LYLE GILBERT BSRKELOUW BOOKOEALERS SYDNEY Bo <&eo. rose "3 give to t^e I3hat was already "^Decorations b? Walter Seeo [Frontispiece} TE6war6 ^V, Vi&ler (Beorge Robertson "P r f?- T1 3Relbourne, Characters ; (Of RIMINI] MALATESTA DA VERRUCHIO, Lord of Rimini. GIOVANNI (nicknamed "The Lame") PAOLO (nicknamed " The Handsome") Hts S NANNA, formerly their Nurse. GIUSEPPE (called " Beppo"), son of Nanna. A Jester. STEPHANO, BATTISTA, LORENZO, BERTRUCCIO. Officers. PlETRO, TONI. Soldiers. BALDASSARE. A Gatekeeper. GRIFONE. LUCETTA, an Innkeeper's Daughter. [Of RAVENNA.] GUIDO NOVELLA DA POLENTA, Lord of Ravenna. FRANCESCA, His Daughter. GITA, Her Maid. DANTE ALIGHIERI, the Poet. JACOPO, BRACCIO, Puccio. Officers. EULALIA, ALICIA, ANNINA. Ladies. ANGELA, a Troubadour. Nobles, Ladies, Minstrels, Retainers, and People. 1502562 Scenery : Act I. A Street in Rimini. Act II. Terrace and Garden of the Palace, Ravenna. Actf ///. Scene 1 . An Upper Room in the Palace, Rimini. ,, Scene 2. Inner Loggia of the Palace. Act IV. Scene 1. Exterior of an Inn on the road to Pesaro. Scene 2. Interior of the Inn. Scene 3. Battlements of the Palace, Rimini. , Act V. Scene 1. A Corridor in the Palace, Rimini. ,, Scene 2. A Woody Glen outside the Palace. [PERIOD : Italy, 13th Century.) OT in the search for some new wisdom's spring By b^d explorer headed to its source ; Not in the hope of finding on its course Through copse and city, some new hidden thing Of strange new perfumes and fine harmonies Undreamt of, or the gorgeous pageantries Of high romance, but once again to tell That oft-told tale the erring heart knows well. A tale of Love, through spheres of azure sped, As young and fresh as Dawn that breaks beyond The eternal storehouse of our destinies, Eenewing all the heart's old ecstasies That ne'er permit the Shadow's dark despond To cloud the Soul's clear crystal with its dread. 7rancesca. thv *a6 fate ~ven to tear* my grief and pity move*. of I. A STREET IN RIMINI. // is night, and the gates are closed, being guarded by a few soldiers, who are standing and sitting about, talking and laughing or playing with dice by the light of torches set in the ground. A loud knocking at the gates and calling by a man's voice is heard without. Baldassare comes leisurely out of the gatehouse. STEPHANO (without] Ho-la ! Ho-la ! the gates open the gates ! BALDASSARE Who calls so loud? Is it friend or foe? Friend. STEPHANO Now open straight! (9) Act I. "C>l)fc 31o* of Ravenna Scene I. BALDASSARE What haste? Art Guelf or Ghibellin? STEPHANO Guelf a true Guelf. Delay not open to me! BALDASSARE Why so urgent? Thou art a friend and a Guelf so far, it is well. Next would I know thy name. STEPHANO Stephano, of Count Paolo's troop. No more! Open the gates ! PIETRO (throwing dice} Believe him not, old man. He is a Ghibellin a rebel. (To Toni) 'Tis Stephano, sure enough, newly returned from Ravenna ; but let him cool his heels outside a while. TONI (to Baldassare} He hath a rebel's voice a very villainous voice. He will come to the gallows; but not in Rimini we'll have none of him here. PIETRO (to Toni} Thy throw. [They laugh together; Baldassare moves about restlessly, bewildered.] (10) Act I. Z5l)ft 3to*ft of 2tavtnna Scene I. STEPHANO Open the gates! Stephano calls. Open, in Count Paolo's name! BALDASSARE So urgent still? Then give the pass- word. STEPHANO "The Mastiff's Fangs" and, mind me, they can bite. So open quick, old Caution. BALDASSARE H'm. (To Soldiers) That is the pass-word, eh? (They nod.) 'Tis well he is no rebel. (Goes to grates) I cannot now deny thee entrance. (Hesitating; to Soldiers) Shall I admit him? Think you 'tis safe to open the gates? [Pietro, who has been looking off, suddenly puts away dice and stands, ivith the other Soldiers, at attention.} PIETRO Hasten, hasten, old man ! Hasten ! Here comes the lord Malatesta. [Baldassare unlocks the gates, as Malatesta enters, with attendants, from Palace. Stephano runs in through gates, and, seeing Malatesta, kneels before him.} (11) Act I. "C?l)fe 3\ose of Ravenna Scene I. MALATESTA Stephano! So soon returned? How hath thy mis- sion fared? STEPHANO Well, my lord. Three days I spent unknown in Ravenna. The townsfolk are wearied of this long feud between our states, and the garrison is sore spent. MALATESTA What more? What of the lord Guido? Is the old Eagle of Polenta still proud? STEPHANO Last night I gained secret entrance into the Palace, but was captured through the wiles of one Gita, waiting- maid to the lady Francesca. MALATESTA (laughing) Ravenna should send her women-folk to war, for they would capture more than her soldiers can slay. But how comes it thou art free? STEPHANO I am sent back to deliver thee this letter from the lord Guido. (Gives letter.) (12) Act I. "Dlje 3lose of Ravenna Scene 1. MALATESTA Our spy turned Guide's messenger? Ah! I am well pleased with thy service. For reward, be captain of thy troop. STEPHANO Sire, my grateful thanks. MALATESTA (sitting) And now begone. (Stephano goes out. Malatesta reads letter.) What writes old Guido? Doth he sue for peace? Ay, as I thought, he craves an end of strife between our factions Guelf and Ghibellin. What saith he here? "And as a pledge of faith" he offers to my son, Giovanni, the hand of his daughter, Francesca, "sole jewel of our house." Ah ! I do like it well. A gracious beautiful bride for so report speaks would soften the rough nature of my soldier son. I will take counsel with him upon this. (To Pietro) Go thou, call the Count Giovanni. [A noise of cursing, cracking of a whip, and yelling as of a man being scourged, and an approaching stampede of People heard without. Pietro goes to the entrance, and returns quickly.] What storm now rages? (13) Act I. "Ob* 31ose of 3tavenna Scene L PIETRO Count Giovanni comes. [Several men and some women run in through archway. Grifone is thrown upon the ground, groaning, is whipped and made to run again by Giovanni, whose face is livid with rage.] GIOVANNI (cracking whip) Thus thus I treat the mocker ! Up ! Thus thus ! Open the gates, that I may drive him forth To herd with Ghibellini on the plain Rebel with rebels ! [The gates are thrown open. Grifone kneels to Giovanni.