ACT II. SCENE I. -- A Court-Yard of the Palace at Orleans --(Phillips.)-- in front a pair of great Gates, with Posts before them, and a Chain across from one to the other .

(Pantomime Music.)

Officers and Servants run on terrified—go in at the great gates, and make them fast—Valentine enters on horseback, leading Orson, who seems amazed at every thing around him—Valentine blows a horn at the gate, Orson is surprised at the noise, tries to blow it, but cannot, which makes him very angry—Some one looks out from above, sees Orson, shakes his head and retires—Orson imitates him—Valentine angrily tries to force the gate, but is unable; Orson assists, without effect—at length, seeing that Valentine is eager to obtain entrance, Orson pulls up a post, breaks the chain by which it is attached to the next post, and batters the gate open—attendants rush out armed, are going to attack Orson—Valentine interposes—Henry and Haufray enter, shake hands with Valentine—Henry, in turning from Valentine, half draws his sword, Orson sees him, and pushes it rudely back into the scabbard—Valentine signifies to Orson that he must shake hands with his friends—he takes a hand of each, and squeezes them violently—he then shakes hands with the others—Eglantine enters, runs into Valentine's arms—Orson is astonished, delighted at her beauty, he runs to embrace her, as Valentine has done, but is repulsed and much displeased at it—Valentine makes him kneel and kiss her hand—drums and trumpets are heard, the wild man is alarmed—the King and Courtiers enter and welcome Valentine—Orson's attention is still fixed on the Princess—he approaches her again, she, terrified, runs for protection to Valentine—Orson seems hurt, and makes a savage kind of moaning—the King admires Orson, who wants to shake hands with him, but is taught the proper mode of approaching him by Valentine—the King orders Orson a dress, and goes off with the Princess and attendants—Valentine and Orson are following, when the latter espies Hugo, and remembering the adventure of the cloak in the forest, runs furiously towards him, and reminds him of it by action—Valentine interposes in behalf of his terrified armour-bearer, whom he reconciles to Orson, and leaves them together—Attendants bring on apparel, as ordered by the King, for Orson, who makes many whimsical mistakes in putting it on, when suddenly missing Valentine, he throws the dress at the Officers, and runs into the palace in search of his friend.

SCENE II.—An Apartment in the Palace. (Phillips.)

(Laughing heard without.)

Re-Enter Hugo.

Hugo.

Ha! ha! ha! the wild man has began to shew his breeding with a vengeance—he has overturned the kitchen, set the cellar afloat, and sent every thing in the stable to rack and manger; for he hath eaten the beast's provender, given wine to the horses, and thrown the cook into the dripping pan, where he basted him with his own ladle.

Enter Agatha.

Agatha.

Ah, Hugo—what, are you laughing at the wild man? I'm sure he frightens me.

Hugo.

He'd have frightened you more, if you had seen him, as I did, in his own dining room in the forest.

Agatha.

Why now, really, had you courage enough to venture there?

Hugo.

To be sure I had—I went in boldly—by mistake.

(Aside.)

Agatha.

When he was out, I suppose?

Hugo.

O, no; he was there, and wanted me to stay. I took off my cloak to oblige him, and to avoid ceremony, came away without it. Your lady may well be glad that Valentine had power to tame him.

Agatha.

Glad! she's more uneasy than ever; and if she hasn't fallen out of love into jealousy, I'll give you leave to say that Agatha is no conjuror.

Hugo.

I'm sure I never said you was one: but who is she jealous of?

Agatha.

You shall hear. The Duke of Acquitane has arrived to beg relief against a pagan, they call the Green Knight, who holds his daughter unlawfully a prisoner, and unless, by a certain hour she is rescued, she will be forced to marry this Saracen monster, who has already vanquished and hanged up twenty knights who fought for her.

Hugo.

Poor fellows! And what is he to have who conquers the pagan?

Agatha.

The lady's hand.

