uaic Lib. 
 
 R8245N3E 
 1886
 
 ■JJTO-SOl^ 
 
 '^a3AiNn-3Hv 
 
 ^AavaaiHw 
 
 ^AavaaiRv>> 
 
 r "J?130NVS01* N v/flBAINIUlft 
 
 ^UIBR 
 
 
 ^OJIWDJO^ 
 
 ^E-UNIVERS/a 
 
 <TJ130NV-S01^ 
 
 ^ctOS-ANG 
 
 "%I3AIN(1 3ttV 
 
 ^ LIBRARY^ ^t-LIBRARYQ-r 
 
 33 
 
 *7 
 
 ; OFCAllFO/?^ 
 
 ^OFCAIIFO^ 
 ^ h f "S V- 
 
 # 
 
 y <?AavaaiH^ y 0AHYaan^ 
 
 «AVK-UNIVERS/a. 
 
 m 
 
 <rji30NV-S01^ 
 
 vvlOS ANGELfj> 
 
 o 
 
 ^•OKALIFOftfc 
 
 ^0FCAilF0% 
 
 "^hainihkv* y tfAavaan-#- y <?Aavaaii# 
 
 ^E-UNIVERS//, 
 
 ^JUONVSOl^ 
 
 ^LOSANGElfj> 
 
 o 
 
 ^UIBRARYQr ^UIBRARY^ 
 
 £ 
 
 
 *>. 
 
 "tyHBAINIHUV* ^/OJIIVDJO^ ^OJIWOJO^ 
 
 ^E-UNIVERS/a 
 
 <TJ133NV-S01^ 
 
 vvlOSANCELfj 
 
 ^ttMAINIl 3WV 
 
 ^E-UNIVERS//) 
 
 ^iiJONvsm^ 
 
 ^lOS-ANGElfj^ 
 
 "%13AINIV3WV 
 
 ^0FCALIFC% 
 
 ^OFCALIFO/?^ 
 
 y <?AavaaiH^ y 0AavaaiB^ 
 
 'EUNIVERS/a 
 
 oc - 
 
 ^il3D! 
 
 ^lOS-ANCELfj^ 
 
 %a3AIN03^ 
 
 ^HIBRARYQ^ <$UIBRARY0/- 
 
 %)jnV>J0^' 
 
 ^OJITCHO^ 
 
 \\tfUNIVER% 
 
 £3» <iP 
 
 5 
 
 <TJ130NVSO^ N 
 
 ^lOSANGELfj> 
 
 s 
 
 != <t- 
 
 % 
 
 DO 
 30 
 
 %aaAiNa3\\v 
 
 -< 
 
 ^■LIBRARYQ^ ^t-LIBRARYQc 
 
 ^OJITCHO^ ^/OJIWDJO* 
 
 
 ce I 
 
 \ 
 
 y #Aavaam^ ^Aavaain^ 
 
 ^El'NIVER^ 
 <rji33NV-S01^ 
 
 
 ^/sm\mi& 
 
 .^OKALIFOfaj, 
 
 ^OFCAl!F0% 
 
 Ce 
 
 y <9AavaanT^ y 0Aavaan 
 
 r%. 
 
 
 
 vUIBRARY-0^ ^LIBRARY^ 
 
 ^EUNIVERS/a ^lOSANGELfj> 
 
 ^ 
 
 o 
 
 %a3AINH3WV >> ^OJIIVOJO^ ^OJIIVOJO^ <Til3DNVS0^ "fyHBAINIHV^ 
 
 \WEUNI\W//, 
 
 vvlOS-ANCELfj^ 
 
 .^0FCALIFC% 
 
 .^0FCAEIFC%, 
 
 <t?i3dnvsi %aaAiNn-3\^ ^Aavaan-^ ^AavaaiH^ 
 
 ^WEUNIVER% 
 ^TJTO-SOl^ 
 
 ^LOSANGElfj^ 
 
 %a3AINa3\^
 
 AaVHHIW 
 
 ivmii-av 
 
 r Jil3DNV-S01^ % 
 
 '<GMAINn-3tW 
 
 -rowans 
 
 '0AHVil8IRV> 
 
 
 
 mowsoi 
 
 ^UIBRARY0/\ ^ Q A 
 
 ^WEUNIVERS//, 
 
 vvlOSANCElfj> 
 
 "fyHHAiNiuttv* %oi\m-^ %oi\mi^ ^rjiaoNV-so^ %a3AiN(i-3i\v 
 
 
 'UDNV-SOl^ 
 
 ^lOSANGElfj^ 
 
 "^HAINIHUV 
 
 ^OKALIFOflfc ^OFCAllFOfy^ \WE UNIVERS^ 
 
 ^Arani^ ^Aavaain^ 
 
 vvlOS-ANCElfj^ 
 
 ^IMNV-SOV^ "%!3AINfl3WV 
 
 II BR AM JBRARY-0/- 
 
 2 
 
 m 
 
 03I1V3 30 V 
 
 ^Z/OJIIVJ-JO* 
 
 ,\MEUNIVER% 
 
 o 
 
 <Til30NVSO^ N 
 
 ^vlOSANCElfj> 
 
 %83AINfl-3\W 
 
 LIBRARYQr ^LIBRARYQr 
 
 £ 
 
 
 ^ojiivd-jo^ ^odnv>30 v 
 
 IFOfy^ 
 
 ft 
 
 
 ^OFCALIFO/?^ 
 
 
 MivaaiR^ y 0Aavaan# 
 
 ^WE-UNIVERty*. 
 
 ^lOSANGElfj> 
 
 .^0FCALIF(% ^OFCALIF0% 
 
 "^/sa3AiNn-3\^ ^AavaaiH^ 7 ^AHvaaiH^ 
 
 
 iOSANCEL/' 
 
 ^•LIBRARY6K -^UIBRARYQ^ 
 
 UONV-SOl^ "^AaaMNfl 3^ %)JITCH0^ %)3I1VDJ0^ 
 
 AWEUNIVERS/a 
 
 ^lOS-ANCELfj^ 
 
 %i!3AINn-3WV' 
 
 WS/a 
 
 '13010, 
 
 0SANGELfj> 
 ,a3AINa-3Wv 
 
 ^0FCA1IF0% ^OF-CALIF(% A\tf UNIVERSE 
 
 y 0Aavaaiii^ 
 
 ^ 
 
 o 
 
 ^AHvaaiH^ 
 
 v>dOSANGELfj> 
 o 
 
 
 <Til30NVSO"l^ %a3AIN(l-3\W 
 
 ■ LIBRARY^ 
 
 %MI 
 
 flVERXfc. 
 
 
 ^lOSANCElfj> 
 
 0= .^* S. ->. Prt 
 
 %a3Ai 
 
 t>-> 
 
 sSt-LIBRARYtf/ 
 
 «$UIBRARY0r 
 
 '^OJIIVOJO^ ^OJIIV. 1 
 
 
 
 AdVJji 
 
 'OAuvaaii 
 
 AE-UNIVEK 
 
 <fJTOS01 
 
 avII S+, ^OFCALIF(%, .^0FCALIF(%, 
 
 %a3AINfl-3WV 
 
 oc 
 
 AavnaiH ^AavaaiH^ 
 
 
 
 : i irrsn . 
 
 . .
 
 tr 
 
 NERO. 
 
 OIFIER-A. IIST FOUR .A.OTS 
 
 BY 
 
 ANTON RUBINSTEIN. 
 
 Chari.es F. Tretrar, Publisher, Steinway Hall, 
 
 NEW YORK.
 
 BEG TO ANNOUNCE THAT THEY HAVE BEEN AWARDED A 
 
 GRAND COLD MEDAL 
 
 AT THE 
 
 International Inventions Inhibition, 
 
 1 885— LONDON— 1 885 
 
 "For General Excellence of their Pianos, 
 
 and for Several Meritorious and Useful 
 
 Inventions;" and also a 
 
 SPECIAL GOLD MED^lL 
 
 FROM 
 
 THE SOCIETY OF ARTS, 
 
 1885— LONDON— 1885. 
 
 TWO SPECIAL DIPLOMAS OF MERIT, 
 
 Sydney International Exhibition, 1879. 
 
 TWO HIGHEST AWARDS, 
 
 International Exhibition, Philadelphia, 1876. 
 
 GRAND NATIONAL GOLD MEDAL, 
 
 WITH CROWN AND RIBBON, 
 
 From His Majesty, King Charles XV., of Sweden, 1868. 
 
 FIRST GRAND GOLD MEDAL, 
 
 Exposition Universelle, Paris, 1867. . 
 
 GRAND TESTIMONIAL MEDAL AND MEMBERSHIP, 
 
 From Societe des Beaux Arts, Paris, 1867. 
 
 FIRST PRIZE MEDAL, 
 
 International Exhibition, London, 1862. 
 
 
 Also more than thirty-five First Premiums at American Exhibitions, and testimonials from 
 
 the most eminent Musicians, Composers and Artists in the world, who all unite in the unanimous 
 
 verdict of the 
 
 SUPERIORITY OF THE STEINWAY PIANO OVER ALL OTHERS. 
 
 Every Piano Fully Warranted for Five Years. 
 
 EF* Illustrated Catalogues mailed free upon application. 
 
 Steinway & Sons, 
 
 WAREROOMS, 
 
 STEINWAY HALL, 
 
 Nos. 107, 109 and 111 East 14tli Street, 
 
 NEW YORK.
 
 N E RO. 
 
 O^IEIR-A. IIsT FOTJB .A. T 
 
 BY 
 
 Anton Rubinstein. 
 
 The English Version, after the German Translation of Jules Barbier'sText 
 
 i:v 
 
 JOHN P. JACKSON, 
 
 AUTHOR OK "THE PASSION rLAY AT OBER-AMMERGAU," "LOHENGRIN, MUSICALLY AND PICTORIALLV 
 
 ILLUSTRATED," ETC., ETC. 
 
 Copyright, iSSb, by CHARLES E. LOCKE. 
 
 Charles F. Tretbar, Publisher, Steinway Hall, 
 
 NEW YORK.
 
 50 
 
 PERSONS REPRESENTED. 
 
 Nero Claudius, Imperator. 
 
 Julius Vindex, Prince of Aquitania 
 
 Tigellinus, Prefect of the Pretorians. 
 
 Balbillus, Astrologer. 
 
 Saccus, Poet. 
 
 Sevirus, High Priest of Evander's Temple. 
 
 Terpander, Citharist, Agrippina's Freedman. 
 
 Popp^ea Sabina, Otho's wife, Nero's mistress. 
 
 Epicharis, a Freedwoman. 
 
 Chrvsa, her daughter. 
 
 Agrippina, widow of the Emperor Claudius, 
 
 and mother of Nero. 
 Lupus, a Roman gamin. 
 
 Shades : The Emperor Claudius, Britann 
 
 Octavia 
 
 Plotters. 
 
 Calpurnius Piso, 
 
 FjEnius Rufus, 
 
 Sporus, 
 
 Valerius Messala,. 
 
 Thraseas P^etus, Senator. 
 
 Salvius Otho, Governor of Lusitania. 
 
 Delia, Poppsea's slave. 
 
 An aged Christian. 
 
 The Leader of a Band of Jugglers. 
 
 A public Crier. 
 
 A Street Vender. 
 
 A Centurion. 
 
 icus, Seneca, Burrus, Lucanus, Petronius, 
 and others. 
 
 Senators, Patricians, Augustans, Pretorians, Priests, Lictors, Players, Dancers, Musicians, 
 
 Christians, Greeks, Gauls, Germans, Ethiopians, Roman People, Slaves, 
 
 Vestals, Roman Women, Courtisans, Danceuses, Female Slaves. 
 
 Scene : Rome. 
 Time: From the years 59 to 68 after the birth of Christ. 
 
 First Act : In the House of Epicharis, at Rome. 
 
 Second Act : Poppsea's Apartment in the Imperial Palace. 
 
 A public Square in Rome, near Evander's Temple. 
 
 Third Act: A Room in the Small House of Epicharis, near Evander's Temple. 
 
 Public Place near the Tower of Maecenas. The Burning of Rome. 
 
 Fourth Act: In the Mausoleum of Augustus. — On the Roman Campagna. 
 
 3074^4?
 
 THE STORY OF THE OPERA. 
 
 The story of the opera of " Nero " is Dased for the most part on historical incidents, and 
 historical personages are the principal characters of the drama. Nero Claudius C/ESAR 
 Drusus Germanicus was bom at Antium on the 15th of December, A. D. 37, and was Roman 
 Emperor from the year 55 to 68 A. D., succeeding Claudius, who after the murder of the in- 
 famous Messalina, married the equally debased Agrippina, Nero's mother. The operatic 
 story is taken from a drama in verse by M. Jules Barbier, and is devoted to a characterization of 
 Nero as singer and histrion, as a reveller in brilliant shows, festivals and processions, and in 
 cruelties, degradation and viciousness. Nero's life was devoted to the stage, the arena, the 
 circus, and licentiousness. He completed the degradation and brutalization of the Romans. 
 
 Nero instituted the games called Juvenalia, in which, in theatres erected in his gardens, 
 he himself sang and danced, and forced the nobility of all ages and sexes to do the same. He 
 finally appeared on the public stage, and historians record Seneca's sadness at seeing the lord 
 of the Romans appearing in public as a singer. " He was seen to come forward, lyre in hand, 
 wearing a long trailing robe, and having addressed the audience in the usual form, (Gentlemen, 
 hear me with favor,) sing to his chords the story of Attis or the Bacchae. The officers of the guards 
 stood around, Burrus grieving and applauding. He further selected five thousand young men, 
 named Augustans, who were divided into companies, whose task was to applaud him when he 
 was singing. When the people pressed him to display all his acquirements, he came forth in the 
 theatre, strictly conforming to all the rules of his art, not sitting down when weary, wiping his 
 face on his robe, neither spitting nor blowing his nose, and finally with bended knes and moving 
 his hand, waiting in counterfeit terror for the sentence of the judges." 
 
 Nero appears always to have had a fascination for composers. A hundred and forty-seven 
 years before the production of Rubinstein's work, Handel wrote an opera which bore the 
 melo-dramatic title of Die durch Mord und Blut erlangte Licbe ; oder, Nero — " Love obtained 
 through Blood and Murder, or Nero." " This opera," Mr. Krehbiel writes, " was written entirely 
 in German, and for that reason deserves to be remembered. Yet, early as it was, Handel's 
 " Nero" itself had a predecessor in the " Nero" of Pallavicini composed over two hundred years 
 ago. And now Boito is working on the subject, the fascination of which is perennial. This 
 fascination is natural. From amid the flood and gloom that surrounds the historical Nero, he 
 looks out a fine type of operatic character, and the Rome of his time offers a magnificent field 
 for the fancy of the dramatist, costumer, scene painter and ballet master. In his own person 
 Nero gave the world proof that love for the divine art can live in the blackest soul. When he 
 ascended the throne he summoned Terpnos, the ablest of the then living Citharccdi, to his court
 
 n 
 
 NERO. 
 
 and became his industrious pupil in singing; neglecting none of the measures which were 
 practised by the Greek musicians for the preservation and development of the voice. His bari- 
 tone voice was naturally weak, a little rough and hoarse (says Suetonius of him,) and only by 
 means of incessant practice did he succeed in accomplishing anything in music. During his 
 whole life he was filled with the conviction that he was the first virtuoso of his time." 
 
 The first act of " Nero " takes place in the house of Epicharis, a woman famous in Rome, 
 a priestess of Venus. Among the guests present is Vindex, prince of Aquitania, who after- 
 wards plays an important part in bringing about Nero's end. He takes no pleasure in the scene 
 of gayety, and after Epicharis and her guests have left the apartment, he remains behind, alone, 
 lamenting over Rome's degradation. His thoughts, however, are interrupted by the entrance 
 of a young girl, Chrysa, who, while returning from the temple of Evander to her own home, 
 has been followed by a band of drunken carousers and by accident has sought refuge in the 
 house of Epicharis, her own mother, who has never allowed her daughter to know the infamy 
 of her own life. Chrysa asks Vindex to shelter her, which he promises to do, convinced from 
 her answers to his questions that she is deserving of protection. He bids her enter one of the 
 inner apartments, and she escapes just as Nero and his companions, Balbillus, the astrologer, 
 Tigellinus, the prefect of the Praetorians, and a number of the Augustan guards, all masked, 
 rush in in search of the booty that has escaped them. Hearing the noise, Epicharis with her 
 guests return. She threatens to inform the Emperor of the conduct of the intruders, and as 
 Vindex and some of the men draw their swords to punish them, Nero discovers himself, 
 laughing, as the Emperor of Rome. 
 
 This changes the course of events. Among the guests are Saccus, the poet, and 
 Terpander, the citharist, two of Nero's intimates, and they propose, in order to please their 
 master, that the maiden be given to him as his bride, and that the event be celebrated with a 
 mock marriage. Vindex opposes this proposition, however; whereupon Nero offers conditions, 
 namely, that the girl shall be his, Nero's, if, when she is brought in, Epicharis declares that she 
 belongs to one of her own class. Chrysa being brought in, immediately recognizes her mother, 
 and Epicharis terrified at the fate hanging over her beloved daughter, in her anguish closes her 
 in her arms, fearful as to how she shall save her from the threatened imfamy. The laughter and 
 mockery of the guests and of Nero's friends and Epicharis's recognition of the girl, deceive 
 Vindex, who with bitter laughter gives up his assumed role of protector. Thereupon Nero 
 commands that the marriage rites be begun, and the ceremonies are carried out in mockery, 
 ending in a bacchanal, the chorus and ballet joining in the dance. Vindex himself, having asked 
 Nero in sarcastic mood to allow him the privilege, intones the bridal song. Epicharis, how- 
 ever, determined to rescue her child from a fate worse than death, gives Chrysa a goblet of 
 wine containing a strong sleeping draught, and the young girl falls to the ground as if dead. All 
 are horrified, believing that Epicharis has poisoned her child in order to save her from Nero. 
 Vindex seeing how he had been deceived, turns in wrath towards the Emperor and charges 
 him with being the cause of the murder, whereupon Nero commands that he be arrested and 
 taken to prison. 
 
 The second act opens in an apartment in the Imperial Palace occupied by Popp^ea Sabina, 
 Nero's favorite. This renowned beauty, of whom Tacitus remarked that she possessed every- 
 thing but virtue, is filled with joy at finding herself so near to a place on Nero's throne. At 
 the time, she was married to M. Salvius Otho, for whom she had quitted her former husband 
 Rufius Crispinus. She it was who was so solicitous about her beauty that she took a bath 
 every day in the milk of five hundred asses, which were kept for the purpose. For her sake 
 Nero committed many atrocities. He had banished and attempted to murder his mother
 
 NERO. m 
 
 Agrippina (whom he finally caused to be slain). To be able to marry her he put away his 
 wife Octavia, though he had been compelled by the murmurs of the populace to take her back; 
 the statues of Poppaea had been flung down by the people and those of Octavia had been car- 
 ried about covered with flowers. But finally Nero caused Octavia to be slain. She was bound, her 
 veins were opened, and she was placed in a warm bath, and when life was extinct her head was 
 cut off and sent to Poppaea. Poppaea herself finally came to an untimely end. For a time 
 Nero was passionately devoted to her, and his joy knew no bounds when in 64 A. D. she pre- 
 sented him with a daughter, which however died four months old. After that his infamies grew 
 worse and more degraded. After a theatrical entertainment in which he had appeared as an actor, 
 in a fit of anger he gave Poppaea a kick in the stomach which caused her death. Instead of 
 burning the body as was then.the general custom, he had it embalmed with the most costly 
 spices and deposited it in the monument of the Julian family. He himself pronounced the 
 funeral oration, in which he praised her for her beauty, and as the mother of a divine infant. 
 
 But to return to the scene. Poppaea is discovered surrounded by her female slaves and 
 attendants, awaiting Nero's visit. Agrippina, at the time in banishment, had discovered her son's 
 infatuation for Chrysa, and in order to possess the means of affecting a reconciliation with him, 
 had caused her to be kidnapped and brought to her own house, keeping her there as booty 
 for her degraded son. She had sent Terpander to Rome with the request that Nero might 
 pardon her, and at the same time sending to Poppaea, as a present, a magnificent diadem and an 
 armband containing a picture of Chrysa. While Nero is disporting his vanity to his courtiers, 
 singing of the " Love and the griefs of Iphigenia," Vindex is led past by the guards on his way 
 to execution. At the same time Epicharis enters, and, bitterly weeping, demands of Nero that 
 her daughter, who has been taken from her by stealth, shall be restored to her. Nero thus 
 learns for the first time that Chrysa" is not dead, as he had supposed. In his anger at being de- 
 ceived he gives the order for Epicharis to be put to death. But Poppaea intercedes with him 
 for Epicharis's life, and when Nero in his rage grasps the outstretched arm of the pleading 
 woman he suddenly sees the portrait on the armband sent as a present from Agrippina. 
 Struck with astonishment and wondering what is the significance of the picture, he apparently 
 gives way and asks Poppaea and the courtiers to accompany him to the grand triumphal pro- 
 cession which is about to take place. 
 
 The scene changes to a public square in Rome, in front of Evander's temple, the populace 
 awaiting the coming of the triumphal procession, a part of the great festivals which Nero was 
 accustomed to give to the people. One such described by the historian is that on his return 
 from his Thespian expedition to Greece. Returning to Italy, he entered Rome in the triumphal 
 car of Augustus, clad in a purple robe studded with silver stars, the Olympic wreath of wild 
 olive on his head, the Pythian laurel in his hand. The crowns which he has won, the boards 
 showing the names of the places where he had gained them, preceded his chariot: the senate, 
 knights and soldiers followed shouting, Olympic victor! Pythian victor, Augustus! Nero Hercules! 
 Nero Apollo! etc. In this manner Nero proceeded to the capitol and thence to the palace. 
 The crowns, eighteen hundred in number, were hung round an Egyptian obelisk. Nero then 
 resumed his former occupation as a player and charioteer. The people awaiting the procession 
 are being amused by a troop of jugglers, and the audience by the performance of an incident in 
 ballet. A group of Bacchantines, chased by the jugglers, call the warriors to their assist- 
 ance. The play ends with the defeat of the jugglers and the earring off of the Bacchantines. 
 Then comes at last Nero's imposing triumphal procession, and while this is passing the 
 populace exchange opinions about Nero and his contemporaries, the virtues and vices of himself 
 and his companions. Nero at last arrives upon the scene, hailed with shouts by the people.
 
 iv NEBO. 
 
