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    The Count of Narbonne A Tragedy, in Five Acts
    The Count of Narbonne A Tragedy, in Five Acts
    The Count of Narbonne A Tragedy, in Five Acts
    Ebook110 pages1 hour

    The Count of Narbonne A Tragedy, in Five Acts

    By Mrs. Inchbald and Robert Jephson

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    Read preview
    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 27, 2013
    The Count of Narbonne A Tragedy, in Five Acts

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      Book preview

      The Count of Narbonne A Tragedy, in Five Acts - Mrs. Inchbald

      The Project Gutenberg EBook of The Count of Narbonne, by Robert Jephson

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever. You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.net

      Title: The Count of Narbonne

      A Tragedy, in Five Acts

      Author: Robert Jephson

      Commentator: Mrs. Inchbald

      Release Date: July 1, 2011 [EBook #36575]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK THE COUNT OF NARBONNE ***

      Produced by Steven desJardins, David Garcia and the Online

      Distributed Proofreading Team at http://www.pgdp.net

      COUNT OF NARBONNE

      THEODORE—SHE HASTENED TO THE CAVE AND VANISHED FROM MY SIGHT

      ACT I SCENE I

      PAINTED BY COOK PUBLISH'D BY LONGMAN & CO. ENGRAV'D BY ENGLEHEART

      1807

      THE

      COUNT OF NARBONNE;

      A TRAGEDY,

      IN FIVE ACTS;

      By ROBERT JEPHSON, Esq.

      AS PERFORMED AT THE

      THEATRE ROYAL, COVENT GARDEN.

      PRINTED UNDER THE AUTHORITY OF THE MANAGERS

      FROM THE PROMPT BOOK.

      WITH REMARKS

      BY Mrs. INCHBALD.

      LONDON:

      PRINTED FOR LONGMAN, HURST, REES, AND ORME,

      PATERNOSTER ROW.

      WILLIAM SAVAGE, PRINTER

      LONDON.

      REMARKS.

      This tragedy was brought upon the stage in 1780; it was extremely admired, and exceedingly attractive.

      Neither The Winter's Tale, nor Henry VIII by Shakspeare, were at that time performed at either of the theatres; and the town had no immediate comparison to draw between the conjugal incidents in The Count of Narbonne, and those which occur in these two very superior dramas.

      The Cardinal Wolsey of Shakspeare, is, by Jephson, changed into a holy and virtuous priest; but his importance is, perhaps, somewhat diminished by a discovery, which was intended to heighten the interest of his character; but which is introduced in too sudden, and romantic a manner, to produce the desired consequence upon a well-judging auditor.

      One of the greatest faults, by which a dramatist can disappoint and fret his auditor, is also to be met with in this play.—Infinite discourse is exchanged, numberless plans formed, and variety of passions agitated, concerning a person, who is never brought upon the stage—Such is the personal nonentity of Isabel, in this tragedy, and yet the fable could not proceed without her.—Alphonso, so much talked of, yet never seen, is an allowable absentee, having departed to another world; and yet, whether such invisible personages be described as alive, or dead, that play is the most interesting, which makes mention of no one character, but those which are introduced to the sight of the audience.

      The lover of romances, whose happy memory, unclouded by more weighty recollections, has retained a wonderful story, by the late Lord Orford, called, The Castle of Otranto, will here, it is said, find a resemblance of plot and incidents, the acknowledged effect of close imitation.

      Lord Orford, (at that time Mr. Horace Walpole,) attended some rehearsals of this tragedy, upon the very account, that himself was the founder of the fabric.

      The author was of no mean reputation in the literary world, for he had already produced several successful dramas. The Count of Narbonne proved to be his last, and his best composition.——Terror is here ably excited by descriptions of the preternatural—Horror, by the portraiture of guilt; and compassion, by the view of suffering innocence.—These are three passions, which, divided, might each constitute a tragedy; and all these powerful engines of the mind and heart, are here, most happily combined to produce that end,—and each forms a lesson of morality.

      DRAMATIS PERSONÆ.

      SCENE.—Narbonne Castle, and the Monastery of St. Nicholas, adjoining to the Castle.

      THE COUNT OF NARBONNE.

      ACT THE FIRST.

      SCENE I.

      A Hall.

      Enter the Count, speaking to an Officer; Fabian following.

      Count. Not to be found! is this your faithful service?

      How could she pass unseen? By hell, 'tis false!

      Thou hast betray'd me.

      Offi. Noble sir! my duty——

      Count. Your fraud, your negligence—away, reply not.

      Find her within this hour; else, by my life,

      The gates of Narbonne shall be clos'd against thee;

      Then make the world thy country.

      [Exit Officer.

      Fabian, stay!

      Misfortunes fall so thick upon my head,

      They will not give me time to think—to breathe.

      Fab. Heaven knows, I wish your peace; but am to learn,

      What grief more fresh than my young lord's decease,

      A sorrow but of three days past, can move you.

      Count. O bitter memory! gone, gone for ever!

      The pillar of my house, my only son!

      Fab. 'Twas terrible indeed.

      Count. Ay, was it not?

      And then the manner of it! think on that!

      Disease, that robb'd me of two infant sons,

      Approaching slow, bade me prepare to lose them;

      I saw my lilies drooping; and, accustom'd

      To see them dying, bore to see them dead:

      But, Oh my Edmund!—Thou remember'st, Fabian,

      How blithe

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