Hugo.

Hanging on one side, and marriage on the other! bless me! Where could they find twenty knights mad enough to undertake such a terrible alternative?

Agatha.

Why; your master, Valentine, will go, if it's only for the honour of the thing: and the Princess is distracted lest he should fall in love with the lady, or be killed by the knight.

Hugo.

And for fear he shou'd once more ask me to bear him company I'll get out of the way as fast as possible.

(Going, meets the Princess.)

Eglantine.

Hugo, where are you going?

Hugo.

I'm going, madam, to——to unarm my master before the banquet, and fear I shall be too late.

Eglantine.

Hold, sir—Can you be secret?

Hugo.

Ask Agatha, your grace's hand-maid—she knows I can.

Agatha.

I know you are a blockhead. Mark my lady.

Eglantine.

Can you not bring, Sir Valentine's armour to Agatha's apartment?

Hugo.

Aye, madam, if she be there to receive it—but when, and how long must I—

Agatha.

How rude of you to want to know more than I do—Go, fetch the armour, quick!

Eglantine.

And here's a purse of gold to speed thee.

Hugo.

I lack no spur but your commands, and a kiss from Agatha.

Agatha.

No, no—(he is going away) Well, take it.

Hugo.

Now, why did you say no, no?

Agatha.

Why, one must refuse at first for decency.

Eglantine.

Here, Hugo.

[Gives the purse.

Hugo.

[Takes it.] Madam, I'm gone.

Agatha.

[Apart to Hugo.] I thought you didn't want the money.

Hugo.

One must refuse at first, you know, for decency.

[Exit.

Eglantine.

In Valentine's disguise I'll see this beauty he would venture for;—for, should he conquer in the fight, how many Cupids smiling, through her tears, may aim at Valentine! And, shou'd he fall——

Agatha.

It wou'd be a sad thing, truly, my dear lady; but how will your going help it?

Eglantine.

There is a prophecy, that no man nursed by woman can subdue this pagan—Perhaps it is his fate to fall by woman.

Agatha.

He wou'dn't be the first if he did, madam.

Eglantine.

My mother's martial spirit trained me up to Amazonian sports—Foremost in the chace, thrice have I pierced the monarch of our woods; and, more than once, have been where battles roar, and undismayed, beheld the mortal conflict.

Agatha.

I shou'd have been frighten'd out of my wits.

Eglantine.

By force or stratagem it may be mine to free this lady, and save my lover from a double danger.

Agatha.

But will he go, knowing this prophecy?

Eglantine.

He disregards it as an artful fable, coined by the Saracen; or else as pagan sorcery, which he, a christian knight, fears not to combat with. Come, thou, as my page, shalt follow me, and learn my purpose on the journey.

Agatha.

Me!

Enter Hugo.

Hugo.

The armour is all in Agatha's apartment, your highness. My master had taken it all off before I came.

Agatha.

But, madam, wont you go to the banquet, you purposely provided for the king and Valentine?

Eglantine.

No time for feasting now—obey my orders——We'll to the Green Knight's Camp——Away, my girl.

[Exit.

"Agatha.

"With all my heart. Its my opinion my lady is so in love, that, to save Valentine from danger, she'd follow him to the world's end.

"Hugo.

"I dare say she would, but when I am in danger nobody talks of following me.

"Agatha.

"No; that's impossible—you run so fast.

"[Exeunt."

SCENE III.—A grand Banquet under Pavilions in the Palace Gardens. (Hollogan.)

The King; and Valentine (unarmed) discovered in great state, Nobles and Ladies seated at the Banquet Tables, &c.

Orson enters, pleased at the sight, goes from one table to the other—the King orders him wine, he imitates their manner of drinking—takes another cup, is going to drink, Valentine tells him to be careful, pointing to his head, indicating that wine will intoxicate him, Orson does not understand him—a Servant entering with wine, he forces it from him, and goes off with it—the Princess's Ladies enter, much alarmed at missing her, and bring with them her cloathes.