 In honor of Agrippina his mother, to whom he is reconciled, he commands the Circensian games. 
 He then enters the temple of Evander in order to receive the homage of the priesthood. 
 Poppaea, in the meantime filled with jealousy, has determined to get Chrysa out of Nero's way, 
 and she is seen among the crowd leading Epicharis and Vindex into the house of Agrippina 
 to demand the restoration of the girl to her mother. Then Nero emerges from the temple, 
 laurel crowned. The Vestals kindle the sacred fire, the people cast flowers and wreaths to 
 Nero, who filled up with the full of vanity declares that he is not only Caesar but God. To 
 this the much debased and brutalized mob, living mostly on the bounty and charity of the 
 Emperor, assents in wild delirium, shouting, "Yes, he is Caesar and God!" 
 
 In the third Act: Chrysa has been removed from the house of Agrippina, and Nero, find- 
 ing himself deprived of his booty, had caused his mother's death. She is now in a small house 
 under the care of Vindex, to whom in her thanks she reveals what she has hitherto kept a 
 secret, namely, that she belongs to the persecuted sect of the Christians. Vindex declares his 
 love for her, and asks her to teach him the tenets of the religion that makes her own life so beauti- 
 ful. Epicharis enters. She had been released from prison by Nero after ineffectual attempts to 
 compel her by torture to reveal her child's hiding-place. But he had given her her liberty, 
 knowing well that she would at once go to her daughter, and that thereby he would find the 
 booty. While Vindex has gone to Poppaea to ask her assistance in getting his wards out of the 
 city to a place of safety, Nero suddenly enters, to the great terror of the two women, and 
 renews his importunities to Chrysa, promising that she shall take Poppaea's place as his empress. 
 Chrysa treats the offer with scorn, whereupon Nero threatens vengeance, that he will chain her 
 to his chariot as one of his slaves. During this scene Sacco enters hurriedly and announcs that 
 Rome stands in flames. Nero is thunderstruck. Not at the news indeed, but at the fact that 
 he should have forgotten all about the conflagration, which, according to popular tradition and 
 M. Jules Barbier's poem, he had given the command to start. Nero at once gives up his 
 persecution of Chrysa, his mind now being fully occupied with the promised display. He asks 
 Poppaea, who has entered during the last scene, to accompany him, to view the glories of the 
 spectacle. 
 
 The destruction of Rome took place A. D. 65. On the 19th of July a fire broke out in a 
 part of the circus full of shops containing inflammable substances. It extended during six 
 days, and its course was only stopped, after the greater part of the city had been destroyed, by 
 pulling down houses at the foot of the Equiline. Nero was at Atium when the news of the fire 
 was brought to him. He immediately repaired to Rome, threw open his gardens, the Campus 
 Martius and the monuments of Agrippa to the sufferers, caused supplies to be distributed and 
 reduced the price of corn. All he could do, however, could not remove the suspicion from the 
 minds of the people that the city had been fired by his orders. It was said that he wanted to 
 have an opportunity of rebuilding Rome with more regularity and beauty, and that while the 
 fire was raging "he ascended a tower in the gardens of Maecenas in his scenic dress, and 
 charmed with what he termed 'the beauty of the flame,' sang to the accompaniment of his lyre 
 'The Taking of Ilium'." Further the historians say that "he spared no expense in rebuilding 
 the city; and when all would not avail to clear him he laid the guilt on the innocent — on the 
 members of the society named Christians, which had arisen some years before in Judaea, and 
 were now numerous in Rome." 
 
 The scene as represented in Rubinstein's opera is where Nero and his associates, and 
 Poppaea ascend the tower of Maecenas and watch the progress of the conflagration, and the 
 persecution of the Christians by the maddened populace. The Christians were objects of 
 general aversion at the time. Any charges made against them were likely to be credited. Some
 
 NERO. v 
 
 of them were taken and compelled by torture to confess. They were put to death with torture 
 and insult, some being sewed up in the skins of wild beasts and then torn to pieces by dogs, 
 some crucified, and others wrapped in pitch and other inflammable materials and set on fire to 
 serve for lamps in the night. The scene of their agonies was in Nero's gardens. The Roman 
 populace is seen in the opera engaged in its favorite occupation of slaughtering the Christians, 
 and Nero is seen on the tower of Maecenas glorifying in song the devouring element in the 
 famous " O Ilion," from the description of the funeral rites of Hector at the conclusion of the 
 Iliad. Chrysa then with her mother and Vindex appears on the scene. Full of indignation 
 at the cruelties of the mob, she attempts to stay the madness of the people, but in vain. She 
 then attempts to shelter the persecuted people by placing herself between them and their 
 murderers. Even Nero, who has caught sight of her, comes to her assistance. But too late. 
 Heroically, Chrysa has declared to the mob that she herself is a Christian, and she is slain by 
 the fanatics before she can be rescued. Vindex is compelled to flee. Nero, cursing the girl's 
 murderers, is driven back by the flames. Epicharis, heart-broken at the death of her child, falls 
 and is burned under the ruins of a falling house. This is not strictly in accordance with history, 
 however. Epicharis became involved through her friends in a conspiracy against Nero, who' 
 ordered her to be put to the torture. " But no pain could overcome the constancy of the heroic 
 woman, and next day, as, from her weak state, she was carried in a chair to undergo the torture 
 anew, she contrived to fasten her belt to the arched back of the chair and thus to strangle 
 herself." 
 
 In the fourth act comes Nero's end. The Roman world has submitted long enough to the 
 sport of a monster in human form. Vindex, at the time propraetor of Gaul, is generally credited 
 with originating the revolt. He wrote to Sulpicius Galba, the governor of Tarragonian Spain, 
 who was at the head of a large army, asking him to become " the deliverer of the human race 
 and the Emperor of Rome." "Hearing of the revolt of Galba and the Spains," says an his- 
 torian, " Nero's consternation was extreme. He resolved the wildest and most nefarious projects, 
 such as sending persons to kill all the governors of the provinces, massacring the exiles and all 
 the Gauls that were in Rome, poisoning the Senate, and letting the wild beasts loose upon the 
 people. He began to levy troops, but his first care was to provide carriages to convey his- 
 theatrical properties and to dress and arm a party of his concubines as Amazons to form his- 
 guard.'' Finding himself deserted, his courage failing him, and his freedman Phaon having, 
 offered a country house, which he had four miles from the city, as a refuge, he mounted a horse 
 and set out with Sporus and three others concealed in a dark cloak, with his head covered and 
 a handkerchief before his face. The librettist of the opera reveals the fallen Emperor in tempo- 
 rary shelter in the mausoleum of Augustus. Filled with terror, he sees the shades of his many 
 victims rise up amid the gloom and pass before him, his brother Britannicus, Octavia, his first 
 wife, Poppaea his mother, Chrysa, Epicharis, all the host of friends and teachers whom he had 
 murdered, the slaughtered Christians whom he had cast to the wild beasts or used as living 
 torches at his hideous festivals. Filled with terror, he rushes out into the storm. 
 
 In the next scene Nero is discovered on a bleak road on the Campagna. In the distance 
 is Rome, whither Galba's soldiers are hastening, singing their battle-song as they pass. Nero 
 has been recognized and is being hunted by the soldiers. " He and his companions," says the 
 historian, "had to quit their horses and scramble through a thicket to get to the rear of Phaon's- 
 villa and then to wait till an aperture was made in the wall to admit them. Every one urged 
 him to lose no time in saving himself by death from the impending insults if captured alive. 
 Meantime he continued weeping and exclaiming, 'Ah, what an artist perishes in me (qualis 
 artifex pcreo ! y A messenger arrives bringing letters that he had been sentenced by the Senate
 
 vi NERO. 
 
 to be brought under the Caudine yoke. He inquired what that meant. Being told that 
 he was to be stripped naked, have his head placed in a fork and be scourged to death, 
 he took two daggers he had with him and tried their edge, then sheathed them again, saying 
 that the fatal hour was not yet come. One moment he desired Sporus to begin the funeral wail, 
 then he called on some one to set him an example of dying, then he upbraided his own con- 
 science. At length, hearing the trampling of horses of those sent to take him, he hurriedly 
 repeated an appropriate line of Homer, and, placing a dagger at his throat, with the aid of his 
 secretary Epaphroditus, drove it in. A centurion, entering before he was dead, put his cloak to 
 the wound, pretending that he was come to his aid. ' Tis too late ! Is this your fidelity?' said 
 the bleeding tyrant, and expired." This event took place A. D. 68, in the thirty-first year of his 
 age, and the fourteenth of his reign. It is carried out on the stage with due regard to history, 
 Saccus, however, taking the place of Epaphroditus. Vindex appears on the scene. The sol- 
 diers gather about the dead despot. Then in the sky appears a brilliant light in the form of a 
 Cross. The people look in wonder at the miraculous sign and accept it as a promise that peace 
 has once more returned to the world. All join enthusiastically in a hymn of thanks to God, 
 "the Mighty One, who shall not let his children perish." 
 
 With " Nero," Anton Rubinstein is first introduced to the American public as a composer 
 of opera, though he has been very productive in this department of musical work. Shortly after 
 his return to St. Petersburg in 1848, when he was attached to the court of the Grand Duchess 
 Helene as Kammervirtuose and later as Hof-Kapellmeister, he composed a number of small 
 operas, among which are "The Siberian Hunter," "Toms, the Fool," "The Revenge," 
 " Dimitri." His best known operatic works are, besides the present one, " The Children 
 of the Steppes," " Feramors," " Merchant Kalachinikoff," " The Demon," " The Son of 
 the Voivod." Rubinstein has gained his greatest fame on the operatic stage by his 
 musical dramas on the biblical subjects. He began with " Paradise Lost," which however he 
 called an oratorio in the original edition, and continued in " The Tower of Babel," and 
 " The Maccabees," works which combine the oratorio and opera styles, by utilizing 
 the powers of the old time oratorio chorus and the modern dramatic orchestra. The 
 present opera, "Nero," was first produced at the Stadt Theatre at Hamburg in 1879, 
 under the direction of M.» Pollini, with the mise-en-scene by Mr. William Hock, and under 
 the personal superintendence of the composer. Its success was so great that it had no less than 
 thirty repetitions in Hamburg alone. The libretto of the opera owes its origin to M. Jules 
 Barbier, whose dramatic poem of " Nero " was apparently put into German before being set to 
 music by the composer. Unfortunately, in the German translation, M. Jules Barbier's classic 
 lines were often mutilated or their metre lost; consequently the present version, taken from it, in 
 which the English words must of necessity follow as closely as possible the composer's inten- 
 tions and strength in accentuation, will not always bear critical scanning. 
 
 John P. Jackson.
 
 NERO 
 
 ACT I. 
 
 SCENE I. — Court (Atrium) in the House of Epicharis. 
 In the background an open gallery (Peristyl) leading 
 from one of the streets of Home. The foreground is 
 lighted hy lamps and lampadaria. Assembled are 
 Otho, Yindex, Saccus, Terpander, Piso. Mcssala, 
 Rufus, Sporus, Senators, Gauls, Greeks, Germans 
 and Courtesans. 
 
 Chorus of Men. 
 Tarry, ye moments, 
 Ye that in hast'ning 
 
 Course soon pass by ! 
 In the wildering whirl 
 Of joy all too swiftly 
 From us ye fly ! 
 Like nymphs from the wooer 
 Ye escape the pursuer: — 
 Yet oft in the flutt'ring race 
 Not vain the chase. 
 
 Chorus of Women. 
 Waste not the time 
 That, ah, all too quickly 
 Passes away 
 With fluttering pace 
 In the rapturous, joyous race! 
 Like nymphs from the wooer, 
 Ye escape the pursuer: 
 Yet oft in the flutt'ring race, 
 Vain is not the gallant chase ! 
 
 Men. 
 Newly found have we here 
 The island enraptured; 
 With thee, Epicharis. 
 Sere enchanted we stay, 
 
 The Graces alway 
 y.eady to serve and obey. 
 
 Chorus of Women. 
 This is the home of the Graces; 
 
 These are fair Cythere's bowers ; 
 In the gladsome feast invited 
 
 Let us enjoy the fleeting hours. 
 
 All 
 
 Tarry, ye moments, 
 Ye that in hast'ning 
 
 Course soon pass by! 
 In the wildering whirl 
 Of joy all too quickly 
 From us ye fly ! 
 Like nymphs from the wooer, 
 Ye escape the pursuer: — 
 Yet oft in the flutt'ring race, 
 Vain is not the gallant chase. 
 Enjoy the moment's 
 
 Sweet delight, 
 For life doth pass 
 With rapid flight! 
 
 [Epicharis enters, followed by her slaves. Her guests 
 hasten to greet her.~\ 
 
 Epicharis. 
 
 Good welcome be to ye all, my guests illus- 
 trious, 
 
 Romans, strangers ! Ye all shall bring joy 
 
 to the fete! 
 
 Ye of our noblest blood, and ye of rank 
 
 exalted, 
 
 Right welcome are ye to the feast. 
 
 All 
 All hail ! queen of beauty rare ! 
 All hail! The temple's priestess fair ! 
 
 PtSO. [To V index.'] 
 
 And now, — alien and guest, — what thinkest 
 
 thou of our Romans ?
 
 NERO. 
 
 Terpander. [ To Findex. -j 
 
 Hast thou e'er dreamt of glory and might 
 
 such as this? 
 
 RufuS. [to Findex.] 
 
 To thy wondering gaze there is opened a 
 
 world ! 
 
 Vindex. 
 Nay, thou err'st — my search is for men ! 
 
 SaCCUS. [Aside.] 
 
 Unmannerly Barbarian ! — Ei, thou callest 
 
 thyself 
 Prince of Aquitania — of ancient and kingly 
 
 race ! 
 Lookest for men in Rome — the choice were 
 
 surely not hard : 
 Piso see ! Rufus see ! — and everyone of 
 
 them noble ! 
 Terpander, a Freedman forsooth, but a 
 
 master in art, 
 And Otho, who, aye, his wife as a gift gave 
 
 to Caesar ! 
 By the Gods ! are these not men and prin- 
 ces of manhood ? 
 And forget not the greatest of poets : I 
 nam'd thee not Saccus — 
 That is I — yea, that is I. — For whom else 
 
 is thy search ? 
 P'r'aps for an Emperor ? — For Nero I pray 
 
 thee to grieve not. 
 By hate and envy devour'd, burden'd he 
 
 came to the world ; — 
 What at his conscience gnaws, gives him 
 
 now food for his song ! 
 Lord of the Lyre — Thespian hero^seeking 
 
 for fame on the stage. 
 Pale, speechless, on his knees, madly he 
 
 pleads for applause. 
 From the vulgar plebeians! — 
 Before the people trembling 
 He makes the people quake: 
 He hears the shouts of the foolish rabble: 
 "Caesar is great! 
 In song is Nero the victor! 
 
 Hail, Caesar, hail!" 
 Lord of the world, and forsooth — 
 Histrio! 
 Ha, ha, ha, ha, ha! ... . 
 
 Vindex. 
 
 Rome, hapless Rome ! — 
 Thou hast fallen so low 
 In the wretched one's hands ! 
 
 Piso. 
 Who knows. How appalling the hate 
 'Neath the joy of the fete can be hidden ! 
 Those who shrewdly the head can bend, 
 Before the low'ring storms descend, 
 Can raise up the head when all is o'er, 
 Standing then firmer than before ! 
 
 [Hearing Piso's words, the Conspirators have become 
 attentive. ] 
 
 The Conspirators. 
 Those who shrewdly the head can bend, 
 Before the low'ring storms descend, 
 Can raise up the head when all is o'er, 
 Standing then firmer than before. 
 
 Epicharis. 
 
 [ To the Conspirators. ] 
 
 Forsooth, one would think, hearing speech 
 
 so audacious, 
 That my house for conspiracy was chos'n! 
 A Brutus we'll see nevermore; and his 
 
 times are forgotten ! 
 
 [To the other guests.] 
 
 Pray ye, then, such folly curbing, 
 Be not heard more speech disturbing! 
 Come! come! The praises sing 
 
 Of wine and of delight ! 
 Let loud your voices ring, 
 
 In joy let all unite! 
 Of love alone, here sing will we — 
 Of its wond'rous might shall our praises be. 
 
 All 
 
 Tarry, ye moments, 
 Ye that in hast'ning, 
 
 Course soon pass by! 
 In the 'wild'ring whirl 
 Of joy, all too quickly 
 
 From us ye fly! 
 Like nymphs from the wooer, 
 Ye escape the pursuer : — 
 Yet oft in the flutt'ring race, 
 Vain is not the gallant chase. 
 
 Awaits us the banquet's sweetest delight! 
 
 Enjoy the moments before they take flight.
 
 KEBO. 
 
 [Epicharis leaves with her guest. Tindex remains 
 alone. The slaves take away the torches. The 
 scene is lighted only by the lampadaria.] 
 
 Yindcx. 
 
 Go without me! I have heard quite 
 enough ! 
 
 how deeply thou art fallen, O Rome! 
 With my own eyes I have seen, 
 
 O Rome, thy shameful fall! 
 
 Unhappy Rome! 
 Farewell ! Farewell ye ail ! — 
 
 Who is that in the gloom that I seel 
 'Tis a woman! 
 
 [Vindex is about to leave when Crysa appears. She is 
 greatly terrified. ] 
 
 Chrysa. 
 
 Here I am safe! Give me ward! 
 
 pity, I pray thee ! 
 
 Vindex. 
 
 Say what danger makes thee to fear- 
 Gentle maiden? 
 Say, who would harm thee? 
 
 Chrysa. 
 
 1 was pursued! My steps were turned to 
 
 my home — 
 When with wildering shouts came a band 
 
 of caro users, 
 Their faces all mask'd, they followed fast 
 
 on my footsteps, 
 It was there, near the bridge they o'ertook 
 me — 
 My slave, all too faithful — 
 Guarded mo from the wretches, 
 
 But his reward was death. 
 Him they seized, they tore him from me, 
 Cast him into the Tiber! 
 
 1 fled! Soon they lost all my traces — 
 To this house then I sped! 
 
 And so came I to you. 
 Ah ! Send me not forth again ! 
 I plead, here on my knees. 
 
 VhldcX. [Raising her up.] 
 
 I pray Thee rise ! My arm shall protect thee. 
 
 Chrysa. [Listening.] 
 
 I hear them no more, — my pursuers. 
 
 Vindex* 
 But what, then, led thee and thy faithful 
 
 slave 
 All so late in the streets of Rome, — 
 That every night by bridleless bands are 
 
 infested. 
 Chrysa. 
 
 For my mother, 0, sir, Avhom sad fate long 
 
 kept from me 
 So long, so long a time ; alas, a hallow'd vow 
 
 Vindex. 
 In Vesta's temple, perhaps? 
 
 fulfilling. 
 
 Chrysa. 
 
 _ _ , J See music, 
 
 JNay, twas another god. I pages 33-35 
 
 0, mother, mother! why from me wert 
 
 taken ? 
 O, what cruel fate drove thee away from 
 
 me? 
 And yet I am thine, though by thee for- 
 saken, 
 My loving heart beats but for thee ! 
 
 Vindex. 
 
 Hapless child, who, then, is thy mother? 
 Canst thou thy lot to me discover? 
 
 Chrysa. 
 
 Thankless were I, truly, should I trust thee 
 
 not fully — 
 Naught be hidden from thee, who givest 
 mo ward and protection! 
 With one devoted slave, alas, 
 The faithful friend, who was taken 
 
 By death forever from me, 
 Lived alone through the days of my 
 childhood. 
 A lowly house, by trees sweetly shaded, 
 Where naught I heard of the world and its 
 sorrows, 
 Sheltered us well — near to Evander'a 
 Temple. 
 There, alone, I grew up. 
 
 I lived so still and quiet, 
 In the house, the enchanted, 
 In harmless delight. 
 My mother — the dearly lov'd — 
 Ah, how good is she, sir, and fair! 
 So fair!
 
 6 
 
 NERO. 
 
 Comfort brought to her child when af- 
 flicted; 
 
 0, what joy when we met ! 
 She came always at night, 
 
 By some mystery surrounded, 
 In secret, by sorrow oppress'd. 
 
 Vindex. 
 Know'st thou the cause? 
 
 Chrysa. 
 I know naught, except that she lov'd me. 
 
 Vindex. 
 Know'st not her name? 
 
 Chrysa. 
 
 That from her never escap'd — 
 T know her heart alone! 
 O, mother, mother, why from me wert 
 
 taken ? 
 Say what cruel fate drove thee away 
 
 from me? 
 And yet I am thine, though by thee for- 
 saken, 
 My loving heart beats but for thee! 
 
 Vindex. 
 
 O, lovely child, thus all forsaken, 
 
 What gentle magic led thee here to me! 
 
 What rapture sweet dost thou awaken? 
 What precious jewel do I find in thee? 
 
 Chorus. 
 
 Enjoy the moments' sweet delight, 
 For life doth pass with rapid flight. 
 
 Vindex. 
 
 Come! Thy escort now T will be! 
 
 Here, gentle child, thou may'st not linger. 
 
 There are dangers to thee all unknown 
 
 Lurking here in this place, 
 Greater far than those on the Tiber! 
 
 [Confused sounds and shouts heard on the streets.] 
 
 Chrysa. 
 
 Ah ! Hear ye not the shouts ? 
 It is they ! It is they ! 
 
 Vindex. 
 
 Rather death, than leave thee unsheltered. 
 Follow me i 
 
 Chi i/sa. 
 
 God, O my refuge — 
 O grant him thy aid — > 
 And on thy child have pity. 
 
 Vindex. 
 Me forsooth they must kill 
 Ere to thee wrong be done! 
 
 [ Vindex leads Chrysa away. Masked men enter the 
 Pcristyl, and drive off the slaves of Epicharis.] 
 
 Chorus of Augustans. 
 Thou art ours, O dove so fair and tender, 
 
 A lovely turtle dove art thou! 
 And as booty, must surrender, 
 
 To the vulture's talons now ! 
 
 [Nero enters accompanied by Tigellinus and Balbillus. 
 All wearing masks. ] 
 
 Nero. 
 Was it here ? 
 
 Tigellinus. 
 Here in this house — she entered sure — 
 She shelter sought in a temple pure. 
 And ye rush'd blindly past — 
 And never more had ye found her — 
 Had not ye erring ones come at my call ! 
 
 The Augustans. 
 Ours thou art, O dove so fair and tender, 
 
 A lovely turtle dove art thou ! 
 And as booty, must surrender, 
 
 To the vulture's talons now! 
 