} GRIFONE Spare me ! Spare me, sire ! GIOVANNI Begone! Begone, thou scum! Thy pestilent breath Poisons the air of Rimini. Begone! [Whips him off through gates, which are then locked.] MALATESTA Giovanni, why this rage? (H) Act I. "Dljfc Slosfc of !5\avfc 31ose of Ravenna Scene I. Two gloomy crows a-sitting side by side! Why sadly brooding, when the 'witching moon Would guide us forth to revels? GIOVANNI (giving letter] Let the moon Light up this page for thee then laugh again ! (To Malatesta, as Paolo stands reading the letter.} Is Paolo not the very Prince of Love? MALATESTA I take thy meaning, but it may not be. PAOLO The victor's prize a guerdon bravely won. GIOVANNI A guerdon thou could' st wear becomingly, Though 'twould irk me. PAOLO Nay. Would'st thou violate Such generous trust, so rich a suit forego? MALATESTA Giovanni feels an unaccustomed fear Steal o'er his heart (21) Act I. 13^* 3lo*fc of Ravenna Scene I. PAOLO (laughing] That he thought adamant ! GIOVANNI I have no thought to marry. PAOLO But the wish, The amorous desire surely 'tis thine? My brother, this fair lady's high renown Proclaims her paragon the most adored Adorable, beloved MALATESTA (to Giovanni, laughing} That should suffice To win thee to her side. GIOVANNI (to Paolo] Know'st thou this maid? PAOLO But by repute. GIOVANNI I would that thou could'st make Closer acquaintance. (To Malatesta) Pray thee, give consent (22) Act /. T5I)* 3lose of Ravenna Scene I. That Paolo to Ravenna goes forthwith To woo this maid MALATESTA Nay, nay. GIOVANNI For me. He'll make A brave decoy my crooked shape would scare. MALATESTA (to Paolo] I care not who doth win her, so she's won For Giovanni and this good peace assured. PAOLO (to Giovanni] What shall I say for thee? That thou art shy That, though in war thou'rt courage typified, In love thou art a very calf? GIOVANNI Say not A word of me, in earnest or in jest, In truth or falsehood. Thou need'st only look Whole books of adoration, as thou can'st, And she will follow thee (23) Act I. T3l)e 3\o*fc of 3\avl)e 3lo*fc of Ravenna Scene I. FRANCESCA What seest thou? DANTE In a glow of living flame Clearly I see thy face and his (He points suddenly at Paolo, who starts.} so close They seem to merge; first gazing in a trance Of newly-wakened love that knows no whit Of hidden danger; next, dark-shadowed eyes Seeking to hide from each some secret dread, And then rapt gaze of terror and despair That burn with fires infernal ah! [He breaks away abruptly, with a groan of dismay.] FRANCESCA What more? DANTE No, no ! I dare not tell thee more. Be warned ! O Fate malign! (47) Act If. 'Ctye 5\0*e of 5\ovenna Scene I. [He goes quickly into Palace. Paolo takes Franc esca in his arms, protectingly.] PAOLO Nay, do not heed his words; So long his fateful steps have mournfully Trod the pine-forest's avenues of shade, His eyes are filled with darkness of despair, His thoughts attuned to fear and bitterness. [ffe draw,? her to seat near arbour, where they sit together.} FRANCESCA I do not fear with thee beside me. Oft Hath Dante broken in upon our mirth Lone, gloomy poet with some dolorous tale And warned us back to serious thoughts again, Lest we forget our factions' long dispute, That he would rather nourish than renounce. PAOLO No more will Guelf with Ghibellin dispute. We are content when our good swords have won Such guerdon as the treasure of thy love. FRANCESCA (archly) Would'st win Love by the sword, O tyrant Guelf? (48) Act II. >!)* Slosfc of Ravenna Scene I. PAOLO Nay, with a song! a ballad richly rare, As though all minstrels chanted to their loves In rapturous chorus, each outrivalling each In passionate fervour. Let me sing to thee As never Love before [Gita has come out of the Palace and stands hesitating. FRANCESCA O minstrel knight, Though I should joy to listen to thy song, I must be patient till we are alone. Gita, my maid, would now approach. PAOLO A plague On prying maids ! FRANCESCA Come, Gita; be not shy. Dost thou seek me, or has thy soldier brave Slipped from thy side? GITA (coming forward) Lord Guido asks for you. FRANCESCA (to Paolo) My father calls us ; we must go within. (49) Act II. ^>l)fc 3lose of Ravenna Scene I. \They go slowly towards Palace ; Stephana comes round corner of Palace and slips into the arbour, while Gita waits in feigned unconcern by the orange-tree, and plucks a blossom. As Paolo and Francesca reach the entrance, Paolo turns and mischievously draws Francesco's atten- tion to them.] PAOLO The arbour h'm! and orange-blossom h'm! [They go in, laughing. STEPHANO (from arbour] Gita! O Gita! Gita, dost thou hear? GITA (petulantly] I am not deaf! And I did also hear "The arbour h'm ! and orange-blossom h'm !" And both did laugh. O what a fool art thou! They laughed! [She throws down orange-blossom and tramples on it.} STEPHANO (going to her) At me! My master laughed at me. GITA My mistress laughed at me. (50) Act II. "Ofce 31osft of 3\avenna Scene 1. STEPHANO Well, let them laugh. I feel that I must laugh myself to-day, For who could weep? Come, here's an arbour near. So cosy-sweet a very nest for Love! GITA Then get thee in. I'll fetch a kitchen-maid To bear thee company. STEPHANO Beshrew me now ! O what a bitter tongue! Go, fetch her, then. I'll make thee jealous of that kitchen-maid. GITA Tut ! tut ! Thy tongue doth clatter in thy mouth, Like a dry stick within an empty pot. STEPHANO Say, rather, like the hammer in a bell That doth distil sweet music on the air. GITA Yet even bells may jangle out of tune. STEPHANO Not if they're played upon by skilful hands. (61) Act II. "Cjfcft 31os. of 3\avenna Scene I. I am like bells. Now play on me but true And I will ring thee peals like wedding-bells. GITA Thou'rt like thy master, then. STEPHANO What like is that? GITA The wedding-bells pealed out when first he stood And looked upon my mistress. Did'st thou note How, when they met, their eyes did seem to lock In quick embrace? What happy chance is this That what was planned for them is their desire, And this set marriage sanctified by love. [Stephana has listened with a puzzled expression and now exclaims, horrified.] STEPHANO O saints in heaven ! What is this thou say'st ? Their eyes seemed to embrace? Theirs? GITA Is't not so? \Francesca and Paolo come slowly out of Palace and go to arbour, near which Gita and Stephana are now Act II. >l>e 3lose of Ravenna Scene I. sitting. They listen, Francesco, gradually realising that she has been deceived.