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\av<mtxa Scene L
GIOVANNI
He mocked my shape
And set the tavern in a ribald roar.
MALATESTA (enraged]
A tavern? (To Soldiers) Go, destroy the place,
that all
May see how Malatesta punishes \
(Soldiers go out, followed noisily by People. To
Giovanni)
Sit here awhile, my son, and calm thyself.
I have a message that should solace thee.
[Giovanni sits with Malatesta, nervously flicking his
ivhip on the ground.]
GIOVANNI
Some news of battle? Am I ordered forth
To slake my rage in slaughter?
MALATESTA (giving letter)
Nay. Read this.
'Tis scented with pine-zephyrs mark thee that.
GIOVANNI
From the old Eagle with the broken wing
Polenta of Ravenna. Doth he seek
An armistice again?
(13)
Act I. 'Ctye !fto*ft of Ravenna Scene I.
MALATESTA
Guido doth take
A flight towards us, but borrows Cupid's wings.
[Giovanni reads letter, first with indifference, then with
surprise, then with a burst of cynical laughter.}
GIOVANNI (rising]
A flattering proposal, sire, indeed ;
And politic, perchance, if not a jest \
But, if a jest, a most untimely one
That falls upon a man so recent stung.
[He throws the letter on the seat, carelessly.]
MALATESTA
This is no taunt old Guido would not dare \
Think on it calmly. Do not brush aside
The olive-branch held out so graciously.
GIOVANNI
I'd rather 'twere an arrow, winged with white,
Screeching for peace from crumbling tower.
MALATESTA
My son,
A victor gains by generosity.
What's won by force is often loosely held
And may be snatched again.
(16)
Act I. "C^e 3losc of Ravenna Scene I.
GIOVANNI
What I have gained
In battle, I grip hard and hold for aye.
MALATESTA
This conquest is of hearts.
[Giovanni laughs, with a cynical shrug, drawing hilt of
sword.]
GIOVANNI
No heart have I
Save what's engraven on this hilt and, see,
'Tis arrow-pierced and stained with blood.
MALATESTA
Not so !
Pierced by Love's arrow thus I read the sign.
GIOVANNI
Father, my humour's blunted, but my sword
Lacks not its old-time edge.
[He rises and swings his sword above his head, savagely.}
Dost hear it laugh?
It hath a keen, grim humour of its own.
(17)
ct I. "Cljft 3lose of Mavenna Scene I.
MALATESTA
Giovanni, sit again and give me heed. (Takes
letter.)
Here lies a road to surer conquests. This
Is flower-strewn and leads by paths of bliss.
GIOVANNI
Each word doth stab and torture say no more!
My destiny leads not to bowers of Love,
But, of a surety, to a soldier's grave.
MALATESTA
I do not see thy destiny so dark.
GIOVANNI
I am not fashioned as are other men.
MALATESTA
Here is denial of that. Francesca seeks
Marriage with thee
GIOVANNI
Whom she hath never seen !
She knoweth not Ravenna's devastator.
The damning odour of her people's blood
Clings to my sword-hand 'tis a savour sweet
That should exalt this lady rapturously !
(18)
Act I. "Dl)fc 3lo* of 31avftnna Scene I
My qualities are writ in words of dread
And, most of all, Ravenna knows my fame
And shudders at the carnage I have made.
I am a soldier first, a soldier last,
A courtier not at all. My ugliness
Befits the camp; there am I in my place
The Devil of Destruction and I look it!
No, no! Let's talk no more of bridegrooms, sire.
[He sits down, moodily. A man's voice is heard with-
out, singing gaily.]
PAOLO ^uithout]
Hither, hither, merry maidens,
Hither unto me!
Gather, gather, merry maidens,
To the greenwood tree.
There we'll set the birds a-singing,
Singing merrily.
Hither, hither, merry maidens,
Love's for you and me.
Blithesome springtide is beginning
Just for you and me,
Only you and me!
GIOVANNI
My brother, Paolo. Here's thy answer straight
Francesca's bridegroom.
Act I. T3l)fc 31osc of 3\avenoa Scene I.
MALATESTA
Nay.
[Paolo enters, with lute slung over his shoulder, laugh-
ing with Lorenzo and teasing Battista, who appears
dejected. ]
BATTISTA
Rejected ! Spurned !
PAOLO (laughing]
Eden is desolate!
LORENZO
Old Adam guards
His Eve too closely.
PAOLO (to Battista}
Yet be comforted.
The wily serpent soon occasion finds.
Meanwhile the apple ripens.
(He sees Malatetsa and Giovanni. To his companions:.}
Fare ye well.
[Officers go off by archway, gaily. Paolo comes down
and banters Malatesta and Giovanni.]
(20)
Act I. Cl>fc 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\av<mua Scene I.
PAOLO (laughing)
To thee?
GIOVANNI
The rest
Will happen as it may.
PAOLO
O, never fear !
I am no marplot no, nor thief of Love.