 [Epicharis appears, followed by Saccus, Terpander, 
 Piso, Otho, Messala, Sporus, Rvfus, all the guests, 
 courtisans and slaves bearing torches.] 
 
 Epicharis. [To the Jugustanr.] 
 
 Who dares thus here to enter, 
 
 The lares defying? 
 Is then Rome without ward — 
 
 By barbarians o'er-ridden? 
 
 Nero. 
 
 Calm thyself, gentle Epicharis! 
 
 Deprive us not wrongly of booty — 
 Nay the pretty dove surrender, 
 
 That gallantly we chased — 
 The dove, so fair and tender, 
 
 And just to the hunter's taste! 
 Give us the booty fair —
 
 NERO. 
 
 7 
 
 Sent by Phoebus as our dower, 
 Or by the Gods — beware ! 
 
 And woe — if from our power 
 Ye to wrest her shall dare! 
 
 AugUSianS. [ To Epichwris. ] 
 
 Quick the pretty dove surrender, etc. 
 
 Epicliaris. 
 
 Ye are deceived ! Doubt ye my word ! 
 No one in here is hidden! Monster! 
 Tear the mask from his face. 
 I care not for his threats, 
 Thou shalt tremble — 
 
 Nero himself shall be thy judge. 
 
 Nero and Chorus. [ironically.] 
 
 Ha, ha, ha! A most audacious notion — 
 Nero his judge! 
 
 Saccus. 
 
 [To Epicliaris, still in ironical tones.'] 
 
 Nay, by the god of thieves. 
 
 They have right to their laughter ! 
 
 Wilt to the Emperor, thou ? 
 
 To thy friend, thy protector? 
 Who as pattern can all of us shame. 
 
 Nero, the very virtuous Caesar, 
 With his brood of Augustans 
 Ready to do every Avrong 
 
 The fools of the whole Roman empire, 
 
 His assistants by day 
 
 And by night his claquers. 
 
 If forjudge such as this their quest 
 
 They had good right to their jest. 
 
 Nay, look not to Nero for aid, 
 
 Of their Emp'ror they're not much afraid. 
 
 Chorus of guests. 
 Yea, truly ! So it is ! 
 
 Nero. [.Aside.] 
 
 Ila ! wretched viper's tongue. Woe! 
 Of thy speech thou shalt bitter repent. 
 
 [ To his companions.] 
 
 Enough ; the hand to the sword, 
 And search well the burrow ! 
 Follow me ! 
 
 V index. 
 
 He who first shall attempt 
 O'er the threshold to pass, 
 
 By my hand he shall fall! 
 
 The hapless child whom ye pursue 
 Sought my protection! I'll guard her well 
 Here with my sword! I, Vindex, 
 Prince of Aquitania ! 
 
 Nero. 
 
 Madman ! Me, would'st thou defy? 
 Know'st who I am ? 
 
 Vindex. 
 
 And wert thou Nero's self! 
 
 Yea, truly — 
 
 What then? 
 
 Nero. 
 'Tis- 
 
 V index. 
 
 -he himself! 
 
 Epicliaris and Guests. 
 
 Nero 'tis ! Be silent, friends. 
 Seeks the tiger a victim, Ave know well 
 
 how it ends. 
 
 Saccus. 
 
 Caesar, a word from thee — and never a one 
 
 escap'd thee — 
 
 Yet the cries of the victims enhane'd not 
 
 the joy of the fete. 
 
 Nobler revenge, forsooth, canst have for our 
 
 reckless deed — 
 
 Invite us all to join in the feast of thy love 
 And assist at the wedding ! 
 
 [Great astonishment. J 
 
 Soon 'twere done, and right easily. 
 Thou hast but to command us: 
 As witnesses choose the topers around, 
 The fools here assembled; let each 
 Just play his own role at his pleasure. 
 Balbillus, the augur, he pronounce bene- 
 diction ! 
 Piso, Rufus, watch well over the law! 
 Epicliaris teach to the bride of her duties ! 
 Terpander, he the lyre shall play us; 
 And when the altar's fires are burning, 
 So to prevent the blind ruling of chance, 
 I will sing the Hymenaeus, if I may presume, 
 After thee, O, Caesar, to sing ! 
 
 Hypocrite 
 
 PisO. [Aside.] 
 
 Terpander. [Aside.] 
 
 Ah, Ave are rescued.
 
 8 
 
 NERO. 
 
 Nero. 
 
 So be 't ! 
 My heart knows naught of vengeance, 
 And I'm pleased with the plan. It is good ! 
 Ye are pardoned. 
 
 Chorus of Guests. 
 
 What a heart ! Csesar hail i 
 How sublime, how glorious ! 
 
 Messala, Sporus, Chorus of Conspirators. 
 
 How can virtue prevail 
 
 If such crimes be victorious ! 
 
 Nero. 
 Thou, Saccus, shalt my groomsman be. 
 Go j bring to me my bridal beauty ! 
 
 [Saccus tries to enter the inner apartments. Vindex 
 bars the way.] 
 
 Vindex. 
 Venture not to approach her. 
 
 Saccus. 
 
 Stand back ! 
 Thou arrogant fool ! Stand away ! 
 
 NerO. [To Vindex.] 
 
 Pay heed! 
 Thy folly soon were brushed aside. 
 But I'll offer thee fair terms. 
 I, Nero, Emp'ror of Rome ? 
 Thy nocturnal street beauty 
 Would as Vestal pass muster: 
 
 So! 
 If the maid be not known 
 To our hostess, why, then, 
 
 She shall be thine ! 
 But if to her she be known, 
 She belongs then to me. 
 
 Dost agree ? 
 
 t To Tigellinus, aside. ] 
 
 There'll always be time 
 To assert our good right. 
 
 Vindex. 
 Be it so. 
 
 Nero. 
 
 Why, then, lingers the fair one ! 
 
 Chorus. 
 
 The sentence rests with thee, Epicharis ! 
 Take care ! 
 
 Epicharis. 
 What gives me anguish all so great f 
 
 [ Chrysa is led in to the assembly.] 
 
 All. 
 Behold her! 
 
 Chrysa. 
 
 Tell me whither ye lead ? 
 
 Epicharis. 
 O, horror ! 
 
 Chrysa. 
 
 My mother ! 
 Vindex. 
 
 What ! The child of Epicharis f 
 
 Nero. 
 Ha, ha ! The child of Epicharis ! 
 
 Epicharis. 
 Have pity ! Is there here 
 No arm ready to shield her? 
 
 Vindex. [To Nero.] 
 
 By all the gods, Csesar, 
 If she suit well thy taste 
 Take her away ! She is thine ! 
 
 Chrysa. [To Epicharis.] 
 
 But who art thou, O mother ? 
 
 Chorus. 
 Who is she ? Ha, ha ! 
 
 Epicharis. 
 Have pity ! Silence ! 
 My strength is taken from me. 
 
 Nero. 
 Epicharis, who is she ! 
 
 Epicharis. [To Nero.] 
 
 Silence ! Silence ! She shall be thine ! 
 
 I his ? O God ! 
 
 Chrysa. 
 
 Epicharis. | To Chrysa. ] 
 
 Obey, but have faith in me! 
 Thou shalt not be harmed! 
 
 mother ! 
 
 Chrysa.
 
 NERO. 
 
 9 
 
 See music, 
 pages 35-38 
 
 Romans. 
 See how pale she is with fear ! 
 
 Saccus. 
 
 Maidens all begin your duty, 
 
 The bride deck out in raiment fair, 
 
 And, in ancient wise, our beauty 
 For the wedding rites prepare. 
 
 [The maidens begin to fasten on the bridal ornaments, 
 laughing the while. Epirharis beckons to a 
 female slave, with whom she whispers. The slave 
 leaves. ] 
 
 Chorus of Maidens. 
 
 Deck thee with the tunic fair, 
 In toga should no wife appear, 
 
 Braided now thy bridal hair, 
 As is custom, with the spear. 
 
 Round thy loins the girdle place, 
 Round thy brow the circlet cling, 
 
 And the veil the bride must grace, 
 Here the wreath that joy shall bring. 
 
 Spotless, stainless be thy life, 
 To thy lord a faithful wife; 
 Fair and true to him alone 
 Who hath chos'n thee for his own. 
 
 Prudent be, as matron wise, 
 Be of women thou the prize; 
 As the bee's thy hours be spent, 
 Thine be blessing and content. 
 
 Chorus of Men. 
 Ah ! 'Tis food enough for laughter ! 
 
 Nero. 
 
 Ye, Piso, Rufus ; write, 
 And pay out the bridal dower — 
 A million serterces. 
 
 [Ironic laughter by Tigellinus, Balbillus, and the 
 Augustans. Piso and llufus write upon their 
 tablets, their faces troubled.] 
 
 My name : 
 
 Caesar, Claudius Nero, 
 
 Singer and Lord of the Romans. 
 
 Balbillus, thou 
 Pronounce the auspices ! 
 
 [The preparations for the marriage ceremony are 
 begun. ] 
 
 Balbillus. 
 
 [ With folded hands, his eyes raised to heaven, paro- 
 dying the sacred rites.'] 
 
 Pilumnus ! Picumnus ! 
 
 On this pair in grace look down. 
 Picumnus ! Pilumnus ! 
 
 Let not harm upon them frown ! 
 
 Chorus. 
 
 Pilumnus ! Picumnus ! 
 
 On the twain in grace look down. 
 Picumnus ! Pilumnus ! 
 
 Aye, befriend them, 
 
 Aye, defend them, 
 
 Ye, the house's gods, 
 
 From harm defend them. 
 
 V index. [Aside.] 
 
 They call on the gods themselves, 
 
 In hideous jest, 
 To witness the crime all so shameless. 
 
 Balbillus. 
 
 [Taking dice from his pocket. ] 
 
 The lot has fallen — 
 The fates now speak : 
 
 [He throws the dice ; a slave examines them. ] 
 
 Praise ye the good 
 
 The gods declare: 
 "A joyous life 
 
 The twain shall share." 
 
 Chorus. 
 
 Praise ye the good 
 
 The gods declare: 
 "Bright is the lot 
 
 The twain shall share." 
 
 [Slaves bring in wine in bowls and hand to those 
 present. ] 
 
 Nero. 
 
 [Advancing to embrace Chrysa.] 
 
 My bride ! 
 
 Chrysa. 
 
 Heaven ! 
 
 SaCCUS. [ To Nero. ] 
 
 Nobly play'd.
 
 10 
 
 NERO. 
 
 BalbiUus. 
 
 [Lifting up the drinking bowl and pouring out the 
 wine into a tripod, which has been brought in by a 
 slave. ] 
 
 Bacchus, thine the wine ! 
 Juno, thee I implore ! 
 Ceres, hail ! Phoebus, hail ! 
 Pluto, hail ! Venus, hail ! 
 
 Chorus. 
 
 Bacchus, thine the wine ! 
 Juno, thee we implore ! 
 Ceres, hail ! Venus, hail ! 
 
 Chrysa. 
 O, horror ! 
 
 [Epicharis gives Chrysa a bowl of wine which has 
 been brought in hy the young female slave to whom 
 she had whispered a short time before.] 
 
 Epicharis. 
 
 Do not tremble ! Take the cup ! 
 Drain it off without fear. 
 
 Chrysa. 
 
 mother ! 
 
 [She drinks, and, at a sign from Epicharis, takes 
 up a position with Nero in fron t of BalbiUus. ] 
 
 BalbiUus. 
 
 \_To Nero and Chrysa.] 
 
 Let the hands be join'd, 
 
 Let all witness be; 
 Here united, one, 
 
 Wed are ye ! 
 
 [To Nero.] 
 
 To her ward shalt lend, 
 Be her love and friend 
 To the end ! 
 
 [ To Chrysa. ] 
 
 Here let all witness 
 
 The seal is upon her ! 
 Henceforth she be 
 Watch and ward 
 
 Of his honor ! 
 
 Chorus. 
 Now shall the pair 
 Their happiness share! 
 
 SaCCUS. [To the Slaves.] 
 
 The wedding torch now lighted be ! 
 Fetch the spindle, the basket of willow 
 
 well wove — 
 
 Symbols of household joy and of marital 
 
 virtue. 
 The wreaths and flowers then bring, for the 
 
 gods, the propitious, 
 Penates and lares, that the house and the 
 
 hearth protect. 
 
 [ The slaves light wax torches, bring in spindles and 
 basket, and decorate the images, the Lares and 
 Penates, with flowers. 
 
 Chorus of Girls. 
 
 [Mocking Chrysa.] 
 
 Soon thou wilt wool be spinning, 
 Newly wedded life beginning; 
 And time goes fleetly winging, 
 Much joy and comfort bringing, 
 And husband's favors winning 
 If thou but keep on a-spinning. 
 
 Chorus of Men. 
 
 [ Teasing Chrysa. ] 
 
 Ha, ha, ha, ha ! 
 
 Pretty, pray, 
 
 Don't delay, 
 Let not thy husband wait : 
 
 Oh, the anguish 
 
 If he languish 
 In such a woeful state ! 
 
 Ballet. 
 
 Saccus. 
 
 [After the bridal procession has been arranged. | 
 
 And now the Epithalam. — 
 Terpander, take thou the lyre. 
 
 Vindex. 
 
 Nay, by Hercules ! 
 
 The honor of singing is mine! 
 
 Nero. 
 Be it so ; sing away ! 
 
 All. 
 Sing away ! 'tis Csesar's will ! 
 
 [A lyre is handed to Terpander. He takes a place 
 on an elevation ; Vindex beside him.] 
 
 Nero. 
 Pay heed ; Terpander's master-hand.
 
 nero. 
 
 11 
 
 C See music, 
 I pages 39-40 
 
 YindcX. [Ironically.] 
 
 My song is to thee, 
 Warder of marriage ! 
 
 Son of Urania, 
 Let thy blessing on them rest ! 
 
 Hymen, to thee 
 Have they their hearts surrendered ! 
 
 Hymen, to thee 
 Now shall my hymnus be tendered! 
 My song is to thee, 
 
 Hymenseus ! 
 Bless thou this pair! 
 
 Chorus. 
 All hail! All hail! Hymenseus! 
 
 Vindex. 
 
 How bright is Caesar's star ! 
 How wondrous fair his bride! 
 To him, whom the gods attend, 
 See beauty lauding, bend! 
 
 Hail to him! 
 His fame shall never perish ; 
 
 Hail to her 
 Whom Csesar's love shall cherish ! 
 Hear us ! Hear us ! Hymenseus! 
 
 Bless thou this pair! 
 
 Chorus. 
 Hear us! Hear us! Hymenseus! 
 
 Vindex. 
 
 Eros leads the way, 
 Hymen bears the torch, 
 And fair Venus safely gitides 
 To the realm where love abides. 
 
 Hail, Epicharis, 
 Who the bride consecrated! 
 
 Hail, Chrysa, hail! 
 To a Nero well-mated! 
 My song is to thee, 
 
 Hymenseus! 
 Bless thou the twain. 
 
 [Epicharis has followed every one of Chiysa's move- 
 ments. As the latter arrives at the I'cristyl she 
 suddenly places her hand to her heart and reels. ] 
 
 Chrysa: 
 Ah, mother, save me! 
 
 All. 
 She is dying ! 
 
 [Falls.] 
 
 Epicharis. 
 
 [Supporting the body of her daughter.] 
 
 What would ye more f 
 
 [To Nero.] 
 
 She dies! and by my hand! 
 
 Vindex. 
 And was I then deceived? 
 
 [Aside.] 
 
 Epicharis. 
 
 In truth, better that she should here 
 Lie pale in death than living be thy booty ! 
 
 [To the Chorus.] 
 And ye 5 would ye condemn me 1 ? 
 
 Nero. [Aside.] 
 
 Accursed be thy treacherous deed ! 
 
 Piso. 
 Hapless child! 
 
 Terpandcr. [Aside.] 
 
 Is it death? or is she in sleep? 
 
 Vindex. [To Nero.] 
 
 Behold! Csesar is victor! 
 Father is he of his people! 
 
 [Continuing in the tone of the EpitJialan.] 
 
 Glory, O despot! 
 Harken ye all and tremble ! 
 The gods doth he surely resemble — 
 For his love bringeth death. 
 
 Chrysa was, aye, 
 The victim, foully mated, 
 
 And in death 
 Hath she now been consecrated. 
 
 My song is to thee, 
 Hymenseus ! 
 Guardian of marriage, bless thou this pair. 
 
 Nero. 
 
 O, Fatum! cruel-breasted, 
 Her from my arms thou hast wrested — 
 
 Robbed her, by death, from me; 
 W r ith whose glory none could compare, 
 
 And in beauty none so rare. 
 
 Chorus. 
 Shameless the deed! Traitress! 
 
 Terpandcr. [ Aside. ] 
 
 Slumber shelters her safely, as death 
 
 from dishonor. And what a weapon have
 
 12 
 
 NERO. 
 
 we in our hands if Chrysa still lives ? 
 Agrippina shall know it. 
 
 Nero. 
 
 [Observing Vindex, aside."] 
 
 Ha! Vengeance! Tremble! 
 
 Vindex. [Aside.] 
 
 Tremble thou ! 
 
 Nero. 
 
 [To his companions, pointing to Vindex."] 
 
 Take him hence ! He defies me, forsooth ! 
 
 Accursed barbarian ! We will see 
 
 If the headsman can break this defiance 
 
 unheard of. 
 If he then will dare again to meet me with 
 
 scorn? 
 Me, the Emperor of Rome ! 
 
 [He leaves, followed by Tigellinus and Balbillus. 
 The Augustans overpower Vindex. ] 
 
 ACT H. 
 
 FIRST DIVISION. 
 
 [Poppcea' s Apartment in the Imperial Palace. 
 Poppcea surrounded by her women, holding a silver 
 mirror in her hand. Her toilette has just been 
 completed. Balbillus the astrologer has informed 
 her of the events of the preceding night, and that 
 Vindex has been condemned to death. He has also 
 informed her that Nero had already depostd 
 Octavia. Poppcea informs Balbillus of a sign she 
 had seen in the sky, which the astrologer interprets 
 to her as giving promise that the throne would now 
 be hers.] 
 
 Chorus of Poppceds Women. 
 
 Proud as Venus thou in beauty, 
 
 Reignest supreme o'er an empire ! 
 Lo, the Lord of the World bends before thee! 
 
 Yea, see at thy feet, 
 
 Caesar entreat! 
 Lo, on thy brow rests youth eternal, 
 In thy glance a charm supernal! 
 
 Victory surely is thine 
 When thou art seen in thy majesty! 
 Never shall flee thy beauty from thee! 
 Dos't rule the world and its lord, 
 Thou alone art by Caesar ador'd! 
 
 Poppcea. [Alone.] 
 
 Yesterday eve broke on the night 
 
 A dazzling light; 
 Long it lingered above me — 
 
 " The throne is thine !" 
 Nay, did he speak me the truth ? 
 
 Yes, Beauty, armor lending, 
 The gods above, befriending, 
 
 The throne shall win for me! 
 Bending in the dust, to me appealing, 
 Lo, a world before me, kneeling, 
 
 In love and adoration see ! c s ec music, 
 
 ( pages 41-46 
 
 Crowned are my dreams by love ! 
 Near to the gods, from Heaven above, 
 
 I look upon the world. 
 Too great almost the crown's resplendence, 
 Upon my will a world's dependence, 
 
 Life and death beneath me whirl'd. 
 
 Vanish hate and envious quarrels, 
 If men Beauty's realm proclaim; 
 
 It alone can gain the laurels 
 Of immortal fame ! 
 
 Bending in the dust, to me appealing, 
 Lo, a world before me kneeling; 
 
 I supreme upon the throne, 
 
 I its goddess ! I, alone ! 
 
 Balbillus. 
 
 The Emperor! [Nero enters.] 
 
 Poppcea. 
 May the gods protect thee, O Caesar. 
 
 Nero. 
 
 What ? Does Nero's love not fill 
 
 Thy heart with every terror ? 
 
 Canst thou his presence vile endure f 
 
 Poppoza. 
 
 For such suspicion I must, aye, reprove 
 
 thee. 
 Can Nero still have doubt how tenderly I 
 
 love thee? 
 Of what can I complain about thee, surely? 
 
 Nero. 
 
 What %
 
 NERO. 
 
 Poppcca. 
 
 Former graces cherished, 
 Surely have not perished ? 
 The glances bright can never 
 Have lost their lire forever ? 
 From my cheeks have vanished 
 The roses all? And banished 
 The wondrous charm of voice 
 That once could thee rejoice? 
 Ah, who all then shall tell me? 
 Who my misery dispel me? 
 
 He whom I adore 
 
 Loves me no more ! 
 
 Nero. 
 
 So beautiful I never yet have seen thee ! 
 But why chide me? 
 
 Poppcea. 
 
 Why further, if thy troth has been broken, 
 With thy love deride me? 
 
 Nero. 
 Nay, by my oath! 
 
 Poppcea. 
 
 I must believe thee ! 
 But arc there not eyes more beautiful than 
 
 mine 
 That our love imperil ? The gods offended 
 Know well thy transgression, and will damn 
 
 it and us. 
 Nero. 
 
 An enigma, thy words. 
 
 Poppcea. 
 
 Agrippina, Octavia — a mother — a wife! 
 Woe is me ! 
 
 Nero. 
 
 Enough ! Wouldst mock my love ! 
 My mother grasps at power alone; 
 And my wife, she hath deceived me. 
 
 Poppcca. 
 
 She her trotli to thee broken? 
 
 A lie most shameful ! Canst thou prove it? 
 
 TigellinUS. [ Enters. ] 
 
 Caesar, a derelict spouse, in her guilt over- 
 taken, 
 
 Hath received her reward. Octavia is no 
 
 more. 
 
 Nero. 
 
 And wilt thou still from me flee? See! 
 
 All Rome is here; 
 
 Homage to me they declare; 
 
 The throne is free. 
 Wilt thou with me its glory share? 
 
 \_Tigellinus has opened the curtains concealing the 
 gallery. Servius is seen, surrounded bij priests, 
 senators, patricians, guards, slaves, etc. Saccus 
 is among them. The chorus of women appears.] 
 
 Cliorus. 
 
 Honor to thee ; thy people applaud thee ; 
 
 Weakness it were, and of Csesar un- 
 worthy, 
 
 If the shame were not punished, 
 
 If the crime remain unavenged, 
 
 Done to thee, the gods, and to Rome. 
 
 Hail, Csesar, hail! Thou art sapient and 
 
 gracious ; 
 
 Gracious and just art thou! 
 
