Linenotes

Before : ACT THE FIRST (The Portrait and the Picture). Corr. in MS. III.

Scene—The sea shore, &c.] Scene—The Sea shore on the coast of Granada, in the Seigniory of the Marquis Valdez. Valdez Teresa corr. in MS. III. [For Velez, Maria, Osorio, Albert, Francesco, read Valdez, Teresa, Ordonio, Alvar, Isidore throughout, Remorse.

Before , Scene II.: Enter Teresa and Valdez. Remorse.

Osorio] Ordoño] corr. in MS. II.

Albert's] Garcia's corr. in MS. III.

mine] my Remorse, 1813.

him] him Remorse.

Or hover round, as he at midnight oft Remorse.

my] my Remorse. Stage-direction om. Remorse.

[51-2]

Erased MS. III.

[52-3]

Valdez. A thought? even so! mere thought! an empty thought.
The very week he promised his return—

Remorse.

an empty thought
That boasts no neighbourhood with Hope or Reason

Corr. in MS. III.

[54-7]

Ter. Was it not then a busy joy? to see him,
After those three years' travels! we had no fears—
The frequent tidings, the ne'er failing letter,
Almost endeared his absence! yet the gladness,
The tumult of our joy! What then, if now—

Marginal correction in MS. III, Remorse.

dreams] fancies Remorse.

Stage-direction om. Remorse.

[62-8]

Erased MS. III.

[62-73]

Vald. The sober truth is all too much for me!
I see no sail which brings not to my mind
The home-bound bark, in which my son was captured
By the Algerine—to perish with his captors!

Ter. Oh no! he did not!

Vald. Captured in sight of land!
From yon Hill-point, nay, from our castle watch-tower
We might have seen—

Ter. His capture, not his death.

Vald. Alas! how aptly thou forgett'st a tale
Thou ne'er didst wish to learn! my brave Ordonio
Saw both the pirate and his prize go down,
In the same storm that baffled his own valour,
And thus twice snatched a brother from his hopes.

Marginal correction in MS. III, Remorse.

Stage-direction om. Remorse.

And most delight his spirit, go, make thou Remorse.

with] in Remorse.

my father] Lord Valdez Remorse.

dream] hear Remorse.

[101-5]

Erased MS. III.

Vald. (looking forward). Hush! 'tis Monviedro.

Ter. The Inquisitor—on what new scent of blood?

Enter Monviedro with Alhadra.

Mon. Peace and the truth be with you! Good my Lord.
My present need is with your son.
We have hit the time. Here comes he! Yes, 'tis he.

Enter from the opposite side Don Ordonio

My Lord Ordonio, this Moresco woman

MS. III, Remorse.

Erased MS. III.

The] Our MS. III.

[108-31]

Mon. My lord, on strong suspicion of relapse
To his false creed, so recently abjured,
The secret servants of the Inquisition
Have seized her husband, and at my command
To the supreme tribunal would have led him,
But that he made appeal to you, my lord,
As surety for his soundness in the faith.
Tho' lesson'd by experience what small trust
The asseverations of these Moors deserve,
Yet still the deference to Ordonio's name,
Nor less the wish to prove, with what high honour
The Holy Church regards her faithful soldiers,
Thus far prevailed with me that—

Ord. Reverend father,
I am much beholden to your high opinion,
Which so o'erprizes my light services. [then to Alhadra
I would that I could serve you; but in truth
Your face is new to me.

Mon. My mind foretold me
That such would be the event. In truth, Lord Valdez,
'Twas little probable, that Don Ordonio,
That your illustrious son, who fought so bravely
Some four years since to quell these rebel Moors,
Should prove the patron of this infidel!
The warranter of a Moresco's faith!

Remorse.

Have learnt by heart their falsehoods to gain time. Corr. in MS. III.

[118-20]

who (you know, &c., . . . with her Erased MS. III. The stage-direction (Alhadra here advances towards Ordonio) is inserted at the end of Francesco's speech.

[127-8]

om. MS. III.

Is Isidore. (Ordonio starts) Remorse.

Stage-direction (triumphantly) om. Remorse.

[138-9]

You were at sea, and there engaged the pirates,
The murderers doubtless of your brother Alvar!

Remorse.

The stage-direction Maria looks, &c., om. Remorse.

Francesco (. . . Osorio) om. Remorse.

Val. You pressed upon him too abruptly father Remorse.

Ord. O heavens! I?—I doted?—Remorse. Stage-directions (starting, &c.), (Then, as, &c.) om. Remorse.

Before stage direction ends at 'follows' Remorse.

Stage-direction (her eye, &c.) om. Remorse.

Till that] Until Remorse.

Stage-direction before om. Remorse.

Ordonio (as they return to Valdez). Remorse.

Stage-direction om. Remorse.

do] do Remorse.

I hope, my lord, your merely human pity MS. III, Remorse.

[162-72]

Nay, nay . . . Ferdinand om. Remorse.

was] was Remorse.

Myself I'll sift him Remorse.

[Francesco's speech 'My lord you have it' is thus expanded]:—

Monviedro. Your zeal, my lord,
And your late merits in this holy warfare
Would authorize an ampler trust—you have it.

Remorse.

Stage-direction om. Remorse.

Attributed to Valdez in Remorse.

I'll loiter yet awhile t'enjoy the sea breeze. Remorse.

The stage-direction, Alhadra had been, &c., was interpolated by S. T. C. in MS. III, and 'distrustful' is written 'mistrustful'. It is omitted in Remorse.

