Raymond and Agnes The Words by E. Fitzball,

The Music by Edward J. Loder

Published by Charles Jefferys, 21, Soho Square, London

1859

The following transcription follows the libretto layout and page numbers as far as is

feasible. No attempt has been made to rationalise the sometimes erratic punctuation.

To give a slightly better idea of the structure, the speaking parts start on the near left,

recitative further in and the formal musical numbers further in still. However, Loder’s

fluid structure does not always allow the two to be easily distinguished.

The libretto, which was almost certainly published before the vocal score, follows the

latter very closely, with the exception of the final two pages of Act II, where there are

a number of differences some of which are described on page 24.

R. Burdekin, January 2014

1

Raymond and Agnes

Act 1

THE HUNTER’S FETE

SCENE I – An ancient hostelry, “The Golden Wolf”. Surrounded by a forest with the

Convent of St. Agnes in the distance. MUSIC. THEODORE and FRANCESCO, seated

at a side table, are drinking and smoking. Hunters are firing at a target, on which is a

golden wolf; girls are dancing. Antoni, his two sons, and robbers, are present.

HUNTER’S CHORUS

Drink, drink, to the death of the wolf,

Jovial hunters, the goblet drain;

To the margin of peril’s gulf,

We’ll the monster pursue again.

(GIRLS AND PEASANTS)

Dance, dance, ‘tis the fête of the wolf,

Gaily dance to the joyous strain;

Let the hunter repose and rejoice

Ere he pursue the wolf again.

MEN (discharging rifles)

Fire! Fire to the heart of the wolf,

Not a shot must be spent in vain;

Or on the brink of peril’s gulf,

Lo! The monster your life would drain.

2

SOLO (Raymond, who now enters)

Yes, if upon the mountains’ brow,

Or thro’ the deep ravine you stray,

Trembling, you fail to strike the blow,

Your life the fatal chance must pay!

When in the moonlight stands the wolf,

With snarling teeth, with glaring eye,

Miss but the mark, on ruins gulf,

You must die! You must die!

[taking the rifle

With manly heart, with iron nerve,

Your rifle thus you load, you prime;

Courage! One instant do not swerve,

The wolf is there; ‘tis time, ‘tis time!

That instant he would on you spring,

In savage rage, with glaring eye,

The bullet to his heart must ring,

He must die! He must die!

[He shoots and hits the target in the centre

CHORUS

Hurrah! Hurrah!

The matchless hunter hail;

His arm can never fail,

Brave hunter thee we greet

Thy triumph is complete.

[Raymond goes out. Enter Landlord, ringing a bell at the door

LANDLORD (Tenor)

Supper is ready – the table is spread,

Venison pasty – a fine boar’s head;

Ham of the bear – tongue of the deer,

Little to pay and plenty of cheer.

ANTONI

Walk in – walk in – be happy and gay,

Plenty to eat – plenty to drink,

Plenty of all sorts, and little to pay.

CHORUS

Be happy and gay – feast while ye may,

Life is too brief to cherish grief,

Eat, drink – drink and be gay,

Plenty of all sorts and little to pay.

[They all hurry in, THEODORE and FRANCESCO excepted

3

Fran.

Theo.

Fran.

Theo.

Fran.

Theo.

Fran.

Theo.

Fran.

Theo.

Fran.

Theo.

Fran.

Theo.

Fran.

Theo.

And the handsome young Chevalier who just now hit the wolf yonder so

cleverly, he’s your master, - Don –

Don Raymond, of Madrid, to which city I travelled after quitting the

village in the mountains of Bergamo, which had the honour of giving

birth to two great men – to you and to me!

I entered the service of a great German Baron; but what brings you to

these parts? No good I’ll be bound

Hm! I follow in my master’s footsteps; like master like man, as the old

adage goes. We are in love (confidentially) with a young lady.

Hm! I didn’t suppose with an old one; some nymph of the forest, eh?

Nymph of the convent yonder. Mum!

O! Honour! Some pretty novice?

Pretty? Cheeks blooming – lips pouting. Master and I are no anchorites;

we fell six feet deep in love at first sight at the Carnival at Madrid.

What a dream of ecstasy – but –

But -?

Her brute of a guardian locked up our divinity in a nunnery.

Compelled her to take the veil?

Not quite so bad as that; he caged her like a bird, - intends to marry her

himself – and then imprison her for life in his gloomy castle of

Lindenberg.

Lindenberg? Why that’s the very place my master, the Baron, took up

his abode in, after spending so many years in Andalusia; (whispers

mysteriously), they do say – ah – hm! – you’ve heard of brigands in

Andalusia? My lord – (whispers)

Your master suspected? A bri-?

[Fran. Puts his hand on Theo’s mouth.

Hush! Not a word if you value my life! (Looks about). If he caught only

a single syllable, I’m a defunct valet! My fidelity would go for

nothing.

Just what it’s worth! (Looks round). Courage. Speak out! He’s not

near.

4

Fran.

Theo.

Fran.

Theo.

Fran.

Theo.

Fran.

Theo.

Fran.

Theo.

Fran.

Theo.

Fran.

Theo.

Fran.

Mad.

(aside)

Theo.

(aside)

Fran.

No! but he might hear without being near; so I make it a rule never to

speak ill of my master; except behind his back. But between you and

me, if ever there was a demon in human shape, he’s very –

[ a noise is heard

(frightened) What’s that?

Somebody sneezed in the tavern there.

Excuse me, we’ll drop the subject, I expect my Lord’s arrival every

moment; myself and Madelina, our petticoat intendant at the castle,

have come to prepare the Lady Agnes for –

Agnes! By Jupiter! That’s the very name of the lady we’re so

desperately in love with; she resides in that very convent, too; we’re

going to run away with her.

No you won’t

We will!

I wear a sword –

And so do I.

I’ll stand up for the best of masters –

Why just now you said –

Hold your tongue; here’s Ma’amselle Madelina.

[Enter Mad. Giving directions to Antoni and others

What a pair of eyes! I’m shot dead – does your master smile on her also?

He - smile? Does a wolf or a wild boar smile? He’s as grim and dismal

as – as the ghost which haunts the castle.

Oh! – a ghost haunts your castle, too; how romantic!

You may laugh but it’s true enough. Madelina, tell this heretic here, - is

there a ghost in the Castle of Lindenberg or not?

MADELINA advancing and seeing THEODORE

St Marie! What a handsome fellow.

What a pair of lips – carnations – oh!

Convert him, he’s a perfect infidel – doesn’t believe – in ghosts

5

Theo.

Mad.

(smiling)

Mad.

Chorus

Mad.

Antoni

(imitating

the action)

Chorus

Mad.

Ray.

Theo.

Ray.

I should like to be converted by your persuasive lips, Ma’amselle.

