THE Musical Entertainments IN THE TRAGEDY OF RINALDO and ARMIDA: All composed by Mr. JOHN ECCLES, and Writ by Mr. DENNIS.  
Sit tibi Musa Lyrae Solers & Cantor Apollo.  Horace. 
LONDON: Printed for Jacob Tonson at the Judge's Head near the Inner-Temple-Gate in Fleetstreet, and at Gray's Inn-Gate in Gray's-Inn-Lane. 1699.   

PREFACE.  
THough the Tragedy of Rinaldo and Armida, of which the following Lines are a Part, has gone in the World under the Name of an Opera; yet is neither the Dramatical Part of it, like the Drama of our usual Opera's, nor the Musical part of it like that which is Sung and played in those Entertainments: For all the music in this Play, even the music between the Acts, is part of the Tragedy, and for that Reason the music is always pathetic. Now nothing can entertain the Imagination very agreeably but that which moves some Passion, and moves it very much too: For nothing can very much please the Fancy, but that which puts the Spirits into an Extraordinary Motion; which extraordinary Motion is Passion, and for that Reason, those who are very Old, by reason of the chillness and Coldness of their Bloods, which as it were congreals their Spirits, are very rarely or never extremely pleased. The Design therefore of music, as well as Painting and Poetry, being to entertain the Imagination agreeably, nothing in music can be extremely Fine but what is extremely Moving: And Experience has confirmed me in this Opinion, by so much fine music as I heard in Italy, both in their Churches and theaters. Now as nothing can be very Pleasing but what is very Moving, so nothing that is very Moving can be Moving long. For whether it proceeds from a Defect of Mind or Body, the Passions if they are Languid are not Delightful, and if they are Violent are not Lasting. I found therefore, that in a Musical Entertainment of length, Variety of Passion, as well as Passion would be absolutely necessary.  
In the following Lines therefore, I designed not only to move Passion, but as many Passions as I could successively without doing violence to my subject, as Admiration, Love and Joy, Anger, Compassion, Terror, Grief, Horror, Astonishment and Despair. How clearly, how fully, and how admirably Mr. Eccles has expressed those Passions I leave to the World to Judge, which has loudly on this Occasion, done justice to his Merit, even before the Play has been Acted. One thing I can say myself, of which I suppose I may be allowed to be a competent Judge, that he has every where so thoroughly entered into my design, that if I had not known him very well, I should have often wondered at it. I am so much obliged to him for the Care and Pains which he has taken in this Composition, that the least acknowledgement which I can make him, is to defend him against the Malice of some who have accused him of borrowing a Chorus in the Fourth Act, from the Frost Scene of Mr. Henry Purcell. That great Master has been accused himself of borrowing that very music from lul. I say not this with a design to Vindicate Mr. Eccles by Recrimination, but only to show that there has been always Malice in the World. I have a better way of Defending Mr. Eccles, for the Chorus which he is pretended to have borrowed from Mr. Purcell, is by much inferior to Two others in the same Entertainment, that of the Winds and the last. If therefore he has borrowed the Worst from Mr. Henry Purcell, I would ask his Accusers from whom he has borrowed the Best?   

THE Vocal and Instrumental music IN THE Tragedy of Rinaldo and Armida.  

THE music between the Acts in this Play is part of the Action of the Play, and therefore for the better distinguishing the Acts, the Reader is desired to take Notice, that when at any time the Stage is quiter Empty, then is the End of an Act.  
The Action of the Play begins with the Beginning of the Overture, which is a Trumpet-Tune, supposed to be played by the Good Spirits who have the Conduct and Care of the Action, and the Guardianship of the Persons concerned in it.   

ACT I.  Symphony. 
SOng by one of Armida's Spirits, while the Enchanted Palace is supposed at some little distance to Rise.  

Ye mighty Powers who Rule the Air,  
Ye Gods who in the Ocean dwell,  
And ye who at the Center govern Hell,  
Hither at great Armida's Call repair;  
And while by your Command these towers arise,  
Till with unequal Pomp and State,  
Their soaring Heads salute the Skies,  
show those above that Hell can too create.   
The Musical Entertainment in the First Act, is supposed to be played and Sung by Spirits in the Shapes of Shepherds and Shepherdesses, who voluntarily, and unknown to Armida, attempt to seduce the Christians who came to free Rinaldo from their Power.  Overture. Shep. 
Welcome to these Lovely Plains,  
The happy Seats of Blissful Swains.  Ritornelle. Nym. 
Welcome to these blissful Shades,  
The soft Retreats of Happy Maids.  Ritornelle. 


