University of Virginia Library

1. PART I.

SCENE I.

A beautiful romantic view, with a castle at an immense distance—the Cottage of the Vines, with a correspondent arbour, a prominent feature in the scene.—In the back ground a distant City and Palace, to which a mountainous track leads; the approach to the Castle appears over an arched bridge, which seems to sink into a valley, and again appears over a mountain; the passage from the foot of the bridge, nearest the audience, communicates with the track leading to the City—the time sunrise, a warm glow is thrown on the whole scene, which is variegated by waterfalls and rivulets,

glittering and catching the sun's rays as it rises— near the Cottage is an arbour, in which is a rustic seat, and near the door an antique chair.

Alinda discovered seated, an infant about four years old laying asleep in the arbour; for whom she appears to have been forming a small garland; rises, approaches him, and sings,

BALLAD AND DUET.
Alin.

Enter Gabriello (listening) unperceived.
RECITATIVE ACCOMPANIED.
Gabriello (rubbing his hands.)
Gab.
The chicks, I reckon chuck, would well be match'd!

Alin.
(Sighing)
But, our chick's reckon'd, chuck, before 'tis hatch'd!

Gab.
Hey!—some months hence his pipe may be in tune!

Alin.
Some month!

Gab.
Yes, that nine past this honey moon! (kisses her.)


(The cracking of a whip is heard without.)
Alin.
Hark!—a whip crack'd! see who 'tis—haste—begone.

Gab.
(Still kissing her.)
Waunds! what's your haste?
(whip again)
aye, smack again, crack on!
'Tis in a crack (kisses her)
my business is done!

Paladore, &c. approach.
Alin.
Dear! the babe's kinsfolks!

Gab.
—Just lit from their coach!

Paladore descends, exploring his way with caution, seemingly convinced they are not watched; beckons on the Princess, who follows attended by Maria Theresa, both disguised; he requests Maria to remain on the watch; she re-ascends, and they come forward.
Gab.
How very timbersome they does approach!

Alin.
Trembling a live!—of agitation quite full!

Gab.
They be his handsome parents, they're so frightful!

Alin.
Yes, that's his lord-like brow!—her noble eye!

Gab.
His lord-like—just so dad and mammy said of I!

Alin.
An open countenance as e'er was born!

Gab.
My countenance be open, when I—ya—wn!

Alin.
Hush! hush! they're here!

Gab.
—Yes—feggs! they both looks glum!

Alin.
My lady (curtseying to the Princess, who beckons her to cease.)


Gab.
Please your nobleship (bowing to Paladore, he angrily stamps, and commands silence.)


Both.
—We're dumb!

Recovering from their trepidation, both point officiously to the child, Paladore and Princess approach, affectionately gaze on, and ardently kiss it; the child awakes, and in the midst of their caresses, distant martial music is heard.—The Princess and

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Paladore start—the latter recovering himself, commands Gabriello to pursue the sound, and bring him notice of the cause—he prepares to obey—the music apparently approaching nearer, Princess, &c. retire, much agitated, into the cottage with the child—Gabriello and Alinda listening with their eyes fixed on them as they retire; the music dies away—they approach each other on tip-toe, commencing their conversation in a whisper.
RECITATIVE ACCOMPANIED.
Alin.
They talk by signs still!—sure that babe's some fairy!
And I'm enchanted!

Gab.
(Looking first one way, then another)
I'm in a quandary!

Alin.
So oft as they've been here! so long have stay'd!
And not one single word has either said!

Gab.
Pshew! t'ant abroad for words that such folks roam,
Lord! man and wife have words enough at home!
And then, my love, you know, (your noddle's weak,)
Great folks to little folks disdain to speak!
By word of motion 'tis their pranks are play'd!
Just strut—he—hem!—frown—stamp—and shake the head!—
Lord! I can act their dumb talk in a minute!
(Takes off their actions ridiculously—she shakes her head.)
You need not shake your nob—there's nothing in it!

Martial music again—he runs off (up the bridge) hastily—after he is out of sight, it again ceases. —Alinda looks first towards the bridge; then, after appearing to have listened at the Cottage door, comes forward, and seeing the wreath she had made for the child, takes it up.
Alin.
Well!—these strangers' actions, seem quite strange to me!
A mysterious sort of—kind—of mystery!
Tho' I'm no secret hunter—I declare—
I should just like to find out who they are!
(Listens.)
Didn't they call?—wanted or not I'll go—
Not that I'm curious—but I'd like to know!