} STEPHANO Love between them? GITA I watched them joyous greet, As if a happy fate had linked their hearts Long ere they met. STEPHANO Of whom now dost thou speak? GITA But of thy master and my mistress. STEPHANO Eh? Lady Francesca and Count Paolo? GITA Who Is this Count Paolo? STEPHANO He that is within The proxy for his brother, Count Giovanni. {Francesca turns upon Paolo, with sudden suspicion.} (53) Act II. "Db* 3lo*fc of tft.avc.nna Scene I. FRANCESCA If thou art not Giovanni, who art thou? PAOLO I am his brother, Paolo. FRANCESCA What art thou? I know not Paolo. Art thou his decoy, His lure, his mask? Why came not he himself? Was I not worth the wooing? I am shamed, Humiliated, made of no account! Thou'rt sent to bring the chained hostage home? (Gita, followed by Stephana, goes slowly into Palace. Franc esca sits dejectedly on seat; Paolo approaches her, diffidently.} PAOLO Francesca, let me speak. 'Tis some mischance That gives my mission semblance of deceit FRANCESCA : I will not hear thee speak. The ill is done. Lord Paolo, go ! I hate to look on thee ! \Guido comes out of Palace and Francesca runs to him, clinging to him.} (54) Act II. T?l)e 3lose of 3lav*nna Scene I. GUIDO Francesca ! FRANCESCA Father, let me shelter here, As I have done so long! GUIDO Why weepest thou? Some lovers' quarrel? Count Giovanni, what PAOLO Whence comes this doubt that I had come to thee As proxy for my brother? GUIDO Brother ? Now I see more clear. When first I looked on thee I was perplexed. PAOLO My father's letter, sire GUIDO The letter? It was my intent to read At leisure. I am much to blame. Forgive. [He takes out letter and reads to himself.} (55) Act II. "Dlje 3\o*e of 31avctina Scene I. FRANCESCA How humble art thou to so base a churl ! GUIDO Yet must I seek a reason for this plan. PAOLO My Lord, Giovanni's reasons are his own. Hast thou ne'er seen him? GUIDO Nay; but grim report Had warned me that Giovanni wears a shape More fit the dauntless warrior than thine. FRANCESCA Then am 1 shamed indeed ! I was deceived By my too sanguine heart to bare to him This proxy! secret hopes that should be hid In maidenly reserve. (To Paolo] Thou may'st de- part! PAOLO Dear sister, not alone. GUIDO He waits for thee. (56) Act II. "C?l)c 3\o*e of Ravenna Scene I. FRANCESCA Thou hast thy retinue for company; They'll pleasure thee upon thy homeward way With jests upon a maid who sued for love. If thou'rt still dull, thou'lt sing thyself a song "A ballad richly rare" that celebrates Rimini's last, most cruel victory. PAOLO Francesca, thy sweet voice is ill-attuned To words so scornful and unmerited. FRANCESCA Am I reproved by thee? GUIDO The blame is mine. FRANCESCA Yet I am shamed PAOLO Speak not of shame. Thou hast a gift conferred the treasure of thy love. FRANCESCA Be not so sure of love. I gave no pledge Of aught but faith as surety for this peace. (67) Act II. "Gl)fc tftosa of 3\avcitna Scene I. [The joy-bells ring out merrily and Paolo's retinue come out of the Palace. Francesca listens with agitation.} GUI DO (by sundial) 'Tis now the hour when thou must journey forth To Rimini. PAOLO Where all await thee now With eagerness. FRANCESCA Why should I venture forth On such a mission dark and doubtful? Now Do Dante's warning words affright my heart. PAOLO To Rimini thou goest with thy hands Filled full of generous gifts Peace, Joy, and Love. FRANCESCA Harp not on Love! It is not in the bond. This soldier grim hath won me with his sword. I go as hostage for the peace we crave. GUIDO Nay; but as guardian of Ravenna's pride. (58) Act II. t3l)* tftose of 3\avftitna Scene I. FRANCESCA Fear not for that ! Thy pride is safe with me. (Nobles and Ladies now assemble, the Ladies flocking about Francesca, with garlands of flowers, to take leave of her.) Farewell, my friends my ever-faithful knights. (Nobles kneel before her and kiss her hand; then she runs to the Ladies, effusively kissing each.) Eulalia Annina Alicia all My fond dear girls, my playmates. I must leave With you my fondest memories those thoughts Of happy childhood I would ne'er forget. Treasure them well, that I may find them here, If I return some day perhaps, some day, As I do hope I may. Farewell ! Farewell ! PAOLO Say not farewell. The road to Rimini Lies open wide for all Ravenna now ; And where Francesca reigns, the Queen of Peace, Those she doth love will be her subjects still. This marriage links her old home to her new With silken cords of kinship and of trust. (59) Act II. of Scene I. GUIDO Though for a space we part, we soon will meet In thy new home. FRANCESCA It is the fondest wish Life holds for me henceforth to see thee soon. [She embraces him passionately, then with recovered courage she turns to Paolo, giving him her hand.] Come, new-found brother, let us now depart While I am brave. Take me to Rimini. [END OF ACT II.] (60) III. SCENE 1. AN UPPER ROOM IN THE PALACE, RIMINI. Giovanni is standing by embrasured window overlook- ing a courtyard; Beppo is perched high in window ^ looking out. GIOVANNI What dost thou see? BEPPO The old accustomed scene. First, Rimini lies huddled at my feet As though in homage to the king of fools; And out beyond the gates, Augustus' bridge That spans the river, and beyond the bridge I see the plain, the forest, and the sea. GIOVANNI Yes, yes! No human life? (61) Act III. 'CJlje 3\ose of 31avenna Scene I. BEPPO Near, stands a horse; He's more than human lives an honest life And cleanly, and doth labour for his keep. GIOVANNI See'st thou no cavalcade? BEPPO Ay, that I do. Stephano's there his arm about a maid ! And many knights and soldiers. GIOVANNI Yes! Who else? BEPPO Who else, indeed! And is not that enough? Except Count Paolo's self, a mongrel pack Decked out in trappings like a carnival, But to such eyes as mine, that see inside The spangled coats, what black-heart dogs are they GIOVANNI Cease! Is there not a ladv with the train? (62) ct III. "C3l)e 3\ose of 3\aveitito Scene I. BEPPO Ah ! then, perchance, thou meanest such an one As now I see, a-riding next the Count GIOVANNI How looks she? BEPPO Ah. per Baccho, how she laughs ! GIOVANNI The lady? BEPPO No! I mean Stephano's maid. GIOVANNI Lady Francesca tell me, what of her? BEPPO Thy father welcomes her. It seems that he Has not forgot the way to greet a maid. Go down, go down, before the kissing's done ! She'll kiss Count Paolo next. Thou'lt have no chance If once she kisses him. GIOVANNI (sitting] Dost think that