Mitford’s Rienzi: A Genetic Survey

This page presents an interface for surveying alterations to Mary Russell Mitford’s historical tragedy of Rienzi. The interface surveys how the text transformed over time by displaying how the four separate editions of the text compare with each of the others. The visualization and interface here are drawn from Eric Hood’s TEI edition of Rienzi, working with the TEI apparatus markup of all variant passages in the four editions.

The four editions represented here are:

We calculated Levenshtein edit distances for each locus in the play that featured variance, whether a paragraph in the preface, the stage directions, or within lines of speeches. Levenshtein edit distance is a measure of how different two strings of text are from one another, counting any alteration as 1. (Thus, the difference between newt, and next! equals 2.) We then plotted a visual summary of each unit paragraph, line, and stage direction as a row in the table below. When a unit did not feature any variance, we plotted a uniform grey row, but when variance appeared, we present a visual plot to summarize how much varied between each of the six possible combinations: 1) ms to 1828, 2) ms to 1837, 3) ms to 1854, 4) 1828 to 1837, 5) 1828 to 1854, and 6) 1837 to 1854. We divided values by ranges, based on the average and maximum values of all Levenshtein measures. These varied from 1 to 2654 characters, and their average was 9. We applied the following color values based on ranges and quantities of variants to show minor to major variation based on the following scale:

  1. grey: No difference (plotted to show relative distance of variant loci in the text)
  2. lavender: 4,020 variants that differ between 1 and 2 characters difference
  3. green: 574 variants differing between 2 and 5 characters
  4. yellow: 158 variants differing between 5 and 10 characters
  5. orange: 315 variants differing between 10 and 20 characters
  6. red: 536 variants of more than 20 characters of difference.

A number of loci appear only in one or two editions, and these appear as rows with cut-out notches in the table. On mouseover, the number of characters of variance from one edition to the next is exposed. When work on this page is complete, on mouseover of a given row featuring variants, a previously-concealed table row drops down beneath it revealing variant texts at that location.

Locus MS to 1828 MS to 1837 MS to 1854 1828 to 1837 1828 to 1854 1837 to 1854
preface 1: div: p 356 0 0 356 356 0
preface 1: div: p The materials of the following Tragedy are taken partly from the splendid narrative of Gibbon; partly from the still more graphical and interesting account of Rienzi’s eventful career, contained in the second volume of L’Abbe de Sade’s Memoires pour servir a la Vie de Petrarque; and, as far as the female characters are concerned, entirely from invention.
preface 1: div: p 1773 0 0 1773 1773 0
preface 1: div: p So much for the play. To such of my readers as may have witnessed Mr. Young’s performance of its hero, my feeble eulogium would, indeed, be superfluous, especially as, by the publication of the piece, I have enabled them to appreciate the delicate touches which belong exclusively to the performer. Still, I cannot refrain from adding to my cordial thanks, one tribute, which none but the Authoress can pay; by declaring, with unfeigned sincerity, that the image present to my fancy, when writing that long and arduous part, has been perfectly and vividly embodied by the great actor to whom it has been so fortunately entrusted. To Mr. Cooper, I owe a double debt: as an actor, for his pure and affecting performance of Angelo; and, as a manager, for his ability in arranging the complicated business of the scene; and for the kindness and courtesy with which he lightened the labour of the preparations, to all who had a share in them. To Mrs. Faucit, I would in particular express my acknowledgments, for the discrimination and energy which she bestowed on a character important in the piece, but not calculated to reward the actress; whilst, to Miss Phillips, I owe an obligation of a different sort, for the pathos, the intelligence, and the modest sweetness, which, on their first development, have so enchanted the theatrical world. It is to me one of the most gratifying circumstances attendant on the production of Rienzi, that it has been the medium of introducing to the acted drama, a young lady so fitted to adorn it, by every womanly grace. In short, to all the Performers, not only for the ability with which they filled their parts, but for the interest that they took in the general effect of the Play, I beg leave to offer my sincerest and warmest thanks.
preface 2: div: p 404 0 0 404 404 0
preface 2: div: p In offering to the world a second edtion of her Tragedy (the first impression of which was sold in three days), the Authoress has only to repeat her thanks to the excellent performers to who she was orignially indebted for success; and to acknowledge, with sincere gratitude, the almost unanimous kindness with which Rienzi, whether as an acted drama, or a published poem, has been received by the press.
preface 3: div: p 0 1609 0 1609 0 1609
preface 3: div: p The plot of this tragedy is founded on the history of Nicholas Rienzi, which Gibbon has described with such eloquence and power in the last volume of the Decline and Fall of the Roman Empire; and on the interesting account of his eventful career, contained in the second volume of L’Abbe de Sade’s Memoires pour servir a la Vie de Petrarque. The subject itself involves no very high degree of tragic interest. A plebeian band, struggling for liberty against two haughty an insolent factions—regaining it—becoming in turn the masters of their tyrants—using their freedom as an instrument of crueltly and oppression—and, with that fickleness and ingratitude wbich mark their character, turning their vengeance on the very idol on wbose head they would have lavished the names of senator or consul, of king or emperor. Thus, the oft told tale of aristocratical tyranny, and popular retribution, is again brought to our view. We hear the proud defiance of nobility, the spirit-stirring appeals of insulted patriotism, and the deafening shouts of a furious multitude, who hope much and understand little. But we miss the granduer of the Roman patron, the lofty bearing of the ancient patroit, who lived but for his country’s glory; and though the scene is laid in Rome, it is Rome in her most degenerate days, when torn and divided by contending factions: her race of heroes extinct, she was about to fall prey of fierce barbarians, and exhibit, in the solemn desolation of her seven hills—in her stately and majestic ruins, the most awful spectacle of the instability of human greatness in the history of mankind.