Exit into the Cottage.

SCENE II.

Interior of the Cottage of the Vines, the furniture completely rustic, but neat; a few shelves with books; a guittar hanging up; near which, likewise, hangs a horn book; a window in the scene, the outside of which is rendered picturesque by being decorated with twining vines, intermingled with honey-suckles.

Enter Paladore leading on the Princess and Infant, he endeavours to quiet her alarm, and the endearments of their child decreases it—Alinda timidly enters with the wreath—both start—Paladore is on the point of commanding her to withdraw, but prevented by the Princess; who, beckoning Alinda to her, asks whom the wreath is meant for? she intimates the child, and, taking down the horn-book, says it is because he has learned his letters—the Princess appears to school him, and seems delighted with his aptness—Alinda takes down the guittar—the boy requests she would play, and, making his bow, dances a lively Pas Seul, accompanied on the guittar; Alinda, at the close, placing the wreath on his head—Princess decorates him with a white sash—while all the characters appear thus

happy, the march again assails their ears, and the Princess and Paladore start up alarmed, the Boy, frightened, clinging to his mother—Gabriello enters, and drops a scroll on which is inscribed:

The Princess with the utmost agitation reads this, and at the close screams, and faints in the arms of Paladore; her consternation having precluded caution, her veil falls off, and disguise flies open, discovering a dress correspondent with her title—his cloak (in endeavouring to prevent her fall) likewise flies off, and a splendid dress is visible underneath, on which appears a rich order of knighthood—Alinda and Gabriello fall planet struck on their knees; three taps are heard at the Cottage door—the agitation of all the characters encreases—the Princess conceals the child in her garment—all eyes are fixed to the spot from which the noise came—the three distinct taps are repeated—Paladore orders Gabriello to learn what occasions it; he fearfully obeys; anxiety fixing the remaining characters as statues.—Gabriello returns, introducing Maria Theresa, who throws herself at the feet of the Princess, confirms his tale, and, producing a rich casket, urges their immediate

flight with the infant, which the Princess, with dignity, refuses: but a thought seeming to have struck her, she opens the casket, displays several rich jewels, and appears to dictate to Paladore the following scroll:

Swearing them to secrecy, she informs them who they are; and that, united by marriage, that infant is their offspring, and inclosing the scroll, with the jewels, Paladore commands them to convey the child, with the casket, according to his directions, and their reward shall be proportionate to their zeal; but death the consequence if they betray them;—Gabriello and Alinda swear to be faithful; intimating their oaths of fidelity are registered above, and they will die rather than part with their precious charge —martial music again assails them, and urges their speedy departure; a tender separation ensues, and Paladore, &c. EXEUNT.

SCENE III.

The same as the first, only figures are discernible coming over the mountains with banners, &c. &c. their march accompanied by distant martial music.

Paladore enters agitated (with his sword drawn) from the Cottage, the Princess following, supported by Maria Theresa—Gabriello timidly attending Paladore, who points out the track he is to pursue—Alinda appears at the door with the child, who runs once more to his mother—their caresses are interrupted by bolder strains of martial music—Maria Theresa appears more anxious for their departure—Princess solicits heaven's protection for her child—Paladore raises her, and both fervently kissing him bid adieu, and hurry up the ascent.— Alinda, Gabriello, and child appear much affected, re-enter the Cottage to prepare for their journey.—A grand march and procession commences over the bridge, led by grand banner bearer, with the arms of Bireno, followed by others, on which are inscribed

Present bearers, and male attendants richly habited succeed—after which two splendid semi-regal banners, followed by Bireno, with Lucio and Ascanio on each side of him, and borne over his head by the last banner bearer, one with the following inscription:

Bireno orders them to halt, gazes on the miniature of Louisa, pendant from his neck, and pointing to the crown, intimates it is not affection, but ambition induces him to espouse her—looking towards the City seems to intimate they are not in the right path —seeing the Cottage orders Lucio to knock at it and enquire their way; he does so—Gabriello opens the door, peeps out alarmed, and hastily shuts it again—Bireno, enraged, orders him to repeat the summons, which he does assisted by Ascanio—Alinda opens it, screams, and Gabriello and child rush out—at the sight of the child Bireno starts, then assumes a placid look, and telling them not to be alarmed, draws the child towards him—their anxiety encreases—he looks stedfastly at the child, and, aside, compares its features to those of Louisa's portrait, seems uncommonly struck with the similitude, and beckoning Lucio and Ascanio to him,

interrogates them relative to the likeness—their ideas correspond with his: during this Gabriello and Alinda, in vain, strive to conceal their embarrassment —Bireno, approaching with the child, stedfastly eyes and sternly addresses them, the first exclamation being made aside.