they (63) Act III. "Ctye 5\o*c of IHavenna Scene I. BEPPO I never think; I've only time to speak And act. (He scrambles down arid stands behind Giovanni's chair. ) Come, rouse thee! Do not look so glum. Art thou so fearful of a little maid? Brood not, but speak her fair and sweetly act, So she will have no time to think. GIOVANNI Begone ! (Beppo runs out, laughing. Giovanni rises and paces about.) Is it too late to now withdraw my troth? Though manly would I act, the prophecy My memory haunts. (Shudders.) Dio! I am like one Who, parched with thirst, comes on a crystal stream And stoops to drink how deeply of such joy! But hears a cry, "Drink not! the draught is Death!" [Beppo peeps in through curtains, and cautiously approaches Giovanni.] (6*) Act III. C>b* 3\o*c of Ravenna Scene /. BEPPO Master, thy private ear. Dost thou recall The stone escutcheon on the entrance-wall? Its strange device a rose and elephant Now, to my wit, sets forth a parable. Already here an elephant doth bide I speak no names ! To-day, will bloom a rose Within these gloomy walls. Its fragrance now Steals on our senses, and the great beast rears His eager head ah! how thine eyes do blaze! Let him take heed, this elephant, lest he In clumsy ardour crush this dainty flower. Dost take my point? (Giovanni, with a growl of rage, raises his hand to strike him, but Beppo points ivarningly to curtains, which he draws aside.} They come. Be not so fierce. Look cheerful, elephant! [A fanfare of trumpets is heard without, as Malatesta enters, escorting Francesca, with Paolo, also Gita, Ste- phano, and attendants.] MALATESTA My son, thy bride ! Act III. "C^e "frost of 3tavenna Scene L FRANCESCA (to Paolo] This is the Count Giovanni? PAOLO It is he. GIOVANNI (to Malatesta) This bright reality transcends my dreams! PAOLO (with Francesco.} I bring to thee thy bride. GIOVANNI Can Fate design Such wondrous bliss for me? [He bows and kisses her hand.] Thy hand is cold Thy face pales. Art thou faint? GITA (coming forward) My mistress, thou- FRANCESCA (to Gita] Stay by me here. GIOVANNI The journey wearied thee. Sit thou awhile and rest. Paolo pushed on Too swift. He knew our eagerness. (66) Act III. Ol)i 3\05e of 3tavemu Scene I. \Francesca sits, Giovanni standing beside her chair. ~\ FRANCESCA The way Thy brother sought to cheer with praise of thee. GIOVANNI With praise of me? Our Paolo doth exceed The bounds of reason when his heart doth speak. FRANCESCA If thou art worthy half his praise, 'tis well. GIOVANNI (to Paolo] Ah, brother, it is sure thou serv'st me well. (To Francesco} Thou mak'st me bold to hope I do not seem To thy fair eyes so hideous a thing, Not meriting thy trust. Yet if that be Impossible, I will not hold thee bound. FRANCESCA But why should I mistrust thee? GIOVANNI I am called Mastiff of Rimini. Act III. Z3fcfc 3iose of 31aveitna Scene I. FRANCESCA My father's house At night is guarded well by savage hounds That, in the day, were my most gentle friends. GIOVANNI So let me be to thee thy trusty guard And gentle friend. FRANCESCA I should be well content So that this ancient feud no more shall rage. GIOVANNI Thou dost not fear me, then? BEPPO (aside) Kiss, and be done! [Francesco, rises and puts her hand on Giovanni's arm. FRANCESCA Be patient with me if at first I fail In duty and the ordering of thy house. GIOVANNI I'll seek to guide thy unaccustomed steps, And Paolo's here for counsel. Brother mine, (68) Act III. "Dlje 3\os* of ^Ittvenna Scene I. Be sure this service thou hast rendered me Hath overbrimmed my heart with gratitude. PAOLO Speak not of gratitude 'twas duty's task. And now another mission calls me hence; Our brother at Pesaro sends for help That he may raise the siege. FRANCESCA The siege? No, no! GIOVANNI There is no haste. Stay thou to see us wed. [Francesca, who is agitated but tries to hide it, speaks aside to Paolo.} FRANCESCA I would not have thee go. GIOVANNI (suspiciously] 'Tis strange! 'Tis strange! Paolo Francesca what FRANCESCA (controlling herself] I will withdraw. Paolo, farewell. (69) Act III. "Dfce 3\oft of 3\avenna Scene I. PAOLO (satirically] All happiness be thine. [He kisses her hand ; Franc esca falters but hides her agitation; Giovanni watches her as she retires, with Gita and her attendants; then he turns suspiciously upon Paolo. ] GIOVANNI What means this change in thee since thy return? This sudden zeal in warfare PAOLO Doth become me! For one of us must heed our brother's call. Stay thou and marry, but delay me not. [He goes out with Stephana. GIOVANNI What motive doth lie hid in this? MALATESTA Look not For motives base. Paolo hath won thy bride For thee and once again doth take thy place This time where peril lies. (70) Act III. "G\)t 3lose of Slavfcitna Scene I. GIOVANNI "Where peril lies"? I never knew him choose the dangerous path. BEPPO Yet the worst danger lurks in woman's eyes I've found it so. GIOVANNI Had Paolo wooed this maid, 'Tis sure he would have won her for himself. MALATESTA Yet has he put her hands within thine own And wished her happiness. BEPPO A worthy wish; Still would I counsel take her quick to wife. I do not trust her restless, roving eyes. GIOVANNI Cease, prattling fool ! and see thou steppest not Beyond the limits of thy privilege. {Giovanni goes out, with Malatesta, followed by attendants. ] (71) Act III. ^l)*, 3tos* of Ravenna Scene II. BEPPO My jest comes to its point that's the first scratch. See how he bites the dagger when it wounds ! Ho, ho, my puppets! Dance, my puppets, dance! [Goes out, laughing. [END OF SCENE 1.] Scene 2. INNER LOGGIA OF THE PALACE, leading to the women's apartments. Francesca is leaning on the balcony, which overlooks the courtyard. Git a comes out to her. GITA My lady, I entreat thee come and rest. FRANCESCA (drawing Gita affectionately to her side] My Gita, stay awhile with me. I long For thy sweet woman's sympathy and love. GITA How can / solace thee? (72) Act ///. "C^e 3\ose of Ravenna Scene II. FRANCESCA Thou art so brave! I feel it in the grasp of this firm hand ; I see it in thine eyes, so steadfast true! (Pauses.) Would I could tell thee! GITA When have secrets sealed Our trusting hearts? we have like sisters been Since thou wert motherless. FRANCESCA Not secrets now, But dreadful thoughts and sinful impulses That war against my pride. GITA Thy heart is true. FRANCESCA Nay, 'tis my heart revolts