. —The Prince and Baron enter, Rinaldo crosses them bowing majestically; but meeting Mulo (who follows) with a frown, compells him to give way— Cinthio's bugle is sounded without, and with a stifled sigh, and look of anguish Rinaldo departs—Donato introduces Aurelia, who kneels to her Father, he raises her, and presents her to the Baron—the latter having had his eyes fixed on Rinaldo, asks, suspiciously, who he is!—Aurelia avows ignorance—and he seizes her hand, exclaiming.
RECITATIVE—ROVEZZO.
Our Marriage must be brief, e'en now the Feast,
With all our Castle's splendour we prepare;
'Ere Night dew falls, bless'd by the Holy Priest,
Your Sire consigns you to a Husband's care.—

Exeunt.

SCENE IV.

Gypsies Hut.
Several Gypsies enter, bearing provisions, &c.
GYPSIES
GLEE.
By the moon's silver beams,
Elves and Fairies delight;
Anear chrystal sheams,
To revel the night:
While around the crackling firewood we jolly Gypsies lay.
There each toasts his black ey'd lass,
Bold swells the sportive glee;
And gingling glass for glass,
Carouses merrily, merrily.
'Till the bright Sun announces the dawning of day,
Then rising from his mossy bed, pursues his wandering way.
Singing—ti ri la, ti ri la,
ti ri la, lal ley.

Re-enter Rosalia, a guitar slung across her shoulder, Gypsies sternly demand the donations she has received, chide her for their being small, and hurry her, the Females, and Children into their hut while they unpack their hamper, in doing which, among the provision they find a proclamation similar to that in the first Scene, and conclude, could they seize Rinaldo it would make their fortune—while debating, Paolo enters, faint with loss of blood—they start, drop the scroll, and learning he had been wounded by Rinaldo, relinquish the idea of attempting his seizure—Florella enters, and on being made acquainted with the event, urges him on to vengeance, and insuring them success, they all bind themselves to the undertaking, and, perceiving their victim drawing near, conceal themselves in the Hut.

Enter Rinaldo—Paolo and Florella diffidently approach him, each apparently regretting the having offended, and soliciting his pardon—during which, with uplifted poignards on each side, the Gypsies steal behind to assail him—Rosalia, peeping from the Hut, perceives them, and screams—Rinaldo grasping

his pistols, presents one at the head of each— Paolo and Florella, abashed at the frustration of their design, sneak off, the Gypsies (grouping) solicit mercy—Rinaldo drives them off—Rosalia throws herself at his feet—he raises her.

BALLAD—ROSALIA.

Exeunt.

SCENE V.

Exterior of the Baron's Castle, situated on a Lake, from the mountainous side of which a draw-bridge leads, and communicates with the entrance to a projecting Tower or Prison, with grated windows, and iron-plated door, and surrounded with spiked palisadoes—opposite the Tower, on the nearer side the lake to the audience, Ruins of an Abbey; in the centre of the lake, a large ancient decayed Willow; the lower gates, leading to the Court Yard of the Castle, occupy the right wing nearly fronting the Abbey Ruins.

Enter Rinaldo, followed by Rosalia, he bearing a small bundle, which, exchanging with her for her guitar, he tells her to retire with amid the ruins, and equip herself in male attire—touching the strings playfully, his attention is arrested by a trumpet, which he perceives appertains to the Baron, and retires.—Enter the Prince and Baron, leading on Aurelia, followed by Vassals, preceded by Mulo, who assumes much consequence.—Trumpets again sound, and the Castle gates are thrown open by Antonio and Domestics, who obsequiously welcome home their Lord.—The Prince Roscella now surrenders his daughter, with his blessing, to the Baron, and affectionately takes leave—she bursts into tears, at which the Baron appears enraged, and, clapping his hand to his sword, dispatches Antonio for a Priest. Rinaldo at that moment appearing, she screams, and faints into his arms—enraged, the Baron commands his absence—he refuses—they draw—Aurelia (reviving) endeavours to separate them—the Baron is disarmed, as is Rinaldo, by the aid of Mulo and Domestics, who seize him, while Aurelia is hurried through the Castle gates—Rinaldo, dashing from his assailants, throws down his gauntlet, and challanges the Baron, who, entering the Castle, closes the gates on him with contempt—Rinaldo, snatching up the glove, vows “in that Castle he will compell him to render satisfaction”—while musing, Rosalia enters,

habited as a Page, and is suddenly surrounded by Altaverde and Robbers—Rinaldo starts, recognizes and introduces her to his party; but, perceiving Mulo approaching towards the Tower above, bids them silently disperse, till Rosalia's guittar, which he presents her, shall recall them.