I’ll try their effect. Listen!

LEGENDARY BALLAD

There came to the castle of Lindenberg

A beautiful Prioress;

The Baron was wicked, the Baron was young,

She exhorted him to confess;

So fair was her face, and her voice so sweet,

The heart of the Baron was mov’d;

The penitent knelt at the lady’s feet

And confess’d – that he lov’d-

Her he loved

Oh horror! A Saint of the Convent he lov’d!

List! List again!

O then from the Castle of Lindenberg

The Prioress fled in haste;

So wicked was he, that his reprobate arm,

Encircled the lady’s waist.

To the altar with tears and pray’rs she flew,

He vowed from her never to part,

So bold he became, that his dagger she drew,

And plung’d it –

Just so – in her heart –

O horror! She plunged it just so – in her heart!

And ever since then in Lindenberg’s halls,

When the bell tolls the dead of night,

The Spectre-Nun wanders thro’ Lindenberg’s walls,

All ghastly and clothed in white.

The dagger is still in her uplifted hand,

Her eyes are all wild with despair;

Her cold icy bosom with crimson is stained,

Her shriek of dismay fills the air!

[RAYMOND entering at the back, discharges a rifle; all run away

terrified, leaving only RAYMOND and THEODORE

Ha!ha!ha wolf-hunters, and frightened at the crack of a rifle!

They took you for a ghost, sir.

A ghost? Am I like one, sirrah?

6

Theo.

Ray.

Theo.

Ray.

Theo.

Ray.

Theo.

Ray.

Theo.

Ray.

Theo.

Ray.

Theo.

Ray.

Not at present, sir; but you soon will be, if you continue these nocturnal

lovemakings much longer; damp boots every night, white lips, red

eyes, blue nose, eat nothing – can’t last for ever.

No preaching, knave! Leave me

O certainly! (aside). The old story – good advice, given gratis, goes for

nothing. (going). But, sir, I had a bit of a secret to disclose.

A secret? I detest secrets!

So do I sir; and what I hate I won’t keep. The young lady –

O, ha! Any secrets about young ladies are safer in my keeping than

yours. And so, sir, - this young lady –

Is your young lady, sir. (whispers). She’s going to be married.

To be sure she is, to me – is that your secret?

[Night begins

Hm! To you or – to somebody else.

[going

What’s that you say, my good Theodore?

His good Theodore! Yes, signor, I had it from the most respectable

authority, the Baron of Lindenberg, that your beautiful and beloved

lady Agnes is to be married to the Baron, her guardian, who is

momentarily expected.

I shall prevent that by eloping with her this very night; so go and pack

up.

I wish I hadn’t told him. Instead of packing myself up for the night, I

must pack up and pack off.

[Exits into the Inn, grumbling

RECITATIVE

Now is the hour when the aged verger

Promis’d to admit me to the chapel;

There, my Agnes kneeling at the altar,

Off’reth e’en now, perhaps, for me a pray’r

Ah, she little knoweth how frequent

Her sweet voice, like an echo of yon cloisters,

Comes thrilling, with the organ’s note consoling

And saving this lone heart from despair!

7

Ray.

ARIA

Angels roam abroad to-night

On flutt’ring wings of sapphire hue:

Shedding now their beams of light

Mid perfume fresh with ev’ning dew;

Scarce a murmur wakes the grove;

That zephyr’s sigh, of heav’n a part

Is but some trembling lip of love

Breathing a first vow of the heart.

Nature sleeps on mount and mead,

The moon with light so pale and clear,

Marks the hour when love should plead,

The hour when gentle maid should hear.

From thy bow’r of roses wove,

O lady dear, thy lattice part,

Ah yes, admit one sigh of love,

Breathing the first vow of the heart

[Exit

SCENE II – A small antique Chapel in the Convent of St. Agnes; a niche in the centre,

with the statue of a nun grasping a dagger; a lamp burning before the statue shewing

the inscriptions “St. Agnes Martyr” “Baron Lindenberg” and other parts illegible

from the effects of time. To the right the gratings of the nuns. At B, an immense pair of

folding doors. MUSIC. Enter AGNES (4), a basket of flowers in her hand. ORGAN.

Agnes.

SCENA

Sadly thro’ the lonely aisle

Peals the organ’s midnight strain;

While pale stars look down and smile

On the Convent’s hallowed train,

As with holy tapers gliding

Slowly to the Altar’s base,

They with saintly lips are chanting

Choral prayer and song of grace

[Decorates the shrine with flowers.

8

Mad.

(rect.)

Agnes

Mad.

Agnes

Mad.

Agnes

Mad.

AIR

O Agnes, martyr fair,

Behold me lowly kneeling;

Hear thou my humble pray’r

Each inmost thought revealing.

May that pray’r calm my care,

These sad doubts repelling;

Hear, Oh hear, Lady dear,

While my beads I’m telling

RECITATIVE

Bright saint, enthron’d above

With bounty now receive me;

This heart hath dared to love,

If I have err’d forgive me!

AIR

O Agnes, martyr fair,

Behold me lowly kneeling;

Hear thou my humble pray’r

Each inmost thought revealing.

May that pray’r calm my care,

These sad doubts repelling;

Hear, Oh hear, Lady dear,

While my beads I’m telling

[Enter MADELINA, observing AGNES at her devotions

.

There she is, sweet dove, thanking her patroness, no doubt,

that soon a bride she’ll be

That voice! (Embracing Mad.) My dear foster-sister

You look so charmingly, the Baron will scarce recognise the

little Agnes in his beauteous bride.

I! The Baron’s bride! Alas, what is’t I hear?

Yes, Lady of Lindenberg! For you what joy, what happiness!

Happiness! The thought’s distraction. Do you still love me?

Love you? Do you think I can forget Andalusia – the bright

days of our childhood, the merry hours, the happy dreams,

------ O never!

9

Agnes

(rect.)

Mad.

Agnes

Ray.

Agnes

Ray.

Agnes

Ray.

Agnes

Ray.

BALLAD. Madelina

O well do I remember

In childhood’s sunny May,

When thro’ the bow’ring forest

We wander’d all the day

‘Twas joy those sweet hours to beguile,

Thy brow with flow’rs to braid,

And when from thee I won a smile

My love was all repaid.

Yes well do I remember

That soft, pure look of thine

Which told of thy heart’s kindness

And woke a joy in mine

Let me in russet garb be clad,

My fate be what it will

I only pray to see you glad,

And feel you love me still

O well do I remember, &c.

Madelina, my friend, my sister! Ah, those were happy days.

But happier days are yet in store for you. How proud I shall

be to see you soon the Baroness of Lindenberg

[Exit

Poor girl! She knows not what a pang her words inflict. Oh

Raymond, Raymond, perchance we ne’er may meet again.