against this bond Political, that knows but Duty, Faith, Nor asks for Love. GITA Yet doth the Count expect That thou wilt love him. Did he not make plain, My word and look, how deep his fancy's stirred? (73) Act III. "Clje 3\ose of Ravenna Scene II. FRANCESCA That doth appal me! O, if I were true, But I am false! I smiled and gave my hand My smile a mask, my hand as cold as stone! GIT A But marriage must be shame where Love is not. FRANCESCA So speaks my heart ! This marriage is accursed, And I am sold to shame a very slave! (Nanna appears in doorway, as Francesco, is speaking, and stands listening, looking at her with cruel eyes.) Who doth break in upon my privacy? NANNA (entering) I would have word with thee. FRANCESCA But who art thou? NANNA Nanna, once nurse to Malatesta's sons. FRANCESCA (to Gita) Go, wait for me within the chamber. Go. (To Nanna) What would'st with me? [Gita goes in, reluctantly. (74) Act III. I3t> 3lose of 3lavetuui Scene If. NANNA Giovanni's not for thee! This ancient feud of factions must be fought Till one is vanquished utterly; no truce Avails while Rimini is unavenged. FRANCESCA Vindictive woman, art thou not appeased Now that I come as hostage for this peace? NANNA No union with thy house can e'er be blest. The portent hath proclaimed its direful end. FRANCESCA Why should I fear such evil prophecies? NANNA The weird of Rimini foretold thy doom, If thou wilt not be warned. Flee from thy fate! Feign sickness, or some amorous fault confess That bars thy marriage. FRANCESCA Woman, thou arfe mad ! Why should I lie away my good repute? Go! Go! (75) Act III. "Ofce 3lose of Stavenna Scene II. [The voice of Paolo is heard without, calling from courtyard.] PAOLO Francesca ! [Francesca starts; Nanna, watching her, laughs malici- NANNA Who doth call thee now? Some lover? Did I chance upon the truth? Confess ! FRANCESCA No! No! PAOLO (below) Francesca ! NANNA Look below And see who calls thee. FRANCESCA No, I will not look, But now must go within. \She turns towards door, to go in, but Nanna con- fronts her.} (76) Act III. "Ofce >los* of >lavenna Scene II. NANNA Thou shalt not go. 'Tis Paolo! Dost thou hear? Thy lover calls. FRANCESCA No, no! [Nanna looks searchingly into Francesca's eyes and Francesco, droops her head.] NANNA Dost think me blind ? That sudden flush ! Thou lovest Paolo and he loveth thee! When next he calls thee, let thy fond heart speak. (Aside) 'Tis as I hoped. My vengeance now is sure! [Nanna goes out, gleefully. PAOLO (more urgently] Francesca ! FRANCESCA 'Tis his voice. I dare not look. PAOLO Francesca ! [She moves forward to balcony, as though against her will.] (77) Act III. "Db* yiose. of 3lavnna Scene II. FRANCESCA Paolo! Paolo! PAOLO Fare thee well! FRANCESCA I dare not! (After a pause of indecision, she looks over the balcony.} Paolo ! He has gone. 'Tis best. (Gita enters, smiling, holding something behind her.} My mistress, I have laid the bridal robes All ready for thy tiring. Thou wilt be The fairest vision all Romagna knows A very Queen. And here I bring thy crown. (She holds out a wreath of roses and orange-blossoms.) Now guess who sent it. FRANCESCA (without interest) Where is need to guess? My lord, Giovanni. GITA Nay, not he. (78) Act III. "C>l)fc 3loe of 3lavenna Scene II. FRANCESCA (still without interest] Who, then? GITA Count Paolo sent it. FRANCESCA (brightening, taking wreath) I will wear it. 'Tis A brother's kindly thought. How sweet a scent What wealth of colours blended how they blush, These roses ! Ah ! (She holds them up to her face, joyfully, caressingly.} GITA They match thy cheeks. FRANCESCA (sighing) Go thou. [Gita goes in. Symbol of Love and holy sacrament Emblem of Lif e and pledge of happiness ! (She is about to put the wreath on her head, when wedding-bells peal out. She stands, listening, and gradu- ally a look of terror comes into her face.} My wedding-bells ! My marriage ! Act III. 'Cjfye 31ose of Ravenna Scene II. (She looks at the wreath with a sudden revulsion of feeling.} Paolo's gift! My bridal wreath ! Symbol of treacherous love ! I'll wear no gifts of Paolo's perfidy! (She passionately tears the wreath to pieces.} Your perfume is but poison, rankly sweet! Your tints and shapes so craftily are blent To bring a message of false harmony To my too-trusting heart. Paolo betrayed When he so fondly gazed and rapturous Stole my betrothal kiss; my father lied, Who told me not my suitor wore so wry And terrible a shape; and I I lied To him, Giovanni, in submission meek And cowardly; and now these clanging bells Ring out a lying psalmody of joy The while my heart doth break ! [She kneels by balcony; her voice breaks on the last words and she gathers up the fiowers and presses them to her breast. At this moment, Paolo, who has clam- bered up the balcony, leaps to her side and she rises, looking at him for a moment in uncertainty and thi'n abandons herself to his embrace.} Paolo! 'Tis thou! (0) Act III. ?l)fc 3los* of Ravenna Scene II. PAOLO Francesca, but a moment ere I go. FRANCESCA Nay, do not leave me. PAOLO There is danger here. (He breaks away and leaps over balcony, Francesca clasping his hand as he descends.) Farewell ! FRANCESCA Nay, do not go! PAOLO Farewell ! Farewell ! [He disappears, and Francesca draws back, standing rigidly.} FRANCESCA What have I done what said? Give back my thoughts ! Where is my faith? Ravenna, hold me true! Let not my wild heart drive me on to sin. Ravenna help me keep me true to thee ! O keep me true to thee ! (Crouches by balcony, weeping.) [END OF ACT III.] (81) Iv. SCENE i. EXTERIOR OF AN INN ON THE ROAD TO PESARO It is early dawn. Several rough voices are heard without, on left side of road, singing a refrain And it's tweet tweet tweet! Like a thostle's minstrelsy; And it's sweet sweet sweet ! Like a lover's ecstasy. "Tweet tweet!" we sing. "Sweet sweet!" [A number of Officers enter from road, some throwing themselves on the benches before the Inn, and others standing about. Stephano knocks noisily at the door.] BATTISTA We are out with the birds this morning too early for mine host or even for dainty Donna Peach-blossom, (82) Act IV. "Gfce 3lo*ft of Ravenna Scene I. his daughter. But hammer away, good Stephano, till you awaken them. LORENZO I'll watch the windows for a glimpse of the fair Lucetta in her night-shift. (Other Officers also watch the upper unndows, laughing.