Aurelia is hurried on (above) by Mulo, imprisoned in the Tower, and left there till the arrival of the Priest. Rinaldo, perceiving this, swears to release her, places Rosalia on the watch—muses on the means—ascends the Abbey Ruins, from a jutment of which, leaping, he gains the withered Willow in the lake, and, with much labour, bending the boughs with his weight, so as to nearly reach the palisadoes, springs over them, and gaining the door of the Tower, with his dagger, bursts it open; but, as he is cautiously leading the timid Aurelia towards the draw-bridge, a trumpet sounds from the mountains, Rosalia gives a signal of approach, and perceiving Antonio, the Priest, and an escort near, he hurries Aurelia again into her Prison.—Mulo appears, lowers the draw-bridge, which the Priest, &c. cross, and opening the door of the Tower, Aurelia, in tears, is lead off into the Castle, the bridge being first drawn up.—Mulo finds a difficulty in locking the door, and continues behind; during his endeavours Rinaldo darts from the Tower, fixes him in his situation,

and locks the door on him, exultingly displaying his keys as the means of admittance into the Castle—at this moment Rosalia again appears on the opposite side—he motions her to strike her guitar, while he gently lowers the draw-bridge.

SOLO AND GLEE.
Rosalia, Altaverde, and Banditti.
Ros.
Yes, yes, yes:
I'll gently touch the blythe Guitar,
Ting a ting a ting, right warily!
Our gallant Band anear and far,
Will hail their Minstrel chearily!
Ting a ting tang, ting a ting tang!
For Beauty's rescue none will aid deny,
And hark! softly, row de dow, dow,
Their ready drums reply!
Ting a ting tang! none will aid deny.

All.
Row de dow dow—our ready drums reply.

(Their Drums without softly answer the Guitar, and the Banditti gradually appear.)
Cho.
Row de dow, &c.

(Rinaldo motions silence.)
Solo. Ros.
Hush—silence has our Chief decreed!
Cease, cease to beat the ready, ready drum,
To the dying Breeze with noiseless tread,
Whisper the watchword, mum—mum—mum!

They gently cross the draw-bridge, and enter the Castle.

SCENE VI.

Court Yard of the Castle, a flight of steps, with balustrades, &c. leading to the Banquet Hall.
Enter attendants, who pass backward and forward with Fruit, &c. into the Hall, preparatory to the Marriage Festival—the Baron gloomily descends the steps, and gives orders for their attendance on him to dress, &c.—Aurelia is brought down the steps by the Priest, &c. and given to Female attendants to adorn—Baron, &c. exeunt, Antonio and Marghereta remain.
RECITATIVE.
Ant.
How glum he looks!—

Mar.
—Ah! poor dear lady!—

Ant.
Yes, Parson Domine will soon say grace!

Mar.
She's doom'd to misery I'm sure already,

Ant.
Doom'd to endure the conjugal embrace.

Exeunt.
Rinaldo enters cautiously, followed by Altaverde, &c. muffles himself in his cloak, and, requesting them to keep aloof till they hear his whistle, ascends the steps leading to the Banquet Hall—Altaverde and Band retiring on the opposite side.

SCENE VII.

Interior of the Banquetting Hall brilliantly illuminated, backed by a rich Canopy, pending over Chairs of State, in the centre—on each side splendid Orchestras—a picturesque Altar, adorned with a golden Crucifix, &c. &c. near the first entrance on the left hand—the entrance to the Hall, from above, by a flight of steps, in the second entrance on the right hand.

Bands of Musicians discovered in the Orchestras, and Vassals in waiting—as the Scene opens a grand flourish of Instruments.—Dancing Girls descend the flight of steps, and a Nuptial Procession takes place —the Priest, attended by the Baron, leads Aurelia to the altar—she throws herself at his feet, requesting a moment's pause—the Baron, enraged, commands him to do his duty—she solicits him—he draws, and, pointing his sword to the Priest's breast, commands him to proceed, and a compulsotary union is on the point of taking place, when Rinaldo rushes into the Hall, throws down his gauntlet, and again challanges the Baron, who, surrounded by his friends, treats him with derision, and commands the Priest once more to proceed.

Rinaldo snatches Aurelia from his grasp—Baron, &c. draw; pointing a pistol to his head, Rinaldo whistles, and his band rush on, each presenting his piece, and exclaiming, “Viva Rinaldo.”—The Baron, &c. panic struck, drop on their knees, and solicit mercy, which Rinaldo (disarming them) with a sneer grants, and, gallantly bearing off Aurelia, gaily ascends, followed by his exulting Band.— Abashed, but irritated, the vanquished Baron calls his Friends and Vassals around him, and swearing them all to “Revenge,” thus addresses them.

AIR—ROVEZZO.
Let proclamations spreading wide,
Bid to our aid the black Avengers hie:
'Ere Sol shall arise to illumine the skies,
Shall the traitress Aurelia's heart's blood, be our prize,
And by art or by force Rinaldini die!

