The Duenna: A Comic Opera E-Book

Richard Brinsley Sheridan

• Herausgeber: Booksell-Verlag
• Kategorie: Poesie und Drama
• Sprache: Englisch

Veröffentlichungsjahr: 2019

Beschreibung

In Richard Brinsley Sheridan's "The Duenna: A Comic Opera," the author deftly combines elements of comedy and musicality, situated amidst the vibrant context of late 18th-century British theater. The narrative unfolds with a web of mistaken identities, romantic entanglements, and the humorous follies of love, showcasing Sheridan'Äôs impeccable wit and keen social commentary. The operatic form, with its melodic interludes and sparkling dialogues, serves both as entertainment and a vehicle for satirizing societal norms, particularly the dynamics of courtship and the institution of marriage, echoing the conventions of contemporary dramatic works. Richard Brinsley Sheridan, a prominent figure of the British Restoration period, was deeply immersed in the theatrical tradition. His experiences as a playwright and a playwright-manager, alongside his noble background and an acute understanding of human nature, contributed to his ability to craft engaging narratives. His works often reflect his interests in social reform, politics, and the intricate dance of relationships, themes vividly explored in "The Duenna." For readers and theater enthusiasts alike, "The Duenna" stands as an essential example of Sheridan'Äôs genius in blending humor with insightful critique. It invites audiences to celebrate the folly and charm of love while navigating the complexities of social conventions, making it a timeless piece that resonates across generations.

Leseprobe

Richard Brinsley Sheridan

The Duenna: A Comic Opera

Published by Good Press, 2022

[email protected]

EAN 4064066198015

Table of Contents

DRAMATIS PERSONAE

ACT I.

SCENE II— A Piazza .

SCENE III.— A Room in DON JEROME'S House .

SCENE IV.— The Court before DON JEROME'S House.

SCENE V.- The Piazza.

ACT II.

SCENE II.—DONNA LOUISA'S Dressing-Room .

SCENE III.— A Library in DON JEROME'S House .

SCENE IV.—ISAAC'S Lodgings .

ACT III.

SCENE II.— The New Piazza .

SCENE III.— The Garden of the Convent .

SCENE IV.— A Court before the Priory .

SCENE V.— A Room in the Priory .

SCENE VI.— The Court before the Priory .

SCENE VII— A Grand Saloon in DON JEROME'S House .

DRAMATIS PERSONAE

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AS ORIGINALLY ACTED AT COVENT-GARDEN THEATRE, NOV. 21, 1775

DON FERDINAND Mr. Mattocks. DON JEROME Mr. Wilson. DON ANTONIO Mr. Dubellamy. DON CARLOS Mr. Leoni. ISAAC MENDOZA Mr. Quick. FATHER PAUL Mr. Mahon. FATHER FRANCIS Mr. Fox. FATHER AUGUSTINE Mr. Baker. LOPEZ Mr. Wewitzer. DONNA LOUISA Mrs. Mattocks. DONNA CLARA Mrs. Cargill. THE DUENNA Mrs. Green.

Masqueraders, Friars, Porter, Maid, and Servants.

SCENE—SEVILLE.

ACT I.

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SCENE I.—The Street before DON JEROME'S House.

Enter LOPEZ, with a dark lantern.

Lop. Past three o'clock!—Soh! a notable hour for one of my regular disposition, to be strolling like a bravo through the streets of Seville! Well, of all services, to serve a young lover is the hardest.—Not that I am an enemy to love; but my love and my master's differ strangely.—Don Ferdinand is much too gallant to eat, drink, or sleep:—now my love gives me an appetite—then I am fond of dreaming of my mistress, and I love dearly to toast her.—This cannot be done without good sleep and good liquor: hence my partiality to a feather- bed and a bottle. What a pity, now, that I have not further time, for reflections! but my master expects thee, honest Lopez, to secure his retreat from Donna Clara's window, as I guess.—[Music without.] Hey! sure, I heard music! So, so! Who have we here? Oh, Don Antonio, my master's friend, come from the masquerade, to serenade my young mistress, Donna Louisa, I suppose: so! we shall have the old gentleman up presently.—Lest he should miss his son, I had best lose no time in getting to my post. [Exit.]