RECITATIVE ACCOMPANIED.
Bir.
Striking similitude! (ASIDE)
is this babe thine?

Gab.
(Trembling.)
No—yes, sir—it's my wife's—that is—'tis mine!

Alin.
Yes, sir, indeed—it's parents—that is—him and I,
Have not been gone a—but you'll make him cry;
He is ill poor dear! and— (snatching him up in her arms, singing)
Lullaby, lullaby, lullaby!
I'll sooth him with a lullaby—lullaby!

Exit into Cottage.
Lucio and Ascanio, half draw their swords, preparing to follow her—Gabriello throws himself on his knees beseeching them not—Bireno, for a short time buried in reflection, rouses from his reverie, and, approaching Gabriello, points to the City, enquiring the path; Gabriello, bowing, officiously directs him, 'till commanded to retire, he gladly re-enters his Cottage—Bireno, then beckoning Ascanio and Lucio, commands them to lurk a nigh, and if possible, seize, and bring him the infant—they bend in acquiescence, and, ordering the band to strike up, the procession re-commences, and marches off towards the City—when off Lucio and Ascanio come forward, but, perceiving Gabriello peeping from the Cottage, retire, he cautiously opens the door, having a small knapsack at his back, the casket slung by a sash across his shoulder, and a brace of pistols in his belt;—conceiving all safe, he beckons out his wife and the child, then locking the door, prepares to commence his journey; as they approach the track pointed out by Paladore, Ascanio and Lucio meet them, and, offering gold, attempt to obtain the child; he dashes their proffered purses to the earth; they draw and attack him—he parries their thrusts, Alinda endeavouring to protect the child till nearly overcome (unperceived by them, the casket being cut off) Alinda snatches a pistol from his girdle, and guarding the infant, thus grouped make their exeunt.—Lucio and Ascanio appear much chagrined at their defeat; but, suddenly perceive the casket, both start, and, elated with this proof of their attempt to obey their lord's commands, exultingly depart.

SCENE IV.

An apartment in the Palace, to which a subterraneous pass through a sliding pannel is visible; a portrait of the King and another of Bireno decorate the scene.

The pannel is cautiously opened by Maria Theresa, who, perceiving the coast clear, beckons on Paladore, who leads the Princess through the pannel, and they come forward anxious and agitated —Princess gives her disguise to Maria, who retires; turning towards Paladore to request he would depart, both their eyes are suddenly fixed on Bireno's portrait—they start!—a wildness is visible in Paladore, which the Princess endeavours to sooth, intimating she will once more throw herself at her father's feet, solicit his sanction, and rather die than prove false!—a trumpet is heard, and Maria re-enters, informs them the King approaches, and both entreat Paladore to depart—he complies.—The King enters; she approaches him and kneels; he raises her, and, pointing to Bireno's portrait, informs her of his intention to unite them—she intimates he is her aversion, and requests not to be made a sacrifice —he angrily dashes her from him, informing her compulsion shall enforce that, which duty ought to have

accomplished, and angrily withdraws.—The Princess falls weeping on the neck of Maria—the pannel slides back, and Paladore re-appears—he throws himself at her feet, and in the most ardent manner conjures her to fly—as he is drawing her towards the pannel, the King and Bireno enter—Maria perceiving them screams, and the characters group —a pause—the King and Bireno half draw their swords—Maria approaching (after having seemingly hit on a thought to extricate the lovers) intimates Paladore is her suitor, and was interceding with her mistress to forward their union—King and Bireno appear doubtful, and, going to the wing, beckon on attendants, &c. preceded by an abbot, whom the King commands immediately to unite in marriage Paladore and Maria; adding, the union of Bireno and the Princess shall instantly follow —half distracted, the Princess throws herself into the arms of Paladore, and both kneel to the King; who separates them, passing her round to Berino, at the same time drawing on Paladore, who, in lieu of resentment, bids him strike—in the struggle the miniature of Paladore, which the Princess had concealed, is seen by Bireno, who, gazing with the most savage fury on that and then the original, draws, and, commanding the assistance of his attendants, makes a pass at Paladore, which, by the intervention of the Princess and Maria, is warded off—Paladore draws, but is disarmed and loaden with chains—the Princess once more embraces him—they are separated and hurried off on opposite sides—after a short pause.