Song in 3 Parts.  Here we feel no want nor Care,  
And no Inclemency of Air,  
And Lovers never here Despair.   Ritornelle. Shep. 
Sorrow ever from us flies,  
Pleasure revels in our Eyes.  
If we pass an Hour in Courting  
'Tis for more Delicious sporting,  
Never cruel Nymph denies.  Ritornelle. Nym. 
If any thing like Sorrow's seen  
In our Voice, or in our mien,  
'Tis not Grief that gives the Anguish,  
'Tis with Pleasure that we languish;  
And if ever Nymph denies,  
'Tis like one in Love who's Wise;  
'Tis like one who would invite  
To more delicate Delight,  
'Tis with wishing, dying Eyes.  Ritornelle. Chorus of Shepherds and Nymphs. 
All about us and above  
Gaiety and Love inspires;  
All about us and above  
Infuses Tenderness and Love,  
And wanton fine Desires.  Shep. 
The Jolly Breeze,  
That comes whistling through the Trees,  
From all the blissful Region brings  
Perfumes upon its spicy Wings,  
With its wanton motion curling.  
The Crystal Rills,  
Which down the Hills  
Run over golden Gravel purling.  Nym. 
All around Venereal Turtles  
Cooing, Billing, on the Myrtles;  
The more they show their Amorous trouble,  
More fiercely dart their piercing Kisses,  
And more eagerly redouble  
The Raptures of their murmuring Blisses.  
The music betwixt the First and Second Acts, begins with a Trumpet Tune, supposed to be played by the same Spirits who played the Overture, but changes with the Scene to soft music, and falls gradually to softer, and at last drowsy music, which continues very softly the first Ten or Twelve Lines of the Second Act.   

ACT II.  
THe Musical Entertainment in this Act, is made by Dreams that at Armida's Command appear in order to the Terrifying Rinaldo, in the Shapes of Bertoldo and Sophia, Parents to the hero; and in the likeness of several whom Rinaldo had Slain in Battle.  Bert. 
Rinaldo!  Soph. 
Rinaldo!  Bert. 
Look up, Behold the mournful Shade  
Of him who gave thee Breath,  
Who steps to see thee, while thou'rt laid  
upon the Confines here of Death.  
T'inform thee of thy future State,  
And e're yet it be too late  
To prevent thy wretched Fate.  Soph. 
Look up my Son, Look up on me  
In me th' afflicted Sophia see,  
Ah Son! not all the grinding throws,  
With which, when thou wert born,  
My tortured Nerves were torn,  
equalled half the wracking woes,  
Which now thy Mother undergoes,  
Thou Darling of my Soul, for thee.  Bert. 
Last night I cast a Look  
Upon Fates dreadful Book,  
And red a Lesson which no Brain  
That is Mortal can Sustain,  
While all my Soul with horror shook.  Soph. 
Oh! the distraction of the sight  
And Oh! the Torments of the fright  
I never, never shall forget that Night.  Bert. 
rouse all thy Faculties my Son,  
And to my Fatal words give ear,  
For know that they concern thee near;  
No longer let thy Fancy run  
After that airy Fantom famed;  
But Love Armida with a constant flamme:  
Or destiny decrees,  
Thou shalt feel woes, which but to hear  
Would distracted thy Soul with fear,  
And all thy Blood with horror frieze,  Soph. 
Ah! see around the Raving Hosts  
Of purple Ghosts;  
Whose Blood thou hast in Battle spilled,  
With fearful Guilt.  
Who, unless awed by her Commanding power,  
Would, ah, this Moment, tear thee and devour!  Bert. 

How they advance with whirling Brands,  
All flaming in their threatening Hands!  
And as they go their dreadful Round,  
Revenge, Revenge, Resound!   Chorus of Spirits. 

For Revenge, for Revenge, to Armida we call,  
That we terribly may on our Murderer fall; him,  
That as now we with Sulphurous Torches surround wound him;  
We with our Screams and our Scorpions may  
And with astonishing Horrors confounded him.   

SONG.  
Rinaldo, in the Enchanted Grove  
Prepare to meet immortal Love;  
strait to the bower of Bliss repair,  
Fortune and famed attend thee there.   
The Act-Tune of this Second Act begins with Terrible music, supposed to be played by the Infernal Spirits, partly at Armida's command, and partly to express their Resentment for Rinaldo's Behaviour. With the Scene the music changes to Soft and Gay.   