The line was originally written:—

Nay, nay, not hate him. I try not to do it;

and in this form it stands in the Poole MS. MSS. II, III have the line as amended, but have also this stage-direction '(perceiving that Alhadra is conscious she has spoken imprudently)'; and MS. II has the word me underlined.

Oh fear not me! my heart is sad for you

Remorse.

In Poole MS. this line was originally—

These wolfish Priests! these lappers-up of Blood.

stalk'd] walk'd Remorse.

on] by Remorse.

Interpolated by S. T. C.

That his vile Slaves, his pitiless officers
Held in their custody my babes and husband.

MS. III.

foul officers] familiars Remorse.

ragged] rugged Remorse.

'(ironically)' only in MS. II.

And they do] And Christians Remorse.

Solely my complexion] I was a Moresco Remorse.

There] Where Remorse.

[212-14]

It was a toil to breathe it! When the door,
Slow opening at the appointed hour, disclosed
One human countenance, the lamp's red flame
Cowered as it entered, and at once sank down

Remorse.

the dull bell counting Remorse.

blessed] all-cheering. Remorse.

my] our Remorse.

dreams] slumbers Remorse.

God] Heaven Remorse.

deliver'd] released Corr. in MS. III, Remorse.

fit] trance Remorse.

Fearless in act, but feeble in endurance Corr. in MS. III, Remorse.

[247-9]

MS. III erased: om. Remorse.

Between 249-50

Teresa. (starting). This sure must be the man (to Alhadra)
Know you that man?

Corr. in MS. III.

Between and 263

Ter. Know you that stately Moor?

Alhad. I know him not:
But doubt not he is some Moresco chieftain,
Who hides himself among the Alpujarras.

Ter. The Alpujarras? Does he know his danger,
So near this seat?

Alhad. He wears the Moorish robes too,
As in defiance of the royal edict.

[Alhadra advances to Alvar, who has walked to the back of the stage near the rocks. Teresa drops her veil.

Alhad. Gallant Moresco! An inquisitor,
Monviedro, of known hatred to our race—

Remorse.

[254-7]

His ends, his motives, why he shrinks from notice
And spurns all commune with the Moorish chieftain,
Baffles conjecture—

Corr. in MS. III.

Before stage-direction affixed to .

Teresa. Ask of him whence he came? if he bear tidings
Of any Christian Captive—if he knows—

Corr. in MS. III.

Philip the Second had forbidden under pain of death the Moorish Robes MS. II: Phillip (sic) the Second had prohibited under pain of death all the Moorish customs and garments MS. III.

the creature] a brother Corr. in MS. III.

Albert (retiring)] advancing as if to pass them Corr. in MS. III. Stage-direction om. Remorse.

Stage-direction om. Remorse.

Stage-direction om. Remorse.

[275-6]

om. Remorse.

Stage-direction They advance . . . followed by Alvar Corr. in MS. III: om. Remorse.

Alhadra (with bitter scorn). Corr. in MS. III.

[278-80]

om. Remorse.

Prefixed to . Alhadra walks away to the back of the stage, to the part where Alvar had first placed himself, stoops in the act of taking up a small Picture, looks at it and in dumb show appears as talking to herself. Corr. in MS. III.

[279-80]

Maria. This cannot be the Moor the Peasant spoke of
Nor face, nor stature squares with his description.

Alhadra. A painted tablet which he held and por'd on
Caught my eye strangely, and as I disturb'd him
He hid it hastily within his sash,
Yet when he started up (if my sight err'd not)
It slipt unnotic'd by him on the Sand.

Corr. in MS. III.

She deems me dead yet wears no mourning garments Remorse.

om. Remorse.

gentle maid] noble dame Remorse.

[286-7]

om. Remorse.

Between and 288

Ter. Dreams tell but of the past, and yet, 'tis said
They prophesy—

Alv. The Past lives o'er again
In its effects, and to the guilty spirit,
The ever frowning [guilty MS. III] Present is its image.

Ter. Traitress! [guilty MS. III] (then aside)
What sudden spell o'er-masters me?
Why seeks he me, shunning the Moorish woman.

Corr. in MS. III: Remorse.

Polluted] Dishonour'd MS. III, Remorse. [In MS. III S. T. C. substituted 'Polluted' for 'Dishonoured.'

[294-5]

Fear, following guilt, tempted to blacker guilt,
And murderers were suborned against my life

Remorse.

Affixed to During this speech Alhadra returns, and unobserved by Alvar and Teresa scans the picture, and in dumb show compares it with the countenance of Alvar. Then conceals it in her robe. MS. III.

Stage-direction om. Remorse.

threaddy] thready Remorse.

him] them Remorse.

Stage-direction om. Remorse.

sins] guilt Remorse.

all is] all as MS. III, Remorse.

MS. III erased.

foll.

Alhadra (aside).

I must reserve all knowledge of this Table
Till I can pierce the mystery of the slander—
Form, Look, Features,—the scar below the Temple
All, all are Isidore's—and the whole Picture— (then to Alvar.)
On matter of concerning Import . . .
. . . I would discourse with you:
Thou hast ta'en up thy sojourn in the Dell,
Where Zagri liv'd—who dar'd avow the Prophet,
And died like one of the Faithful—there expect me.

Addition on margin of MS. III.

om. Remorse.

While] Whilst Remorse.

Interpolated by S. T. C. MS. III.

Could she walk here, if she had been a traitress Remorse.