[Music. Enter Raymond at back, disguised as the verger.

Agnes!

A stranger!

Fly not!

Verger!

No! ‘Tis not the verger. Lo! ‘Tis Raymond!

Raymond! Thou disguised? Near this holy shrine –

Ah, what would’st thou?

Call thee, Agnes, mine – here – here-

At this holy shrine I’d call thee mine

10

Agnes

Ray.

Agnes

Ray.

Agnes

Ray.

Agnes

Ray.

Both

SOLO. Raymond

Oh, Agnes, can’st thou now forget

That blissful hour when first we met,

An orphan, like thyself, my tale

Won thy tears, thy cheek made pale;

I told thee how in childhood’s morn

My mother from her home was torn;

And while sad Pity seem’d to move

I told my grief – I told my love

[Repeat together

A cruel guardian claims my hand,

From him with me, ah, fly!

‘Tis vain, so watch’d by his command,

Then he or I must die!

By day and night I’ll pray for thee,

Believe me though we part,

Whate’er my fate in life may be

Thou only hast my heart.

From place to place I’ll follow thee,

My star of hope alone –

They faithful shadow I will be

To fade when thou art gone.

Forget, forget we ever met!

A lovelier face, a lighter heart

May bless and cheer each sad regret,

But thou and I must part.

Break, ah break, my aching heart

Since we must now for ever part.

Ah, ne’er forget that hour we met,

That hour we plighted heart for heart –

In life above thou art my love

And but in death we’ll part

Thine shall be my constant heart,

And ne’er again, love, shall we part.

By day and night I’ll pray for the

Whate’er my lot in life may be

[End of duet

Music to follow duet – the verger hastily enters and forces RAYMOND off as AGNES

rushes off L. The folding doors partially open, and the BARON enters enveloped in a

mantle

Baron

(rect.)

FINALE TO 1ST

ACT

Ever ‘neath this hallow’d dome

Horror maketh my heart its home

Is it the ban of dark ancestral ills

Done by my race of yore, this bosom thrills

11

Mad.(aside)

(aloud)

Baron

Agnes

Baron

Ray

Baron

Agnes

Agnes }

and }

Ray. }

No! no! It is not so – it is not so!

It is remorse, which like the blast

Before this altar, bringeth back the past,

With burning key it opes the heart

To let in agony! Years may depart,

To let in agony! Years may depart,

But conscience, the glass of bygone time,

Reflecteth still each evil – ev’ry crime.

[Stands in remorse

Who hither cometh? Can this be Agnes,

So beautiful – so fair?

[Enter AGNES accompanied by MADELINA

Well, I declare!

He passes me as if I were a post!

Yes, sir, it is the Lady Agnes.

Did ever beauty boast

Such charms as these? My lovely ward, well met!

Dost thou remember me?

Can I forget

The benefactor of my early years –

My second father?

TERZETTO

Now in her eyes those trembling tears

Enchanting, more than language prove

Her blushing cheek such beauty wears

But for my crime I could still love!

[Ray. At back still disguised

So on the night flow’r hangs the dew,

That with the sunlight melts away.

She smiles! My hopes of joy renew,

Transports will all the past repay!

Hope, thou art a spirit, light

As the down which floats on air –

Gentle star in sorrow’s sight

Thou art with us ev’rywhere.

With the sea-boy on the billow

Shining like the beacon’s blaze,

Or circled in thy golden rays

Thou strew’st with balm affection’s pillow.

Fly on ye weary moments fast

That Joy and Love may meet at last,

Fly ye weary moments fly

12

Baron

Ray.

Agnes

Ray.

Baron

Ah! Were it not for that past crime

This pang of guilt which mocketh Time,

Fate’s thunder I’ll defy

Dearest, I am near you still

Ah, what peril, silence, pray!

Thee I’ll save from ev’ry ill,

To Lindenberg – away! Away!

The folding doors are now thrown open; day appears in the forest – an old fashioned

carriage is waiting – enter valets – ANTONI and his sons as peasants – wolfhunters

and women presenting bouquets – they bow and salute the BARON.

[Enter THEODORE running in

Theo.

Chorus

Agnes

Ray.

Theo.

Antoni }

and }

robbers }

Where’s my master?

[Raymond by a sign indicates silence

All’s prepar’d – we must away!

CONCERTED – Principals and Chorus

As the twilight fadeth

From the coming day-

So each fond hope melteth

From my heart away

As the twilight constant

To the op’ning day,

So this true heart near thee

Will for ever stay.

THEODORE looking at ANTONI and sons

Three such ugly ruffians

Never cross’d my way:

Ev’ry feature tells me

They’ll be hanged someday.

Lo! The twilight waketh

In the forest grey –

Where the woods are darkest

There we’ll seek our way

As the BARON leads up AGNES towards the carriage, the women strew flowers- the

men form a line – RAYMOND apart –Picture moving – drop falls.

END OF THE FIRST ACT

13

Act II

SCENE I – A grand hall in the Castle of Lindenberg – hung with suits of armour, on

the four columns, banners. On the R., an altar table, above which a portrait covered

with black curtains. A heavy grated door under a gothic archway at the back; - in this

archway R. is a grated window; crossing above the archway a gallery from which a

staircase descends to stage.

MUSIC. Enter AGNES, B.R., showing the castle to RAYMOND.

Agnes

Ray.

Agnes }

and }

Ray. }

Agnes

DUET

In these halls of ancient grandeur,

Lo! What trophies round us shine;

Glitt’ring helms of hostile armour,

Banners won in Palestine.

From these tow’rs the plumed knight

On his charger boldly went,

For ladye’s hand and heart to fight

In the glorious tournament.

In these days of ancient grandeur,

Ah! What rapture had been mine,

Fighting in the cause of beauty,

And that peerless beauty thine!

Who can paint the joy, the bliss,

At thy feet in homage bent,

Thy scarf to wear, they hand to kiss

In the glorious tournament.

TOGETHER

Ah, those dreams so bright and gay,

Must like the rainbow pass away.

Yet there are dreams still bright and gay

As those which long have passed away.

Yet, love, far hence, I’ll fly with thee

14

Ray.

Theo.

Agnes

Ray.

Agnes

Ray.

Theo.

Fran.

Theo.

Fran.

Mad.

Fran.

Mad.

O love, far hence, come fly with me:-

To other lands depart –

From these dull tow’rs at once we’ll fly,

No grief, no care, shall dim thine eyes;

Thine, only thine, for ever be,

Thine only be my heart.

[At end of duet enter THEODORE hastily

RECITATIVE

The Baron has requested, Signor, to speak with you alone,

Go, dear Raymond!

I go, to make no secret of my devotion. Promise then wilt fly

with me.