preface 3: div: p 0 2654 0 2654 0 2654
preface 3: div: p Rienzi, or as he styled himself in his theatrical pagents, “Tribune August,” and “Deliverer of Rome,” was a man descended from the lowest dregs of the people, the offspring of an innkeeper and a washerwoman. Having received from his parents the extraordinary gift of a liberal education, and from nature an inquiring, active, and intelligent mind, he raised himself from his obscure abd mean condition, to places both of honour adn profit: yet concealing, like the elder Brutus, under the mask of folly, and the character of a buffoon, a spirit that deepply deplored his country’s wrongs, and only wanted an opportunity to redress and avange them. In the feud between the rival houses of the Colonna and Ursini, he discovers some glimpse of the deliverence of Rome. A citizen who had refused to shout and throw up his ready cap during a triumphal procession of the latter party, is assaulted for his contumely. Rienzi, stung with rage at teh indignity offered to a Roman citizen, strike the offender to the ground—harangues the populace on their many and bitter wrongs—contrasts their ancient glory with their present degeneracy—rallies, expostulates, fires—and calls upon them to meet him at midnight on the Capitoline Hill. The summons obeyed—the spark of patriotism once kindled in their bosoms, their oppressors are instantly put down—Rienzi is elected Tribune of the people—justice, clemecy, and equal laws are promised to all—and the prostrate glories of the imperial city seem about to revive. But, as is the case in most revolutions, the downfall of one tyrant is only a prelude to the elevation of a still greater:—The Rienzi, invested with authority and power, is no longer the patroitic citizen, anxious only for the deliverance of his country: his nature is changed with his fortune; blinded and hurried on by sudden greatness, he becomes vain, sensual, arrogant, and cruel; affecting pomp and pageantry, violating the most sacred rites and symbols of religion; and exhibiting, in a still more odious degree, all the vices of the deposed faction, till, by a series of provocations, he offends the nobles beyond all hope of forgiveness; and by his pride intemperance, and pusillanimity, draws upon himself the hatred and contempt of the people; and from having been their champion and defender, he becomes, by an easy transition, their victim and sacrifice. Rienzi is drawn with great power: his courage, patroitism, and paternal tenderness, are finely brought out; while the vices that darken and degrade his character are shaded with such a skilful hand, that we cannot but regret, though we are fain to acknowledge the justice of his fall:—
preface 3: div: l 0 13 0 13 0 13
preface 3: div: l “For, surely,
preface 3: div: l 0 45 0 45 0 45
preface 3: div: l Though stained with much ambition, he was one
preface 3: div: l 0 30 0 30 0 30
preface 3: div: l Of the earth’s great spirit’s”
preface 3: div: p 0 924 0 924 0 924
preface 3: div: p In a drama founded on history, some allowance may be made for a departure from facts, when the interest of the scene demands it. Shakespeare never has recourse to invention when history is sufficient for his purpose: but, when its details prove tedious and unimportant, he augments or diminishes at his pleasure; still keeping in view the leading incidents, and preserving, as regards fable and character, the truth and spirit of his original. Miss Mitford has done no more than this; and, had she done less, her tragedy had been deficient in interest and effect. The female characters are entirely her own: the wily, imperious Lady Colonna; the delicate impassioned Claudia. The latter conception is eminently beautiful, and in perfect harmony with elegant mind form when it emanated. It combines sweetness, simplicity, and grace, with an heroic spirit tha aptly discovers itself in the most interesting crisis of the play:
preface 3: div: l 0 15 0 15 0 15
preface 3: div: l “I’ll meet him.
preface 3: div: l 0 42 0 42 0 42
preface 3: div: l Arm’d or unarm’d—as friend or foe—I’ll fly
preface 3: div: l 0 35 0 35 0 35
preface 3: div: l To meet Lord Angelo! I am his wife—
preface 3: div: l 0 19 0 19 0 19
preface 3: div: l His own true wife!”
preface 3: div: p 0 447 0 447 0 447
preface 3: div: p If, in the character of Rienzi, Miss Mitford has shown that she can write with masculine energy, let Claudia bear witness that her wanton Dominion over the heart is still in full force; that with the power of agitating the soul by the fierce conflict of contending passions, a fine senssibility, a true pathos, a bewitching tenderness, are still her own to revive and illumine the dark shadows that veil the mysterious granduer of the tragic muse.
preface 3: div: p 0 87 0 87 0 87
preface 3: div: p The senitments are just and noble; the language is vigorous, picturesque, and poetical.
preface 3: div: p 0 54 0 54 0 54
preface 3: div: p The domestic picture Act. III., Sc. II. beginning with
preface 3: div: l 0 25 0 25 0 25
preface 3: div: l “Mine own dear home!” &c.
preface 3: div: p 0 177 0 177 0 177
preface 3: div: p is in her happiest style; just and beautiful Rienzi’s injuction to his daughter; her images perfectly noble and almost sublime—and the whole equal to any thing in modern poetry.
preface 3: div: p 0 4 0 4 0 4
preface 3: div: p D.G.
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act 1 scene 1: div: stage Ursini, Frangipani, and other Lords pass over the stage in conversation, followed by armed Attendants, and accompanied by a Crowd who shout Live the Ursini ! Enter , R., Officer and six Halberdiers, who cross to L. , and Ursini, Frangipani, and two Lords , in conversation, followed by armed Attendants, and accompanied by a Crowd , R. S. E. , who shout “ Live the Ursini ,” &c. Enter , R., Officer and six Halberdiers, who cross to L. , and Ursini, Frangipani, and two Lords , in conversation, followed by armed Attendants, and accompanied by a Crowd , R. S. E. , who shout “ Live the Ursini ,” &c. Enter Officer and six Halberdiers, who cross , and Ursini, Frangipani, and two Lords , in conversation, followed by armed Attendants, and accompanied by a Crowd , who shout “ Live the Ursini ,” &c.