} BATTISTA Shall we serenade her with another song of the rosy dawn ? BERTRUCCIO Mine host might mistake it for a crow's chorus and empty a blunderbus down our throats. STEPHANO I'm for rattling a few pebbles on the most likely- looking casement. (He looks up at the right upper window.) This one looks the more promising ; this ivy would make a convenient ladder for an ardent lover. C88) Act IV. "&b*. 3lost of 3tavtnna Scene I. BATTISTA No better judge is there than our Stephano since Gita came from Ravenna. (They all laugh.} STEPHANO So speaks jealousy; but here comes Count Paolo he is the most practised wooer of us all. LORENZO Let him not hear thee, or thou'lt need bandages, not love-tokens. [Paolo enters from road, and sits moodily on tree- stump by the road-way. Stephano throws pebbles at right upper window and Battista bangs with his riding- whip at door, which opens and Lucetta comes out.] BATTISTA Ah, Mistress Peach-blossom dear little Peach- blossom ! LUCETTA Enter, good sirs, and take a drink within. BATTISTA I'll take a kiss without or with thy leave. [Kisses her and goes in. (84) Act IV. C>l)e 3lose of Ravenna Scene /. BERTRUCCIO Ah ! this flower is all honey. Let me sip. [Kisses her and goes in. LORENZO (Catching her, as she turns to go in.} Ripe fruit it is! Stay, let me take a bite. [He kisses her and goes in. Other Officers attempt to embrace her, but she slaps their faces and drives them in, merrily.] LUCETTA That for your sips and bites! (To Paolo] Wilt thou come in? (Paolo does not notice her; she tosses her head, disdain- fully.} This one whoe'er he is seems deaf and dumb. [A great noise of calling and banging on a table is heard from within. The window below is thrown open and Battista looks out.] BATTISTA We'll help ourselves, if thou dost long delay. Count Paolo will not kiss thee linger not. (85) Act IV. ^Dlje 3tose of Ravenna Scene I. LUCETTA Count Paolo 1 (She curtseys and goes in. The window is shut and noise ceases.) PAOLO Now I must bestir myself. This mood doth make me churlish. (He rises and calls out with forced gaiety.) Ho, friends, ho! Await me, ere you drink. I'll give the toast. Here, wench, that kiss I'll not be cheated so! (Laughing mirthlessly, he pushes open the door, and enters the Inn, as the scene changes.) [END OF SCENE 1.] (86) Act IV. "C^a. 3lo*e of Ravenna Scene II. SCENE 2. INTERIOR OF THE INN. The Officers are standing, with flagons in their hands. Paolo enters excitedly, and they look at him, surprised. Stephana makes room for him at head of table. Lucetta takes wine to Paolo, who takes flagon from her, emptying his purse into the salver. PAOLO You wait for me to give the loyal toast? One name one only claims our thoughts to-day. Lady Francesca, Count Giovanni's wife, Ravenna's peerless rose. Drink deep. The bride! OFFICERS The bride! PAOLO The bride ! Ravenna's pledge of peace ! [They all drink with acclamations and Officers sit down. Paolo sees Lucetta still standing beside him and he is about to kiss her but looks earnestly at her, speaking in a low voice.] '87) Act IV. d)* 3lose of 3lav!)* 3\o*e of 3\avenna Scene If. GIOVANNI Say'st thou "shall not" And "will not"? Doth thy will or mine dictate What thou shalt do? PAOLO I shall not see thy wife. GIOVANNI Thou dost persist ? (He pauses, and then speaks with pretended brotherly confidence, watching Paolo secretly.} I'll bare my heart to thee. Too hopeful was I in this covenant That linked Francesca to my destinies. Her nature's cold and passionless. PAOLO (impulsively] Her heart Is warm with kindness. GIOVANNI (satirically) : Thou hast found it so? To me she's cold but thou shalt plead for me. PAOLO (Keeping himself under control and speaking calmly.) Her love will bloom the sweeter for delay. (91) Act IV. r>fce 31ose of 3lavenna Scene II. GIOVANNI Thou thinkest so? Yet did she owe me love When first we wed. PAOLO Remember, then, her youth ; For maids are shy and not so easy won. GIOVANNI Yet thou did'st find her somewhat less than shy- Thou did'st but look and beckon, and she came Ardently to thy side or so it seems. PAOLO Speak'st so to me? GIOVANNI Ay, so I speak to thee Thee, and all other prancing popinjays Who dance so gaily into women's hearts ! So give good heed. I'll not be played upon. PAOLO Dost thou suspect thy brother of his faith? GIOVANNI Prate not of brothers nor of faith to me! Dost think thyself so subtle, I so dull? (92) Act IV. "G^t. 3\ose of 3\avenna Scene II. By all that's mean, what sort of man art thou Who would betray his trust, then prate of faith? Some men turn not to any woman till Another man desires her so with thee. Are there no other women in the world? PAOLO Hold ! Hurl no more contemptuous words at me ! I'll prove thee wrong at point of my good sword. GIOVANNI Ha! thou would'st slay me, then, to gain my bride? Come, kill me if thou can'st ! Come, draw thy sword ! Or is thy courage spent in blustering words? (He draws his sword, but Paolo retreats from him.) PAOLO Thou art my brother. Sheathe thy sword again. GIOVANNI Ha ! thou would'st make of brotherhood a shield That was no hindrance to thy perfidy. PAOLO Will naught content thee in thy jealous rage? Stand at defence. (Fie draws sword, but reluctantly. Giovanni laughs.) Act IV. ^>I)C 3\* 5\ose of >lavenna Scene II. Giovanni, in good faith I won thy bride And brought her safe to thee; in faith I go Once more upon a mission undesired At thy behest. If ill may chance 'tis thine, If good, 'tis mine; for thine the motive base And mine the danger. GIOVANNI Bah ! more words ! more words ! I'm tangled in thy sophistries. Begone! The risks I take; the proof still lies with thee. PAOLO Giovanni, one word more. Our boyhood's love Still holds me bound in honour to thy trust, But, lacking trust from thee, I say "Beware!" Fate is so strong and cruel it may break The bond of kinship. So I say "Beware!" [Goes out. GIOVANNI Paolo! he's gone. I will not call him back, Lest I relent. This jealous doubt doth kill. Perchance when he doth face the danger near, He'll flee from it. (Trumpet-calls heard without.} The call. Ah, welcome sound! (97) Act IV. 3\osc. of Ravenna Scene II. No more romance for me when war's afoot War! hot, red war! (Draws sword.