 Nero. 
 
 To the gods alone should we give thanks 
 
 and glory. 
 Servius, go thou, lead us the way ; 
 We will follow to the shrine of Evander. 
 
 Servius. 
 
 There at the altar I will await thee, 
 And may his guidance Jupiter lend thee. 
 
 [Servius leaves, followed by the priests. ] 
 
 Nero. 
 
 [Scanning those around him.'] 
 
 Among ye all I search for many in 
 vain. Piso! Rufus! 
 
 Saccus. 
 Thankless wretches! 
 
 Balbillus. 
 
 And traitors! 
 
 Nero. 
 And Thraseas? 
 
 Saccus. 
 
 Thraseas is sentenced! 
 
 Nero. 
 I bethink me, aye. Did he not 
 Of my song make merry and jest?
 
 14 
 
 NERO. 
 
 Well, forsooth, he is sorry enough! 
 But, if he is not, good friends, 
 Say what chastisement would ye that I 
 
 give him? 
 Senators. 
 Death ! 
 
 Nero. 
 
 Let him be hither led; 
 Through these halls ye shall lead him. 
 
 Ye friends, give me advice. 
 A mighty and different Rome 
 I would leave to her children. 
 Destroy all her palaces! 
 Level her hills ! 
 And in ruins bury her temples! 
 
 TigeUinus. 
 
 A messenger, sent by thy mother, Agrip- 
 
 pina. 
 
 [Terpander enters, then Thraseas, an aged Christian. 
 Vindex. ] 
 
 Nero. 
 Thou here, Terpander? 
 
 Terpander. 
 I am sent to thee by thy mother, 
 Bringing affectionate greetings: 
 Asking that thou no longer 
 May'st close thy heart to her prayers. 
 To the heavenly Poppsea 
 Also sends she her prayers, — 
 Asking that she may with favor 
 Hail her return, — and aye, 
 This casket, as symbol of her love ! 
 
 T'oppaza. 
 
 [ Opening the casket. ] 
 
 All these treasures for me! 
 marvel! A diadem! 
 
 Terpander. 
 
 And what fitter brow could be found 
 For these symbols of rank so exalted? 
 
 Toppeza. 
 
 If Caesar, as I, for the absent one feel com- 
 passion, 
 
 She will be welcomed here in fitting and 
 
 loving fashion. 
 Nero. 
 
 Thy word to me is command! 
 
 Terpander. 
 
 The glittering gem conceals fair Chrysa's 
 
 features ! 
 He too must, aye, admire it, 
 And so she herself will place 
 The lovely picture in his hands. 
 I'll watch keep over them both. 
 
 Nero. iTo Terpander. ] 
 
 What favor could I e'er refuse 
 
 To Terpander, the genius? 
 
 Whom the marvelling people 
 
 With laurels oft crowned? 
 
 Whom I love — yes, love and admire? 
 
 Who by his wondrous song, 
 
 By his playing enchanted, 
 
 Happy ones made blissful, 
 
 And foes made to friends. 
 
 Thou, Iloma's pride and glory, 
 
 Take thou the lyre in hand, 
 
 Still, by thy magic skill, 
 
 The desire of thy ardent admirers; 
 
 And I myself will sing 
 
 Supported by him, 
 
 The grief and the love of Iphigenia, 
 
 Whom a terrible fate 
 
 Tore from the side of her mother. 
 
 Chorus. 
 
 O, silence! Caesar will sing! 
 Heavenly delight ! Bliss too divine! 
 
 Nero. 
 
 Silence! 
 Be your Caesar forgot when the Singer is 
 
 heard! 
 The highest of all is Art ; this never forget. 
 
 \_A slave returns with a lyre, which he hands to Terpan- 
 der. Toppuza seats herself, and her women take 
 jewels from the casket sent by Agrippina and put 
 them upon her. Nero assumes the attitude of a min- 
 strel (improvisator). Terpander accompanies him, 
 playing on the lye, but never taking his eyes away 
 
 from Poppaza and her actions. ] J See music 
 
 \ pages 47-49. 
 
 "O, Fate, all so remorseless! On my 
 
 pathway stride ih 
 Inexorable death. 
 Woe that the Night with dark'ning shadow 
 
 glideth 
 So near to my morning's path!"
 
 NERO. 
 
 15 
 
 [Thraseas, led by guards, appears in the gallery. 
 Nero turns upon him, angry at the interruption.] 
 
 Nero. 
 
 Is that not Thraseas? Apollo disarms me! 
 Forgotten be all that he did. Thraseas, 
 If to my song thou wouldst hearken, so 
 
 stay. 
 
 [Thraseas shrugs his shoulders in disdain and dis- 
 gust. ] 
 
 The Chorus. 
 
 Little of fear hath he, in truth, of death ! 
 Woe to him! 
 
 Nero. 
 
 Ah ! to thy Emperor's voice fain wouldst 
 
 not listen ! 
 Go on, Terpander, let him not disturb thee. 
 
 [lie motions to the guards to lead Thraseas away.'} 
 
 "0, why pursue me ever the bitter pangs 
 
 of 
 
 my yearning 
 
 "? 
 
 And every prayer is in vain! 
 O, woe! never more to my mother return- 
 
 ing* 
 
 Nevermore see each other again." 
 
 Chorus. 
 Nevermore see each other again ! 
 
 [An aged Christian is led in by the guards. ] 
 
 Nero. 
 
 Still more of death's unfortunates ! 
 What crime hath he committed f 
 
 Balbittus. 
 
 A Christian of the outcast sect, 
 To the blackest crimes ever ready ! 
 
 Saccus. 
 Abandoned thieves and loathsome worms. 
 
 Tigellinus. 
 Dark assassins! Poisoners 
 
 Nero. 
 
 [After reflecting awhile. ~\ 
 
 They can be useful to me. 
 
 [lie motions the guards to lead the Christian away 
 and then turns to T< rpander.] 
 
 Poppcca. 
 
 [To the women, who av fi Mining on an armband 
 taki u from among the presents sent by Agnppina.~\ 
 
 Ha, what a face ! a very masterpiece ! 
 
 Nero. 
 
 And now, Terpander, play. 
 
 Terpander. [To himself '.] 
 
 The miracle hath happened. 
 The portrait on her arm; 
 Caesar now must see it. 
 
 [Terpander commences a prelude. Vindex appears 
 in the gallery, led in by the guards. ] 
 
 Vindex. 
 He who now goes to his death 
 Greets thee, O Caesar ! 
 
 Nero. 
 Vindex, 'tis well; let him die! 
 
 Poppcca. 
 
 No, no ! but for an hour 
 Let him live, I pray thee ! 
 
 Nero. 
 And why % 
 
 Poppcca. 
 
 Said'st thou not 
 That my wish should be thy command? 
 
 Nero. 
 His presence awakens my rage ! 
 
 Poppcca. 
 
 And why ? 
 
 Nero. 
 
 [Suddenly restraining himself. ] 
 So be it! [To Vindex.] 
 
 We wish to see thee ; come nearer ! 
 
 [ J'indcx comes slowly forward.} 
 PoppCCa. [To Vindex.'] 
 
 From thee I would learn the cause 
 Why to death they condemned thee? 
 
 Vindex. 
 Oh, a crime it was quite unheard of. 
 Sang ] not the nuptial tsong 
 Of the lovely Chrysa, and Nero? 
 
 Traitor ! 
 
 Nero. 
 
 Poppcea. 
 I knew it well !
 
 16 
 
 NERO. 
 
 Vindex. 
 
 See what an amorous fire 
 Is burning still in his eye? 
 
 Nero. 
 
 What ! wouldst mock me ? 
 Die, then, accursed one ! 
 
 [Cccsar motions to the guards to seize Vindex. In 
 the same moment a great noise is heard outside. 
 The guards hesitate, and Epicharis pushes her 
 way to the gallery and endeavors to reach the 
 Emperor. ] 
 
 Vindex. 
 
 He who goes to his death, greets thee, 0, 
 
 Caesar ! 
 Epicharis. 
 
 Let me pass ! Cowards ! Would ye prevent 
 
 me! 
 Nero. 
 Epicharis ! 
 
 Epicharis. 
 
 O, Csesar ! mercy, for Chrysa! 
 Give my child back to me ! 
 
 Nero. 
 Art thou mad? Has delirium seized thee? 
 Wert thou not the one, O unnatural 
 
 mother, 
 Who, with thine own hand, didst poison 
 
 thy child ? 
 
 Epicharis. 
 
 Think'st thou that I gave her poison? 
 Wouldst thou, then, mock my bitter sor- 
 row ? 
 Robbers carried her off from the house's 
 
 sheltering walls; 
 And thou knowest too well where she now 
 
 lingers. 
 Nero. 
 Alive? 
 
 All. 
 Alive? 
 
 Epicharis. [Kneeling.] 
 
 To thee I plead, with anxious breath. 
 O, see, I humbly kneel before thee; 
 Give me my child, I implore thee, 
 Or end my sorrows in death. 
 Lord over all, in thy appalling might, 
 Be greater, through mercy, over thy wild 
 
 passion's night. 
 
 Nero. 
 
 In thee have I been so mistaken? 
 
 Who from my hand my fair bride hath 
 
 taken? 
 What madman would my power defy? 
 Curse him ! He shall die ! 
 
 Poppcea. 
 
 Cruel tortures! Hear the mother plead. 
 
 Before his love must, aye, another fly. 
 Shall such dark fate be mine? In need, 
 
 With shame beladen, I for mercy cry. 
 
 Vindex. 
 
 In thy rage though death may lie, 
 
 Thy murderous threats shall not unnerve me. 
 
 Aye, if the gods my life preserve me, 
 I'll shelter Chrysa, and thee defy. 
 
 Terpander, Tigcllinus, Saccus, Balbillus, 
 and Chorus. 
 
 In his rage grim death doth lie. 
 
 Who can, aye, his wrath extinguish ; 
 
 He will ne'er the prey relinquish ; 
 Death were ours if we should him defy. 
 
 Nero. 
 
 And thy daughter still lives? Thou but 
 
 feign'dst thy compliance. 
 
 'Tis well; thy child I'll quickly find. 
 
 But thou and Vindex, ye who mock me in 
 
 defiance, 
 
 To death shall be quickly consigned. 
 
 [To Tigcllinus.] 
 
 Lead them away ! Lead them to death ; 
 And hearken — let their lives end in torture ! 
 
 PoppQ3a. [To Nero.] 
 
 Spare them ! or to me give death ! 
 
 [Seizing Poppcva's arm, in his anger, his glances 
 fall upion the armband. He suddenly restrains 
 himself and lets Poppaa's arm sink slowly. Pop- 
 para notices the gem which has attracted Nero's 
 attention. ] 
 
 Nero. 
 Ah ! By all the gods ! 
 
 Terpander. 
 He recognized it! 
 
 Chorus. 
 See! he reels!
 
 NERO. 
 
 17 
 
 Nero. [To lerpander.] 
 
 This face! 
 
 Tcrpandcr. \ To Xcro.] 
 
 Caution ! 
 Nero. 
 
 [To Poppcea, tenderly.'] 
 
 Dost thou wish? Let it be so; 
 
 Thy wish alone my grace procuring. 
 
 This sacrifice be proof enduring 
 That, aye, my love is more than idle show. 
 
 [He takes Poppeca's hand and raises it to his tips, 
 observing sharply the picture the while.'] 
 
 Vin dex. [ To Epicharis. ] 
 
 Come; our God will soon liberate us? 
 
 Epicharis. 
 Come! come! 
 
 Poppcea. [ To Ba Ibillus. ] 
 
 BalbillllS, See ! [She shows him the portrait.] 
 
 Balbillus. 
 What! Chrysa! 
 
 Poppoda. 
 
 [Glancing at Terpander.] 
 0, monster thou, and traitor! 
 
 NcrO. [To Terpander.] 
 
 Terpander, we arc due, forsooth^ 
 At the Temple of EvandT. 
 Thy place henceforth here at my side shall 
 
 be. 
 Saccus and all. 
 Glory, O Caesar ! glory to thee ! 
 
 ( TBANSFOBMA TION. ) 
 
 SECOND DIVISION. 
 
 [A public square in Pome. People come from all 
 sides, women, children, aged, Romans and aliens, 
 (Gaul.*, Germans, Greeks, Ethiopians, Christians, 
 etc.) Lupus, a street gamin springs hither and 
 thither among the crowd, mocking and jesting. 
 Sellers of fruit andrefreshments move about, offering 
 their wares.] 
 
 Scene I. 
 
 Chorus of Roman People. 
 
 Glory, Nero, to thee! 
 Thou our protector in trials and dread! 
 
 Hast from us care and misery driven, 
 Hast to thy hungering people given 
 The circus and bread. 
 Boundless thy grace — 
 Thou art the world's defender! 
 Rome is, in all her splendor, 
 Of the gods the dwelling place! 
 
 Lupus and Chorus. 
 
 Hear the trumpets! See they're coming! 
 No, no — they're the buffoons and followed. 
 
 by jugglers- 
 See they come in their gaudy confusion. 
 
 [A wagon surrouneled by jugglers arrives on the scene. 
 On it are seated the leaders of the troupe and' 
 around them players on various instruments.] 
 
 Leaders of the Troupe. 
 
 Everywhere, where'er we wander'd around 
 Shone fully forth our talents resplendent — 
 Pray let your plaudits now be richly 
 
 squander'd — 
 
 Now reed-pipes and cymbals — sound! 
 
 On your good will we're dependent. 
 
 BALLET. 
 
 Dance of warriors — A group of Bacchantines chtt.orf by 
 the jugglers — The former call the warriors to assist 
 them — The jugglers are defeated and the warriors 
 carry off the Bacchantines as their booty — The multi- 
 tude applauds — Trumpets heard in the distance — 
 Great commotion among the crowel — The jugglers 
 make their escape — The people press towards the back- 
 ground, anxious to catch the first glimpse of the 
 procession. 
 
 Lupus. 
 Now they're coming! Don't you hear? 
 Room ! Make room, plebeians, 
 And the Emperor's slaves! 
 
 Chorus of People. 
 
 [Enter Lictors, Soldiers, Centurions, P,-?toii,ans 
 Priests, Vestals.] 
 
 See, there is Nero! 
 Where? There! Behold! 
 Where is he, where? 
 Press not so hard, 
 There's naught to be seen! 
 
 What a confusion ! 
 See there, the Prctorians!
 
 18 
 
 NERO. 
 
 Snare and delusion 
 To hoodwink the masses. 
 Ah, how grand! See, he comes! 
 Who sits in his chariot? 
 
 Terpander, 
 Agrippina's freedman surely ! 
 See you not? What an honor? 
 Will she to Rome ever more venture? 
 Nevermore! Is she afraid? Ha, ha! 
 He would not his mother surely slaughter? 
 Ho don't always do that which he ought to ! 
 But where tarries Poppsea? 
 In Vesta's temple, praying! 
 You know not what you're saying. 
 And the hapless Octavia? 
 The innocent victim? 
 What, ye bewail Octavia ? What ? 
 Such a godless, dissolute woman ? 
 Nay, she was virtuous and blameless! 
 A victim of violence shameless! 
 Let her guilt, pray, be nameless! 
 See Rome's patricians ! 
 The arrogant Augustans! 
 Otho I see not among them. 
 By Hercules! His wife 
 Smoothens for him the pathway to glory ; 
 Gave her to Nero — the same old story. 
 Shameless rascals, these same Augustans! 
 Murderers, they, and banditti! 
 The terror of all wives and maidens ! 
 Their nightly orgies — what excesses! 
 Their lord's claquers and prancing asses ! 
 
 [Consuls, Tribunes, Patricians and Augustans.] 
 
 Petronius made fun of them — 
 Petronius ! For which he died ! 
 And Seneca? — Naught puts him out; 
 He is too rich and all too learned — 
 
 And has the gout. 
 Then Thraseas died, the friend of virtue — 
 We've had no greater. 
 Pity, such a music hater ! 
 But only when Nero sang. 
 And there he was right — 
 It came from his spite! 
 And yet he sings right well? 
 
 A hideous yell ! 
 The Greeks with wreaths around him 
 
 nocked, 
 
 And mock'd ! 
 At Naples he'd much praise ! 
 
 But Rome didn't follow the craze ! 
 What a singer ! 
 Such genius showing: — 
 More like a rooster crowing! 
 Caesar's a fool with his singing! 
 And such art in his playing — 
 A Caesar with jugglers springing! 
 Pray mind what you're saying! 
 The country's butt and rod — 
 In truth he is a god ! 
 
 [Prisoners, Princes, Warriors, Women, Children, 
 all in fetters.] 
 
 Ah, see there the prisoners; 
 Princes, princesses, warriors. 
 We see them all. Pitiful their need; 
 Death were good for them indeed. 
 
 Grand are the plans 
 With which his brain is teeming — 
 
 His the world — 
 And now against heaven he's scheming. 
 
 A monster grim, 
 On Rome's throne well seated — 
 
 Humanity defeated! 
 Now our Rome, her palaces and her temples 
 By fire would fain destroy. 
 
 Have care! 
 Thou best! So spake he truly ! 
 Madness unheard of — 
 
 That he will never dare! 
 Lies alone can thy false lips utter ! 
 
 [Car/cs with wild beasts.] 
 
 Ah, see ! a lion and a tiger ! ah ! 
 
 A fearful, horrid sight! 
 O the horrid monsters ! see 
 
 How terrible their might. 
 
 [Presents treasure carried and drawn by black slaves.] 
 
 See the wond'rous treasures, 
 
 And the precious gems — all stolen! 
 
 Lived but Brittannicus now, 
 
 Surely had we 
 Never all so deeply fallen! 
 What bring the others? 
 Unendurable quite 
 This gossip and chatter ! 
 Never had he a right 
 To Roma's realm and throne! 
 You'll chatter your heads off soon! 
 Have we ever in Rome 
 Seen such splendor as this % 
 Yes, a wond'rous thing for Rome it is!
 
 NERO. 
 
 19 
 
 The triumph of Germanieus 
 More glorius seem'd to me. 
 Who with Nero can in might compare? 
 Who with such glory, aye, hath fed us? 
 You forget all too soon the shows 
 That other Csesars often spread us. 
 Have ye not heard the narrative gory, 
 The too hideous deed that hap'd in Rome? 
 In secret whisper'd goes the fearful story. 
 A mother murder'd her daughter, 
 
 And this before her guests, 
 'Mid song and laughter. 
 Devilish deed! 
 Never in Rome was such a deed e'er done. 
 O what terror-haunted days are these we 
 
 live in? 
 Say, then, what news have ye to give us ? 
 Now Caesar — Nero, the Great— is at hand ! 
 He comes! Ah, what a head! Noble 
 
 features ! 
 The worst are not the ugliest creatures! 
 Yes, she is right; Claudius was much 
 
 finer. 
 And yet, all the same, a donkey. Ha, ha, 
 
 ha, ha ! 
 He comes! he comes ! he is there! See, 
 
 he comes! 
 
 [Nero, Tigcllinus, Saccus, Cassius, Tcrpander, 
 Scrvius and Priests; then Agrippina, Poppcea 
 and Balbillus, Epicharis and Vindcx. The 
 portals of the temple are opened. Senilis and 
 Priests appear at the threshold. Nero descends 
 from his chariot, leaning upon Terpander.] 
 
 General Chorus of the People. 
 
 Hail, Nero hail! 
 Thou art our Emperor; thou our defender! 
 Long may thy life be with fame and 
 
 glory crown'd! 
 Thou art the people's wonder and splendor! 
 
 Nero, thy glory shall forever resound! 
 Thou of the gods art beloved indeed, 
 And thy reign brings an era of bliss to the 
 
 wondering world. 
 
 [Servius and Priests descend from the steps of the 
 temple. Agrippina is carried on to the scene in 
 a richly ornamented chair, borne by slaves. She 
 throws herself at Nero's fcct.~\ 
 
 My son! 
 
 Agrippina. 
 
 Nero. 
 Thou at my feet? O mother! 
 
 Agrippina. 
 
 That up to thee thou me may'st raise ! 
 
 Nero. 
 
 All that estranged us now be forgotten. 
 I ween thou wouldst fain seek thy home; 
 There I will seek thee later. 
 
 Agrippina. 
 
 All that thy yearning heart desires — 
 Chrysa — [Nero starts.] 
 
 Nero. [To the people.] 
 
 Good Romans, ye shall praise with me 
 My mother, w T hom I revere. 
 Love her, too, as ye me love, 
 And in her honor let us enjoy the Circen- 
 
 sian games. 
 The People. 
 
 Hail, Nero ! What delight! The Circen- 
 
 sian games ! 
 
 Lupus. 
 Nero, hail ! that's the thing ! 
 
 The circus! 
 
 [Poppcea, veiled, appears, with Balbillus. Slie 
 points to the house of Epicharis and then enters 
 it, bidding Balbillus wait for her.~] 
 
 » 
 
 Scrvius. 
 
 The gods above look down rejoicing, 
 The wide world bends beneath thy 
 
 tread ! 
 Here let us all, our praises voicing, 
 
 Thank those who watch keep o'er thy 
 
 head ! 
 
 [Servius ascends the steps leading to the temple. He 
 is followed by Priests and by Nero, leading 
 Agrippina. Poppoza comes from the house with 
 Epicharis and Vindcx.'] 
 
 Chorus of Priests. 
 
 Jupiter, Apollo, Venus, ye heavenly hosts, 
 Virgin Vesta, goddess of fire, 
 O be ye shield to his head, his shelter and 
 
 glory. 
 Poppoza. 
 [T<> Epicharis, pointing to Agrippina.'] 
 Thy daughter is with Agrippina.
 
 20 
 
 NERO. 
 
 Epicliaris. 
 With Agrippina? Can it be! 
 
 Vindex. 
 
 [To Epicliaris.] 
 
 Nay, by the gods ; I'll bring her back to 
 
 thee ! 
 
 Popp03CL. [To Vindex.] 
 
 Go 5 count upon me ; I'll give you every 
 
 aid ! 
 
 [To Nero.] 
 
 Aye, her charms, forsooth, thy heart hath 
 
 I will not tremble, though, 'mid terrors 
 
 nameless, 
 If o'er me watch thy spirit pure and blame- 
 less — 
 
 I'll save her, O Nero, from thee! 
 To thee wouldst thou fain drag down, Nero, 
 
 One all so pure and blameless ? 
 To thee, yes down to the depths, 
 
 DoAvn to thy orgies all so shameless ? 
 But by the gods, I will save her from thee ! 
 
