The Complete Works of Edgar Allan Poe - Edgar Allan Poe [1046]
The second scene makes us acquainted with a young painter (Angelo,) poor, but of high talents and ambition, and with his servant, (Tomaso,) an old bottle-loving rascal, entertaining no very exalted opinion of his master’s abilities. Tomaso does some injury to a picture, and Angelo is about to run him through the body, when he is interrupted by a sudden visit from the Duke of Florence, attended by Falcone. The Duke is enraged at the murderous attempt, but admires the paintings in the studio. Finding that the rage of the great man will prevent his patronage if he knows the aggressor as the artist, Angelo passes off Tomaso as himself, (Angelo,) making an exchange of names. This is a point of some importance, as it introduces the true Angelo to a job which he has long coveted — the painting of the portrait of Isabella, of whose beauty he had become enamored through report. The Duke wishes the portrait painted. Falcone, however, on account of a promise to Tortesa, would have objected to admit to his daughter’s presence the handsome Angelo, but in regard to Tomaso, has no scruple. Supposing Tomaso to be Angelo and the artist, the count writes a note to Isabella, requiring her “to admit the painter Angelo.” The real Angelo is thus admitted. He and the lady love at first sight, (much in the manner of Romeo and Juliet,) each ignorant of the other’s attachment.
The third scene of the second act is occupied with a conversation between Falcone and Tortesa, during which a letter arrives from the Duke, who, having heard of the intended sacrifice of Isabella, offers to redeem the Count’s lands and palace, and desires him to preserve his daughter for a certain Count Julian. But Isabella, — who, before seeing Angelo, had been willing to sacrifice herself for her father’s sake, and who, since seeing him, had entertained hopes of escaping the hateful match through means of a plot entered into by herself and Zippa — Isabella, we say, is now in despair. To gain time, she at once feigns a love for the usurer, and indignantly rejects the proposal of the Duke. The hour for the wedding draws near. The lady has prepared a sleeping potion, whose effects resemble those of death. (Romeo and Juliet.) She swallows it — knowing that her supposed corpse would lie at night, pursuant to an old custom, in the sanctuary of the cathedral; and believing that Angelo — whose love for herself she has elicited, by a stratagem, from his own lips — will watch by the body, in the strength of his devotion. Her ultimate design (we may suppose, for it is not told,) is to confess all to her lover, on her revival, and throw herself upon his protection — their marriage being concealed, and herself regarded as dead by the world. Zippa, who really loves Angelo — (her love for Tortesa, it must be understood, is a very equivocal feeling, for the fact cannot be denied that Mr. Willis makes her love both at the same time) — Zippa, who really loves Angelo — who has discovered his passion for Isabella — and who, as well as that lady, believes that the painter will watch the corpse in the cathedral, — determines, through jealousy, to prevent his so doing, and with this view informs Tortesa that she has learned it to be Angelo’s design to steal the body, for artistical purposes, — in short as a model to be used in his studio. The usurer, in consequence, sets a guard at the doors of the cathedral. This guard does, in fact, prevent the lover from watching the corpse, but, it appears, does not prevent the lady, on her revival and disappointment in not seeing the one she sought, from passing unperceived from the church. Weakened by her long sleep, she wanders aimlessly through the streets, and at length finds herself, when just sinking with exhaustion, at the door of her father. She has