I'll bring her safely to her husband's arms.
\Paolo goes out, laughing. Enter in haste from
Palace, old Nanna, followed more leisurely by Beppo,
who seats himself on back of seat beside Malatesta and
plays snatches of quaint melody on the lute Paolo had
left on the seat.]
NANNA (angrily)
Strange news Stephano tells. Ravenna's lord
Seeketh to wed his daughter to thy heir
And end this war ere victory's assured.
Beware! Beware! Heed thou the prophecy
"When Guelf doth mate with Ghibellin, the blood
"Of Guelf still wars with blood of Ghibellin."
MALATESTA
Tis but vain babble, woman. Mark thee this
The courage of a Guelf is tried and proved,
(24)
Act I. "C^e 3\ose of Ravenna Scene I.
Nor quails at ancient proverbs. I have known
The prophet choked with his own prophecies
And foretold ill annulled by present good.
NANNA
Yet I foretell the weird of Rimini
Shall warn thy pride.
MALATESTA
The House of Rimini
Is justly proud, yet would I welcome peace.
NANNA
No peace can be 'twixt Guelf and Ghibellin.
MALATESTA (to Giovanni]
I go to set thy proxy on the road.
[He goes out.]
NANNA (to Giovanni]
The wail of unavenged souls shall cry
BEPPO (coming dozen)
No wail as yet we'll first have wedding-bells.
But give him time thou shalt be nurse again.
GIOVANNI
Guard thy unseemly tongue! The jest is coarse.
(25)
Act I. . "Gfce 3^o*e of Ravenna Scene /.
BEPPO (spitefully)
Master, my jest is fine enough at point
Is't not so, mother mine? thou'lt feel it prick,
And 'twill draw blood!
NANNA
Three times have I nursed Malatesta's sons
Giovanni, Paolo, and Pandolpho. Each
I dedicated to revenge revenge
Upon Ravenna! I do still demand
Anguish of Ghibellin for every tear
I shed on that distressful battlefield
That saw my husband slain bedwarfed at birth
This son of grief.
(She fondles Beppo, who draws away, with a grimace.}
Still festers that old wound !
I'll nurse no more the sons of Rimini.
If mothered by Ravenna. Be thou warned!
[As Nanna speaks, the moonlight gradually becomes red
and sheds a ruddy glow over the scene. A sound of
wailing is heard, like an approaching wind.]
The portent ah ! The prophecy of doom !
[Giovanni is horror-stricken. Beppo perches himself
on the fountain and laughs with sardonic delight.}
(26)
Act I.
of
Scene I.
GIOVANNI
What moaning sounds are these, that seem to warn
My doubting heart?
NANNA
Beware the prophecy!
The moon's red glow doth bathe the town in blood
Of Ghibellini rebels. Hear the cry
From lonely plains where unavenged souls
Do haunt unhallowed graves. O child I nursed
To youth whose strength I nurtured to grown man-
Whose happiness I pray for O take heed !
O Rimini, beware the prophecy !
[END OF ACT L]
(27)
It.
TERRACE AND GARDEN OF THE PALACE,
RAVENNA.
It is bright noon-day. A number of Nobles and
Ladies of the Court are assembled, with Attendants
serving wine, and Soldiers on guard before the Palace
entrance.
JACOPO (to Braccio]
What of this Prince who comes so bold to-day
To woo our lady? Hast thou seen him?
BRACCIO
His figure only in the distance showed
Amid the smoke and fury of the fight
A mail-clad soldier, spurring on his men.
PUCCIO (laughing]
Our Braccio, though so forward in the fight,
Saw only smoke from Rimini's great guns.
Nay.
(28)
Act II. "C?l)e 3\ose of 3\avcnna Scene I.
BRACCIO
Our Puccio, too, remained well in the rear
To keep his men from straggling back to camp.
JACOPO
My point of vantage in the fight was near
PUCCIO
We know the forage-tent. But here's a sound
More blithesome to our ears than boom of guns.
[Angela, a troubadour, is heard singing in the garden
below and comes up steps, back centre, on to the terrace
as he sings, continuing his song before the courtiers, two
other Minstrels standing by steps and joining in the
refrain.}
ANGELO (singing]
Thou art the star that leads me on my way ;
Without thy guiding light my steps would stray;
Dark grows my path when thou dost turn away.
Dear, to thine arms my spirit fain would fly,
With Love's fleet pinions, through the azure sky,
On breezes balmly as a maiden's sigh
So may I rest.
(29)
Act II. "D^e 3to*e of Ravenna Scene I.
O starry way of Love, so sweet, so bright!
joyous Hope ! when banished from this sight,
1 wander blindly through eternal night.
Dear, to thine arms, etc.
JACOPO (to Eulalia]
A sweet love-ballad on a sunny lawn,
A sip of wine, a gracious lady's smile,
Perfume of roses borne on summer breeze.
Thou, I, and Love a trinity of bliss !
This is true living or Life were a myth.
