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him; and not believing, I must not listen, where

I dare not answer.

Rich. But Florestan

[Florestan bows, and exit. Rich. Oh God!---oh misery!--Is this to be my lot for ever!---Am I doom'd by a vile traitor's craft to wear my life away in ignominious bondage!---But Richard is forgot---deserted by his people---by the world !---[He looks on a Picture.] Image of her I love !---come---Oh! calm, console my heart-No---thou dost redouble all my griefs---thou art my despairO, Death! I call on thee---thy dart alone can break my chains--my freedom is my grave!

SONG.

Rich. Lost to the world, forgot, forlorn,
In vain to me returns the morn

That brings no more my glorious toils;
Yet bless the beams that gave to sight
This image of my soul's delight,
This heaven of soothing smiles.
Vain is the thought of former power
To sooth the present mournful hour:
O Death! be thou my friend ;
Hopeless I live, my sorrows end. [Exit,

END OF THE FIRST ACT.

ACT II.

SCENE I. The Theatre represents the inner Works of an old Fortification. Towards the Front is a Terrace inclosed by Rails and a Fosse; and so situated, that when Richard appears upon it, he cannot see Matilda, who is upon the outer Parapet.

The Time, the dawn of Day.

Soldiers lower a drawbridge, which they cross and leave a centinel on each side.

Enter RICHARD and FLORESTAN.

FLORESTAN.

Flor. The morning breaks-the fresh air is lighten'd by the dawn-profit of it, Sire, for your health's sake.-Within an hour

your guards must do their duty, and you will be again secluded from the day. [Exit. [Richard walks to the further end of the terrace, and remains in a posture of deep despair.

Enter MATILDA and ANTONIO on the other side, the fosse and parapet.

Mat. Antonio, stay awhile; here on this rising ground we'll rest-I love to feel the pure fresh air-it is the balmy breath of morn, whispering the sun's approach. Where are we now?

Ant. Close to the parapet of the castle which you bid me bring you to.-[Matilda offering to get upon the parapet.] Ah! don't attempt to get upon it-you'll fall.

Mat. Indeed! Well here, kind boy-take this money, and go buy something for us that we may breakfast.

Ant. You have given me a great deal—

Mat. Keep for yourself what is too much. Ant. Oh, thank you! and pray take care not to go too near the moat. [Exit. Mut. When you return we will walk to some shade-shall we?-You don't answer me—] -he is gone-and now then-[Lifts up the bandeau, and raises herself on the parapet.] Ah! no one to be

seen!

Rich. A year a year is pass'd! hope is exhausted!

Mat. How still! how silent-Sure if those walls enclose him, my voice may reach their deepest recesses-Oh! if he is here he will remember the strain-'twas the offering of his

earliest love in happy days-of love for her, who now uncertain of his fate-yet shares his misery. Rich. No cheering thought! no glimmering ray of consolation-Ö memory !-O Matilda! [Matilda plays.

Rich. What sounds!-heavens !-the very strain I once-Oh! let me hear

MATILDA sings.

One night in sickness lying,
A prey to grief and pain,

Rich. Heaven, that voice!

MATILDA Sings.

When aid of man was vain,
And hope and life were flying,
Then came my mistress to my bed,
And death and pain and sorrow fled.
[She stops and raises herself to listen.

RICHARD, while she sings, having expressed the extremes of surprise, hope, and joy, seems to endeavour to recall to his memory the rest of the ditty, and recollecting it, answers,

The gentle tears soft falling

Of her whom I adore,

My tender hopes recalling,
Did life and love restore.

Could I but view Matilda's eyes,
Fortune, thy frowns I should despise.

Richard.

TOGETHER,

The gentle tears soft falling
Of her so long ador'd,
My tender hopes recalling,
Have love and life restor❜d.

Matilda.

My gentle tears fast falling
For him so long ador'd,
His tender hopes recalling,
Have love and life restor❜d.

After Matilda has repeated the strain, shewing great Joy, Florestan and Soldiers appear. Florestan requests the King to retire into the Castle

-he does so, while another party seize Matilda, and passing a drawbridge, bring her into the front of the works.

DUO and CHORUS. Matilda, Guards, &c.

CHORUS. Soldiers.

Speak quickly, quickly, who art thou?
Who sent thee here? Whence come, and

how?

Mat. Are you strangers passing near,

Pleas'd, perhaps, my song to hear?

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