Valentine calls for Hugo, who informs him that the Princess bribed him to let her have Valentine's armour to go to the Green Knight's camp—Valentine, goes off, followed by the King, &c. in search of Eglantine.—Orson re-enters, and from the effects of the wine, appears half intoxicated—Hugo sits down at the table, pours out a goblet of wine, when Orson suddenly takes it out of his hand, shewing him, by pointing to his head, in Valentine's manner, it is not good for him; he misses Valentine, runs anxiously about, seems to enquire of Hugo, looks under the tables, and in every place, and at last tears his hair, stamps, and throws himself on the ground—Hugo, alarmed, runs off.—Orson rises, once more looks about for Valentine, and not seeing him, goes distractedly off, leaping over the tables, and overturning all before him.

SCENE IV.—A Wood. (Richards.)

Enter Agatha, dressed as a Page.

Agatha.

There goes my lady, drest and arm'd so like Sir Valentine, that if he were to meet her, he'd think it were a second self. She bade me follow at some distance to avoid suspicion, and mislead any who might pursue her—I fear she will prove but a weak defender of the poor Lady Florimonda, who, if Sir Valentine do not quickly overtake us, must, of force, be married to the pagan sorcerer.

[Exit.

Enter Henry and Haufray, from opposite sides.

Henry.

This way, my friend, our foe is in our power. Yonder he walks in armour, but alone.

Haufray.

Nay, Henry, this way lies the road—Unarm'd he comes perhaps to meet the princess.

Henry.

Your jealousy has blinded you. I say with swiftest pace he there eludes our vengeance, close followed by his page.

Haufray.

Ambition makes you mad. Stand back, and as he passes, unprotected by his wild associate, here let's attack him.

Henry.

You fear to face him. I'll believe my eyes and go alone. By heav'n, 'tis he indeed.

Haufray.

Now will you believe your eyes?

They conceal themselves—Valentine enters, and is attacked by Haufray, who is overthrown, when Henry aims a blow behind Valentine—Orson suddenly enters, catches Henry up, and carries him away—Haufray is beaten off by Valentine, who follows—Orson re-enters, signifies that he has thrown Henry into the river, but not finding Valentine where he left him, the wild man picks up the swords of the disarmed adversaries, and runs off, in pursuit of him.

SCENE V.—The Encampment and Pavilion of the Green Knight.—on one Side a large Oak Tree, on which several Knights in shining Armour, are seen hanging—on the other Side is a Tree, to which a Shield, marked with magical Characters, is suspended, and guarded by a Saracen Priest. (Phillips.)

The Lady Florimonda discovered embroidering a Scarf—She hears a distant march, looks out in hopes of some Knight's approach—the Green Knight enters, in brilliant armour, preceded by Saracen Warriors—he offers the Lady Florimonda his hand, which she rejects, and shews him these words, embroidered on the scarf:

"Florimonda will wed the Knight,
who frees her from Agramant."

He threatens, and strikes the scarf from her hand—she falls on her knees in despair—a trumpet is sounded without—Agramant orders it to be answered—Eglantine enters, and offers to fight with him—the Green Knight points to the tree where the other knights are hanging, and disdaining the youthful appearance of Eglantine, advises her to avoid the combat—she insists on a trial—they fight—she is overthrown—the Green Knight is about to put her to death, when Valentine rushes on, discovers Eglantine, and fiercely defies Agramant, who, in derision, bids him try to pull down the shield from the tree—when Valentine approaches the shield, the Saracen Priest interposes, and speaks:

Priest.

Forbear!—this shield protects a prince not nursed by woman.

Valentine persists, and encounters the Green Knight, with battle-axe, broad sword, &c.—Valentine is worsted—Orson rushes on, and begs to fight Agramant—Valentine recollects the words of the priest, and bids Orson try to pull away the shield—which he is about to seize, when the priest again says:

Forbear!—this shield protects a prince not nursed by woman.