ACT III.  
THe Musical Entertainment in this Act is made by Spirits, who at Armida's command, appear to Entertain Rinaldo in the Shapes of Venus, Cupid, and a Chorus of Loves. Venus is discovered reclin'd on a Couch, with her Attendants of Loves about her; and Singing in soft complaining Notes.  Symphony of Flutes. Ven. 
Cupid, come to the Relief  
Of thy Mother's piercing Grief;  
Hither quickly, Cupid, fly;  
With thee bring thy keenest Dart,  
To subdue a Rebel Heart,  
Thou art scorned as well as I.  Ritornelle. Cho. 
Come Cupid, on thy Golden Wing,  
And in thy sounding Quiver bring  
Pernicious Arrows, winged with Fire,  
T'inflict incurable Desire.  Symphony. 

Cupid flying down  Thus flying thro' the Balmy Air,  
To my great Parent I repair;  
And tho' the World's maintained by me,  
Yet, Mother, to attend on thee,  
I leave the mighty Care.  Ven. 
A Mortal in this Fragrant bower,  
Presumes that he's above our power.  Cup. 
I'll make that Mortal know,  
That none too Great for Love can grow:  
I tame the mighty powers above,  
And cruel Gods below.  Ritornelle. 
Great Jove, whose Arms the Lightning flung,  
Has felt my fiercer Fire,  
And Hell's Inexorable King  
Has yielded to Desire.  Cho. 
Great Jove, whose Arms the Lightning flung,  
Has felt thy fiercer Fire, &c.  Cup. 
Now quickly thro' th'Enchanted Grove,  
Let all my nimble Brethren Rove.  Dance Ven. 
Let Earth, and Air, and Flood, and Fire,  
And every thing around conspire  
To breath forth soft and sweet Desire.  Cho. 
Repeats this.  
In the music between this and the Fourth Act, the Instruments express the Alarm that the Infernal Regions take at Rinaldo's Departure.   

ACT IV.  
THE Entertainment of this Act is by Spirits, that come to Revenge the Injury that Rinaldo is thought by them to have done to Armida.  
Thunder and Lightning, Spirit comes forward and Sings.  Symphony. Spir. 
Ye Spirits that dwell in Earth, Fire, and Air,  
Hither, Hither, Hither, Hither, hurrying repair:  
Behold your great Mistress, Armida's betrayed,  
Hither, hither, hither, Hurry all to her Aid.  Ritornelle. Cho. 
Lo, from Earth, from Hell, and from Sky,  
With Vengeance laden we fly.  Spir. 
Ye Friends that are lurking in Graves,  
Or gliding in Vaulted Caves,  
All working amain in your Holes,  
Heave, Heave up the Crumbling Earth like Moles.  
Till the Mountain shakes,  
And the Rock its Basis forsakes,  
And the Heart of the traitor quakes.  Cho. 
'Tis done, see the Mountain shakes,  
And the Rock its Basis forsakes.  Spir. 
Ye powers who govern the Air,  
Let nought but Confusion be there;  
hast to sand forth  
The stormy North,  
And unbind the Deep Mouth  
Of the blustering South:  
Let them blow, let them blow, till with Fury they Roar,  
And ambitious old Ocean disdains the Shore.  Cho. 
Hark how they blow! Hark how they blow!  
If they go on thro' the voided they will sweep  
The Heav'ns, the Earth, and the Deep,  
And the World into Chaos will throw!  Spir. 
Now flying in Crowds,  
Charge, Charge all your Clouds,  
Charge them all with Destructive Thunder,  
Let it roar, till it rents the Vast all asunder.  
Let the Lightning fearfully blaze,  
Till Mortals who gaze,  
Fall Dead at the terrible Wonder.  Thunder and Lightning. Cho. 
'Tis done, 'tis done, and we shake  
At the dire Confusion we make.  Spir. 
Ye Furies who Reign in Unquenchable Fires,  
To the sound of your Yells tune your Horrible Lyres;  
And give us that music by which you Redouble  
The Horrors of Hell, and unspeakable Trouble.  Infernal Symphony. Cho. 
'Tis done.  Spir. 
Now add to the Symphony clinking of Chains.  Noise of Chains. Cho. 
'Tis done.  Spir. 
Add the Howls of the damned, in the height of their Pains;  Cho. 
'Tis done.  Spir. 
Add their Scream and their Roar, and their Serpentine Hiss;  Cho. 
'Tis done.  Spir. 
Let Lucifer's Thunder now answer to this,  
And Bellow alternately thro' the Abyss.  Thunder and Lightning. Cho. 
'Tis done, and 'tis past our power to know,  
Whither this be Chaos or no?  
In the music between this and the Fifth Act, the Spirits attending on Armida, express their Grief for the Calamity which has befallen her.   

ACT V.  

SONG.  
Ah Queen! Ah wretched Queen, give over!  
Cease, Cease with hopeless Fires to burn,  
Ah cease his Absence to deplore!  
Who now, even now forsakes the Shore,  
And never, never will return,  
No, never see thee move.   
FINIS.