 -avished, 
 
 Nero, prudent be ; 
 
 Though once on thee much love I lavished, 
 Know that for treason vengeance waits 
 
 for thee ! 
 
 Blind, may'st thou nobler ways forsake, 
 Mockingly in blood may'st welter; 
 
 But I, the victim that thou now wouldst 
 
 make, 
 Against thy lust will shelter. 
 
 Within thy net wouldst thou her captive 
 
 take. 
 Nero — 'ware that victim's cry — 
 I know thee well, and thee defy. 
 With thee, down to the depths 
 Hast thou long striven to drag me, 
 
 But by the gods, I know thee well, and 
 
 thee defy! 
 
 Epieharis. 
 
 Beloved child! 
 Helpless art thou before thy captor shame- 
 less. 
 What anguish ! O were I near ! 
 Filled is my soul with terror nameless. 
 But take heart; soon freed shall be 
 Thou from thy great misery! 
 Thy fair young life to save 
 Against the tyrant's rage, 
 All will, aye, a mother brave. 
 Yea, I thee defy ! 
 Beloved child ! 
 We'll lead thee forth to freedom, 
 Thy fair young life we'll save. 
 
 Vindex. 
 
 Hapless child; helpless thou and stainless. 
 O what anguish ! Would I were near ! 
 
 Nero. 
 I am God ! 
 
 The People. 
 
 Hail, Nero, hail! Emperor thou, and God! 
 
 Servius and People. 
 Here truly, Caesar, thou art God! 
 
 Saccus, Tcrpandcr, Tigcllinus, Balbillus. 
 Hail, Nero, hail ! Now thou art God! 
 
 ACT III. 
 
 FIRST DIVISION. 
 
 [A small room in the house of Epicliaris.] 
 
 CJiri/sa. 
 
 O Fates, ye cast your shadows o'er me ! - 
 Visions of terror rise up, grim, before me !— 
 No, no! Foolish dread! Idle fears! 
 For Vindex gives mc ward. 
 Trials but to Gcd recalling — 
 Flee ye gloomy phantoms appalling — 
 Sheltered by my armor — I do not fear — 
 Strong in my own sweet faith — 
 
 And God is ever near. [p^L^s- 
 
 O Thou of grace, the well o'erflowinj;, 
 Hear mc when I humbly plead: 
 
 O'er life's thorny pathways going, 
 Thou me, Lord, in pity lead. 
 
 Be the flame, that, all-impelling, 
 Courage gives to hearts that fear: 
 
 Be the star — for ever telling, 
 That a new bright day is near.
 
 NERO. 
 
 21 
 
 O reveal in truth transcendent, 
 What so long my soul confess'd — 
 
 Let me on thy earth resplendent, 
 In his love — on earth be blest! 
 
 O where does my mother then linger! 
 Must I always be trembling for her? 
 TVas here I hop'd to find thee — 
 O these anxious fears, that my lovely dream 
 
 has banish'd — 
 Hasten, O mother, to thee would my heart 
 Speak of all its hopes and all its wishes: 
 But docs she really love me? To hope I 
 
 scarcely dare! 
 But one thing I know — 
 That I love him — love alone him — alone, 
 Whose noble features I seek to banish 
 
 Yet ever stay with me — 
 And whose kindness and virtue and gentle 
 
 faith 
 Shall ever live in my inmost heart. 
 
 [ Vindcx appears. Chrysa hastens to greet him.~\ 
 
 Ah, Vindex! I am afraid! 
 
 If he me here should discover? 
 
 Vindex. 
 
 Safe enough art thou hidden! 
 Led astray thy pursuer, 
 
 By false reports deluded, 
 He will not look for thee here, 
 
 In this house so secluded. 
 
 Here, O sweetest child, 
 Here thou shalt find shelter and rest, 
 Here too, the mother her lost one 
 
 Shall clasp to her breast. 
 
 Chrysa. 
 
 My mother! I implore thee, say, 
 
 Is she so near! 
 But why did she ever desert me — 
 
 Why stay'd she away? 
 
 Vindex. 
 
 Can'st trust every word that I utter — 
 To preserve thee from harm, 
 
 And shelter thee from thy pursuers 
 She gave thee to my care — 
 Confiding thy life and thy rescue to my hands. 
 
 Chrysa. 
 O gentle mother. 
 
 Vindex. 
 
 Oh, in truth now I know 
 What all her sorrows brought — 
 How can I ever efface 
 All the wrong that on her I wrought? 
 
 See music ) 
 
 page 53- J Chrysa. [In prayer. \ 
 
 Father in heaven; Father of Mercy, 
 In meekness bending, I would plead ; 
 
 Hear thou my prayer. 
 O guard my steps, where'er their going; 
 Oh source of mercy, ever-flowing, 
 
 Leave not thy child without thy care. 
 
 Vindex. 
 
 Who is then this God of mercy 
 From whom thou, O grief-beladen, 
 Dost comfort borrow 
 
 Praying to Heaven? 
 Who sweetens all thy sorrow? 
 
 Who faith hath given 
 Strong in a brighter morrow, 
 Illumining thy soul, O maiden ? 
 
 Chrysa. 
 
 But thou, who giveth me ward 
 With such gentle devotion, 
 
 Tell me what did I to thee 
 That once thou couldst basely spurn me? 
 
 Vindex. 
 
 O forgive ; 'twas delusion and madness ! 
 0, in pity, forgive, forgive me! 
 
 Utter once more the Word 
 
 That from thy lips I heard; 
 
 From thy lips, and from above — 
 
 The word of Mercy and of Love ! 
 
 Chrysa. 
 
 Nay, to forgive — for what then forgive? 
 My heart already with eloquent voice hath 
 
 spoken for thee. 
 
 Vindcx. 
 Chrysa, I love thee. 
 
 sic } Chrysa. [Tohendf.] 
 
 O fairest dream! 
 Ostay! Take not thy flight! 
 Linger, linger, moments sweet, 
 So sunny and bright ! 
 
 page 55.
 
 22 
 
 NERO. 
 
 Ah, he loves me! 
 
 O heavenly glory! 
 Hear ye the wond'rous story ? 
 With him to die! 
 
 Living for him ! 
 
 dream so sweet and bright- 
 
 Take not thy flight ! 
 
 [To Vindex.'] 
 
 Nay, thou wilt curse me; 
 Reach not hither thy hand; 
 Mine let it not touch. 
 
 Yindex. 
 What mean thy words? 
 
 Chrysa. 
 I am a Christian! 
 
 Vindex. 
 
 Chrysa — thou — a Christian? 
 I know what thy God, aye, teaches — 
 
 Virtue and kindness. 
 And I for that should curse thee ! 
 
 O that thy faith 
 Me, too, converted, so that thy God 
 
 May be mine as thine. 
 
 [ Aside. ] 
 
 To Him I pray, 
 
 Thy God above, 
 That in His great mercy 
 
 He thy dear love 
 Preserve me alway. 
 
 O Chrysa, speak! 
 
 Chrysa. 
 
 What joy, what joy, if I succeed, 
 
 In loving, to save him? 
 Him to my God to lead? 
 
 The true and the only God? 
 Vindex ! 
 
 Vindex. 
 Chrysa! speak further! 
 
 Chrysa. 
 What shall I say to thee ? and how say it ? 
 
 Vindex. 
 Let thy heart give me answer. 
 
 Chrysa. 
 
 Couldst thou yet have doubt 
 
 How my heart beats for thee ? 
 
 Vindex. 
 O heaven! Words of her love! 
 
 Chrysa. 
 Yea, I love thee ! 
 
 Vindex. 
 O Chrysa! 
 Now thou art mine ! Forever mine ! 
 
 Chrysa. 
 
 Thou lovely dream, take not thy flight! 
 Linger, linger hour unblighted! 
 Ah, to love thee, Avith thee united — 
 O moment of rapture, how joyous thy 
 
 sway ! 
 With thee, in his love, O let me pass 
 
 away! 
 Vindex. 
 O lovely dream, stay, take not thy 
 
 flight! 
 Linger, sweet moments, so sunny and 
 
 bright ! 
 She loves me, heavenly glory ! 
 From her own lips the wondrous story! 
 Living and dying for thee ! 
 O dream of light, 
 Take not thy flight! take not thy flight! 
 Who is thy God, who all so richly endow'd 
 
 thee, 
 And filled my heart with holy love of thee ? 
 
 Chrysa. 
 
 Yes, thou shalt know Him in His wondrous 
 
 majesty. 
 To those who have lov'd him he opens the 
 
 portal 
 Of heaven and invites us to glory im- 
 mortal ! 
 Your love lasts but a day, 
 His endures for aye and aye! 
 Death is for you the end, the blasting! 
 But us he calls, redeem'd, to dwell 
 
 With him in life everlasting ! 
 
 [Epicharis enters.] 
 
 Epicharis. \ 
 
 My child ! 
 
 Chrysa. 
 
 My mother !
 
 NERO. 
 
 23 
 
 Epicharis. 
 
 Away from thee, my child, 
 
 I surely had died! [To rindcx. i 
 
 The gifts of the god be thine! 
 I cannot say thee enough ! 
 
 Vindex. 
 
 They have answered thy prayers. 
 I imagined thy life sorely threatened; 
 Nero's vengeance is death! 
 
 Epicharis. 
 
 He held me a prisoner! 
 
 He sought to wrest my secret from me, 
 
 Threatening me with the tortures of hell! 
 
 Chrysa. 
 
 Ah! 
 
 Epicharis. 
 
 I laughed at his threats, at his minions ; 
 They might slay me, 
 
 I would not betray thee! 
 
 ¥ index. 
 Didst escape from his power? 
 
 Epicharis. 
 They gave me my freedom. 
 
 Vindex. 
 Who ? 
 
 Epicharis. 
 
 I know not. He, or Poppsea ? 
 
 Vindex. 
 Poppsea ! Ah ! 
 
 Epicharis. 
 
 Whom dost thou fear? 
 
 Vindex. 
 All! we must escape! 
 
 • Epicharis. 
 Too late! Nero hath given command 
 That the gates of Rome must be clos'd. 
 
 Vindex. 
 
 But Poppsea can shelter us — 
 Provide us a way of escape. 
 Wait for me here. [To Chrysa.] 
 
 I know a place of safety — 
 Yon side the Tiber! 
 
 There I'll lead thee if thou 
 Place but thy trust in me ! 
 
 Vindex, Chrysa. 
 
 Rome and sorrow far behind us, 
 To skies unclouded let us go, 
 
 Where united we may find us 
 Bliss our hearts already know. 
 
 Epicharis. 
 
 O do not their glances tender 
 Speak of love the gods bestow? 
 
 In him she a strong defender 
 Finds to guard her here below. 
 
 Vindex. 
 
 Farewell ! 
 
 [Leaving.'} 
 
 [Chrysa has followed Vindex to the door. There she 
 remains long wrapt in thought. Epicharis gazes on 
 Chrysa, goes up to her and embraces her tenderly, 
 bringing her back to herself again.~\ 
 
 Dost love him! 
 
 Epicharis. 
 
 Chrysa. 
 I love him. 
 
 Epicharis. [Anxiously.'] 
 
 And he? Say — hast thou him? 
 Hath he thee well understood? 
 
 A single moment brings 
 
 Misfortune or bliss! 
 He it was — who — when he thee wooed — 
 Said that he loved thee — thee? 
 
 The daughter of Epicharis? 
 
 Chrysa. 
 
 Why, O my mother, would'st add to thy 
 
 woes — 
 He loves me — I love him, aye — 
 Who then can our union oppose 
 If thou say yea! 
 Can the name of Epicharis with our bliss 
 
 interfere t 
 Art thou not my own mother, whom I love 
 
 and revere? 
 
 Epicharis. [ Deeply affected. J 
 
 my child — than life itself more treasured! 
 
 Chrysa. 
 Say, why dost thou sorrow, why?
 
 24 
 
 NERO. 
 
 Epicharis. 
 
 My child, my child, if thou should'st ever 
 
 learn 
 Of my sorrowful life, then for me comes 
 
 the grave — 
 
 promise me, thy mother, never to curse 
 
 me, nor spurn — 
 The woful being who life to thee gave ! 
 
 Chrysa. 
 
 1 e'er curse thee? Curse thee and spum 
 
 thee? 
 Thee, thee, mother! [Aside.'] 
 
 O could I tell her that I am a Christian! 
 
 Epicharis. 
 
 Come to my arms that often held thee 
 
 In childhood's days: 
 Come, place thy hand in mine 
 
 And let me gaze 
 In thy eyes, O daughter, the while thou 
 
 listen to me. 
 
 [She seats herself and draws Chrysa towards her. 
 Chrysa seats herself on the floor, her head resting 
 on her mother's knees. ] 
 
 Dost thou recall the days, I cannot number, 
 The years gone by — I sat beside thy bed — 
 And songs caressing sang thee to thy slumber, 
 See music ) ^ n< ^ wa * cn kept o'er thy head. 
 
 page 58. 5 
 
 sleep my child, free from all sorrow — 
 
 Thy mother wakes! 
 O sweetly sleep, until to-morrow, 
 
 The sunlight breaks! 
 
 Chrysa. 
 
 And our souls to starlit golden 
 Realms together took their flight: 
 
 And in dreams, by slumber h olden 
 Came the blissful rest of night. 
 
 Both. 
 
 O sleep my child, free from all sorrow — 
 
 Thy mother wakes! 
 O sweetly sleep, until to-morrow, 
 
 The sunlight wakes! 
 
 [Nero appears. The women rise up, terrified.] 
 
 (The following is omitted in the performance) • 
 
 " Chrysa, Epicharis. 
 Nero! 
 
 NerO. [ To Epicharis. ] 
 
 Didst think not sooth so soon to see me 
 
 again ? 
 Sweet delusion. I let thee go, knowing 
 
 full well 
 The bird, once out of its prison, would 
 Be easily found with its gentle brood. 
 
 Epicharis. 
 
 What wouldst thou of us? In compassion, 
 In pity, spare us. 
 
 Nero. 
 Aye, pity forsooth? By the gods? 
 Have I not mercy shown — thou still among 
 
 the living? 
 But enough of this meaningless fear and 
 
 commotion — 
 Is the love of an Emperor so contemptible, 
 
 so terror-creating? 
 
 [Looking at Chrysa with eyes aflame and in another 
 tone.'] 
 
 But no— here comes not in the count the 
 
 glory of Caesar's crown, 
 
 Yea — of its own free will shall Beauty 
 
 offer its homage. 
 
 Epicharis. 
 
 His words and his eyes of flame, 
 Chill me clear to the heart. 
 
 Nero. 
 
 Caesar's god-given will, 
 Stoops to plead with thee; — 
 
 O this delirium still — 
 That thou hast, awakened in me. 
 
 Come and robe thee in splendor, 
 As a queen to live and move; 
 
 Thou art the world's enchantment 
 And worthy of Nero's love! 
 
 Phoebe's lumining light 
 Spread its refulgence around thee; 
 
 Transfigured thee 111 the night, 
 There when first I found thee! 
 
 Conquered complete — 
 Was Nero, who bends at thy feet. 
 
 Forgive me for such licence taking — 
 Sweet one, no longer art thou,
 
 NERO. 
 
 25 
 
 In the monster's power now: 
 
 Come and — ah, the beating still, 
 Of a heart that is breaking; 
 Caesar is conquered: and bends to thy will! 
 
 Chnjsa. [To herself.] 
 
 Nor the rack, nor the torture, 
 Nor the martyrs' flaming fires, 
 Can awaken the terror 
 That Nero's love inspires. 
 
 Ep icharis. [ To herself. ] 
 
 The misery, the destruction — 
 In his glance the horrors dire — 
 He dares in his madness 
 To purity aspire. 
 
 Nero. 
 Well, Chrysa ! 
 
 Chnjsa. 
 Be gone ! 
 
 Nero. 
 
 Afraid art thou! Is it Poppaea? 
 
 Well then, she shall be the price. I will 
 
 Danish her; 
 What more wouldst thou have ? Her life f 
 
 Chrysa. 
 
 Nero. 
 What more forsooth ! 
 
 Ah! 
 
 Chrysa. 
 
 Thy hate ! 
 
 Nero. 
 
 Senseless answer! 
 
 Chrysa. 
 
 Hadst thou aught left of honor, 
 Say what could I do to revile it — 
 
 Caesar, Caesar — degraded by thy crimes? 
 
 Epicharis. 
 
 Ah Chrysa! 
 
 NerO. [Aside.] 
 
 Oh why must I suffer here such disgrace? 
 To me, Caesar, shame all so nameless — 
 Caesar repulsed by a creature shameless! 
 She, to whom I threw down 
 Basely my realm and my crown! 
 Traitrous one ! 
 
 Thou hast thy sentence upon thee provok'd. 
 
 As my slave follow me hence — 
 Aye to my chariot as booty cnyoked — 
 
 Thou the daughter of impenitence! 
 
 [Epicharis, dumbstruck, falls upon her knees and 
 clasps Chrysa's knees.] 
 
 Chrysa. 
 
 mother — calm thyself, 
 
 Be thine, too, the faith that in me lives; 
 
 For God, who all judges aright, 
 Is, aye, the God who loves and forgives! 
 
 Nero. 
 Enough! Obey me! Come! 
 
 [He attempts to drag Chrysa away.] 
 
 Sooner I'll die ! 
 
 Chrysa. 
 
 Nero. 
 
 [Poppcsa appears.'] 
 
 Poppaea? 
 
 Poppcea. 
 
 Behold ! Verily Caesar hath not deceiv'd me, 
 He loves Chrysa — not ! 
 
 [Sheltering Chrysa with her arms.] 
 
 Venture not to approach her. 
 Nero. 
 
 [Rushing to the door at the back. ] 
 
 Oho ! Guards ! 
 
 [The clatter of arms is heard.] 
 
 Saccus. 
 
 Caesar! Caesar! Horror! Rome stands 
 
 in flames! 
 Nero. 
 
 [Suddenly, with a calm, cynical laughter.] 
 
 By Hercules! It quite escap'd from my 
 
 mind ! 
 Saccus. 
 
 What ? 
 
 Nero. 
 
 I gave up Rome a prey to the flames. 
 Yes, 'twas I, who gave the command. 
 
 Poppcea, SaCCUS. [Aside] 
 
 Another outrage! A newer madness! 
 O woe is Rome!
 
 26 
 
 NERO. 
 
 Nero. 
 
 A wondrous sight it must be — 
 A sight for the gods themselves ! 
 
 SaCCUS. [Bitterly.'] 
 
 Yes, wonderful; but us, too, the fire will 
 
 destroy ! 
 Nero. 
 
 [Is about to depart, but an alarming noise outside 
 checks his steps.] 
 
 So come! 
 
 Poppcea. [To Nero.] 
 
 Hear'st thou the noise ? They are Rome's 
 
 Nero. 
 
 avengers. 
 
 The people — is it not? demanding the 
 
 wretches. 
 So be it. Give them up to them! 
 
 Saccus. 
 Whom, then, whom? 
 
 Nero. 
 
 [ .Is if searching for an idea, then with great coolness.] 
 
 TV hy — th e C hri stian s ! 
 
 [Saccus hastens away.] 
 Poppcea. [To herself] 
 
 O Nero, this outrage shall bring thee still 
 
 newer retribution, 
 For thy Chrysa, through me, shall die ! 
 
 Chorus. 
 
 Death to all Christians! 
 The monsters shall die! 
 
 Nero. [In ironic gentleness.] 
 
 Thy hand — incomparable Poppaea — 
 
 Nero's guardian and saint ! 
 The show well deserves, forsooth, 
 
 That we should give it attention — 
 And admiring, applaud to the echo! 
 
 Nero leads Poppcea by the hand and goes with her to 
 view the conflagration." 
 
 ( TRANSFORMATION. ) 
 
 SECOND PART. 
 
 [Public Square in Rome — With a view <f the City and 
 the Tower of Mcecenas. 
 
 Chorus of the Roman People. 
 
 First Chorus. 
 See the famishing flames 
 That light up the night 
 With their glare — 
 may the curse 
 Of God on him rest 
 Who Rome's destruction could dare. 
 
 [Another group comes in, horror stricken.^ 
 
 Second Chorus. 
 
 Night of awe and of dread! 
 O whither fly? Through the flame's fierce 
 
 breath ! 
 Whither we flee there is misery and death ! 
 woe — fall do the walls on our head — 
 
 A funeral pyre — 
 All Rome is devour'd by the ravaging fire ! 
 
 [Another group of panic stricken people arrive.] 
 
 All. 
 
 To death with all the Christians ! 
 Search for the monsters ! 
 
 To death, the accursed ones, 
 Caesar gives them up to our ire; 
 Blot them from the earth by slaughter and 
 
 fire. 
 
 [The people disperse, threatening death to the Chris- 
 tians. The conflagration spreads.] 
 
 Scene II. — Vindex, Epicharis, Chrysa; then Nero, 
 Poppa'a, Saccus, Tigellinus, Balbillus, and a number 
 of Augustans. — Chrysa is brought in, supported by 
 Vindex and Epicharis. 
 
 Chrysa. 
 
 I can not further ! 
 My strength has all gone from me I 
 Here, mother, I would die! 
 
 Vindex and Epicharis. 
 O save her, save her, ye gods ! 
 
 [Nero is seen on the Tower of Maecenas with Pop- 
 poja, Saccus, Tigellinus f and some of the Augus- 
 tans. ]
 
 NERO. 
 
 27 
 
 Yindex. 
 
 Who is he yonder, on the tower of Mae- 
 cenas? 
 Nero! 
 
 EpickariS. [To Chrysa.] 
 
 My feet will bear me no more ! 
 
 [She drays herself painfully to a bench at the side of 
 a house. ] 
 
 Nero. 
 What a sight, my friends, of grandeur un- 
 
 equaled ! 
 
 \_To one of the Augustans.] 
 
 A lyre ! 
 
 VindeX. [For himself.] 
 
 O mockery of hell ! 
 
 Chrysa. 
 O mercv, Lord and God! 
 
 Nero. 
 
 [Accompanying himself on the lyre.] 
 
 See music ( t 
 
 page 63. 5 ■»-. 
 
 OIKon! 
 
 Ollion! 
 By the gods themselves upbuilt in pride ! 
 By the tears of a goddess sanctified, 
 Thy glow now reddens the heavenly dome, 
 In which thou wilt sink, O haughty Rome, 
 
 Like Ilion! 
 Thy walls, on which glorious battles were 
 
 fought, 
 And the avenging wrath of the gods set at 
 
 naught, 
 Have fallen; only the ruins, the graves of 
 
 the dead, 
 Remain to speak of thy former grandeurs 
 
 fled. 
 II. 
 