Orson, not regarding him, approaches the shield, and it flies into his hand—the Green Knight, forewarned of his fate, rushes on Orson in savage desperation—but every weapon breaks on the enchanted shield—Orson strikes Agramant to the ground—Valentine's soldiers rush on, and vanquish the Saracens—thunder is heard, and the Genius Pacolet is seen descending on a flying horse—he alights, comes forward, and addresses the characters.

Pacolet.

Pacolet gives a ring to Valentine, waves his wand, they follow him.

SCENE VI.—Castle of the Giant Ferragus. (Richards.)

Valentine and Orson enter, and approach the gates. Orson seeing a horn, blows it—it utters a dreadfully discordant blast—the gates fly open—two Fiends rush out, one of them speaks.

Fiend.

The invincible sovereign of this castle, the mighty and gigantic Ferragus, warns you to fly—hence!—begone!

They rush on Valentine and Orson, are overthrown and sink—as Valentine and Orson are proceeding, a Lion enters, Valentine presents the magic ring, and the Lion disappears—Pacolet is seen in place of the monster, and conducts Valentine and Orson into the Giant's dwelling.

SCENE VII.—A Magic Chamber in the Castle—(Whitmore.)

In the Centre, on a Pillar, a golden Head, and on one side of it, stands the enormous Giant Ferragus, leaning on a massive Club—Valentine and Orson enter—the Giant raises his monstrous club—Pacolet enters—waves his wand, the club changes to a heavy chain, incircling the arms of the giant—Orson catches up the giant, throws him down, and stands over him, Pacolet waves his wand.

Eglantine, Florimonda, and Belisanta enter.

Pacolet touches the Golden Oracle, which speaks as follows:

Oracle.

Hear!

Orson is alarmed—Pacolet makes a sign for silence, again touches the head, which proceeds to say:

Oracle.

Orson is endowed with reason!

Orson falls on his knees, and shews his sensibility by thanking the Gods—the head proceeds:

Golden Oracle.

Valentine and Orson are brothers, and sons of the Emperor of Greece, and the much-wronged Empress Belisanta.

The Empress Belisanta throws off her Nun's dress, and appears as herself, embraces her sons, who embrace each other—Pacolet addresses the Oracle.

Pacolet.

Orson approaches Florimonda, she still rejects him, he looks at his uncouth figure and dress, and rushes out, followed by Pacolet, but immediately returns, splendidly dressed—he again presses his suit to Florimonda, she is pleased with him—the Empress joins the hands of Valentine and Orson with Eglantine and Florimonda—the Genius signifies his approbation, and thus addresses Belisanta.

Pacolet.

Pacolet changes the scene, mounts his winged horse, and flies up, while the transformation is making from the Mystic Chamber to the last scene.

SCENE VIII.—A most brilliant Hall, hung round with all the ornamental Trophies and Devices of ancient Chivalry, disposed in long and varied perspective.——(Whitmore.)

The Emperor, &c. enter in

GRAND PROCESSION.

Soldiers of King Pepin's Guard.

Officers bearing Banners.

Choristers.

Captives, with Presents.

Guards.

Captives, with Presents.

A Superb Pyramid,

containing

A MILITARY BAND.

Guards.

Valentine's Banner.

FIRST GRAND TROPHY,

on which are borne

VALENTINE AND EGLANTINE.

Guards.

SECOND GRAND TROPHY,

on which are borne

ORSON AND FLORIMONDA.

The Peers of France.

Attendants of the Emperor.

The Royal Banners of

France and Constantinople.

Dancers.

Ladies of the Court.

The Empress Belisanta,

supported by

The Emperor,

and

The King of France.

The Characters come to the front of the stage, and the Piece concludes with the following

FINALE.

F I N I S.

Printed by Barker and Son, Great Russell Street, Covent Garden.

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