RECITATIVE ACCOMPANIED.
Bir.
Sanguino!
(Sanguino enters, requesting to know his commands— Maria appears all agitation, watching their motions, &c.)
To my strong fortress, near yon River's side,
Escort your prisoner—'ere it's tide's at flood;
To immortality if e'en allied (drawing a dagger.)

This knife shall feast me with the miscreant's blood!

(Sanguino, having sworn to obey him, goes off.)

Berino perceives Maria, and commands her to withdraw, she tremblingly obeys.—Enter Ascanio and Lucio with the casket—he starts; but recollecting the business they were commissioned to execute, beckons them to him—they produce the casket— Maria, again on the watch, appears much agitated at the sight—he asks them from whom they had it? they answer the Peasant—he then eagerly enquires after the child, who they inform him escaped; he half draws his sword, and pointing to the miniatures of the Princess and Paladore, swears it is their illegitimate offspring; then with his dagger hastily opening

the casket, reads (astonished) the following scroll:

He angrily strikes his dagger through the sentence, and commands his two adherents to pursue, overtake, and murder the Child—Maria, almost breathless, on learning his horrid purpose, scarce summons strength enough to retire—they swear to obey him, and are preparing to depart; he beckons them back, and, ordering them to ring the alarm bell, &c. the King and Senators enter hastily—he gives the casket in the interim to one of his attendants, and thus addresses the king.

RECITATIVE ACCOMPANIED.
Bir.
Great king!—and ye his senators declare,
In solemn ordinance our law's decree;
What punishment awaits the shameless fair,
Who stains her brightest jewel chastity!

The King, much agitated, commands the Senators to bring forth the ordinances on that subject; they produce a large book, splendidly bound, on the outside of which, in letters of gold, is inscribed “The Laws of Lombardy.”—Bireno commands them to open it, and reads the following sentence, “The Transgression is Death, whatever her Birth or Rank!”
RECITATIVE ACCOMPANIED.
Bir.
Then I accuse your Princess—your meek saint!
Let her be guarded till to-morrow's dawn;
When I'll confront her with such damning proofs,
Her sire shall curse the hour his child was born!
All appear horror struck, the King in extreme agony, he proceeds:
Justice demand I, with untainted breath,
A bride unspotted, or a monster's death!

Exit.
The characters all depart mournfully, the priests, in vain, endeavouring to console the king.
Exeunt.

SCENE V.

An apartment in the Palace, on each side of which is a small elegant recess, in which are placed two small sophas; an elegant sopha in the centre of the scene; between the two recesses, a correspondent table and chair—in the recesses, over the small sophas are two painted windows, and at the entrance of each recess curtains to open occasionally.

The Princess enters, supported by Maria, distracted at learning her casket has fallen into the hands of Bireno, and the danger she, and all who are dear to her are involved in—the King follows in tears, and, with trembling hands, presents her a scroll to this purport:

She shudders on perusing it, falls on her knees, seizes his hand, and bathes it with her tears—he averts his face—she is on the point of communicating every circumstance relative to her unhappy situation, when Bireno, with guards, suddenly enters,