Enter DON ANTONIO, with MASQUERADERS and music.

SONG.—Don Ant.

Tell me, my lute, can thy soft strain So gently speak thy master's pain? So softly sing, so humbly sigh, That, though my sleeping love shall know Who sings—who sighs below, Her rosy slumbers shall not fly? Thus, may some vision whisper more Than ever I dare speak before.

I. Mas. Antonio, your mistress will never wake, while you sing so dolefully; love, like a cradled infant, is lulled by a sad melody.

Don Ant. I do not wish to disturb her rest.

I. Mas. The reason is, because you know she does not regard you enough to appear, if you awaked her.

Don Ant. Nay, then, I'll convince you. [Sings.]

The breath of morn bids hence the night, Unveil those beauteous eyes, my fair; For till the dawn of love is there, I feel no day, I own no light.

DONNA LOUISA—replies from a window.

Waking, I heard thy numbers chide, Waking, the dawn did bless my sight; 'Tis Phoebus sure that woos, I cried, Who speaks in song, who moves in light.

DON JEROME—from a window.

What vagabonds are these I hear, Fiddling, fluting, rhyming, ranting, Piping, scraping, whining, canting? Fly, scurvy minstrels, fly!

TRIO.

Don. Louisa. Nay, prithee, father, why so rough?

Don Ant. An humble lover I.

Don Jer. How durst you, daughter, lend an ear To such deceitful stuff? Quick, from the window fly!

Don. Louisa Adieu, Antonio!

Don Ant Must you go?

Don. Louisa. & Don Ant. We soon, perhaps, may meet again. For though hard fortune is our foe, The God of love will fight for us.

Don Jer. Reach me the blunderbuss.

Don Ant. & Don. Louisa. The god of love, who knows our pain—

Don Jer. Hence, or these slugs are through your brain.

[Exeunt severally.]

SCENE II—A Piazza.

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Enter DON FERDINAND and LOPEZ.

Lop. Truly, sir, I think that a little sleep once in a week or so—-

Don Ferd. Peace, fool! don't mention sleep to me.

Lop. No, no, sir, I don't mention your lowbred, vulgar, sound sleep; but I can't help thinking that a gentle slumber, or half an hour's dozing, if it were only for the novelty of the thing——

Don Ferd. Peace, booby, I say!—Oh, Clara dear, cruel disturber of my rest!

Lop. [Aside.] And of mine too.

Don Ferd. 'Sdeath, to trifle with me at such a juncture as this!— now to stand on punctilios!—Love me! I don't believe she ever did.

Lop. [Aside.] Nor I either.

Don Ferd. Or is it, that her sex never know their desires for an hour together?

Lop. [Aside.] Ah, they know them oftener than they'll own them.

Don Ferd. Is there, in the world, so inconsistent a creature as Clara?

Lop. [Aside.] I could name one.

Don Ferd. Yes; the tame fool who submits to her caprice.

Lop. [Aside.]I thought he couldn't miss it.

Don Ferd. Is she not capricious, teasing, tyrannical, obstinate, perverse, absurd? ay, a wilderness of faults and follies; her looks are scorn, and her very smiles—'Sdeath! I wish I hadn't mentioned her smiles; for she does smile such beaming loveliness, such fascinating brightness—Oh, death and madness! I shall die if I lose her.

Lop. [Aside.] Oh, those damned smiles have undone all!

AIR—Don Ferd.

Could I her faults remember, Forgetting every charm, Soon would impartial reason The tyrant love disarm: But when enraged I number Each failing of her mind, Love still suggests each beauty, And sees—while reason's blind.

Lop. Here comes Don Antonio, sir.

Don Ferd. Well, go you home—I shall be there presently.

Lop. Ah, those cursed smiles! [Exit.]