EULALIA
But yesterday 'twas clash of swords and roar
Of thunderous guns; to-day the troubadours
Chant songs of Joy.
JACOPO
And wedding-bells peal out
A message to our hearts to hope again
For our dear ladies' smiles.
EULALIA
We've smiled in vain
These many weary months, while you brave men
Have slain the Guelfs.
(30)
ct II. "djfc 3\o5* of 3tavtnna Scene I.
BRACCIO (to Puccio, laughing]
Dost hear? We've slaughtered Guelfs.
[The Nobles laugh.}
ALICIA
So it must be, since you have all survived.
PUCCIO
The Guelfs have deigned to let us live. If "Guelf"
'Tis well for thee thou hast the right to breathe :
But should it chance thou art a Ghibellin,
'Tis hand at throat, a gurgle, and a groan,
And thou art carrion! Yet we survive;
So have we won the right to live and love.
What says the fair Alicia? (Bowing to her.}
JACOPO (jokingly)
The arbour, please!
BRACCIO
What says Annina?
JACOPO
Hush! Lord Guido comes.
[Enter the lord Guido da Polenta, with attendants, from
the Palace; all rise and bow before him.}
Act II. I31)e 31ose of Ravenna Scene I.
GUIDO
Most cordial greeting, friends. We meet this day
In festival's high mood as well you know
To greet the heir of Rimini. He comes
To bring this longed-for peace between our states;
And so to bind it sure and permanent,
He craves my child, Francesca, for his bride.
I thought that here impatient she would wait
To see her bridegroom enter. Ah, 'tis she !
{Francesco, runs on through trees by arbour, followed
by Gita, her maid. They have been playing with battle-
dores and now chase each other, laughing gcriiy.]
O fie, thou airy sprite! Thou madcap, fie!
Wilt ever learn thou art no more a child,
A butterfly, a sunbeam?
FRANCESCA
I have come,
Methinks, upon a sunbeam, for my feet
Seem winged with joy, this day of all the days !
GUIDO
This day, when thy sweet womanhood doth bloom
To wifehood, thou should'st be demure.
(32)
Act II. Cty* 3\ose of Ravenna Scene I.
FRANCESCA
Why so?
Dost think men love demureness more than joy?
Father, from out thy wisdom's boundless store,
Assure me how to win this Prince's love.
For I must win him though I may not woo,
And he must woo or I will not be won.
GUI DO
Methinks he'll woo thee if he be not blind;
And if as bold in love as brave in war,
Mayhap he'll win thee. Now art satisfied?
FRANCESCA
Is there some token that unfailing tells
If he be pleased with me?
GUIDO
His eyes will speak
E'en though his lips be dumb.
FRANCESCA
No power have 1
To win a soldier's love. He'll not be won !
GUIDO
Thy maiden modesty will capture him.
(88)
Act II. "Ctyfc 3lose of Ravenna Scene I.
FRANCESCA
How might that be?
GUIDO
I have not Dante's skill
To tell the wondrous story of the power
That love and beauty have for good and ill.
FRANCESCA
111? I would use what little power is mine
To win Ravenna happiness.
GUIDO
To-day
Thou' It have such fair occasion. Use it well
As I do know thou wilt.
(He takes her face in his hand and smiles upon her
reassuringly.}
If thou dost look
On him with glance so sweetly timorous
Thou'lt win his pity, and that's next to love.
[A distant sound of trumpets and peals of joy-bells, with
shouting of people, is heard without. Nobles and
Ladies go to steps and look out. Francesca shows
restrained excitement.]
(34.
Act II. "Clje 3lo*e of Ravenna Scene I.
JACOPO
My lord, I see a waving in the breeze
Of many banners, and a gleaming light
Of spears about the gates.
GUI DO (to Francesco)
It is the Prince,
Thy lover, who approaches. Stay thou here;
I'll bring him to thy feet.
(He goes to steps, Francesco, eagerly following.)
Thou art not shy,
But eager now to meet him? What if he
Be less than handsome, lacking in some grace
Of person?
FRANCESCA
Are not Malatesta's sons
Famed for their strength and valour?
GUIDO
It is said
They are the noblest youths in Italy.
FRANCESCA
What can the noblest lack? I am content.
(85)
Act II. "Cjfye 3^ose of 3\avenna Scene I.
{A blare of trumpets is heard outside, and two Soldiers
enter by steps, followed by Stephana, who kneels before
Guido. ]
STEPHANO (giving letter]
Greetings from Malatesta, lord of Rimini.
The Count approaches, sire.
[Guido is about to open letter but Braccio claims his
attention and he puts it in his tunic.]
BRACCIO
He's at the gates.
GUIDO
Then must I hasten forth to welcome him.
[He goes down steps, attended, while Francesca, taking
Gita's hand in girlish excitement, runs to the head of
the steps and looks off.]
FRANCESCA
The Count how handsome ! See with what a grace
He leaps from off his horse ; how nimbly runs,
Like a glad youth, to hasten hitherward.