Ah! I hear his footstep! In that Oratory I’ll await thy coming.

Farewell!

Farewell, my Agnes!

[AGNES ascends to Oratory – RAYMOND exit R.H.

I foresee an elopement! Some one comes – a light footstep –

should it be Madelina, I’ll steal a kiss ere she’s aware on’t

[THEODORE hides behind the curtain and FRANCESCO

enters; a lamp in one hand and a key in the other.

(when the clock has struck)

Ten by the castle clock! And this is All-Hallow’s eve – when

the ghost of the Nun takes he annual round. Yet I must

unlock the castle-door, and then withdraw that curtain –

and then the tapers I must light. ‘Tis well I’m not afraid!

That fool, Francesco, what can he want?

Holy St. Nicholas, some one spoke! Ho! Madelina!

Bardetta! Here’s the ghost – Oh!oh! I’m going to faint.

[Enter MADELINA, BARDETTA and

SERVANTS with lights.

What means this? How pale you look!

Don’t you know it is All-Hallow’s night?

Yes , I remember – it is All-Hallow’s night!

(All shuddering – and huddling together – exclaim)

Oh!

[Music

15

Mad.

(solo)

Fran.

(solo)

Mad.

(solo)

Fran.

(solo)

CONCERTED

Yes, it is All-Hallow’s night,

When, by the olden law

Yon holy tapers we must light

You curtain dark withdraw!

The castle-door, too, I must lock

But mark, you soon will see

Our noble Baron forth will stalk

And ask of me the key.

CHORUS

Yes, yes, we know, ‘tis ever so -

When by the olden law,

Yon holy tapers we must light,

You curtain dark withdraw.

Then again so grave unlock

The castle-door will he;

O how my trembling nerves ‘twill shock

To hear him grate the key

And then when tolls the turret clock,

Drear midnight to proclaim,

The Nun will take her ghostly walk

From out of that old frame.

CHORUS

Yes, yes, we know, ‘tis ever so -

When by the olden law,

Yon holy tapers we must light,

You curtain dark withdraw.

[FRANCESCO makes an attempt to light the tapers on the altar table; they advance

with their tapers, trembling. THEODORE groans and shakes the curtain – all start

back in horror. MADELINA faints and falls on to a chair.

Theo.

Mad.

What a brave set! Madelina in a swoon!

To restore her I must really try.

[He kisses her

Ah! Is it you? I thought you were the ghost –

[pretending

But I’m very much offended

16

Theo.

Mad.

Chorus

Baron

(entering)

Theo.

Baron

Pray, pardon me! Forgive me, and I’ll light yonder tapers

there.

[They all make signs to MADELINA – THEODORE lights

candles on Altar with taper from MADELINA’s hand.

There, now, is there nought else that I can do?

Pray just withdraw that curtain before you martyred Saint!

[He withdraws the curtain

How lovely! And now I look again, ‘tis strangely like the

Lady Agnes!

Yes! Yes! ‘tis very like the Lady Agnes,

Very like – ‘tis very like.

Silence! – Away! – Begone!

[They all exeunt hurriedly, except THEODORE., who looks at the

BARON – than aside exclaims.

What a horrid countenance!

[Exit THEODORE

How terribly sweet is that calm expression! How like to Agnes! Yes in

her gentle eyes, the Portrait’s look pursues me; that fatal look which

long since, in another countenance no less beautiful, beamed on me in

Madrid.

[Sighs heavily

Madrid! O heart be still!

SCENA – RECIT.

Madrid! Oh Madrid! – I see thee once again –

She, whom I tore forth from her husband’s halls

Still is before me – frantic with despair!

Again that injur’d lord beneath my dagger falls;

I see his wounded breast, his dying glare;

Memory, oh, memory of guilt and pain!

AIR

While others at the watchfire slept

In calm and joyous dreams,

Pale troubled forms around me wept.

Or woke me with their screams.

The poorest vassal in my hall

Might scoff at all the pow’r

Of him whose heart can ne’er recall

One calm – one happy hour.

17

Baron

No cypress o’er my tomb shall wave,

My mem’ry claim no tear –

The trav’ller passing by my grave

will cross himself with fear.

Gone for ever – hope of bliss,

While this sad life shall last;

Ah, what is pow’r or what is wealth -

can they recall the past?

[Advancing to table, he sits lost in thought – Enter RAYMOND

B., observing him, then advancing.

Ray.

Baron

Ray.

Baron

Ray.

Baron

Ray.

Baron

Ray.

Bar.(aside)

(aloud)

Ray.

Baron

Ray.

Baron

Your Lordship sent for me.

Ugh! That voice! (rising hastily). Ah; I thought – You! My brave

defender, when on our way hither, the robbers attacked our carriage in

the forest. Ask something of the Baron of Lindenberg which he may

worthily bestow.

There is a treasure the Baron of Lindenberg could bestow on Raymond

beyond all price.

‘Tis yours! Name it.

The hand of your ward, the Lady Agnes!

Amazement! The hand of my ward!

DUET

Pardon! The hand of Agnes

And dost thou love her?

Yes! More than life I love her!

I scarce can hide my fury.

But Agnes – hast not heard – is destin’d

To become another’s bride

But he who claimeth such a gentle ward

To force her heart hath too much pride.

Hath she confess’d she loveth thee?

Ah!yes Ah yes! She loveth me

In vain then she approveth thee,

The ancient legend of this hall,

My solemn vow past all recall –

The Sainted Nun of yonder shrine;

18

Ray.

Baron

Ray.

Baron

Ray.

Baron

Ray.

Baron

(aside)

Ray.

‘Tis fable, all – that legend all,

In vain thou wouldst deceive!

No fable is that legend old,

‘Tis true! Thou may’st believe.

Of yonder Saint, the tale is but too true

Which on our House its malediction drew;

Ne’er to be remov’d till of our line

The last, in marriage, with the last of hers shall join,

The last of her race was Agnes doom’d to be,

The last of Lindenberg, behold in me!

For mercy’s sake, some pity show,

This wild – this dark belief forego.

My father on his dying bed,

Made me vow yon maid to wed!

I found her in a lonely cot,

I watched with care her steps thro’ life,

Whether I love, or love her not,

She must become my wife.

No! I forbid such cruel deed,

Which heaven’s justice would disown –

And who art thou, that I should heed,

Before my father’s will – thy frown?

DUET

While yet in boyhood’s rosy morn

A Brigand sought our happy home;

My mother from these arms was torn,

My father met an early doom.

He sank beneath the murd’rer’s steel,

And left, in sorrow past relief,

A blighted heart, too crush’d to feel,

Alone in life – a child of grief

With horror and with dread I hear

This fearful – fearful history,

And you are of Madrid – and this -

This – your life’s dark mystery,

Proceed! Proceed!