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act 1 scene 1: l: stage lords Lords Lords Lords
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act 1 scene 1: div: stage Ursini Frangipani, Lords, crowd and attendants go off. Paolo and the Citizen are coming forward and are stopped by one Attendant armed who goes up to Paolo Exeunt Ursini, &c., L. --Paolo and the Three Citizens come forward, and are stopped by an armed Attendant --the Three Citizens, with their caps off, R. --Paolo, C., and the Attendant, L. Exeunt Ursini, &c., L. --Paolo and the Three Citizens come forward, and are stopped by an armed Attendant --the Three Citizens, with their caps off, R. --Paolo, C., and the Attendant, L. Exeunt Ursini, &c.—Paolo and the Three Citizens come forward, and are stopped by an armed Attendant --the Three Citizens, with their caps off—Paoloand the Attendant.
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act 1 scene 1: div: stage The attendant knocks off Paolo’s cap with his spear, and Rienzi rushes from the Temple and strikes him down. The 3rd Citizen flies Knocks off Paolo’s cap with his spear—Rienzi rushes out from the Temple, wrests the spear from the Attendant, and strikes him down with it. Exit the Third Citizen , R Knocks off Paolo’s cap with his spear—Rienzi rushes out from the Temple, wrests the spear from the Attendant, and strikes him down with it. Exit the Third Citizen , R Knocks off Paolo’s cap with his spear—Rienzi rushes out from the Temple, wrests the spear from the Attendant, and strikes him down with it. Exit the Third Citizen
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act 1 scene 1: div: stage Rienzi, Paolo, and Citizens, L., bearing off the Attendant Rienzi, Paolo, and Citizens, L., bearing off the Attendant Rienzi, Paolo, and Citizens, bearing off the Attendant
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act 1 scene 2: div: stage Angelo and Claudia, advancing from the lattice. Enter Angelo and Claudia, through the Lattice. Enter Angelo and Claudia, through the Lattice. Enter Angelo and Claudia, through the Lattice.
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act 1 scene 2: sp: l 251 None. None. Claudia! None. Claudia! None—Claudia!
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act 1 scene 2: sp: l 252 Claudia!
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act 1 scene 2: l: stage Claudia rises hastily to take his cloak. Claudia rises hastily to take his cloak. Claudia rises hastily to take his cloak.
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act 1 scene 2: l: stage Claudia rises hastily to take his cloak. Claudia rises hastily to take his cloak. Claudia rises hastily to take his cloak.
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act 1 scene 2: l: stage Claudia sits R., and takes up the skein of ravelled worsted. Claudia sits R., and takes up the skein of ravelled worsted. Claudia sits and takes up the skein of ravelled worsted.
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act 1 scene 2: sp: l 264 No! no— no— no—
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act 1 scene 2: l: stage Claudia sits R., and takes up the skein of ravelled worsted. Claudia sits R., and takes up the skein of ravelled worsted. Claudia sits and takes up the skein of ravelled worsted.
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act 2 scene 2: sp: stage Citizens. Hail to our Tribune! The Citizens shout—Hail to our Tribune! The bell sounds thrice; shouts again; and a military band is heard playing a march without , R. U. E . The Citizens shout—Hail to our Tribune! The bell sounds thrice; shouts again; and a military band is heard playing a march without , R. U. E . The Citizens shout—Hail to our Tribune! The bell sounds thrice; shouts again; and a military band is heard playing a march without .
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act 2 scene 2: div: stage through the gates , in the centre of the flat, into the Capitol through the gates , in the centre of the flat, into the Capitol through the gates into the Capitol
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act 2 scene 2: div: stage End of the Second Act END OF ACT II. END OF ACT II. END OF ACT II.
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act 3 scene 1: div: stage Crosses , L. and exit. Crosses , L. and exit. Crosses and exit.
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act 3 scene 1: div: stage More shouts and more persons passing from the court over the stage. Persons passing from the Court of Justice over the Stage. Persons passing from the Court of Justice over the Stage. Persons passing from the Court of Justice over the Stage.
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act 3 scene 1: div: stage All shout when Rienzi is in the front. All shout when Rienzi is in the front. All shout when Rienzi is in the front.
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act 3 scene 1: div: stage Shout—Exit Rienzi , L., with Citizens. Shout—Exit Rienzi , L., with Citizens. Shout—Exit Rienzi with Citizens.
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act 3 scene 3: div: stage Exeunt Colonna, R., the rest, L . Exeunt Colonna, R., the rest, L . Exeunt .
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act 3 scene 3: div: stage End of the Third Act END OF ACT III. END OF ACT III. END OF ACT III.
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act 4 scene 1: div: stage Enter Enter Enter
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act 4 scene 1: div: stage Frangipani, Cafarello, and Savelli, retire up , L. Frangipani, Cafarello, and Savelli, retire up Frangipani, Cafarello, and Savelli, retire up the stage. , L.
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act 4 scene 1: sp: l 1318 By the invisible shield of love which blunts By the invisible shield of love, which blunts By the invisible shield of love, which blunts By the invisible shield of love, which blunts
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act 4 scene 4: div: stage End of the Fourth Act END OF ACT IV END OF ACT IV END OF ACT IV
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act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
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act 5 scene 1: sp: l 1963 Lie upon mine; so shall the mutual pang Lie upon mine; so shall the mutual pang Lie upon mine; so shall the mutual pang
act 5 scene 1: sp: l 1964 1 1 1 0 0 0
act 5 scene 1: sp: l 1964
act 5 scene 1: sp: l 1965 1 1 1 0 0 0
act 5 scene 1: sp: l 1965
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
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act 5 scene 1: sp: l 1967
act 5 scene 1: sp: l 1968 1 1 0 0 1 1
act 5 scene 1: sp: l 1968
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
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act 5 scene 1: sp: l 1970
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act 5 scene 1: sp: l 1971
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: sp: l 1974 1 1 1 0 0 0
act 5 scene 1: sp: l 1974
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act 5 scene 1: sp: l 1975
act 5 scene 1: sp: l 1976 7 7 7 0 0 0
act 5 scene 1: sp: l 1976 Father! Father! Father!