 O Ilion, 
 O glorious Pergamon! 
 Beshadowed by Ida's hallowed height. 
 How golden thy sheen in the fiery light! 
 Thy glow now reddens the heavenly dome — 
 In it thou wilt sink, O haughty Rome ! 
 
 Thy foes up from the iEgean arise, 
 
 And the guilt of love and beauty chastise, 
 
 Blinded folly, thy rage could do naught 
 
 but destroy ! 
 And vanished forever is glorious Troy ! 
 
 Poppcea. 
 
 Wilder than the fire's fury 
 Rages the fire of hate within me! 
 
 Saccus, TigeUinuSj Balbillus. 
 
 Inspired by the wondrous song and story, 
 His soul awakens to its former glory ! 
 
 Chrysa, Epicharis, Yindex. 
 Sing on, ignoble, o'er Rome's misfortunes 
 
 laud thee, 
 While Roma's coward people all applaud 
 
 thee! 
 
 [The conflagration spreads more and more. The 
 people, women, the aged men, children, almost 
 crazy from fear, come in from all sides.] 
 
 Chorus of People. 
 
 Night of awe and of dread! 
 
 O whither flee through the flames' fierce 
 
 breath — 
 Whither we flee there is misery and death! 
 O woe ! fall the walls on our head ! 
 
 Death to the Christians accursed! 
 To death are they condemned! 
 Csesar gives them up to our ire; 
 Blot them from the earth by slaughter and 
 
 fire! 
 
 NerO. [On the tower.} 
 
 Slaughter them! show them no mercy ! 
 To death ! Put them all to death ! 
 
 Chrysa. 
 O madman! 
 
 Epicharis, Yindex. 
 O Chrysa! 
 
 The People. 
 
 [Seeing Nero on the Tower. ] 
 
 Hail, Caesar, hail! 
 
 [Chrysa attempts to raise herself and strives to reach 
 the tower. Epicharis and Vindex seek to restrain 
 her. ] 
 
 Chrysa. 
 Let me go ! Let me go! 
 
 [Chrysa frees herself and reaches the people.} 
 
 The People. 
 Hail, Caesar, hail! 
 He comes in our need to protect us I 
 He indeed can save us!
 
 28 
 
 NERO. 
 
 Hail, Csesar! thou whom the gods eternal 
 As lord and father gave us! 
 
 Chrysa. 
 
 [Addressing the j^ople.] 
 
 Men of Rome ! 
 
 NCVO. [Recognizing Chrysa. ] 
 
 Earth and heaven ! Chrysa ! 
 
 [He suddenly descends from the Tower, followed by 
 Poppcea and some of his suite.] 
 
 Chrysa. 
 
 [Pointing to the burning Pome.'] 
 
 Ye, my brothers — Romans all — 
 Why do ye not rise up, seeing this deed of 
 
 hell! 
 O ye deluded! Innocent Christians 
 Ye murder instead of yonder monster. 
 
 The People. 
 Who is the girl? What does she want? 
 With reckless daring a Csesar forsooth 
 
 defying — 
 Curses and death to all Christians — 
 Slaughter the wretches! Death to all! 
 
 Epicharis. 
 
 O my child — Helpless Chrysa! 
 What hast thou done? 
 
 [Nero enters, preceded by Tigellinus, BalbiUus and 
 Saccus, who make a way for him through the crowd. 
 Poppcea follows. ] 
 
 Saccus, Tigellinus and BalbiUus. 
 Way! Way! for Csesar! 
 
 Nero. 
 
 Ha! Chrysa! Now thou art mine! 
 Forever mine! 
 
 Chrysa. 
 
 [Seeing Nero comes to a sudden determination.'] 
 
 Ye Romans — 
 Hear the behests of Nero, your Csesar — 
 See — a Christian. 
 
 Vindex. [To Chrysa.] 
 
 O Prudence! 
 
 Nero. 
 
 She lies ! 
 
 Epicharis. 
 What said she? Chrysa a Christian! 
 
 
 
 Popp&a. 
 
 
 Nay, 
 
 by all the 
 
 ! gods, she lieth not! 
 
 Thou 
 
 Yes, 
 
 Nero. 
 fury! 
 
 Chrysa. 
 a Christian! 
 
 [To Poppcea.] 
 
 
 
 The People. 
 
 
 A Christian — then she is doom'd. 
 
 [ Chrysa is forcibly wrested from Yindex and Epicharis.] 
 
 All. 
 Ah! 
 
 [Chrysa falls, struck down by the people. Epicharis 
 supports her in her arms. J 
 
 Nero. 
 Brutal murderers! 
 
 Poppcva. 
 
 [Leaving, casting a glance of despair on Nero.] 
 
 That is my revenge! 
 
 Chrysa. [Dying.] 
 
 Mother — lov'd one — sorrow laden. 
 
 Epicharis. 
 O lov'd — hapless, dearest child! 
 
 [ Chrysa dies. ] 
 
 Vindex. 
 
 Thou Csesar — remember — Chrysa and 
 
 Rome! 
 Though your gods themselves be deaf — 
 There needs but one man — that she 
 And Rome be avenged ! 
 
 [He draws his sivord and clears a way for himself 
 amid the crowd, disappearing.] 
 
 The People. 
 Ha, the alien! The alien! 
 
 Nero. 
 
 Yonder wretch — he must be captured — 
 Living or dead! 
 
 [ The people are about to pursue Yindex, but the fire 
 compells them to desist. ] 
 
 The People. 
 
 Ah — the fire is closing in steadily on us — 
 The flames they are spreading and death 
 
 is upon us.
 
 NERO. 
 
 29 
 
 Nero. 
 
 Grovelling;, outcast wretches! 
 Murderers — I curse ye all! 
 
 [He leaves, bidding Saccus, TigeUinus and BalbiUus 
 to follow. The people also follow, lamenting.'] 
 
 Saccus, TigeUinus and BalbiUus. 
 Hail, Nero, hail! 
 
 Epicharis. 
 
 [Alone, pointing to the coi~psc of her davgliter.] 
 Vile assassins ! Her God will avenge her — 
 Thou, ray Chrysa, dead! 
 
 Consume me, ye friendly flames ! 
 [The house on the steps of which Epicharis lies stretch- 
 ed, falls in ruins and buries mother and daughter. ] 
 
 ACT IV. 
 
 FIRST DIVISION. 
 
 [The interior of the Mausoleum of Augustus. The 
 bronze doors open noisily. Nero comes upon the 
 scene. He seats himself on a stone block to get 
 breath. ] 
 
 Nero. 
 Yes, Nero flies ! And the storm fast follows. 
 All have betrayed me — all me deserted. 
 The great earth trembles ; the heavens are 
 
 wrath — 
 I am here alone, around me the Night! 
 
 Nero, alas, thy hours are now numbered. 
 Galba, Vindex — the Gallians' reckless 
 
 horde, 
 And all the Legions against me ! The peo- 
 ple rage ! 
 The heavens are filled with signs appalling, 
 The world in chaos is falling — 
 The sun's lumining light — 
 Changed to darkness and night ! 
 
 [A fearful clap of thundt r is heard.'] 
 
 Rage on, O wrathful thunder! 
 
 Winn on me thy bolts are hurled 
 Then rend thou asunder, 
 
 With me, the rolling world. 
 Where am I? Whither has fate 
 
 Sent me to hide? 
 A toinb ! 
 
 Is it not that I see in the gloom — 
 O'er it a vaulted dome — 
 11 Augustus?" 
 And thou — is it thou whom the world once 
 
 call'd great ? 
 Octavius first, then Augustus? 
 Was he then juster and milder than Nero? 
 Nay; success — that was his sole, his great- 
 est virtue! 
 A Voice. 
 
 [From tlie tomb. Ccesar starts back in terror.] 
 
 Nero ! 
 
 Nero. 
 
 Whose voice is it that calls me ? 
 
 [The walls of the rotunda open; Shades appear; 
 among them Nero's victims.] 
 
 Aye, eternal gods, 
 Open the graves of themselves? 
 Do they give up their dead? 
 Restless shades ! Avengers remorseless, 
 
 What would ye of me ? 
 Claudius ! Britannicus ! Octavia ! 
 
 The Shade of Claudius. 
 Once thy Emperor ! 
 
 The Shade of Britannicus. 
 Thy brother! 
 
 The Shade of Octavia. 
 Thy wife! 
 
 Nero. 
 
 Agrippina ! 
 
 The Shade of Agrippina. 
 Thy mother! 
 
 [The shades of Petronius, Lucanus, Thraseas, Seneca, 
 Burrhus, Piso, Iiufus, and others. ] 
 
 Nero. 
 And ye all ? 
 
 The Shades. 
 Thy teachers— thy friends— thy flatterers! 
 
 Poppazds Shade. 
 1 am Poppaca! 
 
 Chryscts Shade. 
 I am ( ihrysa !
 
 30 
 
 NERO. 
 
 Nero. 
 
 Poppsea! Chrysa! 
 
 All the Shades. 
 
 Assassin! Brother-murderer! Mother- 
 murderer ! 
 
 [An aged Christian (the one of Act II.) and a 
 number of Christians, men and women, appear.] 
 
 Nero. 
 
 O ye gods, how many ! 
 Yes, I remember them — 
 Christians whom I strangled — 
 Who were cast into the arena — 
 Burnt! — as living torches 
 To illumine my banquets. 
 O ye gods, how many ! 
 
 The •Shades of the Christians. 
 Vile assassin ! Brother-murderer ! Mother- 
 murderer ! Strangler of Christians ! 
 
 Nero. 
 
 Ah, blood — yes, blood — 
 
 From my crown it trickles down on my 
 
 brow! 
 O horror! burns into my brain ! 
 Swells to a stream and, aye, would drown 
 
 me! 
 What would ye then now, ye furies'? 
 Ah, how it scorches my heart — 
 Voice of my conscience, dost thou call me 
 
 murderer? 
 The Shades. 
 Nero ! Nero ! Nero ! 
 
 Nero. 
 Ah! 
 
 ( TRANSFORHA TION. ) 
 
 SECOND DIVISION. 
 
 [A road on the Campagna — Rome is seen in the dis- 
 tance — The Gallian legions enter, then Vindex 
 and leaders."] 
 
 % e s ™f\ Chorus of the Legions. 
 He sang so much, so much, did Caesar, 
 Till his song awakened the Gallic bird ; 
 
 aye, 
 He sang so loud, so loud, did Csesar, 
 Till together our Vindex his Gallians 
 
 call'd; 
 
 He sang so well, so well, did Csesar, 
 
 As if he, the singer, the hisses had heard; 
 
 aye, 
 He ran so fast, so fast, did Csesar, 
 
 But far faster follow'd him Galba, the 
 
 bold! 
 He rul'd so well, so well, did Csesar, 
 That he roll'd the world all up in a 
 
 tangle ; 
 He ruled so well, so well, did Csesar, 
 
 That his people sent him to Orcus grim ; 
 He murder'd so well, so well, did Csesar, 
 That his minions fain would their master 
 
 strangle ; 
 He murder'd so well, so well, did Csesar, 
 That Death has now sent out his sum- 
 mons for him. 
 
 [Vindex appears, followed by other leaders, carrying 
 the standard banners and other military insignia. ] 
 
 The Legions. 
 Hail, Vindex, hail! 
 
 Vindex. 
 
 The name that I would greet is Vengeance! 
 And to Rome it now leads! 
 
 The Legions. 
 To Rome ! On, on to Rome ! 
 
 Vindex. 
 
 A duty sacred now calls us, 
 And the victory is ours ! 
 Ye warriors, strike now for vengeance 
 
 At the tyrant's guilty might, — 
 Off the people's fetters striking — 
 By Nero's death — to-night! 
 Ye Romans, earth and heaven in wrath 
 
 have spoken ! 
 The storm descends; his power be surely 
 
 broken. 
 The morn shall hear the call, 
 
 Loud as the thunder ; 
 Let shame and evil fall, 
 Trample them under. 
 On the day that Csesar dies 
 Thou, Rome, again shalt rise! 
 
 The Chorus. 
 Csesar, aye, when Csesar dies, 
 Thou, Rome, again shalt rise!
 
 NERO. 
 
 31 
 
 Yinclex. 
 He murdered all, 
 
 The loving, and blameless, 
 His powers he used with 
 
 Violence shameless. 
 The o-olden mine of Rome's defenders 
 
 Disgraced hath he oft, — 
 And Roma's splendors ! 
 Caesar shall die! When Caesar dies 
 Thou, O Rome, again shall rise. 
 Ye Romans, earth and heaven 
 
 In wrath have spoken! 
 The storm descends, 
 
 Let Caesar's power be broken ! 
 The morn shall hear the call, 
 
 Loud as the thunder; 
 Let shame and evil fall, 
 
 Trample them under! 
 
 [To the soldiers. ] 
 
 Forward, all! 
 Let not Xero living escape from his doom ! 
 
 Forward, all! 
 That with Galba as victors we march into 
 
 Rome ! 
 There the laurels hallow'd see ! 
 Open, the way; come, follow me! 
 
 Rome expects us; yea, 
 Ye'll bring her glory and peace again, 
 And golden freedom shall reign. 
 
 [At a sign from Yindex the legions leave, filing past 
 him and the other leaders, singing.'] 
 
 Chorus of Legions. 
 
 He sang so well, so well, did Caesar, 
 
 Till his song awakened the Gallic bird; 
 
 He sang so well, so well, did Csesar, 
 Till Vindex together his Gallians call'd ! 
 
 Scene II. — Nero, followed by Saccus, emerges from the 
 bushes on the roadside. 
 
 SaCCUS. [Mockingly.'] 
 
 What now friend Caesar 1 
 
 Nero. 
 
 I have left Rome a prey to the plundering 
 
 legions uncheck'd; 
 
 Devon i- again may the flames the arrogant 
 
 city. 
 
 And as my parting gift 111 let loose the wild 
 
 beasts among them. 
 
 Let be strangled together all the necks of 
 
 the aliens, 
 Theirs and the cohorts', and above all, the 
 
 Gallians"; — 
 I will poison the Senate. 
 
 Saccus. 
 To whom shall I take thy behest? 
 
 Nero. [Bewailingly.'] 
 
 What ? Has my hour so quickly arrived ? 
 Must Nero die ? 
 
 Saccus. 
 Our horses can take us no further ! 
 
 Nero. 
 Ah, what an artist here will be lost! 
 
 [Steps are heard approaching.] 
 Nero. [Terrified.] 
 
 Hearken ! 
 
 Let us flee to the laurel groves, 
 And like the nymphs, the antique, 
 There die, according to the rules of art. 
 
 A Centurion. 
 
 [In the background.] 
 
 He sang so well, so well, did Caesar, 
 
 Till his song awakened the Gallic bird; 
 
 aye, 
 He sang so well, so well, did Caesar — 
 Who is there? 
 
 Nero. [To Saccus.] 
 
 Let us flee! 
 
 The Centurion. 
 
 O triumph ! 'Tis Nero ! 
 Mine be the glory to capture the monster 
 
 alive ! 
 Holla ! companions ! quick, this way ! 
 
 Nero. 
 Living, said he ? 
 
 Saccus. 
 
 That he may put the yoke around thee! 
 Rememberst thou not the Caudinian yoke? 
 
 The Centurion. 
 'Tis he! It is Nero! 
 
 [ He signs to a soldier to sound the trumpet call, in 
 
 order to inform I'inrf x. ] 
 
 Nero, 
 Saccus, give me thy blade!
 
 32 
 
 NERO. 
 
 Saccus. 
 
 [Handing him a dagger. ] 
 
 Here, be quick ! 
 
 Nero. 
 
 Ah! a wondering world shall gaze and ap- 
 plaud ! 
 
 [He hesitates to plunge the dagger into his breast.'] 
 
 friend, do thou with thy example teach 
 
 me how! 
 Saccus. 
 
 Nay; but if thou wilt, I will assist thee ! 
 
 [He takes the dagger and plunges it into Nero's heart. ] 
 
 Nero. 
 
 1 fall! 
 
 Saccus. 
 Quick! It will not give the the slightest 
 
 pain 
 
 [ Tlie legions hasten upon the scene. Vindex, too, ar- 
 rives. ] 
 
 The Centurion. 
 
 [Pointing to Nero.~\ 
 
 Too late ! 
 
 Vindex. 
 Dead! 
 Nero, mindest thou — Chrysa and Rome! 
 
 O this devotion! 
 
 Ha ! Monster ! 
 
 Nero. 
 
 Saccus. 
 
 [Reviving. ] 
 
 Vindex, Saccus, Chorus of the Legions. 
 
 Nero dead! Nero dead! 
 
 Avenged is the world ; 
 
 Accurs'd shall be his name — 
 
 Foul disgrace his fame; 
 
 To all time a terror; 
 
 Yea, loathing and shame! 
 So sinks down what once was built up in 
 
 pride. 
 The ruins fall — Caesar's might and rule to- 
 gether. 
 
 [ The soldiers remain with Nero's body. Vindex and 
 Saccus go on one side and whisper together. 
 Suddenly in the heavens there appears a halo of 
 light, in the midst of which is seen the form of a 
 Crot&.~\ 
 
 Chorus of the Christians. 
 
 [Behind the scene?, ] 
 
 Lo, our Lord and Savior comes! 
 
 Vindex. 
 
 Ah, Saccus ! What thy message ? 
 
 Saccus. 
 
 Rome hails with joy the day — 
 Glad that her woes are ended, 
 
 And Nero sunk to clay. 
 
 Vindex. 
 
 Yea, Galba's work was not in vain r 
 For Peace is Rome's again ! 
 
 The Legion. 
 
 [Who have stayed with the corpse of Nero. J 
 
 Murderer ! thoughtest, forsooth, couldst thy 
 
 vile head rescue. 
 Sing away, merry jester! 
 Yea, bellow, gnash thy teeth ; 
 Tear to pieces thy victims! 
 Murderer ! Brute ! 
 Bloodthirsty hyena, bellow and roar! 
 
 Some of the Soldiers. 
 
 [Perceiving the wondrous sign in the shv. "J 
 
 Ah ! see there, how it shines ! There t 
 
 Others. 
 Where 1 tell us where ? 
 
 First Group. 
 There ; a Cross, in a halo of light ! 
 
 [All hare left Nero's body to gaze at the sign in the 
 sky. ] 
 
 Vindex. [Seeing the sign."} 
 
 Marvellous symbol, — dazzlingly bright ! 
 
 Saccus. 
 Bodes it weal or destruction ? 
 
 Vindex. 
 
 No, no ; a mighty God with us will be j 
 He will not let his people perish ! 
 
 Saccus. 
 The gods are still with Rome ! 
 
 The Legion. 
 The gods will protect us and Rome! 
 
 END OF THE OPERA.
 
 NERO. 
 
 33 
 
 Moderate) con moto. 
 Chrysa. 
 
 a: 
 
 -N- 
 
 v 
 
 -J. y ^ £-H 
 
 -? 
 
 K -N ^ 1 — 
 
 £ 1 L --j H H^ * = £ J-I 
 
 VlKDEX. 
 
 Oh mother, oh rnoth-er why from me wert tak - en? oh, what cru - el la; 
 
 £6s 
 
 && 
 
 31 
 
 _J_^ y > > ^ l_- 
 
 ^te==fc)^5^ 
 
 3*.—* 
 
 ^K- 
 
 - — r— m — m- 
 
 
 - L -y — + 5 
 
 drove thee a - way from me? And yet I am thine, though by thee for - sa - ker>, 
 
 §L¥§=1==tS-: 
 
 child 
 
 so for 
 
 sak 
 
 en. 
 
 gi*=8 
 
 
 J. 
 
 -#- 
 -#- 
 
 — i — i- 
 
 ^S 
 
 -**=:& 
 
 
 rt: 
 
 *-a-#H— 
 
 f-'-H»— #— 
 
 5 x < 
 
 til 
 
 -V 
 
 , w 1 1- 
 
 My loving heart beats but for thee, my loving heart. 
 
 ~N '— 0-. 
 
 C y E_ 
 
 
 beats but for tine. 
 
 
 
 -*#- 
 
 
 
 -X0 *_ - tt 
 
 -V — V — 9— 
 
 :=r=i«= 
 
 EEEEE^ 
 
 What 
 
 gen - tie ma - - gic hath led thee here to me ! , 
 
 I crac. ....... J ~c n 2^= 
 

 
 34 
 
 NERO. 
 
 poco animato. 
 
 Ja _« « | : 
 
 Szl=t?=b— r=*^ 
 
 _,_« 
 
 --=)■ 
 
 811=1 
 
 And tho' thou art 
 
 T" 
 
 ~A— i - H-» * 
 
 — T— _ 1 -L) 1 0. 
 
 -9-— -*— - W—*— ~ - 
 
 =4: 
 
 : — i 9 
 
 ^ 
 
 •so far from rue, 
 * «_i 
 
 0- 
 
 V — :- 
 
 : F : 
 
 My lov - ing heart beats aye for thee, 
 
 =£= =?=*=* 
 
 -C—m--— 
 
 Oh, what rap - ture sweet 
 
 tizzzbcib^S 
 
 dost thou a - wak 
 
 ?-t- 
 
 en, 
 
 4:~ Jz==fz3z=a 3=rf= 
 
 :q"-^ 
 
 f: 
 
 ■ 1 —I 1 
 
 rs=35s%-£ 
 
 
 poco animato. 
 
 -I- 
 
 ^E=fe= 
 
 & 
 
 #-T 
 
 
 
 my loving heart ... . beats.... ev 
 
 er, ev - er for thee. 
 
 a>r 
 
 My loving heart 
 
 tt 
 
 §i!$E': 
 
 £•- 
 
 :#=e=y 
 
 !r— t 
 
 h P=t^ 
 
 tH 
 
 siSi 
 
 i=?=*== 
 
 -&-•-• 
 
 "What a gem 
 
 Mi _ ij'rnz£H; 
 
 I find in thee ! 
 
 JJs^d-^-^d^H- -J -»^# -4 ^-» - 
 
 what a gem I find in thee ! what a gem 
 
 §§!§r 
 
 " rit a tempo. v , — =CT 
 
 J -l r V , - r -= F=rT j— ^J^rM T j~ 
 
 q q tq »_i _t # _x # _*_««_tp p_pqr_tq #'-,_ 
 
 -**. _ — _ — ■>. J JIL 1 — . — — " 
 
 f 
 
 I 
 
 ^ -» 
 
 f 
 
 
 I 
 
 a tempo. 
 