That hour, fair Agnes’ smile I met

How chang’d my path of loneliness;

I felt there was one being yet

True as the lost – to love – to bless.

And when from her dear eyes no more

Affection’s light shall give relief,

Then may the cold earth cover o’er –

A broken heart – a child of grief.

19

Baron

Ray.

Baron

Ray.

Baron

Ray.

Baron

(trembling)

Ray.

Baron

Ray.

Baron

Ray.

Baron

Ray.

Baron

Ray.

Baron

And of thy mother hast though never heard?

From that sad hour, alas! No single word.

Nor of the vile despoiler who hurried her away?

‘Twas said that o’er banditti he held sway,

His name, Inigo –

Inigo?

Yes, Inigo! That detested word

Is graven here, as with a flaming sword.

By heav’n directed, at th’appointed place

I’ll meet th’Assassin face to face,

As thou and I meet – face to face!

Face to face – and then –

His life would fail to sate revenge.

Away!

For that fell strife – that deadly wrong,

Which he hath heap’d on me and mine.

Away! Why fix thy gaze on me?

Away! I ne’er have injur’d thee

Away! Away, I’ll hear no more

Or thou for mercy shalt implore.

Think’st thou I’ll go ere seeing Agnes. No!

Proud Baron, no! – proud Baron, no!

Hence! Begone, or dread my rage!

Agnes I demand to see once more,

To free her- will I force each bar, each door.

Tho’ on thy knees thou should’st implore,

I swear thou shalt not see her more.

One more step, do thou advance, This dagger – ah!

Despite that glance

I plunge at once within thy heart –

[He attempts to stab RAYMOND, who wrests the

dagger from the hand of the BARON

Vaunting tyrant! See! – thy deadly rage my life would

harm,

Yet honest Courage can thy Guilt disarm.

Take back thy dagger! Ah! What word is here?

This name, “Inigo” – Speak – speak!

Quickly from the Castle fly –

Or thou shalt in its deepest dungeon lie.

20

Ray.

Baron

Ray.

Ray. (with tenors)

Chorus

Mad. (& sopranos)

Baron

Mad.

(looking closely into the Baron’s face)

Thou art Inigo! My father’s deadly foe –

Fiend – restore my mother – or by –

The fiercest vengeance thou shalt die

Help! Help! Murd’rer – help there! Help!

Die Murd’rer! –

[ they fight – the Chorus rushes in, attended by

MADELINA and FRANCESCO.

CHORUS

Yes! This sword his rage shall stay,

Soon I’ll end this wild affray –

Hence to a dungeon him convey,

Now the MURD’RERS life shall pay.

Ah, that sword! – his fury stay,

Say, what means this wild affray.

Hence – to a dungeon him convey,

This outrage he with life shall pay

To my lady I’ll away

[goes upstairs

CHORUS

Hence – away! – no more delay! –

To a dungeon – hence away!

[RAYMOND is forced into a dungeon

END OF 1ST

TABLEAU, 2ND

ACT

The Curtain rises for Finale to 2nd

Act

[Enter Chorus trembling

21

Mad.

Mad. & }

Chorus }

}

}

Agnes

FINALE - CHORUS

Horror ! It is now the hour

When forth to wander ghosts have pow’r,

When through the dark and dismal night

The Spectre-Nun all clad in white, -

A flaming lamp uprearing,

A crimson dagger bearing,

Will stalking down yon creaking stair

To this ancient hall repair.

[A door opens in gallery from which flashes a light, as

MADELINA hurries down, she affects great terror.

Ah! See Ah, see!

‘Tis she! ‘tis she!

Behold the Spectre-Nun

[They huddle in great terror

O holy spirit, who thro’ these gloomy towers

Thus ever roamest on this fearful night,

Behold our terror, and have pity –

We fear, we tremble with affright.

[Agnes on stairs

Silence! Silence! Not a word –

In this haunted hall be heard –

But a murmur, but a sigh,

And you shall die! You shall die!

And ye who dare to linger here

Knowing the hour when I appear,

Until the clock strike twelve, begone!

Or perish – perish ev’ry one

Begone!

[They scramble out. After watching them off, AGNES lifts up

her veil and smiles, she then turns before the Portrait, and

places her lamp before it, kneeling.

SOLO

Saintly Agnes deign to pardon

If thy likeness thus I wear,

‘Tis to save a captive lover

And his life – his life to spare.

Thus again thy shrine I kindle, [Light tapers

Lady, ‘tis All-Hallow’s night;

Thou art potent, from this Castle

Assist us and direct our flight.

22

Theo.& }

Mad. }

}

Theo.

Agnes

Mad.

Theo.

Agnes (to Theodore) Theo.

Agnes

&

Ray.

Theo.

(trying)

Mad.

Ray.

Agnes

Mad.

Theo.

All

Agnes

Baron

Ray.

Baron

Ray.

A ghost! No, no, no, they you deceive

Let us see ere we believe,

We will see , &c.

At least this tale will cause them hence to stay

While we release my master and away!

(Repeats part of solo)

It is the Lady Agnes

Yes, yes! ‘Tis the Lady Agnes!

[AGNES turns and observes MADELINA and

THEODORE

Voices! – A, most welcome – no delay -

Quick! Release thy master and away-

I’ll release my master and away –

[He unbolts the dungeon door with difficulty.

RAYMOND enters and embraces AGNES

O, kind Saint thou’st heard my prayer,

And gently calm’d my heart’s despair.

O, kind fate – attend my prayer,

And aid these arms her hence to bear.

Lock’d these doors!

The keys not there?

We’re prisoners still -

I’m all despair

Lock’d these doors!

The keys not there?

Of their escape

I now despair

The night is dark, away with me

Yes! I consent to fly with thee.

Ah! Despair – that step –

Ah! That step!

It is the Baron!

The Baron!

Fearful sight

[The BARON enters R.B. in robe de chambre, his features ghastly – his

hair wild – in his hand a sword – he seems to follow an imaginary form

Stay! Ferdinand!

Ah! My father’s name!

Stay!

O hour of vengeance! [touching his sword

23

Agnes

Ray.

Agnes

Agnes

Mad.

Ray.

Theo.

Baron

Baron

(calling)

All

Baron

Agnes

Ray.

Mad.

and

Chorus

Hold! He is not conscious!

Not conscious!

No he sleepeth!

QUINTETTE

Lost, and in a dream

His eyes on phantoms beam,

Behold, that look – so pale –

Dark shadows him assail.

(kneeling to portrait)

Saint, whose shrine I have insulted -

Listen to my contrite prayer-

[The portrait fades away – beating his breast.

Rejected! – ah! Rejected!

Oh, anguish! Oh, depair!

