Poems [61]
forth!
COUNT. What is your business with me, Harold?
HAROLD. You are our prisoner.
OMNES. Prisoner?
KARL (aside.) Now I triumph!
COUNT. Under whose orders do you act?
HAROLD. Those of the king.
OMNES. The king!
HAROLD. Sophia Mansfield!
ALBERT. What of her?
HAROLD. She must away with us to the castle of Spandau.
SOPHIA. O Heaven, support me!
COUNT (drawing his sword.) Touch her at your peril, Harold!
ALBERT. This is madness! Give me your sword! (Wrests it from him, and give it to HAROLD.) Of what are they accused?
HAROLD. Of ingratitude and treason!
OMNES. Treason!
FINALE.
COUNT. Treason!
OMNES. Treason!
COUNT. It can not be! Of treason who accuses me?
HAROLD. The king himself!--These orders read! (Hands paper to COUNT.)
OMNES. The king himself!
COUNT (looking at the papers.) 'Tis true indeed!
SOPHIA. Oh, what a fearful change is here!
KARL (aside.) I triumph now!--my vengeance fear!
(SOPHIA and LANISKA are made prisoners.)
OMNES. The king's commands let all obey!
COUNT and SOPHIA. We must obey!
SOPHIA. Oh, how my trusting heart is grieved!--
COUNT. Our royal master is deceived! No traitor I!--My loyal heart Spurns with disdain so base a part!
SOPHIA. How vainly Fortune smiled on me!
SOPHIA and COUNT. Oh, give me death or liberty!
KARL. Tear them apart!
HAROLD and GRENADIERS. No more delay!
KARL. To prison, hence!--
OMNES. To prison?
HAROLD and GRENADIERS. Hence!
OMNES. Away! away!
(As the GUARDS attempt to separate COUNT LANISKA and SOPHIA, great confusion ensues, and the act-drop descends.)
End of the second act.
Act III.
Scene I.
The stage represents part of the Castle of Spandau, and is arranged as follows: On the left, is a large rock; above which, in the distance, is the Tower. A large grated door opens upon a platform, surrounded by iron railing.--COUNT LANISKA is discovered leaning upon them. On the right, is an arched cell, with part of the wall jutting from the side, behind which is a secret door. Above this is a fine view of an open country, and a clear, blue, starlight sky. SOPHIA is seated in the cell, at a table.--The whole scene is so managed that, while the AUDIENCE have a full view of everything, the PRISONERS, although they hear, can not see each other.--Time, near midnight.--The curtain rises slowly to music.
DUET--SOPHIA and COUNT.
SOPHIA. This gloomy cell is my abode at last; The sole reward for all my perils past. 'Tis strange that love within the breast should dwell, When hope, dejected, bids the heart farewell!
COUNT. What sounds are these? No human form is near, And yet that well-known voice I faintly hear, 'Twas sure the fancied music of the mind, Whose breathings mingled with the midnight wind.
BOTH. Yes!--'Tis lost!--'Tis gone!--Hark! it comes again, Like distant echoes of a melting strain: In melody {her/his} spirit floats around!-- That voice!--These walls are vocal with the sound. I hear its music near me still!--'Tis there! Sure 'tis some gentle spirit of the air!
(During the duet, the moon has been gradually rising, and the light falls through the grated windows of the Prison.)
(enter JAILOR, from the Tower, to COUNT LANISKA.)
JAILOR. Count Laniska--a friend, with an order form the king.
COUNT. I attend him. [Exit Count LANISKA.
(Jailor closes the iron door over the grated window, locks it, and retires.)
SOPHIA. 'Twas but a dream!--'Tis past, and all is still again!
[The bell in the tower strikes twelve
BRAVURA--SOPHIA Hark! 'tis the deep-toned midnight bell, That bids a sad and long farewell To the departed hour; How like a dirge its music falls Within these cold and dreary walls, Where stern misfortunes lower!
Ah! vainly through these prison-bars Glide the pale beams of moon and stars, To cheer this lonely tower; From evening's close
COUNT. What is your business with me, Harold?