CHORUS.
'Ere Sol shall arise, &c.

Exeunt.

SCENE VIII.

Exterior of the Convent of St. Clare.
Enter Rinaldo and Rosalia, supporting the drooping Aurelia—she requests to take shelter in her Convent, but he urges her to accompany him—half consenting, they are interrupted by the sudden appearance of her Father, who is driven on, nearly overpowered, by Paolo—Rinaldo darts to his assistance, and the Ruffian is disarmed and driven off— Aurelia, happy in her Father's safety, affectionately embraces him, and makes him acquainted with the Baron's cruelty, introducing to him in his deliverer, her own—the Baron's trumpet sounds without—all start—and for safety enter the Convent.
Paolo, cautiously beckoning on Florella, returns, informs her there Rinaldo has concealed himself, and they determine (placing themselves on each side the gate) to dispatch him should he return over its threshold.—As they are listening the Baron and followers enter, he orders them to be seized—they intimate they are on the watch for Rinaldo, and determined to dispatch him—the Baron commends, and gives them gold, and learning Aurelia has taken refuge there, gives the following orders to his Band.
To the North sound the trumpet,
To the South blow a blast!—
Our Ministers of Vengeance call,
From East and from West.

His trumpeters obey, and several members of the Black Tribunal enter in black masks and cloaks, they bow to the Baron, who selects one from the rest, bearing a dagger and halter, and giving him a slip of paper, on which is written the name of Aurelia, points to the Convent, and with his followers departs—the member, apparently, cuts an incision in the Convent door, in which he places the following Citation:

CHORUS OF MEMBERS.
Before our Black Tribunal, 'ere the third day, draw near,
Aurelia, th'associate of Robbers, appear!
Appear, appear, appear!

Exeunt.
The Lady Abbess, Aurelia, the Prince, and Rinaldo dart through the door, and appear horror struck at perusing the Citation—the latter attempts to console them, but Cinthio, suddenly entering, he is called thence—hastily kisses Aurelia's hand, and presents her a ring, swearing he will soon return to her aid, and takes his leave—they return into the Convent; he hastily accompanies Cinthio off.

SCENE IX.

Practicable Mountains, from which a stupendous Waterfall precipitates itself, which, increasing, becomes a River, over which is a picturesque, arched, practicable Bridge—on one side of the stage is Rinaldo's Tent, his dog on guard, under his banner “Hands and Hearts united:” on the other, straggling Tents and Baggage Waggons.

The Robbers discovered, some asleep, others keeping watch, &c.—a whistle is heard, which is returned by Altaverde, and a Gondola rowed

through the arch, in which is Rinaldo, Cinthio, and Rosalia—they land—a beacon is fired on the mountains, and a distant cannon heard—Rinaldo starts—muses—orders two boxes, one marked “Specie,” the other “Jewels” to be brought from his Tent, places them on board the Gondola, and commissioning Rosalia to bury them in a place of safety, it is again rowed off through the arch—he then, patting his Dog, seats himself in his Tent to carouze, snapping his fingers at the second report of a cannon —a distant trumpet heard, and Robber Centinel rushing over the bridge, informs them they are surrounded —the Band fly to arms, which they scarce accomplish, when the Bridge is covered with the Baron's Soldiers, headed by him, Paolo, &c. the mountains apparently covered with armed Men, and every pass obstructed—Baron's Troops halt, and display the following proclamation:

Rinaldo, after saluting the Baron with his sword, reads it, and asks if they will surrender him, they answer “No:”—he snatches down the proclamation, tears it, and making wadding with it for his carbine, with that answers them—a general fight commences

—several are killed on each side, and, at length, part of the balustrades of the Bridge giving way, Rinaldo is precipitated from thence by the Baron, &c. into the River—his Dog leaping in prevents him from sinking, till Rosalia comes to his assistance in the Gondola, which he is received on board, and escapes, unperceived, through the arch—Mulo, whose terror gives occasional humour to the Scene, comes forward, as the Baron, &c. descend the Bridge, with Rinaldo's hat and sword, with the latter vowing he has dispatched him.

CHORUS OF VICTORY.
Be the name of Rovezzo extol'd o'er and o'er,
The terror of Nations, Rinaldo's no more;
Of his Band the remains, gnash their teeth, clank their chains,
And the loss of Rinaldo in Death shall deplore:
The wreath of Victory prepare—no more we live in awe,
Let acclamations rend the air—huzza!—huzza!—huzza!

At the close of the chorus, Rinaldo and Rosalia, on the summit of the Bridge, wave the Robbers' banner, and join in the huzza!—their antagonists groupe in great consternation, and the curtain drops.