} The Mastiff bares his fangs ! Ho, ho, there, ho ! [Goes out. [END OF SCENE 2.] (98) Act IV. 13^e 3\os* of Mavtima Scene III. SCENE 3. THE BATTLEMENTS OF THE PALACE, RIMINI. Gita is seated, ivith embroidery, near the Palace. GIT A (sighing) Heigho ! Heigho ! How dull is Rimini ! All day my mistress sits alone and reads Sad books, and sighs, and for Ravenna weeps. O lack-a-day, this place is desolate! There's no one but the fool, and he's a pest With his stale jests culled from some book of wit. [Beppo climbs up battlement -wall behind her and sift there, listening.] 'Tis ever Beppo Beppo ! Prattling sprite A very imp to plague me with his laugh. [Beppo laughs. Gita starts and looks round.] Thou'rt here again? May I not be alone? BEPPO Not glad to see me, when thou art so dull And lonely? Well, what do you maidens want? (99) Act IV. Z3^e 3\o*e of Ravenna Scene III. GITA Not fools, forsooth ! BEPPO Yet every man's a fool When maids are by. GITA. Ay, men but men are scarce. BEPPO (advancing] There's one still faithful ever at thy side. GITA (rising) get thee gone! Thou art not half a man. BEPPO Rare goods are oft in little parcels packed So naught may run to waste. Sit down again, And I will tell thee such a merry tale Of Love, dear maid. Sit down. GITA. [Seating herself reluctantly at farthest end of seat.] My mistress bade Me wait for her awhile. But get thee gone. (100) Act IV. "Dlje 3\ose of Mavcnna Scene III. BEPPO That means thou would'st I stayed. I know you maids ; You speak in contraries. So here's my tale. Once on a time a merry time it was; Not like these days when merriment is dead There dwelt a lovely maiden and a man. [Stephana appears behind them, looking over the battlement-wall. ] G I T A ( satirically ) The only two that lived upon the earth? BEPPO (nearer) So it seemed to them. They only saw themselves, As we do now they were so very fond. [Beppo makes a cautious movement to embrace her, but Stephana has followed him along the wall stealthily and grips him from behind, speaking in his ear in a girlish voice. ] STEPHANO As fond as we are, Beppo? BEPPO (struggling} Let me go ! (101) Act IV. "G^. 31ose of 31avenna Scene III. GITA (mischievously] Is that the maiden thou wert telling of? BEPPO Unhand me, or I'll pinch thee. (He sees Stephana's arm, which he was about to pinch.} 'Tis a man! [Gita screams and rues. Stephano laughs, looking round from behind Beppo.] STEPHANO (in own voice) Did I disturb the tale? GITA Stephano thou ? The little fool doth plague me with his talk. STEPHANO I'll drop him in the river. GITA He'll get out, Like a dull dog we vainly try to drown. STEPHANO (releasing Beppo} Begone, then, while thou'rt safe. 102) .let IV. 'Gfyi 31osc of Ravenna Scene III. BEPPO No thanks to thee. (To Gita} Some other day I'll tell my pretty tale. (He runs off into Palace,, as Stephana climbs over battlement-wall. Gita embraces him, gladly.} STEPHANO Art glad to see me? GITA Do I not seem glad? STEPHANO Ay, seem; but who may know a maiden's heart? GITA My heart is safely thine there's none to steal. That imp's the only thing in shape of man That haunts the Palace walls. STEPHANO Then thou art safe While I'm away. GITA Safe as a prisoner In dungeon-cell. Heigho! this place is dull. (103) Act IV. "?!) 3lose of Ravenna Scene III. STEPHANO Perhaps 'tis well. But where's thy mistress now? GITA Why dost thou ask? STEPHANO Count Paolo now doth come To speak with her. GITA My lady is within, But presently will come to walk awhile. STEPHANO Then thou wilt be at liberty and we May have that hour together. Soon I go Again to join our troop. GITA To fight again? O must thou always fight? STEPHANO Till I am slain. (Gita screams and clings to him.} Ah, well, I may return if I'm alive. (104) Act IV. ffy*. 2lose of Ravenna Scene III. GITA be not slain ! Keep thou behind the foe ! STEPHANO See what a hero thou would'st make of me. GITA 1 want no hero, but a whole live man. STEPHANO So that my heart be whole and wholly thine, What matters it? GITA O bring back all of thee! [Frances fa comes slowly and pensively out of Palace.] STEPHANO Thy mistress comes. Now must I to the Count. (He goes out through gateway. Francesco, drains Git a to her side and sits.) FRANCESCA What! hast thou found another in the place Of thy fond soldier-lover? GITA It was he. (105) Act IV. Z3l)e y^osi. of Ravenna Scene III. FRANCESCA So soon returned? Alone? GITA Count Paolo, too. FRANCESCA (gladly) Then shall I see him, speak with him again And hear his voice! GITA Ah, mistress, why so glad? FRANCESCA Why should I not be glad? [Paolo enters through gateway and goes slowly to Francesca.] GITA Count Paolo comes. [Francesca rises and goes quickly to him, to greet him gladly, but he draws back. Gita goes into Palace. ] FRANCESCA How serious art thou! Dost bring ill news? (106) Act IV. I3l)c 3lose of Maveuna Scene III. PAOLO A message from Giovanni. FRANCESCA (Anxiously, as they both sit.) You have met? PAOLO At early dawn he overtook our troop With urgent new commands. FRANCESCA He hath gone on? (Satirically) The battle claimed him soon. 'Tis but a week Since we were wedded, yet the trumpet sounds And he must go. PAOLO Was't not another cause That drove him to the camp? FRANCESCA (sullenly) I do not know. PAOLO He bade me seek his wife and speak to her Upon a subject that lies near his heart. (107) Act IV. "C^e Slose of Ravenna Scene III. FRANCESCA More near his heart than War? PAOLO He spoke of Love. FRANCESCA What doth he know of Love? PAOLO He craved of me To move thy heart. FRANCESCA Art thou to teach me Love? PAOLO He is thy husband, and would teach it thee. FRANCESCA It was not in the compact when we wed. Peace and good-faith, but not a word of Love. PAOLO Yet 'tis the seal of every marriage-bond, As well thou knowest. Sister, let me urge FRANCESCA Nay, do not call me sister 'tis a name (108) Act IV. T^t. 3lo$A of Ravenna Scene III. I am not used to, for I never had A brother. It would seem thou likest not Francesca. (Coquettishly.} PAOLO (unguardedly) 'Tis thy name, and so 'tis sweet. FRANCESCA say again, " 'Tis thine, and so 'tis sweet." PAOLO Nay, ask not that I dare not ! FRANCESCA Dare not? Yet It is my name and better sounds to me Than any other if it pleases thee. PAOLO 1 warn thee, tempt me not, or I may tell How dearly I do love it! FRANCESCA (quietly) Say it, then; That would be good to hear. PAOLO It must not be! I cannot speak thy name as brother should. (109) Act IV. Z5l)fc 3\ose of 3\avctma Scene III, (He rises agitated and moves back towards the gateway.