 ^ ~ ^ 
 
 beats . . 
 
 -5 — *-# — 0- 
 
 : £= 
 
 p~ — a_^_=pc-|_|g • 
 
 ev - er for thee, 
 
 CV§ >tt * « « I— 
 
 !3i#u5!!!_| | | •__ 
 
 ~==r=^ 
 
 ev - er for thee, my lov - ing heart 
 
 -«-a— p p- 
 
 y=:pz==t: 
 
 
 £ 
 
 I find in thee! what a gem I find here in thee, Thou love 1i - est 
 
 
 J 
 
 -/!?— i 
 
 * 
 
 -I #— I , (— | 1 0-F 1 
 
 i=5=t=t= 
 
 
 r_#_ # l# — # — 0~\ — i — 1-» 0-\ — i — \^i- 
 
 ** Li i y _^. *^ **" 
 
 Jr- 
 
 i^-q^z:^ 
 
 :tzt: 
 
 #-T- 
 
 Ji: 
 
 F 
 
 
 :p_zzz=d=q: 
 X— =3za: 
 
 ^^
 
 XEEO. 
 
 35 
 
 v— i 
 
 »i=-=*=^l^=S=s 
 
 if**' 
 
 ^ 7 j 1 M = 
 
 :=E*=*=^ 
 
 - ■!- & ■.■ 
 
 beats aye for thee, 
 
 IX= 
 
 beats 
 
 aye 
 
 -O -■=- 
 
 tor 
 
 
 S 
 
 -# p. 
 
 -i j — 
 
 -> — +-- 
 
 ■&■ 
 
 thee. 
 
 child, What geu 
 
 tie ma - gic draws rue now to thee ! 
 
 1 1 - 0-0 J 3#-# 1 \-0-S- 
 
 ^ ^ + 
 
 — * * — I — I — i — 1_ 0— —0 — ! — I — 
 
 
 3=t 
 
 ;fe=* 
 
 a= 
 
 ._i — 
 
 -<«-t- 
 
 -i*- . 
 
 f=5 
 
 ztiz*: 
 
 « » 
 
 —^^ 
 
 
 - J I""**. " 
 
 ■■ 
 
 -i • -I -i^ 
 
 
 q # f-d-A-X 
 
 
 
 «,—• 
 
 rzz-zt: 
 
 -f©<- • 
 
 i 
 
 f-2-J± 
 
 I: 
 
 Mmleralo assai. 
 
 -i 44 
 
 Cho. Soprano. 
 
 m- 'F 8 — * — «— ~»y-» — *— : 
 
 Deck thee with the tu - uic 
 
 -0--0--0--0+-0- "-0- -0- -0- +' 
 
 :#-* ztFT 
 
 /> 
 
 -#--# 
 
 ^^S 
 
 ~r~r i T~i ^ 
 
 1 
 
 
 *=j= 
 
 fair, 
 
 Alio. 
 
 : '^- 
 
 ? v — 0— 
 
 
 .0 Z 
 
 v=» 
 
 — # — ■_ , — 
 
 in to- ga should no wife ap-pear; braided be thy bri-dal 
 
 zs:p=N=z=zK=N 
 
 *=*=3=£. 
 
 — K- 
 
 — I— 
 
 3==rv 
 
 zz 
 
 =|: 
 
 Deck thee with the tu - nic fair, in to - ga should no wife ap-pear; braid 
 
 -=f=^_=£ 
 thv bri-dal 
 
 | ^z=j=i=e=iziri|— * 
 
 * -— 
 
 mm 
 
 — — I. 
 
 Zm—lz-r 
 
 * m — t 
 
 Ml J U ' l_J < j 
 
 -•-•-•--* - 4> — » — — •- — -- -i 
 
 \tJLJ—0' • J t: * — » — »=;«_; £_: 
 
 ft 
 
 »»; 
 
 ^TzgEE E;=5=5=?ZHz: EE=p3=5=r=[=zz*^ZS-?F=fz. -
 
 36 
 
 NERO. 
 
 g 
 
 
 * 5— r * 
 
 : h — £ — p — pi— y — V— 
 
 ■ss^. 
 
 i=t 
 
 hair, as is cus-tom, with the spear ! 'Round thy loins the gir- die place, 
 
 sfcb 
 
 q 
 
 
 
 5 N— M 
 
 hair, as is cus-tom, with the spear ! 
 
 'Round thy loins the gir - die 
 
 :-r 
 
 W 
 
 B£^=S£e!e 
 
 3: 
 
 
 mf 
 
 • 0—0 = ' 
 
 -0 - J- 
 
 *- 
 
 #_ 
 
 *- 
 
 w w w ^ 5 ^ ^ ^ ^ ^ - 
 
 » — 9 — »— » — * g 1 — I — * * — 
 
 Ife^ 
 
 -V 
 
 —i — y- 
 
 t= 
 
 :pz=fc 
 
 -y-- 
 
 : t}» — y — y — b* 
 
 £=q 
 
 a-round thy brow the cir - clet cling ! the veil the bride must grace, here the wreath that 
 
 r-fc 
 
 ■rN— rN" 
 
 
 *—m- 
 
 i- 
 
 -H 1 
 
 -0 ,- 
 
 -H 
 a 
 
 Z± 
 
 E Z S==*==E 
 
 place, a-round thy brow the cir - clet cling ! the veil the bride must grace, here the wreath that 
 
 
 j_j_r_ . j 
 
 ^EJ=i=H*S =*" 
 
 »»5J 
 
 _-* I £ ». » M- 
 
 -&^=-. 
 
 ••'-'^.—r 
 
 
 -0 — — W — — 0— i — -!-'— *-#*,.; - 
 
 i*|u ? ft — -I 
 
 -» — a » # »■ 
 
 
 ;^s=E 
 
 » I \ lS-^ * 
 
 1 :' 

 
 XEBO. 
 
 37 
 
 
 > 
 
 
 
 g — * 3> 
 
 _* 
 
 fc 
 
 C V- 
 
 £ 
 
 -# 
 /" 
 • 
 
 (-- 
 
 joy shall bring! 
 
 With the tu - nic then deck thee, nor in to - ga ap - pear. 
 
 N- 
 
 — * * :*;— ^i 1 
 
 With the tun - ic then deck thee, nor in to - go ap - pear, 
 
 
 -# — #- 
 
 
 w 
 
 ■ — P 
 
 -y— 
 
 — i— 
 
 =t 
 
 -I H- 
 
 u4c 
 
 
 ^ 
 
 
 
 braid thy bri - dal hair, as wont is, with the spear ! 'Round thy loins bind the gir - die, 
 
 V -0 
 
 V 
 
 -0 
 
 -0- 
 
 *=* 
 
 — N- 
 
 — N- 
 
 1 
 
 "* 
 
 — N" 
 
 -- P — T — s— ^— - - 
 
 braid thy bri - dal hair, as wont is, with the spear ! 'Round thy loins bind the gir - die, 
 
 i ■ " i , — 
 
 —y-\- 1 , - a 1 1 — 
 
 )'-2-pm — — 1 - - j 
 
 -= 
 
 -0 
 -0~ 
 
 :zz 
 -0 
 
 ' 
 
 i 
 
 inf 
 
 -0*~ 
 
 131 
 0»- 
 
 
 
 
 -#- 
 0- 
 
 I L*_-* 
 
 
 ■0- 
 
 r 
 
 
 : ' 
 
 -H #- 
 
 _l- 
 
 : i^=5 
 
 *= 
 
 
 r 
 
 
 
 
 * * • 
 
 — p- 
 
 : 
 
 # 
 
 • 
 
 — » — • — *— 
 
 
 E=f * . 
 
 • 
 
 
 b - 
 
 -Mfcg-n* 
 
 ._^__ 
 
 - i^ 
 
 t? 
 
 _^_ 
 
 ~B 5 & 
 
 — # — 
 
 =S— *— J- 
 
 
 round thy brow the cir - clet, put the veil o'er thy face, the wreath that luck shall 
 
 *=- 
 
 irte- 
 
 jtebj N =^* 
 
 — ( — 
 
 --N- 
 
 "#■ 
 
 **— ** 
 
 — -N 
 
 
 
 
 i 
 
 ^=:^z=^: 
 
 
 
 
 -j — . 
 
 m— 
 -0 
 
 round thy ln-ow the cir - clet, put the veil o'er thy face, the wreath that luck shall
 
 38 
 
 NERO. 
 
 -rtf 
 
 ®E$EEl=l= 
 
 WEEl'EEE. 
 
 brin" 
 
 L 
 
 t=t: 
 
 £ 
 
 bring. 
 Tenor, pp 
 
 J2— 
 
 ">*-' 
 
 s= 
 
 Ah, 
 
 Bass. 
 
 'tis food in truth for laugh 
 
 PP 
 
 — — — — tg 
 
 ter! 
 
 3= 
 
 bp: 
 
 
 Ah, 
 
 'tis food 
 
 in truth for 
 
 t2 -.2 ~mZZm~*Z?Z — m -ZZlZ— 0—1— ?!'=*—&- tfZ ^=-#— 0- 
 
 — 1 v — p - 
 _0— 0- 0- 
 
 
 w 
 
 
 
 ■»—»—#- 
 
 _# *. 
 
 0-0-0- 
 
 -I ! — h 
 
 
 
 ^-^ 
 
 s= 
 
 -» 0- 
 
 -0 #. 
 
 — 1 — 1 — 1 — >— \- 
 
 0—0—0 A 1 
 
 ! — » 
 
 
 $k-%3:- 
 
 S eB -i- 
 
 ts_t. 
 
 P*_«-: 
 
 :i=t: 
 
 :-J 
 
 Hail ! 
 
 i^fe 
 
 H — 
 
 :*" 
 
 i=i: 
 
 Hail! 
 
 llfe^i 
 
 (2- • 
 
 P^ 
 
 ^±1 
 
 BBI 
 
 tp: 
 
 :>^*: 
 
 1 
 
 Hail! 
 
 2&^= 
 
 EE=: 
 
 /S'-i 
 
 
 f=z±=fc=. =3 
 
 l 
 
 laugh 
 
 ter! 
 
 teEE&SEfc 
 
 S&2 
 
 
 / 
 
 Si^ei 
 
 # 
 
 ?* 
 
 «-# #— » 
 
 -=^^P = P=^T^-*-*^^r=,z.E #= _-z^-- =# ^^=3 ! 
 
 , — — r — 1 — — ^ r — *■ — 0— ~r t~ * - » — c~ *-» — rt
 
 NERO. 
 
 39 
 
 Moderate. 
 
 VlSDEX. 
 
 -(=- 
 
 .£L 
 
 My song 
 
 is ta thee, 
 
 guardian of mar 
 
 nage, 
 
 
 mt 
 
 \T-Q3 
 
 fe$iz- 
 
 J •" J •» •} 
 
 
 
 
 -0- 
 
 — i #- 
 
 i^z^^^Hs^z^ 
 
 
 t-i-i-i=t--j- 
 
 # 4 
 
 *— 
 
 -g- 
 -#- 
 
 »-- ?— 9— S= :: *3E*=II JEfE ^ZZZ^ = GE * Z: 
 
 b, y=£3 * tf \£Z— _yZZJ 
 
 :£ 
 
 :zt?:fc-zzz 
 
 a?Pzzz 
 
 :z^=tyz 
 
 SOQ 
 
 3 
 
 of U 
 
 :IEE: 
 
 -1? 1 — v- 
 
 F 5 — ? — 
 
 r-<5>- 
 
 £ 
 
 Ep=p> 
 
 \ 
 
 rj? •« * •« 
 
 ra - ni - a, Let thv bless - ing on them rest ! 
 
 * - -FT 
 
 lliei:, 'm 
 
 P^zz7r*-zrj-5=z5=z:^=^J-| 
 
 9-r>±— 
 
 ** 
 
 ^^EEy^^zz^^^E± 
 
 9^ 
 
 tr- 
 
 thee 
 
 -0- 
 -1 — 
 
 Z=*E*i 
 
 
 .a. 
 
 --■^—^izX 
 
 .a- 
 
 have they their hearts sur-ren - dered, Hy 
 
 men, to thee 
 
 n u ■ n P" 
 
 
 -> H N 
 
 H — 1 1 
 
 - N '~! 
 
 .. _Ps ~ ., 
 
 F^ — ^-i? ' — — —0-0—!— 
 
 -7 — ;*,— 
 
 1 — 
 
 ~m >— g~ •— 
 
 _i # 7_ # _ 
 
 * — 
 
 -^-0 —*— 0-0 — g— 
 
 -7 — ! — r~ 0— ?— 
 # « # 
 
 
 -y-0-*-0-0 — ?— 
 — # W0 
 
 ■^*-s-*-*j-*- 
 
 
 
 ^=£ 
 
 -P 
 
 # _P #- — #-,-« £____#_ i Z__#__ 
 
 =3=EE!E :|3Z?zlztB!?=tt=2i2z=t£I*=3z^ 
 
 # l * — y y » * — 
 
 £] 
 
 ±Lt£.. 
 
 ^zz?7 -zz^zzzzzzzzzzzzzzzz: 
 
 -h— 
 
 
 --V 
 
 -N-i 
 
 ritard. - 
 
 -0- 
 
 v- 
 
 —&- 
 
 ziy_z:. 
 
 shall my Hym - nus bo ten 
 
 dered ! My song 
 
 -J- 
 
 #~ 
 
 :Sz=z=;z=zz:;=-JzzzzJ#zz=,#z # r-Zz:z: 
 
 -T X__j 
 
 m 
 
 is to theo. 
 
 ^s n 
 
 — — »-- #z:?zz:z 
 
 — * 
 
 ritard. 
 
 -J - 
 
 1 L..' ) 
 
 z5- 
 ■9 -?- 
 
 ^ r _, h # 
 
 U 
 
 "«= zi'Jz 
 
 fc- - -z-7z-2zz?z-zzz;2 
 
 ^ ^ 
 
 1? y
 
 40 
 
 NERO. 
 
 _:_>z_ 
 
 
 
 £=£= 
 
 bless thou this pair ! . 
 
 &f 
 
 15 j* ^_ 
 
 B$3Ej3E;E2=E3E 
 
 -£3-7 -i-i-<j-- 
 
 a tempo. 
 
 "*$-- 
 
 ~JT~0I 
 
 3E^El=£ 
 
 -m- 
 
 0- 
 
 §fg|E3=2='=5zz5z=t: 
 
 
 
 -0 
 
 -m- 
 
 -Z0—*S—Z—*f—y—'- 
 -*>m — ^— y — '- — J— ^— 
 
 :5- 
 -• 
 — i' 
 
 -r 
 
 i^Jt 
 
 .m c : 
 
 -*— *— k— ?— 
 
 ?% 
 
 PSEE=EEESE3EEEEE=EEE*E 
 
 ■j — t- 
 
 bless thou this pair ! 
 Chorus* f 
 
 @|El=l3b£; 
 
 — (S>- 
 
 1 — 
 
 -V 
 
 
 — &- 
 
 -0 — I — <&- 
 
 E!EEEE 
 
 -0- 
 
 : F 
 
 f All hail! All hail ! 
 
 H / fr i X -?-r 
 
 zdrfv 
 
 ~» — * g 
 
 Hy 
 
 22: 
 
 - me - nae 
 
 -ft— jSr- 
 
 ■» — w~ 
 
 us 
 
 /All hail ! All hail ! 
 
 Hy 
 
 - me - nae 
 
 us : 
 
 § 
 
 ?j?^-i =l-*?- y- 
 
 EE: 
 
 -0 — 0- 
 
 -v—v- 
 
 -&-±- 
 
 — 
 
 zz~cz 
 
 » — »-r-(S ; - 
 
 — m — w-r--cy 
 
 3EEp 
 
 -0- 
 
 / All hail!. 
 
 §^ |EJEElE£SE 
 
 -(2. 
 
 All hail ! 
 
 ■0- 
 
 -i 1- 
 
 Hy 
 
 - me - nae 
 
 X- 
 
 us! 
 
 ^zzfc 
 
 ] L "T" <*■ <*• <*■ 
 
 j fe-^4-J— - fe ±P=±pzz: 
 i_z_b :z±zz=tz tzzczzczzr: 
 
 <-«- <■«■ <■« 
 <•#- <■#- <■» 
 
 <r <r-0 — <0 
 
 <T0—+0 — <r-0 
 
 i-0- <J0- < ■_ 
 
 
 <■#- <♦■ <•#- 
 
 <r 0-< 0- 
 
 t: 
 
 iSE3B3 
 
 £==33 
 
 m^±M 
 
 
 -0-0 
 
 * — ;- 
 
 jmn 
 
 U !jl 
 
 *±^ 
 
 t '-• r 
 
 j -*=dEi 
 
 ::tz»:=j=i±z3 
 
 Ml! 
 
 - nl— I— - F -0-0— 0—f^ —l—l— M 
 
 ~ -j—m-\ H— --J-J 11
 
 NERO. 
 
 41 
 
 Allegro moderate. 
 Poppaea. 
 
 -i — 
 
 -*— ?- 
 
 tJIZZfclft 
 
 <> 
 
 -I— d S — N~£j5 k— — — - *h 
 
 iJ* »— ,-E 
 
 _3ir; 
 
 Crowned my dreams by love, 
 
 if ' ' t'Z^ — * * — y — 
 
 so near the Gods, from heav'n a - bove, I look 
 
 fe-<Z — " — * — »— r* — ' — it* ~ *~* 1— "z J ^~ -zh— ~i 
 
 -& » — *^* * £ ^ -£ £* * -i- — fr*- - " -*-~~4- — ' 
 
 
 
 IQ'i* — 3 * 
 
 5-g- 
 
 hl "iLZ^=: 
 
 B 
 
 
 
 -I h 
 
 -y- 
 
 -# — * 
 
 I- — 
 
 «. 
 
 
 on the world . 
 
 Too great the glitt' - ring crown resplend 
 
 ent upon my 
 
 :=^z==^z,: = -^z:^z:Hz: 
 _; j _i - =i jrr # _3_2_ 
 
 ggffi r— — 
 
 *5<- 
 
 1 — 
 
 ■■3-- 
 
 s — * 
 
 :i=q: 
 
 _T 
 
 
 
 5 
 
 <©-- 
 
 
 ■<a- 
 
 ; r * 
 
 — £ 
 
 will 
 
 
 HH— ++ 
 
 a world de - pend 
 
 
 j. — ; — | — y 
 
 — y— y— - — 
 
 J= 
 
 yz::y 
 
 
 ent 
 
 up-on my will. 
 
 fc 
 
 y— t- — -ff- — 
 :!=EEz£z: 
 
 — *— 0— i -t$Z— +■— --,—* - 
 
 
 i2_*ji i * 
 
 -r 

 
 42 
 
 NERO. 
 
 ^#_« 
 
 
 up- on 
 
 -i— ■ 
 -fc? 
 
 '■0—0-0-*- 
 
 — -J- 
 
 r-__*v 
 
 -I -K- 
 
 — i — 
 
 ■-# — 
 
 
 — i — - 
 
 0— 
 
 
 # *_ 
 
 my will, a world de - pend - ent, yes, a wond de • 
 
 &3=|== 
 
 4 * 
 
 3T~ 
 
 r 
 
 
 - — _■ 1 * ~ —a— — -»— •— «z # z: -»— -*. — ■— » 
 » 5»- -#■ -0- -0- Z . . -0- -0- -* -m- 
 
 < 
 
 P 
 
 m=iE5Et=^m 
 
 *zz«z:*z:*; 
 
 -j — i — i — i — • 
 
 » — 0—0 — 
 
 -0 — 9 — * 0' 
 -0 — — 0' 
 
 5 
 
 -0 — 0- 
 
 £ 
 
 0*-0&-e*-0» 
 
 $s=& 
 
 itzzzfcz: 
 
 -^-0 0- 
 
 •S>- 
 
 ;ee 
 
 biz- 1 - 
 
 - pend - ent, death and life in 
 
 ~-wS- 
 
 0- 
 
 - a h 
 
 end - less whirl. 
 
 !:jz|iz 
 
 ■««- 
 
 £5E 
 
 vious quarrels, 
 
 =t=zzzfcJz£zzW 
 
 
 
 if men bean - ty's 
 
 ' 
 
 *-£#* — 
 
 t^zz^zz: 
 
 SSzzzii 
 
 F 
 
 «=» 
 
 C: 
 
 - #- 
 
 : y : 
 
 
 t-F 
 
 
 -Kt 
 
 reign 
 
 pro - claim ! 
 
 . # _JL. 
 
 ± -F= 
 
 Van - ish hate 
 
 :*z:*z^ 
 
 ^ = rE'-^i:z' 
 
 
 md en 
 
 /-*#— fc^- 1 - — «=zp: = zzzpr= 
 g=M«*af |S= Jzz zS=e=3=±z 
 
 ^ -0- 
 
 mf Z^ ===— p 
 
 :«?r±ztz 
 
 <>r~- 
 
 rjj 
 
 1 
 
 vions quarrels, 
 
 ■0- 
 
 t0j— -*e 
 
 ^ 
 
 -tZTtZZtZZ 
 
 -i 1 — 
 
 
 TJJ 
 
 JL 
 
 — W W W m r- W-- ; £- \ — 
 
 ::zzzzzTzzzizit ^rtz j — 
 
 &' 
 
 ipy 
 
 JZE 
 
 1
 
 NERO. 
 
 43 
 
 '6'ffy T [ tf 3 — *"rV ~^ — 1 
 
 "fr-*r 
 
 ^3 
 
 ffi. 
 
 
 / 
 
 'XT. 
 
 _L_ 
 
 5= 
 
 if men beau - ty's reign pro-claim ! it a - lone gains the lau - 
 
 -fa 
 
 r 
 
 J -# — »-TFj» — # a — — 0- 
 
 1 -\ ! 1 — 5 — 9 — 
 
 SS^S 
 
 
 mf 
 
 h 
 
 #_# m «: 
 
 »— »— *~*_ 
 
 ■J— a — F tf — -i 
 
 5»— r* — *~r 
 
 u*2: 1a. vf£. 
 