act 5 scene 1: sp: stage 27 27 27 0 0 0
act 5 scene 1: sp: stage Rushing into Rienzi’s arms. Rushing into Rienzi’s arms. Rushing into Rienzi’s arms.
act 5 scene 1: sp: l 1977 17 17 17 0 0 0
act 5 scene 1: sp: l 1977 Oh stay my child!
act 5 scene 1: sp: l 1978 45 45 45 0 0 0
act 5 scene 1: sp: l 1978 Stay my own Claudia>! What have I to live for
act 5 scene 1: sp: l 1979 39 39 39 0 0 0
act 5 scene 1: sp: l 1979 If thou abandon me? Hast thou forgotten
act 5 scene 1: sp: l 1980 46 46 46 0 0 0
act 5 scene 1: sp: l 1980 All thy fond father’s dotage? Thou wast a lone
act 5 scene 1: sp: l 1981 41 41 41 0 0 0
act 5 scene 1: sp: l 1981 and motherless infant Claudia. I for thee
act 5 scene 1: sp: l 1982 37 37 37 0 0 0
act 5 scene 1: sp: l 1982 Softened my rougher nature and put on
act 5 scene 1: sp: l 1983 46 46 46 0 0 0
act 5 scene 1: sp: l 1983 A female patience, was thy nurse, thy teacher,
act 5 scene 1: sp: l 1984 48 48 48 0 0 0
act 5 scene 1: sp: l 1984 Thy playmate, thy one friend. For eighteen years
act 5 scene 1: sp: l 1985 40 40 40 0 0 0
act 5 scene 1: sp: l 1985 We lived in sweet companionship, no Hope
act 5 scene 1: sp: l 1986 44 44 44 0 0 0
act 5 scene 1: sp: l 1986 But wore thy beauty; no pale Fear but looked
act 5 scene 1: sp: l 1987 44 44 44 0 0 0
act 5 scene 1: sp: l 1987 The sadder if like thee. Once thou wast sick
act 5 scene 1: sp: l 1988 39 39 39 0 0 0
act 5 scene 1: sp: l 1988 And I sate by thy couch, thy heavy head
act 5 scene 1: sp: l 1989 45 45 45 0 0 0
act 5 scene 1: sp: l 1989 Pillowed upon my arm, till from fond thought,
act 5 scene 1: sp: l 1990 42 42 42 0 0 0
act 5 scene 1: sp: l 1990 And weary watching, and the steadfast gaze
act 5 scene 1: sp: l 1991 50 50 50 0 0 0
act 5 scene 1: sp: l 1991 That dimmed my very eyes, I saw thought thee dead:
act 5 scene 1: sp: l 1992 43 43 43 0 0 0
act 5 scene 1: sp: l 1992 When suddenly thy soft voice, in some faint
act 5 scene 1: sp: l 1993 42 42 42 0 0 0
act 5 scene 1: sp: l 1993 Of sleeping fancy murmured Father! Claudia
act 5 scene 1: sp: l 1994 40 40 40 0 0 0
act 5 scene 1: sp: l 1994 I little deemed, when in a gush of fears
act 5 scene 1: sp: l 1995 36 36 36 0 0 0
act 5 scene 1: sp: l 1995 That shook my frame to agony—And now
act 5 scene 1: sp: l 1996 31 31 31 0 0 0
act 5 scene 1: sp: l 1996 She leaves me! She forsakes me!
act 5 scene 1: sp: l 1997 7 7 7 0 0 0
act 5 scene 1: sp: l 1997 Father!
act 5 scene 1: sp: l 1998 0 0 0
act 5 scene 1: sp: l 1998 Aye, Ay! Ay! Ay!
act 5 scene 1: sp: l 1999 1 1 1 0 0 0
act 5 scene 1: sp: l 1999
act 5 scene 1: sp: l 1999 1 0 1 1
act 5 scene 1: sp: l 1999
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: sp: l 2001 1 1 1 0 0 0
act 5 scene 1: sp: l 2001
act 5 scene 1: sp: l 2001 1 1 1 0 0 0
act 5 scene 1: sp: l 2001
act 5 scene 1: sp: l 2002 1 1 1 0 0 0
act 5 scene 1: sp: l 2002
act 5 scene 1: sp: l 2002 1 1 0 0 1 1
act 5 scene 1: sp: l 2002
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act 5 scene 1: sp: l 2003
act 5 scene 1: sp: l 2003 1 1 0 0 1 1
act 5 scene 1: sp: l 2003
act 5 scene 1: sp: l 2004 1 1 1 0 0 0
act 5 scene 1: sp: l 2004
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: sp: stage 3 3 0 0 3 3
act 5 scene 1: sp: stage , R , R
act 5 scene 1: sp: l 2006 1 1 1 0 0 0
act 5 scene 1: sp: l 2006
act 5 scene 1: sp: l 2006 1 1 1 0 0 0
act 5 scene 1: sp: l 2006
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: sp: l 2009 1 1 0 0 1 1
act 5 scene 1: sp: l 2009
act 5 scene 1: sp: l 2010 1 1 1 0 0 0
act 5 scene 1: sp: l 2010
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: sp: l 2013 1 1 1 0 0 0
act 5 scene 1: sp: l 2013
act 5 scene 1: div: stage 16 16 13 0 4 4
act 5 scene 1: div: stage , who goes out —Exit Camillo , L . —Exit Camillo , L . —Exit Camillo .