the King embracing her, leaves her in Bireno's care, and with the dignity of a monarch, but feelings of a parent, withdraws.—Maria is commanded to follow, but contrives to conceal herself behind the sopha—in the interim, the Princess having thrown herself despondent into a chair, Bireno examines the recesses, and perceiving a window in each, orders Sentinels to guard the avenues, &c. then pointing to the scroll, promises, that if she will consent to their union, he will save her from disgrace—she treats his proffer with contempt, and vowing revenge he throws himself, chagrined, upon the centre sopha —after a pause, Maria peeps over the sopha, and conceiving Bireno asleep, comes forward on tip-toe—the Princess on perceiving her starts; the noise arouses Bireno, and Sentinels rush on—Maria, unperceived, again conceals herself—Bireno interrogating the Princess concerning the cause of her alarm, she points to the scroll, intimating that horrid accusation deprives her of rest—he again proffers his hand, which she more resolutely refuses—he orders the Sentinels to return to their posts, and, intimating he wants repose, again throws himself on the sopha—another pause—Maria re-appears, peeps through the curtain of one of the recesses, and seems convinced the Sentinel sleeps, beckons Princess, who, with trepidation approaching, she shews her the sleeping guard leaning on his halbert, draws the curtain round him, and opening the window, requests her to ascend the sopha and leap from it—she does so, and convinced of her escape and safety, Maria drops on her knees in thanks to heaven—the Sentinel awakes—Bireno starts from his couch, and guards rush on—they seize Maria, who, exulting in the escape of her much beloved mistress—endeavours to prevent Bireno from pursuit, he stabs her—the King enters, receives her as she falls, and females following bear her off—Bireno darts past the King with contempt, and is followed by soldiers.

Exeunt.

SCENE VI.

The Dragon's cavern—in a part of the cavern appears cut out the similitude of a death's head and cross bones, under which is rudely engraved:

(Sun set.)
Enter Bertram, a wood-cutter, bearing a load of faggots, which on coming forward he throws down, and refreshes himself from a little flask bottle attached to his belt.
RECITATIVE—BERTRAM (pointing to the load).
There's my day's job!—to twigs and trees a sprouting,
I'm like a keen north easter, I'm so cutting!
To hack and hew am never found relaxing!
I've hewed 'till hack'd out at this present axing!
(Sits down fanning himself with his hat, an arquebuss is fired without, he starts up frightened.)
Umph! some one's popp'd off, much against the grain,
I wonder if they're killing birds or men!
Oh!—

Enter Ricardo with an arquebuss in his hand.
Ric.
Holloa! you woodman!—half a bow-shot off,
Thou'lt find a stricken fowl—

Ber.
Shall I?—enough (exit bowing, frightened.)


(Reading the inscription he starts indignant.)
Ric.
Bireno!—wretch!—the name of that proud worm
Ruffles my temper to a very storm!
Of all yon group, born on these fertile plains,
Poor old Ricardo is the last remains!
But I've a boy, that for my sufferings bleeds,
Who'll speak my vengeance, not in words, but deeds!
(Unscrews his gun, which is in three or four parts, and puts it in his pouch.)
Rest there old partner—close by thee, true sabre!

Re-enter BERTRAM with the Fowl.
Ber.
Here be the wild-fowl.

Ric.
—Take it for thy labour!
Aye! wed the Princess, wretch—sleep on, secure!
Your punishment, tho' slow, is death-like sure!

Exit.
Ber.
(Staring after him.)
Lord! he be mad! yet he's my friend, that's plain!
And tho'f we've cut, I hope he'll come again!—
But—umph! what timber's yonder?—I'll take t'other swig! (Drinks.)

Gabriello, Alinda, and Child appear.
Oh! two young withies and a little twig!
(They enter, he approaches them.)
Ah! master Gabriello!

Gab.
—Bertram! I declare!

Ber.
Missus Alinda!—won't you take a chair?

(She and the Child appearing faint, points to his load— she seats herself, placing the Child on her knee.)
Ber.
(To the Child.)
Whose little sprout are you?—not like you neither (to Gabriello.)


Alin.
'Tis a wise child, they say, that knows his father!
La! how his mother'd fret!

Gab.
—(Mind what you say!)
Sweet Princess!—did she know we'd lost our way!

Ber.
They too be craz'd!—well crazy folks be'n't cross!
One gave a fowl, these may perhaps find sauce!
What have you here?—eh?

Gab.
—What you shall share—
Corn, wine, and oil, and—

Ber.
—Well said, dainty fare!
Ecod! this day I'm fortune's favourite care!

Alin.
Poor babe! quite tired!

Gab.
(Sighing.)
—We're all in the same plight!