GITA
Even as thou would'st gladly
(8C)
Act II. "Ctye Tftose of 3\av4ixno Scene L
FRANCESCA
Hush ! Draw back.
[Gita falls back from Francesca, and Stephana greets
her, Francesca taking up a position supported by Ladies,
to right of steps, the Nobles being on left. A few Heralds
and Pages, with bannerets displaying the Polenta and
Verruchio arms, enter, and then Guido appears, lead-
ing Paolo up the steps, followed by retinue who, with
Guide's attendants, then pass on into the Palace. ,]
GUIDO
Welcome, most loving welcome to the Count.
This is Ravenna's day of festival,
And joy-bells ring for thee.
PAOLO
Well pleased am I
To come on such an errand. I am sent
As herald of an honorable peace
As Love's ambassador.
[Guido leads him to Francesca, who -has been gazing at
him delightedly.]
GUIDO
My daughter, Count
Francesca.
(37)
Act II. "Dfc* 3lost of Ravenna Scene I.
[Paolo looks at her, repeating her name in a low voice,
entranced.}
PAOLO
Ah! Francesca!
[He bows, kissing her hand.]
FRANCESCA
Welcome, Count.
[Angela, the troubadour, passes by across back, singing
the refrain of his ballad, as they greet each other.]
PAOLO
The music of thy voice, most gracious maid,
Doth make me bold to hope my mission's blest
Already in thy heart. Lord Guido, here
In this most pleasant place, I offer thee
And all Ravenna's host a lasting peace,
And, with desire to bind our houses close
In amity and trust, I humbly crave
As truest pledge of good intent, the hand
In marriage to the heir of Rimini
Of this most gracious lady and most fair
Princess.
(38)
ct II. "Gfc* 3\o*e of Ravenna Scene I.
GUIDO
My lord, such is our fondest hope,
If our dear daughter's heart goes with her hand.
(To Courtiers] Let us withdraw. Lord Malatesta's son
Must plead his own good cause.
{They all go into Palace.
FRANCESCA (shyly)
Nay, leave me not.
GUIDO
His eyes have told thee ; now his lips must speak.
PAOLO
Francesca, stay. This garden is so fair
That I would linger still a little while
With thee among the flowers.
[Guido goes into Palace,
FRANCESCA (plucking a rose)
My roses here
So proudly bloom as though to welcome thee.
(She gives him the rose and moves apart, shyly.)
(39)
Act II. "D^e 3\ose of Ravenna Scene I.
PAOLO
I take this as a symbol that thy joy
Will blossom forth as richly and as bright.
(Noisy laughter u heard from the Palace. Paolo starts.}
How merry are our friends !
FRANCESCA
It is so long
Since they have feasted and our minstrels sung,
Their cup of happiness doth overflow.
[As they walk about the garden, Paolo plucks a spray
of orange-blossom, which he gives to Franc esca.}
PAOLO
Place this among thy tresses ; mount it high
A.nd proudly, that it may be seen of all.
FRANCESCA
Should I be proud to wear it?
PAOLO
Ours the pride,
Who see in it the sign of victory.
(40)
Act II. "Cfce 3lose of Ravenna Scene I.
FRANCESCA
Of victory? (Aside] Should I so soon be won
Who have not yet been wooed? (To Paolo} My
father said
Thou wert as bold in love as brave in war.
PAOLO (laughing)
He knows me, then?
FRANCESCA
He knows thee by report.
Art thou so bold a wooer, signor knight?
PAOLO (going closer}
Methinks I could be
(She has been trying to fix the spray in her hair, which
falls loose.]
FRANCESCA
Turn thy face away!
My hair is wilful, wayward like myself.
PAOLO
O happy curls thy fingers do caress!
FRANCESCA (with mock petulance}
Nay, I do twist them round my fingers so!
(41)
Act II. "Cha tftose of Ravenna Scene I,
PAOLO
Wilt thou so treat thy husband?
FRANCESCA
Dost thou fear?
My father tells me men are very weak
In maiden's hands.
PAOLO
O wise old man !
FRANCESCA
Is't so?
PAOLO
'Tis like enough. Art fearful of control
When I shall take thee captive in these bonds
Of our new kinship?
FRANCESCA (with mock terror]
"Captive in these bonds"?
Shall I know dungeons dark at Rimini?
PAOLO
Thou wilt be no more captive than a bird
FRANCESCA
Encaged ?
(42)
ct II. T3^fc 3lo*e of 3tavenna Scene I.
PAOLO
A bird encaged beneath the sky.
Imprisoned by the limits of the world,
Barred by the fleecy clouds, captive of Love,
Compelled to sing in ecstasy of bliss
FRANCESCA
Hold ! Hold ! "Tis almost too much happiness !
May I not know the luxury of tears
Woman's most cherished privilege?
PAOLO
Say, then,
As much of tears as summer knows of rain,
That makes a garden bloom in happy hours.