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: sp: l 2017 1 1 1 0 0 0
act 5 scene 1: sp: l 2017
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
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act 5 scene 1: sp: l 2020 1 1 1 0 0 0
act 5 scene 1: sp: l 2020
act 5 scene 1: sp: l 2020 1 1 1 0 0 0
act 5 scene 1: sp: l 2020
act 5 scene 1: sp: l 2021 1 1 0 0 1 1
act 5 scene 1: sp: l 2021
act 5 scene 1: l: stage 12 12 12 0 0 0
act 5 scene 1: l: stage Bell sounds. Bell sounds. Bell sounds.
act 5 scene 1: l: stage 12 12 12 0 0 0
act 5 scene 1: l: stage Bell sounds. Bell sounds. Bell sounds.
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: sp: l 2024 3 3 1 0
act 5 scene 1: sp: l 2024
act 5 scene 1: sp: l 2025 1 1 1 0 0 0
act 5 scene 1: sp: l 2025
act 5 scene 1: sp: l 2025 0 0 0
act 5 scene 1: sp: l 2025 spread raised raised raised
act 5 scene 1: sp: l 2026 1 1 1 0 0 0
act 5 scene 1: sp: l 2026 Its mighty voice, with such a mastery Its mighty voice with such a mastery Its mighty voice with such a mastery Its mighty voice with such a mastery
act 5 scene 1: sp: l 2027 0 0 0 0 0 0
act 5 scene 1: sp: l 2027 0 0 0 0 0 0
act 5 scene 1: sp: l 2027 Of glorious power, as if the spirit of sound Of glorious power, as if the spirit of sound Of glorious power, as if the spirit of sound Of glorious power, as if the spirit of sound
act 5 scene 1: sp: l 2028 1 1 1 0 0 0
act 5 scene 1: sp: l 2028 That dwells in the viewless wind and walks the waves That dwells in the viewless wind, and walks the waves That dwells in the viewless wind, and walks the waves That dwells in the viewless wind, and walks the waves
act 5 scene 1: sp: l 2029 0 0 0 0 0 0
act 5 scene 1: sp: l 2029 0 0 0 0 0 0
act 5 scene 1: sp: l 2029 Of the chafed sea, and rules the thunder-cloud Of the chafed sea, and rules the thunder-cloud Of the chafed sea, and rules the thunder-cloud Of the chafed sea, and rules the thunder-cloud
act 5 scene 1: sp: l 2030 4 4 1 0 3 3
act 5 scene 1: sp: l 2030 Had shrouded him in that small orb to spread That shrouded him in that small orb, to spread That shrouded him in that small orb, to spread Had shrouded him in that small orb, to spread
act 5 scene 1: sp: l 2031 1 1 0 0 1 1
act 5 scene 1: sp: l 2031
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: sp: l 2033 1 1 1 0 0 0
act 5 scene 1: sp: l 2033
act 5 scene 1: sp: l 2034 1 1 1 0 0 0
act 5 scene 1: sp: l 2034
act 5 scene 1: sp: l 2034 1 1 1 0 0 0
act 5 scene 1: sp: l 2034
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: sp: l 2036 15 15 15 0 0 0
act 5 scene 1: sp: l 2036 , overheard, . ’Tis his knell. . ’Tis his knell. . ’Tis his knell.
act 5 scene 1: sp: l 2037 38 38 38 0 0 0
act 5 scene 1: sp: l 2037 And gone about; encompassing mine ears
act 5 scene 1: sp: l 2038 38 38 38 0 0 0
act 5 scene 1: sp: l 2038 With horrible discords. ’Tis his knell
act 5 scene 1: sp: l 2039 1 1 1 0 0 0
act 5 scene 1: sp: l 2039
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: sp: l 2042 1 1 1 0 0 0
act 5 scene 1: sp: l 2042 Father father father father
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: sp: l 2044 1 1 1 0 0 0
act 5 scene 1: sp: l 2044
act 5 scene 1: sp: l 2044 0 0 1 0 1 1
act 5 scene 1: sp: l 2044
act 5 scene 1: sp: l 2045 1 1 1 0 0 0
act 5 scene 1: sp: l 2045
act 5 scene 1: sp: l 2045 1 1 1 0 0 0
act 5 scene 1: sp: l 2045
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: sp: l 2048 1 1 1 0 0 0
act 5 scene 1: sp: l 2048
act 5 scene 1: sp: l 2049 1 1 0 0 1 1
act 5 scene 1: sp: l 2049
act 5 scene 1: sp: l 2049 0 0
act 5 scene 1: sp: l 2049 Calm thee, my child. Calm thee, my child.
act 5 scene 1: div: stage 3 3 0 0 3 3
act 5 scene 1: div: stage , L , L
act 5 scene 1: sp: l 2050 0 0 0
act 5 scene 1: sp: l 2050 ! he’s . He’s . He’s . He’s
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: sp: l 2053 1 1 1 0 0 0
act 5 scene 1: sp: l 2053
act 5 scene 1: sp: stage 22 22 22 0 0 0
act 5 scene 1: sp: stage drops senseless sinks at her father’s feet. sinks at her father’s feet. sinks at her father’s feet.
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: sp: l 2056 1 1 1 0 0 0
act 5 scene 1: sp: l 2056
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: sp: l 2058 24 24 24 0 0 0
act 5 scene 1: sp: l 2058 ; I saw the butcher stroke; with an edgy shine that cut with an edgy shine that cut with an edgy shine that cut
act 5 scene 1: sp: l 2059 44 44 44 0 0 0
act 5 scene 1: sp: l 2059 My burning eye-balls; saw the butcher-stroke My burning eye-balls; saw the butcher-stroke My burning eye-balls; saw the butcher-stroke
act 5 scene 1: sp: l 2060 44 44 44 0 0 0
act 5 scene 1: sp: l 2060 And the hot blood gush like a fountain high, And the hot blood gush like a fountain high, And the hot blood gush like a fountain high,
act 5 scene 1: sp: l 2061 16 16 16 0 0 0
act 5 scene 1: sp: l 2061 The gushing blood;— From out the veins; From out the veins; From out the veins;
act 5 scene 1: sp: l 2062 1 1 1 0 0 0
act 5 scene 1: sp: l 2062 Pardon pardon pardon pardon
act 5 scene 1: sp: l 2062 1 1 1 0 0 0
act 5 scene 1: sp: l 2062 Pardon pardon pardon pardon
act 5 scene 1: sp: l 2063 1 1 1 0 0 0
act 5 scene 1: sp: l 2063
act 5 scene 1: sp: l 2064 21 21 21 0 0 0
act 5 scene 1: sp: l 2064 —Claudia Colonna! So the fiends shall chant So the fiends shall chant So the fiends shall chant
act 5 scene 1: sp: l 2065 38 38 38 0 0 0
act 5 scene 1: sp: l 2065 They say that grief is proud, but I will own thee Round thy tormented soul, and pardon, pardon, Round thy tormented soul, and pardon, pardon, Round thy tormented soul, and pardon, pardon,
act 5 scene 1: sp: l 2066 35 35 35 0 0 0
act 5 scene 1: sp: l 2066 Now my fair daughter! Rouse thee! Help me curse Ring through the depths of hell. Ring through the depths of hell. Ring through the depths of hell.