Both.
Pray cou'd you get us lodgings for to-night?
You shall be paid well—

Ber.
(Looking at the Child.)
Worn out! poor dear creature!
Paid!—gi's your hand, I'll do it from good nature!
There, that's my hut, just past yon rotten stern!—
Hark'ee (whispering and pointing to the inscription.)
it once belong'd, d'ye know, to one of them!
(Gabriello starts and trembles, Alinda appears alarm'd.)
They are no rack rent landlords, cent per cent!
Ha'nt call'd or ax'd yet for a farthing rent!
A Prince might dwell there!

Gab.
(Much agitated, his eye fixed on the inscription.)
—Hark'ee, have a cafe!
A Prince!

Ber.
—Yes, and he liked our thorough open air!
But there you're welcome, (he points the way.)

—There contentment thrives!—
(Gabriello and Alinda looking alarmed at Bireno's name, he grasps his sword, and she the pistol, as if guarding the Child.)
Right, guard your Prince—

Gab.
—Guard him! aye, with our lives!

Exeunt.
Ber.
May his guard's guardian never then forsake ye!
But I'll pick up my chips, and o'ertake ye!
COMIC SONG.

Exit.
Enter Lucio and Ascanio with Soldiers, &c. in pursuit, they divide their parties, and go off separate ways—a storm commences—enter Sanguino with Soldiers, and Paladore prisoner, they approach the Cavern, Paladore starts at seeing the inscription, recording Bireno's cruelty, which he reads with horror, demanding of them how they can serve such a master and remain subject to similar cruelty?—they appear affected—the storm encreases—Sanguino orders them to proceed, and seizing Paladore, he is more strictly guarded off than ever.
Exeunt.

SCENE VII.

Inside of Bertram's Cottage, the window shattered —door part old and part patched with new wood—between the door and the window a chimney runs up, on the heart of which a turf fire appears, before which a bird is roasting—another door opens to broken steps leading to an upper apartment. —The load of wood is placed as a seat near the fire, an old table and chairs, a truckle bed, and various decayed domestic utensils in different parts of the scene—a lamp burning on the table.

Bertram, busied in preparations for supper, is puffing up the fire; and Alinda watching the child dozing on the bed—Gabriello, having taken off his knapsack, unpacks it, tastes a flask of wine, which chearing him, he passes round, not forgetting honest Bertram, congratulating each other on their happy escape, 'till casting his eyes towards the sash from which hung the casket, his countenance suddenly changes, and, horror struck, unable to speak, he throws himself, wildly, into a chair, fixes his eyes on Alinda for consolation, starts up, looks distractedly round, examines the refreshment he had unpacked,

his pockets, &c. &c. and, concluding it is lost, rushes to the door—Alinda and child follow, endeavouring in vain to detain him—he bursts into tears, exclaiming, he has lost the casket entrusted to his care, and will die, but he'll recover it, then snatches hasty kisses and hurries off—Alinda, almost fainting, is supported by Bertram, who had hitherto been busy catering, or absent above; he enquires the cause; she requests him to fly after Gabriello; he opens the door for that purpose, when a storm of lightening, rain, thunder, &c. commences —the clashing of swords is heard, and Lucio and Ascanio rush on with theirs drawn— Alinda screams, the Child clings close to her—both are seized—and the storm continuing, Lucio, &c. intimate they will take up their abode there 'till it is over—Bertram officiously pouring them out horns of wine, offers them the fowl; they agree that one shall guard the Prisoners while the other eats —bind Alinda to a staple, and place the Child on the bed—during this Gabriello taps at the window—Bertram, cautiously, opens the door, and admits him; then giving a glass of wine to the person on guard, as he is taking it, slily cuts the cord which fastens Alinda, passes her round to Gabriello unseen, who stealing the Child from the bed, and Bertram snatching the pistol from the guard, and pointing it to his head, blows out the light, and they once more escape, followed by Lucio and Ascanio.—The storm encreases—Ricardo rushes in, closes the door, and placing his back against it, takes out his gun, which, eagerly screwing together, he loads.

RECITATIVE—RICARDO.
Am I pursued—as prowling this coarse night,
Half obscured torches glimmer'd on my sight!
And men in arms! (looking round affectionately)

This was my brother's cot!— (still looking round)

Have we inhabitants? or have we not?
I will examine— (going towards the stairs a light appears through the window as of torches)

—They again appear!—
And I must strengthen this old castle here!
(Puts table, &c. against the door.)
If me they want, Ricardo's still the man
Will sell his life as dearly as he can!