FRANCESCA
Most generous man, I thank thee for that boon !
PAOLO
Thou art not fearful now to come with me
To Rimini?
FRANCESCA
Nay. I do hold my hands
Out gladly to my jailer for those fetters
That make me prisoner of Love.
(43)
Act II. ^l)* 3\ose of Ravenna Scene I.
(She holds out her hands laughingly to Paolo, who
draws her slowly towards him, as she raises her face
trustingly to his.)
And now
Ravenna's promise take thou from these lips.
PAOLO
For Rimini, I seal the compact so
In love and trust and peace and true accord.
[He kisses her four times; she laughs coyly and hides
her face on his shoulder. The dark, gloomy form of
the Poet, Dante, comes up slowly from the garden
below.}
PAOLO
'Tis for aye.
(Sees Dante] Who doth intrude upon us?
FRANCESCA (looking up]
Fear him not.
It is the poet, Dante. For long years
He hath lived, exiled, in my father's house.
(44)
Act II. "C?|je Slose of 3tavettna Scene 1
[Dante approaches them and stands looking at them,
intently and moodily. Paolo returns his look haughtily.]
PAOLO
Pass on. Lord Guido is within.
DANTE (haughtily]
Thou art
A tyrant Guelf. I know thee by thy speech
Smooth-tongued but arrogant, traitor in peace,
Barbarian in war the Mastiff's whelp !
PAOLO
What! Hath the Mastiff bared his fangs at thee,
Thou dreamer impotent?
FRANCESCA (to Dante]
Thou dost mistake
DANTE
Beware how thou dost tread the tortuous way
Thou enterest on to-day. Heed thou my words.
FRANCESCA
What meanest thou?
PAOLO
Nay, listen not to him.
[Dante puts his hand upon Francesca's arm, speaking
to her with tenderness.]
(46)
Act II. "Ctye. 31o* of 3lavenita Scene /.
DANTE
Francesca, Guide's daughter, I have watched
Thy baby-steps set out on childhood's quest
To gain some curious knowledge of the world ;
And now I see thee standing at the fount
Of that so mighty torrent that is Life;
So would I warn thee, child
PAOLO (to Dante)
Wilt thou pass on?
Lord Guido is within.
FRANCESCA (drawing away]
Farewell, good friend.
(To Paolo) His poor mind is distraught.
DANTE
With fears for thee,
Dear lady of Ravenna! Thou, so young
And undismayed such joy of life in bud!
O fragrant flower ! Who shall pluck thee who
Shall crush thee?
(He puts his hand on her head and gazes intently into
her eyes.)
Ah ! thine eyes show pictures strange,
That pass across them in translucent mists.
(46)
Act If. "C>l)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<mna Scene II.
Art honest? Ah! If honest, then 'tis well,
For all that's best in earth and heaven are thine.
If thou should'st find one worthy, marry him ;
But see thou lovest him. Sell not thyself
For paltry gain, nor give thyself away
To please thy parents, but give all for Love
Remember, all for Love and Love alone!
[Officers whisper together, amused at Paolo's mood.
When he releases Lucetta, she kisses his hand and goes
out quietly, avoiding the secret attentions of the Officers
nearest to her. Paolo still stands, looking before him
abstractedly.]
STEPHANO (to Paolo}
Pesaro doth await our troop. 'Tis time
That we do hasten on.
PAOLO
Yes, yes ; we will
Press on. ( Officers go out. ) It may be many weeks
or months
Ere I return to Rimini again,
And then all danger may be past.
(The door suddenly opens and Giovanni enters.}
Who comes?
Giovanni ! What doth bring thee here in haste ?
Francesca
(88)
Act IV. "D^e yiose. of Ravenna Scene II.
GIOVANNI
What of her? Is she alone
So ready to thy thoughts?
PAOLO
I did but fear
Mayhap some ill chance had befallen her.
GIOVANNI
Only her marriage that she takes but ill.
But other matters bring me here in haste.
Despatches from Pandolpho came last night
That he is at Pesaro in some strait.
It needs the Mastiff now to show his teeth
And bay his thunderous bark. That scares 'em eh
PAOLO
My gallant troop suffices for this task.
GIOVANNI
No enemy doth fear thee, Paolo no!
Thou art too handsome, mild, and chivalrous.
I have more fitting work for thee. Go back
To Rimini Stephano too for there
You both are needed in that gloomy place
To entertain the women.
(89^
Act IV. "Dfcfc 31o*fc of 3\avcttna Scene II.
PAOLO
Keep thy sneers
For those who merit them. I'll not return.
GIOVANNI
I do command thee. I am Captain here,
And everywhere that Malatesta's name
Doth rule remember that and fail me not.
And listen thou shalt there prepare a troop
To follow when I send for thee. Now go.
PAOLO
Thy will is my command.
(He is going out, when Giovanni intercepts him,
speaking stammeringly but with malicious cunning.}
GIOVANNI
A moment yet.