act 5 scene 1: sp: l 2067 31 31 31 0 0 0
act 5 scene 1: sp: l 2067 Him who hath slain thy husband!
act 5 scene 1: sp: l 2068 24 24 22 0
act 5 scene 1: sp: l 2068 " Claudia, my sweet one, " Claudia, my sweet one, Claudia, my sweet one,
act 5 scene 1: sp: l 2069 49 49 49 0 0 0
act 5 scene 1: sp: l 2069 Look up—speak to me! Writhe not thus, my Claudia, Look up—speak to me! Writhe not thus, my Claudia, Look up—speak to me! Writhe not thus, my Claudia,
act 5 scene 1: sp: l 2070 26 26 24 0
act 5 scene 1: sp: l 2070 Shivering about my feet. " Shivering about my feet. " Shivering about my feet.
act 5 scene 1: sp: l 2071 18 18 16 0
act 5 scene 1: sp: l 2071 " Claudia Colonna! " Claudia Colonna! Claudia Colonna!
act 5 scene 1: sp: l 2072 50 50 50 0 0 0
act 5 scene 1: sp: l 2072 They say that grief is proud; but I will own thee. They say that grief is proud; but I will own thee. They say that grief is proud; but I will own thee.
act 5 scene 1: sp: l 2073 48 48 48 0 0 0
act 5 scene 1: sp: l 2073 Now, my fair daughter, rouse thee!—Help me curse Now, my fair daughter, rouse thee!—Help me curse Now, my fair daughter, rouse thee!—Help me curse
act 5 scene 1: sp: l 2074 33 33 31 0
act 5 scene 1: sp: l 2074 Him who hath slain thy husband. " Him who hath slain thy husband. " Him who hath slain thy husband.
act 5 scene 1: sp: l 2075 1 1 1 0 0 0
act 5 scene 1: sp: l 2075
act 5 scene 1: sp: l 2075 1 1 1 0 0 0
act 5 scene 1: sp: l 2075
act 5 scene 1: sp: l 2076 3 3 3 0 0 0
act 5 scene 1: sp: l 2076 . Avaunt ,—avaunt ,—avaunt ,—avaunt
act 5 scene 1: sp: l 2077 1 1 0 0 1 1
act 5 scene 1: sp: l 2077
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: sp: l 2079 1 1 0 0 1 1
act 5 scene 1: sp: l 2079 Thou —Thou —Thou Thou
act 5 scene 1: sp: l 2079 1 1 1 0 0 0
act 5 scene 1: sp: l 2079
act 5 scene 1: sp: l 2080 1 1 1 0 0 0
act 5 scene 1: sp: l 2080
act 5 scene 1: sp: l 2081 1 1 1 0 0 0
act 5 scene 1: sp: l 2081
act 5 scene 1: sp: l 2082 1 1 1 0 0 0
act 5 scene 1: sp: l 2082
act 5 scene 1: sp: l 2083 8 8 8 0 0 0
act 5 scene 1: sp: l 2083 crawled crept crept crept crept
act 5 scene 1: sp: l 2083 1 1 0 0 1 1
act 5 scene 1: sp: l 2083
act 5 scene 1: sp: l 2084 21 21 19 0
act 5 scene 1: sp: l 2084 " Claudia! she moves! " Claudia! she moves! Claudia! she moves!
act 5 scene 1: sp: l 2085 18 18 16 0
act 5 scene 1: sp: l 2085 She is not dead. " She is not dead. " She is not dead.