HAROLD. You are our prisoner.
OMNES. Prisoner?
KARL (aside.) Now I triumph!
COUNT. Under whose orders do you act?
HAROLD. Those of the king.
OMNES. The king!
HAROLD. Sophia Mansfield!
ALBERT. What of her?
HAROLD. She must away with us to the castle of Spandau.
SOPHIA. O Heaven, support me!
COUNT (drawing his sword.) Touch her at your peril, Harold!
ALBERT. This is madness! Give me your sword! (Wrests it from him, and give it to HAROLD.) Of what are they accused?
HAROLD. Of ingratitude and treason!
OMNES. Treason!
FINALE.
COUNT. Treason!
OMNES. Treason!
COUNT. It can not be! Of treason who accuses me?
HAROLD. The king himself!--These orders read! (Hands paper to COUNT.)
OMNES. The king himself!
COUNT (looking at the papers.) 'Tis true indeed!
SOPHIA. Oh, what a fearful change is here!
KARL (aside.) I triumph now!--my vengeance fear!
(SOPHIA and LANISKA are made prisoners.)
OMNES. The king's commands let all obey!
COUNT and SOPHIA. We must obey!
SOPHIA. Oh, how my trusting heart is grieved!--
COUNT. Our royal master is deceived! No traitor I!--My loyal heart Spurns with disdain so base a part!
SOPHIA. How vainly Fortune smiled on me!
SOPHIA and COUNT. Oh, give me death or liberty!
KARL. Tear them apart!
HAROLD and GRENADIERS. No more delay!
KARL. To prison, hence!--
OMNES. To prison?
HAROLD and GRENADIERS. Hence!
OMNES. Away! away!
(As the GUARDS attempt to separate COUNT LANISKA and SOPHIA, great confusion ensues, and the act-drop descends.)
End of the second act.
Act III.
Scene I.
The stage represents part of the Castle of Spandau, and is arranged as follows: On the left, is a large rock; above which, in the distance, is the Tower. A large grated door opens upon a platform, surrounded by iron railing.--COUNT LANISKA is discovered leaning upon them. On the right, is an arched cell, with part of the wall jutting from the side, behind which is a secret door. Above this is a fine view of an open country, and a clear, blue, starlight sky. SOPHIA is seated in the cell, at a table.--The whole scene is so managed that, while the AUDIENCE have a full view of everything, the PRISONERS, although they hear, can not see each other.--Time, near midnight.--The curtain rises slowly to music.
DUET--SOPHIA and COUNT.
SOPHIA. This gloomy cell is my abode at last; The sole reward for all my perils past. 'Tis strange that love within the breast should dwell, When hope, dejected, bids the heart farewell!
COUNT. What sounds are these? No human form is near, And yet that well-known voice I faintly hear, 'Twas sure the fancied music of the mind, Whose breathings mingled with the midnight wind.
BOTH. Yes!--'Tis lost!--'Tis gone!--Hark! it comes again, Like distant echoes of a melting strain: In melody {her/his} spirit floats around!-- That voice!--These walls are vocal with the sound. I hear its music near me still!--'Tis there! Sure 'tis some gentle spirit of the air!
(During the duet, the moon has been gradually rising, and the light falls through the grated windows of the Prison.)
(enter JAILOR, from the Tower, to COUNT LANISKA.)
JAILOR. Count Laniska--a friend, with an order form the king.
COUNT. I attend him. [Exit Count LANISKA.
(Jailor closes the iron door over the grated window, locks it, and retires.)
SOPHIA. 'Twas but a dream!--'Tis past, and all is still again!
[The bell in the tower strikes twelve
BRAVURA--SOPHIA Hark! 'tis the deep-toned midnight bell, That bids a sad and long farewell To the departed hour; How like a dirge its music falls Within these cold and dreary walls, Where stern misfortunes lower!
Ah! vainly through these prison-bars Glide the pale beams of moon and stars, To cheer this lonely tower; From evening's close