Paolo, if thou should'st see Francesca, say
When thou can'st speak with her in privacy
That though I wear a devil's crooked shape
And lack such courtly graces as thou hast,
Yet doth she owe her heart's allegiance
To me, who am her husband. Tell her that!
PAOLO
I shall not see thy wife.
(90)
let IV. >!)* 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\<xse of 2lavcnna Scene II.
GIOVANNI
Thy point is out at last?
Come, slay me then, brave lover.
[7' hey fight; Paolo coolly, Giovanni with rising heat, as
Paolo calmly presses him, fighting skilfully.]
PAOLO
Taunt me not ;
Lest I should slay thee.
GIOVANNI
Would'st be merciful?
Would'st let me live?
(He lunges at Paolo, who defends and then wounds
Giovanni on the arm.}
First blood to thee!
PAOLO
Desist !
Art now content?
GIOVANNI
A scratch ! Defend !
(9*)
'rt IV. "Ctye 3lose of Ravenna Scene II.
(He rushes at Paolo, who skilfully disarms him.}
Ah! Thou?
The dancing popinjay!
PAOLO
Taunt me no more.
Had'st thou been calm. I had not wounded thee.
GIOVANNI
Well, slay me, then.
(Paolo sheathes his sword.}
PAOLO
I seek no brother's life,
And had not fought but to defend my troth.
GIOVANNI
(Binding his arm, sulkily.}
Thy sword hath proved thy troth?
PAOLO
No sword proved aught
Of wrong or right; for what is death but chance?
GIOVANNI
Thy tongue is all too nimble like thy feet.
I cannot reason but with "vea" or "nav."
(9(5)
Act IV. ~&\$i 3\osc. of Ravenna Scene II.
PAOLO
'Tis well that one should reason and be calm.
GIOVANNI
Bah, juggler ! Thou would'st play at pitch and toss
With cunning words that but obscure thy thoughts.
I'll give it to thee plain ! I do suspect
With clear suspicion near to certainty
That thou did'st woo Francesca for thyself.
Ah ! do I prick thee now ?
PAOLO
No word of truth
Would satisfy thee in this jealous mood
That sets a trap for me at Rimini.
GIOVANNI
Can'st thou not give me answer straight and plain?
I limp in walking, but I think and speak
Straight out, and reach my meaning by one road.
But thou thou dalliest on thy devious path
That leads no whither. Wilt thou answer me?
PAOLO
I go to Rimini the truth lies there.
(Going out, he turns at door, and speaks with
delib erate cal m ness.)
(96)
Act IV. Z3l>* 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<mna Scene I.
GIOVANNI
They gazed into each other's eyes?
BEPPO
'Twas thus
She broke her mirror, so she used his eyes,
Because they flattered her.
GIOVANNI
They sat and talked?
BEPPO
They stood and kissed, and that was sweeter far.
But come thyself and see. Tis now the time
When lovers bay the moon
[Giovanni, who has been pacing about, suddenly turns
upon Beppo, with a groivl of rage, and grips him savagely
by the throat.]
GIOVANNI
Would'st jest with me?
I'll silence thee for ever, loathsome toad !
Too long I've borne the torment of thy tongue,
Thy stabbing gibes, the venom of thy jeers.
Go back into the slime that spawned thee go!
Thy feeble life doth flicker and go out
(120)
Act V. "G^e y^ost of Ravenna Scene I.
{Peering Into Beppo's face, as he slowly strangles him.}
Scarce one spark left. It dims. Ah, now 'tis done !
(Throws Beppo to ground, where he lies struggling
feebly. }
Now to the garden. I will make an end
Of all that tortures me !
BEPPO (trying to rise]
Take me with thee !
Ah ! must I die before I see them killed ?
(Giovanni goes to door; Beppo drags himself after him.}
My jest! I planned it all! I'd see it out.
GIOVANNI (aside}
This last grim deed of justice I must do
'Tis best I do unseen, and best alone,
So none but I shall see the horror of it.
[He goes out.
BEPPO
Thou beast ! I'd curse thee had I breath enough !
(He rises and staggers to door, where he falls dead.}
[END OF SCENE 1.]
(121)
SCENE 2. A WOODY GLEN, OUTSIDE THE
PALACE.
Francesco, is seated, reading from a large book, Gita
standing near.
GITA
My lady, it grows late. Wilt come within?
FRANCESCA
Nay, Gita. I will sit awhile and read.
GITA
The twilight air is chill.
FRANCESCA
I have my cloak.
'Tis not yet dark ; and presently the moon
(122)
Act V. "&\)t 3\ose of Ravenna Scene II.
Will shed bright beams to light the dimming page
Of this romance benign. But go thou in;
I like to read alone.
GITA
Indoors, I fear
Old Nanna's spiteful tongue and watchful eyes.
To-day she wanders restless, back and forth,
And ever asks me where my mistress is
"Is she now in the glen, and quite alone?"
