DRAMATIS PERSONE.

MAXIMILIAN, Duke of Verona.

Fabricio, a Nobleman of Verona, head of the faction of the Montefes.

Rofelo, fon to Fabricio, the lover of Julia.

Antonio, a Nobleman of Verona, head of the Caftelvins.

Julia, daughter to Antonio, in love with Rofelo.

Theobald, a Nobleman of Verona, of the faction of the

Caftelvins.

Oaavio, fon to Theobald, rival to Rofelo.

Dorothea, fifter to Octavio.

Anfelm, friend to Rofelo, of the faction of the Montefes.

Count Paris, an Italian Nobleman,

Marin, fervant to Rofelo. Le Lacayo Graciofo, a constant Lydio, fervant to Fabricio. S character in all the Spanish plays.

Guards, Mafks, Muficians, &c.

Scene, VERONA,

EX

EXTRACT

FROM

The CASTELVINS and MONTESES,

A Play of LOPES DE VEGA.

Caftelvines y Montéfes, Comedia famofa, de Lopé de Vega Carpio.

T

ACT I.

Hough the whole first act paffes in the city of Verona, yet there are feveral changes of decoration. The ftage, during the first scene, represents a street, with the front of a beautiful palace, the refidence of Antonio, chief of the Caftelvins.

Anfelm and Rofelo, two young Gentlemen of the party of the Montefes, are difcourfing of an entertainment given in the palace; a concert, and a masquerade; the violins are heard. Rofelo fhews a strong inclination to go in, and his friend diffuades him from it, by remonftrating the danger that such a rafhnefs might bring him into, and the inexcufable crime it would appear to his father, from the hereditary hatred of their houses.

Rofelo

Rofelo argues, That the union of a moment may perhaps happily cement the animofity of ages, which has been often near the ruin of the city: That the Montefes have been always famous for men of unconquerable valour; the Caftelvins, for women of as uncommon beauty,

Lopes de Vega's expreffion in Spanish is,

Mugeres de tal belleza, que hurto la Naturalera la eftampa a los Serafines.

"Women of fuch beauty, that Nature ftole their "model from the Seraphims."

That he has an impulfe not to be overcome, that urges him to believe 'tis his fate to put an end to these unhappy diffenfions.

Anfelm expoftulates for fome time, and at last yields with great difficulty to the caprice of Rofelo. They determine to mafk themselves, in order to go with more fafety into the house of their enemy; and Marin, Rofelo's valet, the buffoon of the play, trembles for his master's danger and his own, and concludes the fcene with his burlesque terrors.

The scene changes to a fine garden. Some Gentlemen and Ladies feated, others walking, &c.; a band of mufic at the end of the stage.

Whilst the masks are dancing, Ottavio (the fon of Theobald) is making love to Julia (daughter to Antonio). The old men advance to the front of the stage, and teftify the pleasure it would give them to unite their children. Things

don't

don't fucceed just as they wish. Octavio loves Julia, but fhe dislikes him.

Rofelo, Anfelm, and Marin, join the company in difguife. The extreme beauty of Julia ftrikes. Rofelo immediately. He is loft in transport, and, in his disorder, he drops his mask. Antonio knows him that inftant, and, with great indignation, whispers it to Theobald, who with difficulty perfuades him not to infringe the laws of hospitality. During the dialogue, Julia and Rofelo admire each other. By degrees the crowd and tumult of the affembly favour Rofelo's addreffing Julia. He declares his love; fhe liftens to it without refentment. Octavio endeavours to disturb the converfation; but this does not prevent Julia from flipping a ring into Rofelo's hand, and making an appointment for the following night in the garden.

The affembly breaks up, and all go off, except Julia, and Celia her confident; to whom fhe discovers what has paffed.

The three or four following scenes pass alternately in the street, and in the houfe of Fabricio, (Rofelo's father), and are of no confequence to the fubject of the play. At the clofe of night, the scene changes again to Antonio's garden, and Julia appears with Rofelo, who has scaled the wall. This is a long scene, the most interesting of the whole, and concludes with her confenting to a private marriage.

ACT

ACT II.

The interval between the first and fecond act, is fuppofed to be taken up by the fecret marriage of Rofelo and Julia. Their happiness does not last long, without being interrupted by a moft cruel accident.

All the Nobility of Verona are affembled, for a certain folemnity, in the great church, Dorothea, a Caftelvin Lady, (fifter to Octavio, and daughter to Theobald), is infulted in this facred place, and the infult is given by the fervants of a Montefe Lady. This infolence raises a great tumult in the church, and revives the animofity of the factions; but the Caftelvins are obliged to give way to the greater number of their adverfaries.

In the twelve first scenes, the decoration is a public fquare, at the end of which appears the front and gate of the church, where this adventure is fupposed to happen. Fefennio (Theobald's fervant) relates it to his master, who receives it with the utmoft violence of temper, though before he had inclined to moderation.

Octavio enters, and is excited by his father to revenge Dorothea. They return into the church, to join their party. Rofelo, Anfelm, and Marin, enter, ignorant of what has paffed. Whilft the two friends are converfing of Roselo's marriage and happinefs, the church becomes

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