[The BARON turns suddenly his back to audience, so as to face the rest

of the characters, who do not perceive what passes at back – a ray of

the moon darting through the window in the archway discovers the

same figure of the Nun as if she had escaped from the canvas; she

seems troubled and points to folding doors – clock begins to strike

twelve

Is this madness? Can it be?

The legend true? – And can she leave

Her canvas there – on All-Hallow’s Eve –

Walk from the Castle forth!

Yes, ‘tis she! - [gazing intently

Ho! Francesco –

Open the Castle doors – Take the key -

[feeling in his vest

The key!

Yes, the key

[gives key to RAYMOND – spectre vanishes- clock ceases

ENSEMBLE (mysteriously)

Saint, we bless thee – near us still be,

Thro’ the wood our footsteps light,

While the midnight clock is sounding,

Guide us safely thro’ this night

While true hearts with love are bounding,

Aid, oh, aid us in our flight.

24

Baron

(To Mad.)

Still I see thee gliding past me,

Ghastly spectre pale and white –

While the midnight clock is sounding,

Through these chilling halls to-night.

** [A cry goes up that the prisoner has escaped

Ah, traitress, me betraying-

Thou shalt die –

No pow’r my vengeance staying,

Thou shalt die.

Help within there! – Obey my summons,

The prison’r has escap’d – pursue –

[ RAYMOND and AGNES cross the drawbridge – then THEODORE –

the figure re-appears in the canvas, and the curtain is lowered

END OF SECOND ACT

** The last two pages of the libretto differ in several details from the vocal score,

although the sentiments expressed are much the same. In particular, the critical

stage direction of someone shouting that the prisoner has escaped is missing from

the libretto as is Madelina’s short prayer “Oh blessed Agnes protect this faithful

pair” and the ensemble is shorter and simpler. This suggests that this Finale was in

some flux up to production and that the libretto was printed before the final version.

25

Act III

SCENE I – A forest near the Castle – Storm – Night. Curtain rises to description

Music, during which ANTONI enters.

Ant.

SCENA - RECITATIVE

Rage, thou angry tempest – fierce winds blow,

Shake to its deepest stone yon castle-wall,

My secret this proud Baron soon shall know;

That secret will his soul appal;

Mute victim of his cruel pride

Ravella, too, unhappy bride,

Thy wrongs all soon avenged will be,

‘Tis so decreed by destiny.

AIR

I saw her like a crushed and wounded flower,

Faded ere yet it scarce had blossom’d.

I strove to soothe her griefs, yet from that hour

My heart to dark despair was doomed.

Those accents which had taught my soul to love

Were in deep silence hush’d, she spoke no more

Mute and resign’d, her sadness did but prove

Alas! That happiness for me was o’er.

Howl on, fierce winds, let thunders roll

And echo thro’ my tortur’d soul,

Let storm-fiends shout and fill the air

Let ev’ry blast, yell out “Despair!”

Proud Baron in thy halls of state

Thou soon shalt find the Bandit’s hate:

Revenge will in thine ear then cry

“Despair, despair, despair and die!”

[Exit and end of scene

IN REPRESENTATION THIS SCENE IS OMITTED

26

SCENE II – A Robber’s cave, with cells R and 4; at back a rudely constructed door,

through which is a grated look out. A fire of sticks burning on the floor 4, near it

sits Ravella, plying her distaff; on the opposite side the two sons of ANTONI lying

on the ground and playing with dice. Bandits looking on.

All

Mar.

Rob.

Mar.

Rob.

Mar.

Rob.

Mar.

Rob.

Mar.

Others

CHORUS

MARTINI (tenor), ROBERTO (bass), and Chorus

Play! Play! Fight for the game

The dicebox manfully rattle,

Wine! Wine! The triumph proclaim

Of him who winneth the battle

Twice eight!

Twice eight!

Ten and seven!

Twelve and four, and twice eleven!

Oh! The game is mine

Stay if you please,

Ere you the stakes so promptly seize.

I tell you you’re a cheat!

You call me a cheat?

That word repent – that word repent,

A scoundrel and a cheat!

[One strikes the other

Take that, and to the devil go.

Scoundrel, I’ll kill thee with as blow.

Refrain! refrain; forbear this rage

Like men, and not like wolves engage,

Ravella! Turn your eyes this way,

You alone can end this fray.

[RAVELLA comes forward, takes away their daggers and hides them

under the wolfskin rug. They rush on each other again.

[ A knock is heard, they exclaim,

“Antoni!”

Hush, not a word, beware, beware,

Him to cross we may not dare

Music. Enter ANTONI (speaking through the Music)

Confound this storm! I’m soaking. A cup of wine to warm me.

[MARTINI takes his cloak and gives him wine.

Good boys! So peaceable, so fond of each other. Come hither, lads, don’t

let Ravella hear. Deaf as she is, she always seems to know more than

she ought. Would you believe it, the stranger we robbed last night in

the forest was no less personage than-

27

Rob.

Ant.

Rob.

Ravella

Ant.

The Baron of Lindenberg!

Aye! And someone else – What think you of our captain of banditti in

Andalusia.

What! The great Baron of Lindenberg. Inigo, our old Captain!

(drops her distaff)

Eh! What? Ha! Ha! Ha! She sleeps, and is dreaming no doubt.

[knocking at door] Listen! (voice outside)

Hilloa! – Help within there – help!

ROBERTO runs to wicket – looks through – utters an exclamation of surprise –

whispers to ANTONI, who appears to be astonished. The table is turned into a

rude altar with a large cross on it. ANTONI disguises himself as a hermit with a

long white beard. He motions, menacingly, to RAVELLA to open the door; then

kneels in pretended devotion. RAYMOND enters, bearing AGNES in his arms,

followed by THEODORE with valise. RAVELLLA gazes at RAYMOND for a

moment, as if seeing some remembered resemblance – then totters back to her seat,

and covers her face with her hands. THEODORE is seated on valise before fire.

Ray.

Ant.

(to his sons) (to Raymond)

Theo.

Ray.

Ant.

(re-enters)

Ray.

Theo.

CONCERTED

Pardon! Holy hermit this intrusion, but behold!

A cup of water, pray – in mercy haste –

‘Tis the young Cavalier who defended the Baron

At the risk of his life – in the forest-

Welcome, Signor, to the hermit’s humble dwelling.

Ravella! Some water – haste thee! She sleeps!

I myself will bring it you – soon the Signora ‘twill restore.

What a kind old hermit! Faith, this is more pleasant,

Forest walks are charming, but I’m better here at present.

There’s something so consoling in sitting near the fire,

And with such pious company, what more can one desire.

Heav’n restore thee to this longing breast,

Gaze once more on me and make me ever blest.