Ascends the Stairs.

Torches pass the window, a sudden gust of wind, &c. is heard, and the door is burst open by Sanguino and his band, who enter with Paladore, part of them bearing torches.

Paladore overcome with fatigue throws himself into a chair, and sighing, with tenderness, kisses a miniature of Louisa, which Sanguino seizes— during this Ricardo had cautiously descended, and, examining their conduct, appears much irritated— Paladore dashes Sanguino from him; he stamps, and the Soldiers present their sabres, &c. at his throat—Ricardo rushes forward, fires his arquebuss, and Sanguino falls—Paladore seizes his sabre, and Ricardo drawing his, the Soldiers, dropping on their knees, ground their arms, and Paladore falls at the feet of Ricardo.

RECITATIVE—RICARDO.
Kneel, knight, to heaven; thanks are not due to me!
The chance machine of bless'd humanity!
But the storm ceases—in yon hollow glen
There's better lodging—lodging worthy men!

Paladore embraces him, and he leads the Soldiers off, Ricardo bringing up the rear.
Exeunt.

SCENE VIII.

A romantic bridge, the river, over which it is a secure pass, occasionally choaked by craggy rocks,

large enough to conceal a person behind them— on one side a kind of entrance to a cavern, the door of which is a long fragment of rock, which opening falls on an opposite rock, making a bridge to the entrance—rocky fragments on the other side leading to the large bridge—the entrance door is on a descent.

Bravaldo, the Son of Ricardo and chief of a band of Outlaws, stalks cautiously across—the door resumes its place; he comes forward, takes a letter or scroll from his belt, on which is written:

After hastily perusing it, he draws his sabre, on which is engraved, “Sacred to Revenge,” and whistles —a band of Outlaws enters; whom he dispatches different routs, commanding them at a certain spot to assemble their fellows, and he will join them, ascends the declivity and exit—Lucio and Ascanio enter fatigued and disappointed; as they ascend the bridge they perceive their party, who join them, intimating their victim's approach, and place their men in ambush—Gabriello, Bertram, Alinda, and Child enter—Gabriello starts, conceiving some one is nigh, and draws—Lucio gives the

signal, and Soldiers rush from their ambush—Lucio seizes Alinda, and Ascanio Gabriello, who protects the Child, and Bertram (with his bill-hook) Alinda; the latter is overpowered and hurried off—Ascanio and Lucio continuing their attack on Gabriello, who is severely wounded; the blood of which flowing, he endeavours to stanch it with the Child's white scarf, dropt in the struggle—he is near fainting, when the Princess appears on the bridge, and perceiving her infant in such imminent danger precipitates herself into the water; is obscured for a short time from the sight of the audience, during which Gabriello receives another wound and falls, still endeavouring to protect the Child—at this period Bravaldo rushes on, and perceiving the situation of Gabriello, receives the swords of his assailants on his sabre, and takes the Child under his protection, while Gabriello, making a desperate effort, dispatches Ascanio—Lucio following off, fighting with Bravaldo, who guards the Child, Gabriello with the utmost difficulty following.—The Princess, with her hair dishevelled, and garments disordered, darts eagerly and terrified over the rocks, looking (distractedly) on all sides for her Child; seeing the lifeless body of Ascanio, starts wildly, casts her eyes on the bloody sash and hat of her Child, snatches them up, screams, and faints near the trunk of a tree; during this, a charge is sounded without—she recovers from her swoon, and wildly explores the surrounding scene for her Child—again casts her eye on his ensanguined sash, bursts into tears, and, almost driven to madness, supplicates heaven's vengeance on his murderer. —Bireno appears on the bridge, and perceiving her, exultingly beckons on his guards.—Drums beat to arms, trumpets sound, &c. perceiving Bireno she snatches up Ascanio's sword, determined to die rather than be taken—as he is approaching, the party rush on with Alinda and Bertram prisoners, and their leader seizes her hand—at the same time Lucio enters wounded on the opposite side, and after answering the interrogatories of Bireno, that the Child is dead and thrown into the stream, the Princess, dropping her sword, falls, lifeless, in the arms of Alinda and Bertram; all group, and the scene drops to slow music.