Why doth she hate thee so, that ne'er she speaks
Of thee without suspicion. Thou heed'st not.
Well, I will go, if thou dost wish me gone.
[She goes into Palace.
FRANCESCA (reading]
"King Arthur sent his noblest knight to bring
"His promised bride, the lady Guinevere;
"And when she saw Sir Lancelot riding near,
"So handsome and so bold, with such an air
"Of noble knighthood, then her hopeful eyes
"Did take him for the peerless King; her heart
"Leapt up to greet him, and her fancy fixed
"On him in gladness." O poor Guinevere!
How like her tale to mine!
(123)
Act V. "C?l)& 3\o*e of Ravenna Scene. II.
[Paolo enters quietly behind her and speaks her name
softly.]
PAOLO
Francesca !
FRANCESCA
(Dreamily, unconscious of his presence] Ah !
My heart doth seem to echo Paolo's voice
It lingers in my ears.
PAOLO (rather louder]
Francesca !
FRANCESCA (listening]
Ah!
Can it be he is here?
PAOLO
(Leaning over her, amorously]
Ay, I am here
Beside thee.
FRANCESCA
Thou hast come to say farewell?
PAOLO
Nay. I do lack the courage to depart
And see thee nevermore.
(Francesca is delighted at his presence, but controls
herself. ]
(124)
Act V. "C?t)fc 31ose of Ravenna Scene II.
FRANCESCA
I longed for thee,
But feared to call thee back.
PAOLO
I feared to go.
FRANCESCA
Sit here awhile and give thy spirit peace.
[Paolo sits beside her.
PAOLO
Never again will peace return to me.
I'll read with thee this tale thou lovest so well.
(Takes book.} What was the page?
FRANCESCA
I know not. Open it
At any page. It all is beautiful.
PAOLO
It opens here of its own will.
FRANCESCA
Read there.
(She looks over book with him. The moon has risen and
its light shines upon them, brilliantly.}
(125)
Act V. "&\)t 3\osc of Ravenna Scene II.
PAOLO
"Queen Guinevere and Lancelot the knight
"Sat all alone, in secret, in the glen
"Without the Castle walls" as we do now
"Nor thought but of each other, while the moon
"Shed its soft light upon them, and her hair
"Shone like a cataract of gold" like thine.
FRANCESCA
"He took her tresses in his hand and bent
"To kiss them"
PAOLO
As I dare not. Ah, no more !
We'll read no more to-day 'tis dangerous!
FRANCESCA
But O, so sweet! Read on.
PAOLO
"And bent to kiss"
(He is about to kiss her hair but draws back, a,s Nanna
passes over the path behind them stealthily.}
No, no! "And then behind them on a path
"Half hidden by low trees and flowering shrubs,
"There stole"
(126)
Act V . 75l)c 31osc of 31avenna Scene II.
(He rises and with great anger points at Nanna, who,
with a cowardly cry, runs into Palace.}
A spirit malefic, whose hate
Our woe perverse foresaw; who would ensnare
Us to a baneful end
FRANCESCA (drawing him back]
Let us read on.
Read here. "And Guinevere looked up at him
PAOLO
(Raising her face and looking earnestly into her eyes.}
"Her eyes ablaze with fire unquenchable.
"Each gazed at each entranced." Their tale is ours.
FRANCESCA
Thou dost not read. How canst thou speak the lines?
PAOLO
I know it word by word the whole sad tale.
FRANCESCA
I know it too O every golden line!
(She turns leaf and reads, her -voice quivering with
emotion.}
(127)
ct V. <C>l)c 3\ose of Tftovenna Scene II.
Let us read on. "Each bore a secret thought
"The self -same thought, yet feared to give it words,
(Looking up at him] "For in each heart spoke Love."
PAOLO (leaning towards her]
As thy heart speaks.
FRANCESCA
And thine too, Paolo.
PAOLO
But my lips are sealed.
FRANCESCA
What need for words? Not I, Paolo, nor thou
Can bid Love come to us nor bid it go.
Love, at thy coming, first did come to me
Who knew not yet its rue.
PAOLO
When, in the guise
Of thy pure soul, the better part of Love
Came whispering a music of far worlds
A message from horizons flushed with dawn,
I knew that in the coming spirit-time
The fadeless light that quivers through the spheres
Will be the symbol of such love as thine.
(128)
Act V. dje Slose. of 3\av<mna Scene II.
FRANCESCA
And even so Love came into my heart,
Where I did gladly give it sanctuary.
PAOLO
Thou art so wise, so true ! but I so base
I who have trespassed on another's bliss,
Stealing the first flower of thy virgin love;
I who have filched thy maiden kiss from him
Who trusted me!
FRANCESCA
Nay, Paolo, say not so.
It was my heart rebellious that did wrong,
Tempting thee on ; but with no thought of shame
Staining my wifely duty and my faith.
PAOLO
Thou lovest me, Francesca, that I know,
And I love thee, but with another love
Than thine. When I would press thee to my heart,
Thy body seems to melt from my embrace
And only leave thy soul there.