The crystal from a sacred spring,

In holy chalice, lo, I bring!

TOGETHER

Ah! She revives – thus restor’d to me,

Restored unto this longing breast –

Gazing my love once more on thee,

I feel for ever blest.

What a nice old hermit! – this is pleasant , &c.,&c.,&c

28

Ant.

Theo(starts)

Ant.

Theo.

(confused)

Ant.

Theo.

Ant.

Ray.

Theo.

Ray.

Theo.

Ray.

Ant.

Ray.

Agnes

Ant.

Agnes

Ray.

Theo.

Ant.

[RAVELLA lifts up the wolf-skin and shews the daggers.

Poor young lady – she revives –

O! Ah!

My son, what ails thee?

‘Tis nothing – I saw a chestnut roasting,

Which somebody forgot –

And trying forth to snatch it

I found it rather hot.

My son, my son, that only shews,

In great or little things,

We should not touch what is not ours,

Lest punishment it brings.

I’ve heard that voice before,

If mem’ry do not fail –

I’ll find out if that beard be real,

Or only some cow’s tail

[He snatches a beard which falls off.

The devil!

What hast thou done?

Unmask’d a villain, sir, behold!

Ah!

What a nice old hermit!

A lesson ‘tis for youth –

To see so bright a sample

Of piety and truth.

Monster, dread my vengeance.

Monster! Dread my wrath.

Away, fool – no longer linger here -

‘Tis you who vengeance have to fear.

Fear not, dearest – I am near thee

Fear assails me tho’ thour’t near me.

Dost thou remember, in the forest -

‘Twas thy arm that struck me down.

‘Tis now my turn – I burn for vengeance,

And no mercy shall be shown.

What evil passion stirs his breast,

My senses sick with fear.

Ah! beware his deadly rage.

Calm ev’ry anxious thought to rest,

Fear not while I am near.

Ah! these trembling doubts assuage.

A pretty saint, indeed!

I wonder what’s his creed?

My vengeance for that blow

Full surely you shall know.

29

Agnes

Ray.

Fear still assails this trembling breast,

In vain I strive to calm these doubts to rest.

Tho’ fear assail thy trembling breast,

O strive to calm these doubts to rest.

ANTONI (blows a shrill whistle). His two sons laugh derisively – Banditti rush in R.

and 4. A skirmish ensues – AGNES rushes to the cross – THEODORE conceals

himself – RAYMOND rushes at ROBERT and pushes him down – others rush on

RAYMOND with their knives.

Agnes

SOLO

Men, who with relentless hearts,

Ev’ry law of honour break,

Think more swiftly life departs

Than the sunlight from the lake.

Mercy, like an angel’s wings,

Lifts the soul beyond this earth,

But guilt, the writhing serpent stings,

The heart that gave it birth.

CHORUS

Ah! what tremor o’er us steals

As a voice comes through the air –

Like solemn knell that sadly peals –

That sadly peals to us despair.

Ah! She revives – thus restor’d to me,

Thunder – the robbers fall on their knees alarmed at the sound. In so doing

RAVELLA discovers a miniature which has been lost in the struggle – she

examines it and utters a scream – shows it to ANTONI – who exclaims –

Ant.

Fernando! Can it be? He – the son of – release him!

[RAYMOND rushes to AGNES – a loud knocking is heard.

ANTONI runs and looks out of the wicket and says

The Baron! – soldiers! Fly, fly or we are taken.

Melodramatic music continued, during which the BARON and SOLDIERS knock

while a large stone is removed, opening a chasm, down which the robbers escape.

RAVELLA, who has been gazing at the miniature runs to the door, opens it, seeing

BARON, screams, and throws herself into chasm pulling stone after her.

Ray.

Baron

Hear me!

Not a word! Again you are my pris’ner

30

Ray.

(aside)

Baron

(aside)

Baron

Agnes }

and }

Ray. }

}

Baron

Theo.

To rescue Agnes from this robber band

‘Twere better I should yield

I triumph! – Soon shall death sate my vengeance,

He, at my command shall fall!

CHORUS (of soldiers)

March! March! The moon looks from above,

Thro’ the forest – thro’ the forest quickly move:

The captive in his dungeon chain,

He shall not escape again.

[During chorus

Away! Away!

Holy Powers that watch above

Over innocence and love –

Vainly we with fate contend,

O Mighty Powers – thy pity lend.

Fell revenge my wrath approve.

Ev’ry fear and doubt remove,

Him to death I’ll quickly send,

She beneath my will shall bend.

I’ll pack up and quick remove,

Neither for reward or love,

Not a prize of gold to gain

Would I longer here remain.

[THEODORE packs up valise

[Exeunt SOLDIERS,&c., &c., March heard after all have left

the Stage

SCENE III – Interior of castle – a low grated window in the flat overgrown with

briars and leaves, a small heavy door also in flat. MUSIC. ANTONI goes up to

window – he wears a cowl – and looks mysteriously in.

Ant. Charity! Charity good signors for a poor wandering monk who is begging

for his convent. (Puts his head into the window). No one! Ha! Ha!

Haughty Baron of Lindenberg – you and your old associate whom you

would so coolly get rid of, must again become acquainted – or – ah!

footsteps (he disappears).

[RAYMOND is brought in by GUARDS. R.

31

Ray.

Baron

(rect.)

Ant.

Baron

Ant.

Baron

Ant.

Baron

Ant.

Baron

Ant.

Baron

Ant.

Baron

Ant.

Baron

BALLAD

Farewell the forest and the plain -

Farewell the blue and starry sky;

My early doom a dungeon chain -

To suffer, or perchance to die

But can a dungeon chain erase

While mem’ry lives, my Agnes dear,

Thy angel form – thy angel face

Thy sigh of love – thy parting tear!

They’ll seek me in my father’s home

For me they’ll rin the passing knell –

But what my fate, or where my doom

No watchful eye, on earth shall tell.

Yet still whate’er my lot may be

Thine image shall my fond heart bear,

Content to die, dear love, for thee,

And all I ask a parting tear.

[As he is guarded out (4), enter the BARON exultingly. R.

Despite resistance, in an hour at farthest,

She to the chapel shall at once be hurried.

He will not easily again escape me _

And in his tomb my secret will lie buried

[ANTONI enters on opposite side and meeting BARON

Charity! charity, noble Baron.

I lack the time good father.

Were I to tell thee of the robber who in the forest did waylay

thee -?

Then indeed, good father, with alms I would repay thee.

What would’st thou give – were he within thy power?

This chain of jewels –

Behold then, - I am he!

Antoni!

Yes! Antoni! Returned to his old chief – the Baron Inigo –

now Lord of Lindenberg – his great respect to shew.

Away. Did I not bid thee from my sight?

‘Tis true! And I revenged was in my flight!