act 5 scene 1: sp: l 2086 34 34 32 0
act 5 scene 1: sp: l 2086 " Dead! Why, the dead are bless’d, " Dead! Why, the dead are bless’d, Dead! Why, the dead are bless’d,
act 5 scene 1: sp: l 2087 45 45 44 0 1 1
act 5 scene 1: sp: l 2087 And she is blasted. — Dead! the dead lie down And she is blasted. — Dead! the dead lie down And she is blasted. Dead! the dead lie down
act 5 scene 1: sp: l 2088 43 43 43 0 0 0
act 5 scene 1: sp: l 2088 In peace, and she shall pine a living ghost In peace, and she shall pine a living ghost In peace, and she shall pine a living ghost
act 5 scene 1: sp: l 2089 45 45 45 0 0 0
act 5 scene 1: sp: l 2089 About thee, with pale looks and patient love, About thee, with pale looks and patient love, About thee, with pale looks and patient love,
act 5 scene 1: sp: l 2090 45 45 45 0 0 0
act 5 scene 1: sp: l 2090 And bitter gusts of anguish, that shall cross And bitter gusts of anguish, that shall cross And bitter gusts of anguish, that shall cross
act 5 scene 1: sp: l 2091 36 36 36 0 0 0
act 5 scene 1: sp: l 2091 The gentle spirit, when poor Angelo— The gentle spirit, when poor Angelo— The gentle spirit, when poor Angelo—
act 5 scene 1: sp: l 2092 40 40 40 0 0 0
act 5 scene 1: sp: l 2092 A widow’s and a childless mother’s curse A widow’s and a childless mother’s curse A widow’s and a childless mother’s curse
act 5 scene 1: sp: l 2093 41 41 41 0 0 0
act 5 scene 1: sp: l 2093 Rest on thy head, Rienzi! Live, till Rome Rest on thy head, Rienzi! Live, till Rome Rest on thy head, Rienzi! Live, till Rome
act 5 scene 1: sp: l 2094 47 48 48 1 1 0
act 5 scene 1: sp: l 2094 Hurl thee from thy proud seat; live but to prov Hurl thee from thy proud seat; live but to prove Hurl thee from thy proud seat; live but to prove
act 5 scene 1: sp: l 2095 41 41 41 0 0 0
act 5 scene 1: sp: l 2095 The ecstasy of scorn, the fierce contempt The ecstasy of scorn, the fierce contempt The ecstasy of scorn, the fierce contempt
act 5 scene 1: sp: l 2096 49 49 49 0 0 0
act 5 scene 1: sp: l 2096 That wait the tyrant fallen; then die, borne down That wait the tyrant fallen; then die, borne down That wait the tyrant fallen; then die, borne down
act 5 scene 1: sp: l 2097 40 40 39 0 1 1
act 5 scene 1: sp: l 2097 By mighty justice! — die as a wild beast By mighty justice! — die as a wild beast By mighty justice! die as a wild beast
act 5 scene 1: sp: l 2098 43 43 42 0 1 1
act 5 scene 1: sp: l 2098 Before the hunters! — die, and leave a name Before the hunters! — die, and leave a name Before the hunters! die, and leave a name
act 5 scene 1: sp: l 2099 42 42 42 0 1 1
act 5 scene 1: sp: l 2099 Portentous, bloody, brief — a meteor name, Portentous, bloody, brief — a meteor name, Portentous, bloody, brief , a meteor name,
act 5 scene 1: sp: l 2100 40 40 40 0 0 0
act 5 scene 1: sp: l 2100 Obscurely bad, or madly bright! My curse Obscurely bad, or madly bright! My curse Obscurely bad, or madly bright! My curse
act 5 scene 1: sp: l 2101 27 27 25 0
act 5 scene 1: sp: l 2101 Rest on thy head, Rienzi. " Rest on thy head, Rienzi. " Rest on thy head, Rienzi.
act 5 scene 1: sp: l 2102 16 16 16 0 12 12
act 5 scene 1: sp: l 2102 Within there! Help! Help there! help! Camillo! Help there! help! Camillo! Help! Camillo!
act 5 scene 1: sp: l 2103 8 8 8 0 0 0
act 5 scene 1: sp: l 2103 Camillo!
act 5 scene 1: sp: stage 3 3 0 0 3 3
act 5 scene 1: sp: stage , L , L
act 5 scene 1: sp: l 2104 3 3 3 0 0 0
act 5 scene 1: sp: l 2104 Aye
act 5 scene 1: sp: l 2105 0 0
act 5 scene 1: sp: l 2105 Ay Ay
act 5 scene 1: sp: l 2105 1 1 1 0 0 0
act 5 scene 1: sp: l 2105
act 5 scene 1: sp: l 2106 3 3 3 0 0 0
act 5 scene 1: sp: l 2106 . She —she —she —she
act 5 scene 1: div: sp 0 0 0 0 0 0
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act 5 scene 1: div: sp 0 0 0 0 0 0
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act 5 scene 1: sp: l 2109
act 5 scene 1: sp: l 2110 1 1 1 0 0 0
act 5 scene 1: sp: l 2110
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: sp: l 2112 1 1 1 0 0 0
act 5 scene 1: sp: l 2112 Revenge revenge revenge revenge
act 5 scene 1: sp: l 2112 1 1 1 0 0 0
act 5 scene 1: sp: l 2112 Revenge revenge revenge revenge
act 5 scene 1: sp: l 2113 1 1 1 0 0 0
act 5 scene 1: sp: l 2113
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: stage 3 3 0 0 3 3
act 5 scene 1: div: stage , L , L
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: sp: l 2116 1 1 1 0 0 0
act 5 scene 1: sp: l 2116
act 5 scene 1: sp: l 2117 1 1 1 0 0 0
act 5 scene 1: sp: l 2117
act 5 scene 1: sp: stage 3 3 0 0 3 3
act 5 scene 1: sp: stage , R , R
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: div: sp 0 0 0 0 0 0
act 5 scene 1: sp: l 2119 4 4 0
act 5 scene 1: sp: l 2119 ! How : " how : " how : how
act 5 scene 1: sp: l 2120 1 1 0 0 1 1
act 5 scene 1: sp: l 2120
act 5 scene 1: sp: l 2120 1 1 1 0 0 0
act 5 scene 1: sp: l 2120
act 5 scene 1: sp: l 2121 1 1 1 0 0 0
act 5 scene 1: sp: l 2121
act 5 scene 1: div: sp 0 0 0 0 0 0
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act 5 scene 1: div: stage 0 0
act 5 scene 1: div: stage R. R.