} draw me not too near ! I seem to stand Above a deep abyss so perilous ! I'd set a space between this precipice And me and thee. FRANC ESC A (approaching him] I fain would venture on. 1 care not what betide, so thou dost hold My hand in thine. PAOLO I do entreat thee, no! Francesca, there are deeps within the heart Not good to think on and too dangerous To look within. FRANCESCA Yet, Paolo, would I look ! The secret passion of thy voice awakes My heart and it will nevermore be stilled. PAOLO I would not drag thee down from those clear heights Where thy bold spirit soars, to this base earth Where Love is outcast. (HO) Act IV. "C>l)e ^ose of Ravenna Scene III. FRANCESCA Let us seek poor Love And give him sanctuary. PAOLO (appealingly] O say no more! Such thoughts do trespass on forbidden ground. FRANCESCA Yet would my heart still speak, and thou would'st hear ! Ah, I can hear the music of thy love Though still thy voice be silent, for thy heart Doth sing in mine. PAOLO And thine doth sing in mine. (He is about to take her passionately in his arms, but draws back.} O tempt me not to treason ! I must go. Francesca, let these perilous mad words Be all unsaid, unthought. My mission ends In baser ill! FRANCESCA (clinging to him] Paolo ! PAOLO I dare not stay. (ill) Act' IV. Z3^e 31ose of Ravenna Scene III. FRANCKSCA Go not so soon. Stay thou a little while. PAOLO I am resolved. Farewell ! FRANCESCA (still clinging to him] How may I reach This heart invincible? Doth this cuirass Leave no place vulnerable? Is thy heart safe 'Neath armour such as this? PAOLO My mission fails. O make me not to love so traitorously! Farewell ! (He resolutely breaks away from her and goes quickly to gateway. Francesca follows.} FRANCESCA My Paolo, let me go with thee ! PAOLO Francesca, though our hearts do burn with Love, Let us not fall to treachery's deep slough Whence none can rise again. Nought can divide Our hearts not Life's wide-sundering gulf nor deep (112) Act IV. "C^e >losc of Ravenna Scene III. Abyss of Fate. I go; but linger still Within thy heart's domain inviolate; And there we hold communion evermore. So in the compass of this little life We still may love and never stoop to sin. FRANCESCA Yet would I go with thee. PAOLO Nay; we must part And never meet again. Farewell! [He goes out. FRANCESCA Paolo ! He's gone, and now will never come again. [She returns to seat and crouches upon it in despair. Xanna enters from Palace, and bends over her.} NANNA Would'st weep when thou should'st act? Fie on thee, now ! I'll overtake the Count and give him word My lady has a message for her lord Giovanni. (Franceses protests, but Nanna laughs, satirically.} He will find thee in the glen 013) Act IV. T3bfc M.05* of 3\avc.nna Scene III. When night doth fall. I know he'll find thee there. See how I think and act for thee. FRANCESCA No, no! NANNA Be bold ! Remember in the glen to-night. Take heed he goes no more from Rimini Alone. Dost hear? FRANCESCA (fiercely] Go go ! Thy devil's tongue Doth hiss between thy teeth ! Thy venom spits In poisonous darts of hatred. Thou would'st tempt Us both to our undoing! NANNA (laughing] Yet thou'lt go! Thou would'st not part from him without a word To comfort him, ere he doth quite pass out Out of thy life for ever. (Goes into Palace.} FRANCESCA "Quite pass out Out of my life for ever " ? Just one word Only one word and that shall be "Farewell." [END OF ACT IV.] (114) v. SCENE i. A CORRIDOR IN THE PALACE, RIMINI. It is evening. Beppo is seated on the floor, back centre, in front of a door, with his elbows on his knees and his face between his hands, the moonlight from window, shining upon him ; his bauble is on the floor beside him. BEPPO My jest comes to its point. Now watch it stab ! We'll soon see blood. The Malatesta hounds Will soon be snapping at each other's throats And 7 shall watch the sport Beppo, the fool! I'll have my laugh, and Nanna be avenged On hated Ghibellin. (115) Act V. "C^e 3\05fe of Ravenna Scene I. [Nanna enters, in haste, excitedly .] Ah, mother mine, So cautious dost thou prowl ! What is thy prey? NANNA Where is Giovanni? Has he yet returned? Beppo, go, find him quickly bring him here. No time is there to lose. [Beppo remains seated,, unconcernedly.] BEPPO No time at all, To lose or gain, will there be soon for one We know of eh? And, for that other one, There's time enough for penance. As for me, Each moment holds its jest ! for thee revenge ! So hasten not. NANNA While thou dost talk and talk, The tragedy runs swiftly to its close. BEPPO My puppets ! Do not let them force the pace And spoil my sport! NANNA (impatiently) Where is Giovanni now? (116) Act V. ?3lje yiost of Ravenna Scene I. BEPPO He's with his horses in good company. [Nanna goes out in haste; Beppo laughs, pointing over his shoulder at door behind him.} I have him here. Now will I have my jest. [He knocks on door with bauble and sits, still laughing. The door opens and Giovanni excitedly comes out, kicking Beppo out of his way. Beppo rises, painfully.} GIOVANNI What now? BEPPO A kick a savage kick. 'Tis thus I pick up my rewards for loyal zeal. (Aside] But soon will all be paid in red-hot coin! GIOVANNI What is it? Speak! BEPPO I'm speaking, though my breath Is near kicked out of me. GIOVANNI What's now afoot? (117) Act V. ^?t)e 3\ose of Ravenna Scene I. BEPPO A* foot to kick me with? Nay, keep thy feet To take thee to the glen. (In his ear] The lovers meet To-night in yonder garden, where the moon Will be their sentinel, but warns them not. GIOVANNI To-night the garden they ? BEPPO Who else? Where else? GIOVANNI They meet BEPPO. They meet to-night, to tell the tale Of Love thou could'st not tell GIOVANNI My wife BEPPO In name. GIOVANNI My brother BEPPO Where's a better substitute? (118) of Ravenna Scene I. Same flesh, same blood, but set in smoother mould; The fitter for a woman's handling. GIOVANNI Hold! Thou liar ! I will choke thee with thy lies ! (He suddenly seizes Beppo, but he wriggles free.) BEPPO But listen first. I watched them yesternight. Thou should'st have seen them, 'twould have warmed thy blood. So hot a fire their love is. GIOVANNI They embraced ? BEPPO But maybe Paolo kissed her in thy stead. He is thy proxy still? GIOVANNI Did'st see them kiss? BEPPO Why not? And who indeed should give them blame? (119) Act V. ^>!>e 3\ose of 3\av