Villain!

I carried off thy ladylove –

Ravella –

Ah! Villain!

Could she approve thy odious passion:-

32

Ant.

Baron

Baron

Ant.

Baron

Ant.

Baron

Ant.

Baron

Ant.

Baron

Ant.

Baron

Ant.

Baron

Ant.

Baron

To do her justice, No! Most wrong’d by thee,

Dumb she became – her beauty like a flower

Faded fast away.

And at this hour –

She may be near this spot – I cannot say.

But she is mad!

O heaven!

Shall we now, like old friends, the castle enter?

Wretch! That depends on one condition –

Name it.

As of old,

Can’st thou unerringly the rifle hold?

My nerves are iron – and my blow is still the same.

There’s one whom I would kill – he’s in my way!

‘Tis done – if thou in gold my work will pay.

A thousand ducats-

Agree – but where –

See’st thou that statue by the chapel there –

Beside that burning lamp in half an hour

I’ll place the gold – to clutch it thou’lt have power –

Hid near the lattice –

Hid near the lattice.

But thou must swear to shoot the man

Who from the castle glides – a female on his arm.

A female on his arm – The gold decides; he shall die!

You swear?

I swear!

Go prepare!

To deceive me do not dare

‘Tis done – my honour pledged – I swear!

[Exeunt R. and (P.)

SCENE IV – Chamber in Castle – 4. (A couch over it a Portrait of the Nun

[Enter AGNES, 4

Agnes

RECITATIVE

In vain I wander thro’ ev’ry dreary chamber,

In vain I call thee, Raymond, every where;

Echo alone respondeth to my anguish,

And thy dear name but mocketh my despair

ARIA

My heart is thine: tis all thine own,

Whate’er thy fate may be –

If grief should be my lot alone,

I’ll share that grief with thee –

I do not sigh for banner’d hall

Nor gems of dazzling worth.

Thy home, where’er it be I’d call

My fairy dream of earth

33

To hear the music of thy voice,

To know that thou wert near,

With thine, this Heart could still rejoice,

Or chase with thee each tear.

Ah no! I ask no banner’d hall,

Nor crown of queenly worth

A mountain cot, with thee, I’d call

My fairy dream of earth.

[Wild and mysterious music follows air. – AGNES appears suddenly

overcome as if by magic

AT END OF AIR – (Agnes)

Agnes

(speaking

thro’ music)

What strange feeling seems thus to over come me like a dream –

My limbs tremble – I faint – I – oh, support me!

[She sinks on a couch – Scene opens and discovers Tableau – the figure of a Nun

appears to bend over and bless her – the tapestry disappears, and a Chorus of

Spectre-Nuns is seen kneeling at an illuminated Altar, at which Raymond and

Agnes are being united.

CHORUS

Agnes, Agnes, bliss attend thee.

Peace of mind and sweet repose;

Ev’ry joy of life befriend thee,

Soothe the heart and calm thy woes.

[At end of chorus

[ MADELINA outside – calling “AGNES –LADY AGNES”!” – The vision fades away

– portrait resumes its position – AGNES rises from the couch.

Agnes

Mad.

Agnes

Mad.

Agnes

Mad.

Agnes

O happy dream! – where am I? Alone!

[MADELINA enters R

Sweet lady, such news, good news!

Tell me –

The Baron’s had a fit –

A what?

A fit of generosity! – Don Raymond is to leave the Castle – you are to

leave the Castle along with him – I – I’m to leave the Castle with

THEODORE.

Dare I believe?

[Enter RAYMOND 4.

34

Ray.

Enter Theo.

Ray.

Yes dearest! Released! Permitted to go forth with thee upon my arm –

what delight – what rapture!

The sooner we depart the better – let us reach Madrid – The Baron’s apt

to change his mind – come Madelina, arm in arm, the sooner we depart

the sooner we shall be out of the dev – I mean the Baron’s clutches

Away then, to Madrid!

QUARTETTINO

(AGNES, MADELINA, RAYMOND, and THEODORE)

Where the pearly dewdrop falleth,

‘Mid the rosy beams of morn-

While the merry skylark calleth,

And the early hunter’s horn:-

Tra la! Tra la!

There on banks of op’ning flowers

While the woodbine twines above,

We’ll forget that time hath hours,

And rejoice with mirth and love.

Tra la! Tra la!

[Exeunt

SCENE the Last – The western wing of the Castle, from which projects a gothic

portico. R.H The Nun’s Chapel – near it a lamp burns before a Statue of the Nun –

opposite, a tomb shadowed by cypress.

MOONLIGHT – MUSIC

Enter RAVELLA from behind the cypress – mysteriously – then as if surprised by a

coming footstep – left, retiring. Enter BARON mysteriously.

Baron

Ant

FINALE

All is silent! Darkness reigneth -

Save where the moonbeams fall

On these worn and time-rent walls –

Or where you expiring light

Addeth horror to the dismal night.

Ho! Antoni – see the gold,

Nought remaineth, but to strike

Be firm! Be bold!

[RAVELLA glides into the portico – the BARON hears her

footstep

Ah! they come! A footstep!

Ho! Antoni!

Ha! ‘tis the gold

35

Baron

Ant.

Silence – no alarm,

Strike him that quites yon portal,

A female on his arm,

Hush, away!

‘Tis done, Away!

The BARON seeing RAVELLA, seizes her by the arm – and holds the lamp to her

face – ANTONI perceiving him – takes aim.

Baron

Ant.

Ray.

Agnes

Baron

All

Baron

Ray.

Baron

Ray.

Ravella

(speaking)

Ray.

Agnes

Ant.

Baron

Agnes

Ha! ha! A spy! Think not hence to steal

This lamp thy hidden features shall reveal.

A female on his arm! His fate I seal.

[he fires and hits the BARON – at the alarm all rush in

The Baron wounded!

Wounded!

Fatal mischance!

Mischance?

Yes! Caught in my own snare.

For thee intended – all reproaches spare

Heaven is just

To those who in its mercies trust

[BARON points to RAVELLA

‘Twas she who sav’d thee”

Ah, who art thou!

Thy long lost wretched mother.

Ah! My mother

Ah!

I’ll to the forest [Exit stealthily

[The BARON observes AGNES who is looking pitifully upon him

Again this fearful vision – O mercy! Forgiveness – I – mercy!

[He dies and is removed from the stage

SOLO and CHORUS

Onward speeds our happy bark,

When Providence is o’er us

Tho’ lightnings flash and clouds look dark,

And waves run high before us.

36

Agnes }

Ray, }

Mad. & }

Theo. }

QUARTETTE

And one kind star is ever lent

Tho’ Hope’s pale smile be past,

To light and guide the innocent

To happiness at last.

TABLEAU – Curtain