FRANCESCA
Can it be
My love is as God gives it to our souls?
(129)
Act V. "C^c 3lose of Slavfctma Scene II.
PAOLO
Yet do I feel so great a tenderness,
A yearning to possess thee.
FRANCESCA
I did dream
That thou and I were slain, and our twin souls
Fled joyous to the limits of the world
And found that Love is Life's eternity.
PAOLO
I too did dream; yet mine was not a dream,
For well I know this is the last of nights;
And afterward the Light will brightly shine
For thee and me, and never fade again.
FRANCESCA
Soon shall we see the dawn that breaks beyond
The sundering hills of Life, whose gate is Death.
PAOLO (rising)
I long for Death ! This is the awful hour
That sees the end. I knew it when I stayed
Dishonoured on the brink of Fate's abyss
And looked below.
[Francesca rises and stands beside him, holding his
hand.]
(130)
Act V. "OlK 3lose of Ravenna Scene II.
FRANCESCA
We stood there, hand in hand,
And stand there still, for but a little space
Until Death calleth us, and I do pray
That Life will ask us not too long to wait
Ere we do greet the splendour of the Dawn.
[Nanna and Giovanni appear at back, from Palace, and
stand, watching them.}
noble spirit, that doth raise me up
To paradise! I pledge my soul to thine!
[As they kiss and hold each other in close embrace,
Giovanni runs savagely down the path, with a cry of
jealous rage. Nanna withdraws. Paolo breaks away
from Franc esca, who stands looking on as if petrified
with horror.]
FRANCESCA
It is Giovanni!
PAOLO
It is Death draws near.
GIOVANNI (to Paolo]
Defend thyself ! for it shall not be said
1 killed thee unaware. (Drawing his dagger.}
(131)
Act V. "Ob* 3\o$fc of 3\avetma Scene II.
FRANCESCA
Giovanni hold !
[Paolo puts his hand on his dagger but does not draw,
though he stands in a defensive attitude.]
PAOLO
Strike deep!
FRANCESCA
Giovanni husband !
GIOVANNI (stabbing Paolo]
Ravisher !
PAOLO
(Tottering, to Francesco, who supports him.}
Tis best. We part.
FRANCESCA
Nay, nay ; not part, but meet !
It is not Death that holds thee now but Love
Love that dies not.
GIOVANNI
Francesca, come away.
PAOLO (to Francesca}
To me, beloved! (To Giovanni] Not thy bride, but
mine.
(132)
Act V. 'C^e tftosfc of Ravenna Scene II.
Thy jealous fierceness now hath severed quite
The bond that joined thee to this stainless rose.
Now do I take her to my murdered breast
And claim her soul in deathless fealty.
GIOVANNI
{Approaching Francesco,, fiercely.'}
Come thou with me
PAOLO
Francesca, come my soul !
[Francesca takes Paolo's dagger from its sheath. To
Paolo, as she stabs herself.]
FRANCESCA
Paolo, one kiss while Life doth briefly hold
Our bodies in this rapture. Paolo !
PAOLO
(Kissing her, as he staggers with her to seat.}
Death
Chills my last kiss. Farewell!
GIOVANNI
(Who has looked on in speechless horror}
His dagger! Ah!
He did not draw! Francesca! Brother wife!
(133)
Act V. *&\)t 3\o*e of 3\aventta Scene II.
FRANCESCA
(Sinking to the ground beside him}
Paolo !
PAOLO (as he dies]
Francesca !
GIOVANNI
Dead!
(He kneels beside them in horror. During this scene,
the wind has been gradually rising to a wail and the moon
throws a lurid red glow over the scene.}
The portent ah!
So ends the world for me! O horrible!
[Nanna has entered slowly and now comes to Giovanni,
putting her hand on his shoulder.}
NANNA
It is the prophecy fulfilled. The wind
Doth wail for them the weird of Rimini.
Why stay'st thou here?
GIOVANNI
I stay here by my dead,
(134
Act V. "C>I)C 3\ose of Ravenna Scene II.
That I may drink the draught of dread remorse
Down to the dregs. Go ! Leave me to despair.
[A vision of Paolo and Franc esca is seen at back, as
though the ill-fated lovers were floating by on the wind.]
Their souls pass onward see ! their twin-souls flee,
So spotless white, beyond this bloody world
That could not stain them. Now I know I know.
And never shall forget, though I should sink
Deep, deep, and deeper still, and deeper yet
E'en to the nethermost.
(Rising, with a sudden cry; to Nanna.}
Give the alarm!
Go, call them here all all !
(Nanna shrinks back towards Palace, terrified.}
Make thy shrieks ring
Above the wailing shrillness of the wind.
Go, go! Bid all the world come here to judge-
Condemn me! O most horrible! Paolo!
Francesca ! O most horrible !
[Falls on his knees beside them
[CURTAIN.]
(135)
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