Operas Every Child Should Know: Descriptions of the Text and Music of Some of the Most Famous Masterpieces — John Shaqi
Operas Every Child Should Know: Descriptions of the Text and Music of Some of the Most Famous MasterpiecesBacon, Mary Schell Hoke
History
Operas Every Child Should Know: Descriptions of the Text and Music of Some of the Most Famous Masterpieces
Bacon, Mary Schell Hoke
Music -- History and criticism -- Juvenile literature; Operas -- Stories, plots, etc.
Down in the very bowels of the earth, as it seemed to Leonora, was
Florestan's dungeon. There he sat, manacled, despairing, with no ray
of light to cheer him, and his thoughts occupied only with his visions
of the beautiful home he had known, and of his wife, Leonora. When
Leonora and Rocco entered the dungeon, Florestan had fallen, half
sleeping, half dreaming upon the floor of his cell, and Leonora groped
her way fearfully toward him, believing him to be dead.
"Oh, the awful chill of this vault," she sobbed. "Look! Is the man
dead, already, Rocco?" Rocco went to look at the prisoner.
"No, he only sleeps. Come, that sunken well is near, and we have only
to uncover it to have the job done. It is a hard thing for a youth
like thee. Let us hurry." Rocco began searching for the disused well,
into which he meant the body of Florestan to be dumped after the
governor had killed him.
"Reach me that pickaxe," he directed Fidelio. "Are you afraid?"
"No, no, I feel chilled only."
"Well, make haste with the work, my boy, and it will warm you," Rocco
urged. Then while he worked and urged Fidelio to do the same, she
furtively watched the prisoner whose features she could not see in the
gloom of the cell.
"If we do not hurry, the governor will be here. Haste, haste!" Rocco
cried.
"Yes, yes," she answered, nearly fainting with grief and horror.
"Come, come, my boy. Help me lift this great stone which closes the
mouth of the well." The despairing Fidelio lifted with all her poor
strength.
"I'm lifting, I'm lifting," she sobbed, and she tugged and tugged,
because she dared not shirk the work. Then the stone slowly rolled
away. She was still uncertain as to the identity of the poor wretch
who was so soon to be put out of existence. She peered at him
continually.
"Oh, whoever thou art, I will save thee. I will save thee," she
thought. "I cannot have so great a horror take place. I must save
him." Still she peered through the darkness at the hopeless prisoner.
At the same time her grief overwhelmed her, and she began to weep. The
prisoner was roused, and plaintively thanked the strange youth for his
kindly tears.
"Oh, whoever this poor man may be, let me give him this piece of
bread," Fidelio begged, turning to Rocco. (She had put bread into her
doublet, thinking to succour some half-starved wretch.)
"It is my business, my boy, to be severe," he said, frowning. He was
sorely tried, for his heart was kind and yet he dared not show pity.
But she pleaded and pleaded, and finally Rocco nervously agreed.
"Well, well, give it, boy. Give it. He will never taste food again,"
and again the prisoner thanked Fidelio through the darkness of his
cell. When he spoke she felt a strange presentiment. Suppose this
should be the beloved husband whom she sought!
"Oh, gentle youth! That I might repay this humane deed!" the prisoner
murmured, too weak to speak loudly.
Public-domain text, read in full here on John Shaqi.
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