act 5 scene 1: div: stage 15 15 15 0 0 0
act 5 scene 1: div: stage and Attendants, and Attendants, and Attendants,
act 5 scene 1: div: stage 11 11 11 0 0 0
act 5 scene 1: div: stage recover and recover and recover and
act 5 scene 1: div: stage 3 3 3 0 0 0
act 5 scene 1: div: stage off off off
act 5 scene 1: div: stage 17 17 13 0 4 4
act 5 scene 1: div: stage out from her Father , R from her Father , R from her Father
act 5 scene 1: div: sp 0 0 0 0 0 0
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act 5 scene 1: sp: l 2125
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act 5 scene 1: sp: l 2126
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act 5 scene 1: sp: l 2127
act 5 scene 1: sp: l 2127 1 1 0 0 1 1
act 5 scene 1: sp: l 2127
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act 5 scene 1: sp: l 2128
act 5 scene 1: sp: l 2129 1 1 0 0 1 1
act 5 scene 1: sp: l 2129
act 5 scene 1: sp: l 2129 1 1 0 0 1 1
act 5 scene 1: sp: l 2129
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act 5 scene 1: sp: l 2131
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act 5 scene 1: sp: l 2135 1 1 1 0 0 0
act 5 scene 1: sp: l 2135
act 5 scene 1: sp: stage 3 3 0 0 3 3
act 5 scene 1: sp: stage , R , R
act 5 scene 1: sp: l 2136 1 0 1 1
act 5 scene 1: sp: l 2136
act 5 scene 1: sp: l 2136 1 1 1 0 0 0
act 5 scene 1: sp: l 2136
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act 5 scene 1: sp: l 2137
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act 5 scene 1: sp: l 2149 How how how How
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act 5 scene 1: sp: l 2155 Of mighty Liberty And frantic imprecations. " And frantic imprecations. " And frantic imprecations.
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act 5 scene 1: sp: l 2156 " Tis the fiend " Tis the fiend Tis the fiend
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act 5 scene 1: sp: l 2157 That speediest answers to the daring call That speediest answers to the daring call That speediest answers to the daring call
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act 5 scene 1: sp: l 2158 Of his mad worshippers. So be it. " Of his mad worshippers. So be it. " Of his mad worshippers. So be it.
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act 5 scene 1: sp: l 2159 Some mix with their shouts the name Some mix with their shouts the name Some mix with their shouts the name
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act 5 scene 1: sp: l 2160 Of mighty liberty. Of mighty liberty. Of mighty liberty.
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act 5 scene 1: sp: l 2164
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act 5 scene 1: sp: l 2165
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act 5 scene 1: sp: l 2166
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act 5 scene 1: sp: l 2166 But but but but
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act 5 scene 1: sp: l 2167 great mad mad mad
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act 5 scene 1: sp: l 2168 Hell hell hell hell
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act 5 scene 1: sp: stage 19 19 15 0 4 4
act 5 scene 1: sp: stage severally Alberti and Rienzi , R Alberti and Rienzi , R Alberti and Rienzi
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act 5 scene 1: sp: l 2175 With the old love. She will not curse me dead—
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act 5 scene 1: sp: l 2176 Oh that she were dead too! She’ll oray for me
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act 5 scene 1: sp: l 2177 In that broken heart. Oh blessings on thee
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act 5 scene 1: sp: l 2178 My child! Mine own sweet child!
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act 5 scene 1: div: stage The scene closes
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act 5 scene 2: div: stage 0 0
act 5 scene 2: div: stage , R. and L , R. and L
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act 5 scene 2: sp: stage R. R.
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act 5 scene 2: sp: l 2182 Justice justice justice justice
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act 5 scene 2: sp: l 2187 Aye Ay Ay Ay
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act 5 scene 2: sp: l 2189
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act 5 scene 2: sp: l 2190 Hew hew hew hew
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act 5 scene 2: sp: l 2191 Drag drag drag drag
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act 5 scene 2: div: stage and
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act 5 scene 2: sp: l 2197 Why why why Why
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act 5 scene 2: sp: l 2198 —for liberty! —for liberty!
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act 5 scene 2: sp: l 2199 For Liberty ! For liberty !
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act 5 scene 2: sp: l 2201 Earth’s loftiest heights, and ocean’s deepest caves;
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act 5 scene 2: sp: l 2202 Thy mountain tops, where with the crashing pines Earth’s loffitest heights, and ocean’s deepest caves The mountain tops, where with the crashing pines The mountain tops, where with the crashing pines
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act 5 scene 2: sp: l 2203 The North wind revels, go where ocean foams The north wind revels! Go where ocean pours The north wind revels! Go where ocean pours
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act 5 scene 2: sp: l 2204 O’er hideous rocks, or sports in eddying pools; O’er horrid rocks, or sports in eddying pools! O’er horrid rocks, or sports in eddying pools!
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act 5 scene 2: sp: l 2205 sea-snake sea snake eagle eagle
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act 5 scene 2: sp: l 2205 eagle eagle sea-snake sea-snake
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act 5 scene 2: sp: l 2209 dreamt dream’d dream’d dream’d
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act 5 scene 2: sp: l 2210 dreamt dream’d dream’d dream’d
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act 5 scene 2: div: stage The people gather round Rienzi, and Claudia rushes to him , through the gate in the centre of the flat— Rushes forward to Rienzi , through the gate in the centre of the flat— Rushes forward to Rienzi , through the gate and rushes forward to Rienzi
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act 5 scene 2: sp: l 2221 —now!— —now!— ! Now!
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act 5 scene 2: sp: l 2222 Now!
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act 5 scene 2: sp: l 2223 . He ; he ; he ; he
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act 5 scene 2: div: stage DISPOSITION OF THE CHARACTERS AT THE FALL OF THE CURTAIN. DISPOSITION OF THE CHARACTERS AT THE FALL OF THE CURTAIN.
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act 5 scene 2: div: stage Soldiers. Soldiers. Soldiers. Soldiers.
act 5 scene 2: div: stage 25 25 0 0 25 25
act 5 scene 2: div: stage Savelli. Claudia. Lady C. Savelli. Claudia. Lady C.
act 5 scene 2: div: stage 27 27 0 0 27 27
act 5 scene 2: div: stage Populace. Rienzi. Populace. Populace. Rienzi. Populace.
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act 5 scene 2: div: stage R. L. R. L.
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act 5 scene 2: div: stage End of the Play. THE END. THE END.

Maintained by: Elisa E. Beshero-Bondar (ebb8 at pitt.edu) Creative Commons LicenseLast modified: 2016-10-18-04:00