 -ff — P- 
 
 :^z.:zN: 
 
 -#_ 
 
 ,_£?- 
 
 ^=* 
 
 ^zE^EE^E^n^E 
 
 
 & 
 
 K-r~ft— * fr-3 — g 
 
 -9-»-F# — * — »— # -fr f-F 
 
 •iC— 
 
 rels, tli? lau - rels of im - mor 
 
 G~«»>^* m* ^-~~~ 0~- 
 
 
 
 #^ *^= 
 
 MFFJ=^==t=J=t= 
 
 .bTt_ 
 
 tal fame, a - lone can gain the lau - - 
 
 # 1 ? *_^" *_ 
 
 9 a 
 
 I 
 
 #i=. » — «*==, * — 0*' — - 
 
 * — h» — » — V* — » — 
 
 :; 
 
 *~L*zr"¥z:: 
 
 t3t lI^=P — 
 
 = E=SE 
 
 £= 
 
 
 ft*rf: 
 
 • ■>- 
 
 ~§ i — :r_f r : — * — »-+>— — N- 1 z: ; r 
 
 
 
 
 jczz?l-fc^c_: 
 
 rels of im - mor - tal fame, 
 
 yea, gain the laurels, the Liu - rels of im 
 
 i — *-2#*Sr # — n '< — 
 
 ^^||EE;fe|iiEj|^pE J ;|s 
 
 fer«=p^g 
 
 mor - tal fame. 
 
 ritard. 
 
 Ah! 
 
 3/=*f, 
 
 Ps== 
 
 
 =t=rqgz: 
 
 :-gz : 
 
 — rjf_~ _h»-^pi-^i: 2 
 
 
 F-7 
 
 ^9 a tempo 
 
 "a Fzzl- F 
 
 ^ 
 
 -"&■-
 
 44 
 
 NERO. 
 
 animalo. 
 
 
 <*? — 
 
 ;, *j 
 
 k*. 
 
 =seee 
 
 :zp- 
 
 :"> 
 
 
 
 Ah! 
 
 
 _=z+L2Sz: 
 
 :^sr: 
 
 animato. 
 cresc. 
 
 
 
 jaz: 
 
 z=aa=fd 
 
 stringendo 
 
 r . j* k- » |7g .-J k-^ 
 
 
 e t. 
 
 5 2* »-» » 
 
 r±*e 
 
 _0-0 0*0 
 
 9 9 
 ■±10-0 0- 0- 
 
 -p» 
 
 — I— 
 
 -|— 
 
 -*=F 
 
 ^ 
 
 ?w/ stringendo. 
 
 cresc, 
 
 , 1T 
 
 -^ 
 
 j--faH- — 
 
 --"** 
 
 
 # ^ 
 
 %-* — 
 
 \--Za- 
 
 
 Hi: 
 
 
 
 as 
 
 
 gg-*^= 
 
 rifard. 
 
 — tci— - 
 
 -iS 1 
 
 Yes!. 
 
 -&- 
 
 
 .. z? _. 
 
 — [- 
 
 Tempo I. 
 
 ■• ; — i — # — ## — 
 
 ->— f— n — 
 
 Bending in the 
 
 
 
 
 ^VSi;— >• 
 
 4: 
 
 f 
 
 ±zzi=: 
 
 -Mi 
 
 
 
 
 
 
 
 
 w — 
 
 — 1?1Z_ 
 
 - 
 
 
 
 
 rifard. 
 
 Tempo I. 
 
 
 -i 
 
 -»*- 
 
 — iS — 
 
 :gff- 
 
 
 P 
 
 c -iEE 
 
 
 r 
 
 --« 
 
 ■#■ 
 
 1*
 
 NERO. 
 
 45 
 
 -rf — * — 0- 
 
 — y— — y- 
 
 
 „* 
 
 
 •*--•> 
 
 — r — ^ — - — «- 
 
 
 dust to me ap - peal 
 
 - ing, Lo, all the world be - fore me kneel 
 
 mg, 
 
 
 
 
 Ah! 
 
 I 
 
 P 
 
 
 I 
 
 
 >s?*~ 
 
 l=p 
 
 — h 
 
 
 su 
 
 preme up - on the throne, 
 
 
 
 -0- 
 i — 
 
 y 
 
 sa - preme up 
 
 
 - r - — u — y — i y- 
 
 Kzcs: 
 
 ^££ 
 
 v— - 
 
 -K-r 
 
 — 9 —0 
 
 
 9 
 
 -0—0—0-0- 
 
 -*—*—e—0.- 
 
 In» 
 
 / 
 
 ^2- 
 
 gig 
 
 E£ 
 
 3* 
 
 -«>- 
 
 -S- 
 
 tzrz 
 
 g 
 
 4= 
 
 i/9 ±9_0_ 
 -_. j | p- 
 
 -0-0 0—0 
 
 ah! 
 
 
 on 
 
 the throne ! I 
 
 its god - 
 
 dess, 
 
 a - lone, 
 
 # -i — uj — I 1 J L^i i , 
 
 -» -0 0- 
 
 — i— g — — IS'" ~* * * 
 * — *~*-0-0 ■• 0- 
 
 & 
 
 0-0 0— 
 
 00 VZjfZZ 
 
 * t »■_« 
 
 = / 
 
 P 
 
 H — -_ 
 
 :zst 
 
 
 Ek 
 
 -»o r-« 

 
 46 
 
 NERO. 
 
 animato. 
 
 W^ 
 
 
 -Jrjf-v 
 
 9 K —3—0 
 
 , I — ^=tf — 
 
 [V — 9 s V 
 
 »_ -rr 
 
 zzzp— p: 
 
 -«s>- 
 
 *-i *=£-- 
 
 
 a - lone, I its god-dess ! I a - lone, 
 
 I its god - dess a 
 
 V 
 
 5 ff * tt_0 L*> * Jl_ * U* « — — * * ' 
 
 — »-»— L*_ C«— 
 
 f animato. 
 
 9-0-00- 
 
 
 X 
 
 « 
 
 -*- * — -#- A- 
 
 9 
 
 1 r 
 
 C: F= 
 
 -iz=— :•=!— 
 
 F 
 
 ^ 
 
 *=^ 
 
 *=« 
 
 -«- 
 
 p^ 
 
 tpc 
 
 — # — 
 
 stringendo, 
 
 ^2. 
 
 5? 
 
 
 4^- 
 4= 
 
 lone, . 
 
 I its god - dess a - lone, 
 
 stringendo 
 
 rit. 
 
 r li 
 
 Rw- = *-F** 
 
 55 _u * * «- 
 
 a - 
 
 « £— J ^^-S i Pi-**— F»— #*—-# — ff5 - -B0 — 1f0-\-a0-£- -u-9— k — 
 
 £= &-* bg : ^ zz^e^j— pEzg= ( .zEgzz>-zEI?zz=E§^=z^ 
 
 r I I ! t I I ! 1 I L I 
 
 / 
 
 rit. 
 
 M. ^o- 
 
 u ) • jf> — r — r~ :rc.zz:c~ :#zi£ 
 
 
 r 
 
 «3E 
 
 JL 
 
 _i_*. 
 
 + 
 
 fet 
 
 
 lone. 
 
 n 21*. ^ jfL 
 
 -jm?* — 1 * -# - - 
 
 -rt-t- 
 
 
 •: h- 
 
 ff Allegro. 
 
 J_ 
 
 — 1-§# - 
 
 -*r»~^-? 
 
 r : - 
 
 IS: 
 
 &. JL -2. JL 
 
 9:|ipSz»- 
 
 g; 
 
 0—0- 
 
 — - # \- — 
 
 Vt—m—p 9—V-0 — — — [0 — — — 
 
 » — 
 
 -0- 
 
 
 1 _i_ lu H 1 — 
 
 : ez^ r* 
 
 iMf*~' 
 
 
 PI
 
 NERO. 
 
 47 
 
 Moderate assai. 
 
 
 m/" t-egaLo sempre 
 
 B^z 3 
 
 ± 
 
 -7- 
 
 Nero. 
 
 5 £2: 
 
 
 _!. *_ 
 
 *=*= 
 
 ._ (5? _ 
 
 Oh, ray fate how re - morse 
 
 less ! 
 
 
 
 
 i±=:£«^=t3t£ 
 
 . — i — 1 — 1- # fr_| — \~0 p — -0. 
 
 z\- 1 -4-* 1-0 — 
 
 y 
 
 p 
 
 §a=E£=s3=&3 
 
 ^=n=± 
 
 : <r— 2=f=5E=t== 
 
 jfc=g=S , iC r>i!!z=gEizEBJ: 
 
 -i? — ^— y » 
 
 :tzt^=U: 
 
 » — * #- 
 
 ■i i (~ 
 
 h^— b> r- 
 
 l — = 0- 
 
 Be - fore me grim - ly stand - eth 
 
 in ex - or 
 
 ble 
 
 g^ 1 — 0— 
 
 it-0* -w-0- 
 
 H 1-#- 
 
 Bid?-— ]j=w = £sTL ? j: 
 
 _^l"" : « 
 
 = ^^" 
 
 =^i= 
 
 
 
 
 ... 
 
 H— *-- 
 #• 
 
 ■*- 
 
 5 9f 
 
 0- 
 
 -0- 
 
 t 1 
 
 — (■-#■ 
 
 —r-0- 
 ■#■ 
 
 r -N 
 
 « *7 
 
 _ S * _ 
 
 — i — = — 
 — #■ 
 -*- 
 
 \ 
 
 __ 
 
 3 " 
 
 # 
 
 -1—L-. 
 
 «K 
 
 "3 ' 
 
 — y 
 
 
 -- 
 
 Hr-a »-= r— 
 
 f 
 
 death, 
 
 — i^. 
 
 5^ 
 
 -<? — 
 
 ~i — 
 -i — 
 
 : -4- 
 
 in ex - or 
 
 a - ble death! 
 
 ^.^ t00 ^ ^^ ^*» „^.*«" **^ ^"^^ _» ■,' 
 
 * 
 
 9E& i^zzKzzi: 
 
 *: 
 
 K 
 
 EEEEEz: 
 
 
 JP=ti 
 
 
 H^
 
 48 
 
 NERO. 
 
 ~.JQ. «_! « «_ 
 
 s=s= 
 
 *=ttrr: 
 
 Woe in me that the night's 
 
 — 1_ # u*- 
 
 ■ _ i 
 
 zczz 
 
 gloom - y sha 
 
 z=*=3: 
 
 U>-i #— 1 
 
 dow 
 
 L> 
 
 i;: 
 
 _l — _ tf — i — | — ,_f — r — i-# 1- -| — !-* — r _. — \-0 — i — , — . g — i 
 
 \tz\t— * 
 
 B3 
 
 3=J=3=zJ ZI L : ±=2z= b— ?— =1. 
 
 --*— « * 
 
 3=2: 
 
 1 
 
 & 
 
 ^^^^^ 
 
 fcfc|= 
 
 -I— 
 
 — f— *T- ' # f — +- — f * — « 
 
 glid 
 
 eth so near, . 
 
 so near . 
 
 t>-b i — j-^-S P-h— l-# 1 — P4-J **r^-» ^t^-* ^^—m 
 
 — I— I — 1-# T- — I # f—i — 1-# 
 
 tt*=t 
 
 ■* — 
 
 Birr?— H» * S = »- 
 
 ]2= £Ed=?EEu===E 
 
 *J~ 
 
 3=z* 
 
 ?-^ 
 
 -£— 9- 
 
 -?- --N-?- 
 
 vfcfenzifc: 
 
 £^:==fcj: 
 
 -• <S> 
 
 iiiiiiii^^ 
 
 to my morn 
 
 v?-b — Fh-^ 
 
 ing path. 
 
 Woe. 
 
 me, 
 
 ::-_q_nz3.z: : 
 
 -\-0 \ -0~- - j - y - # 1-d-*— \-±-0~ l-d-*- 
 
 Z± 
 
 
 
 * — 6- 
 
 :3ee!ee': 
 
 
 m 
 
 
 S2lfc=t 
 
 B 
 
 -0- 
 1 — 
 
 '.0. 
 
 :zt: 
 
 -0- 
 
 woe. 
 
 me 
 
 that . 
 
 the 
 
 t:\2- 
 
 
 — »■ 
 
 
 nisht with her 
 
 =t< 
 
 
 . N- 
 
 g^^^EEEEE|^ EEg^gEJEE^ g
 
 NERO. 
 
 49 
 
 iP 
 
 2=^: 
 
 #-T- 
 
 V~F : 
 
 ^e 
 
 p 
 
 —-?-—*- 
 
 -? r. b- 
 
 gloom - y sha - dows glid eth so in ar 
 
 my morn - ing 
 
 ^?_ -^ *^5! -^5 ^^ ^^ 
 
 fcfc=pil=: 1=t^i=:^i^^^^^=^= t fz=^= S ^^^z^E=^^=^| 
 
 aa, j 7=8=3 — j- 
 
 t^io-u — , — i — l, — i s: 
 
 -9& 
 
 S=2: 
 
 
 . ^ / >< 2_ 
 
 tzrc: 
 
 zfcz|= 
 
 H: 
 
 t=t 
 
 ::p: 
 
 .E: 
 
 
 path, 
 
 Woe. 
 
 me, 
 
 woe. 
 
 me, 
 
 # -?-0- 
 
 §fe=!5Ei3EE£ 
 
 
 -A = «- 
 
 
 3=1= 
 
 cr+r 
 
 ±z 
 
 :fc:f: 
 
 5:: 
 
 that 
 
 the 
 
 U 
 
 t*-—m- m — * — # 
 
 t 
 
 night with her 
 
 0- - 
 
 ====*=£= 
 
 gloom 
 
 v sha - dows 
 
 _ - # -«n— ^^^-— *^*— *- # — ^--H — >-» — -b ^ #- - ! — 
 
 -„ _ -^ — 
 
 ti ,i=s: 
 
 'X,' 
 
 — N- 
 
 SE^m^ 
 
 ^ 
 
 
 ♦ ^ 
 
 fZ" 
 
 I b 
 
 ^=Ei==fe[K 
 
 
 ! 
 
 glid 
 
 eth so near 
 
 my. 
 
 
 ^-fj^^jgr 
 
 S n. d ,i: =£ 
 
 mom - ing palh ! 
 
 0~h-0- 
 
 
 If 
 
 rs - s ^ «f ^ , 
 
 — Pv-^F 3 ©^*!*— - -^-n — — ^— y-j — — *— 7 1 u - xt& * \* 
 
 Jf# ^/ "IT* " * Sir
 
 50 
 
 NERO. 
 
 h:V 
 
 Moderate assai. 
 
 — N- 
 
 
 -s^ — S — K V — K - 
 
 
 O thou with mercy o'er-nowing, hear me when I humbly plead. Oer life's pathways thorny go - 
 
 ?;r6zz3 s_ q . 
 
 \9-o 
 
 *—S- 
 
 -# 9 
 
 
 =1 zh — 'z 
 — r* £* ■ 
 — ' «— • 
 
 -i- 
 
 
 -#- 
 
 -i — 
 
 --- 
 
 
 =t 
 
 
 -* 
 
 . .- — — 
 
 P 
 I 
 
 IzzkfeS^E? 
 
 — y — y- 
 
 * 
 
 -/ 
 
 aiiimato 
 
 
 - iug,thou,meLord,iu pi - ty lead! 
 
 -A 
 
 ft-'v— *-*>-— : 
 
 ■*-& 
 
 1? 
 
 
 -# — « — # — i— • 
 
 ," 
 
 aratmaio. 
 
 -#- ■•- 
 
 9 : s 
 
 
 =p± 
 
 d? 
 
 J— g «f— 8 
 
 -?-?- 
 
 -*== 
 "? 
 
 
 cfai 
 
 -# — »- 
 
 :n 
 
 : y= E F 
 
 -#_ # - 
 
 V — r- 
 
 
 :p: 
 
 :t=: 
 
 
 . l- 
 
 all im-pel - ling, cour - age give to hearts .... that fear !
 
 NERO. 
 
 51 
 
 poco stringendo. 
 
 — i — 
 
 near, 
 
 fefci 
 
 i 
 
 trzs: 
 
 
 
 > 
 /— 
 
 yes, that a new bright day is near!. 
 
 -0 - 
 
 M - 
 # 
 
 * 
 
 -0 — <• — — 
 
 I ~t~ P 
 
 y 
 
 r • r - 
 
 ** 
 
 ■*-•»— jj trV- 
 
 y- 
 
 -F-h- ?f i: 
 
 -0-y^ 
 
 - »- 
 E 
 
 s^rif 
 
 jjoco stringendo. 
 
 
 
 -I- 
 
 —I- 
 
 _ _* 0- 
 
 -0 0- 
 
 _^ u_ 
 
 -5-» 
 
 .0—0. 
 
 # «_ 
 
 %0-*-*— — *— *— «--g#— #-*#— *— «_#_q 
 
 l,E^= c .EEEF:fe=E££ESE3 
 «r LJ -UJ ™ J-J 
 
 Sfaz 
 
 
 a tempo. 
 
 -- N-- V 
 
 -3 — * -- *« — S — S — h S— N — ? - - 
 
 — # — # — — #-p* 
 
 :«_# 0— 3# # *. S_ 
 
 -^ • — ' 
 
 Oh, reveal, in truth resplendent, what so long my soul confessed ! 
 a tempo. 
 
 -0-0— 0~ *~ 
 
 T 
 
 
 
 'I I 
 
 ■^ — 
 
 — i ---I — i 1 — 
 
 fey— ^ 
 
 -I- 
 
 *= 
 
 -t- 
 
 1 
 ■i=M— •- 
 
 -0 
 
 &< 
 
 
 ritard. 
 
 fete 
 
 > — 1_ p_ 
 
 Ah!. 
 
 ritard. 
 
 
 :d2z=:#=#_t r#z ::£= 
 
 /■ 
 
 a tempo. 
 
 — v — k — s — s — e^ — * 
 
 '0 — * 0- 
 
 -0-90- 
 
 -*-$- 
 
 
 
 PP* 
 
 m 
 
 Let mo on thy earth re - splend 
 
 a tempo 
 
 ent 
 
 — -fc.
 
 52 
 
 NERO. 
 
 
 -0- 
 
 r- 
 
 -' — r-*-^ 
 
 
 ~-j 
 
 in his love on earth be blessed ! 
 
 Let me on thy earth re - splsnd 
 
 
 fc£ 
 
 poco stringendo. 
 
 -A- 
 
 ^y. — — ^_ _i — : —Ai^- ^ sr— jj Sj — S; — -A — l 
 
 — *-+ 
 
 
 -«■ ■&-• 
 
 ent, in his love, 
 
 poco stringendo. 
 
 on earth be blessed, 
 
 his love . 
 
 rilard. 
 
 
 Tempo I. 
 
 -9—7 
 
 on earth here be blessed ! 
 - Tempo I. 
 espr. ^ mmm ^ 
 
 Oh, let me on thy earth re - splend - ent 
 
 1 — 0—0— .^. 
 
 -j— ' — — (- ~^^ 
 
 t±^9-7=0^0^ 
 
 $.0*.00-jL--3L-''»-*fSr-r — 
 
 ' -0- -0* -€* -S- ' I 
 
 r v 1 
 
 [Pi 
 
 S^ -*L0 0^0 J_ 
 
 # » 
 
 1/ — h 

 
 NERO. 
 
 53 
 
 " P g — S — m . • 
 
 - ,—.j / S— 0—0 — 0—0 
 
 -*-'— g±ra— =rg=g=n 
 
 # 
 
 
 on earth in love be blessed ! 
 
 P_i2__$_z_ 
 
 -*— - 
 
 
 
 ____= ZA=^=ZipW\-£=A 
 
 ■0 — 09-0—0- 
 ■0 0— 0—0 ■ 
 
 *=g-i=zzL^=£-^=Er^: ~ ;___5__& 
 [==tj-zi____: — tj-*-* - r ± f dJ 
 
 y 
 
 +-•0-0- -0- 1 •♦- .*- -#- -#.!• 
 
 is 
 
 5^ 
 
 ** 
 
 c«Ti_________jrza:_ _pJ|_j^_J«____ »zz_rt__iz_i!_M-*±_t_e_^t-e: J 
 
 9 ] 1 | h ^-:^ L-Ft=t=^P^ ±t^=j^^b|z^=£±l 
 
 Moderate assai. 
 
 IZZ'V 5 — _ — 
 
 5EbEE-_^______ 
 
 Chrysa. 
 
 -*— 
 
 ;=3=^: 
 
 ?<!?- 
 
 Fa - ther in Heav - en, 
 
 i -&- 
 
 i i' 
 _ ■*■■_-?■ 
 
 0-0* *H- 
 
 -«- 
 
 8E___^_^___=^__^__|__^__^_^S^^I^__S_a^E__8 
 
 I I I I - I ' I -0- I I I I 
 
 J 4-J- 
 
 -»~ — 
 
 \(Z—ZZZ.Z\ 
 
 m > 
 
 ^)~zb r? 
 
 l___J9z_± 
 
 i— b — • — r — * — •_- 
 B__________z_3_E 
 
 __r 
 
 Fa 
 
 ther of mer 
 
 
 ^z_=r__±z-J: 
 
 x: 
 
 tlzM^ii^^: 
 
 J l 1 — \- v — b — y — £ — | ^ 
 
 -0 — 
 
 cy, in meek 
 
 ness bending I would plead ! Hear thou my 
 
 
 t =F — 
 
 -I- 
 
 -0 
 
 
 pxjxxxjxxjxq 
 
 -_?' 9 m*- 
 
 ''^zzzxjtzzzM : 
 
 i b r t 
 
 PS 
 
 izr_=__ 
 
 faxj_t: 
 
 x— frqzs: 
 
 i5x__t_.q__ 
 
 :# — c. — <srzz 
 
 .,20-0 — # . 
 
 xxc: 
 
 zzdr^zz^- =lf-?k?=r_- 
 
 _=__ 
 
 ._=tz__1__:. 
 
 prayer! Oh, guard my steps where'er my go - ing, O source of mcr-cy, ev - er flow-iug, 
 
 ^=._- ^p=fe g_-_P-g-_^---^^-^^ 
 
 m I 
 
 ?_.
 
 54 
 
 NERO. 
 
 
 :E3Er 
 
 =t 
 
 I— 
 
 
 leave 
 
 ^^ : |-g = - = _|-_-_-t: 
 
 not thy child with - out thy care. 
 
 Vindex. 
 
 
 ■~y- 
 
 fi — 
 
 
 9#. 
 
 =2z2- 
 
 ST' 
 
 1 
 
 «» — « 
 
 9 —0_ 
 
 i 
 
 — & 
 
 m 
 
 :&-&; 
 
 mp Who is then this God 
 
 3 
 
 of 
 
 ifca. Zg 
 
 "S* - 
 
 PP 
 
 fc 
 
 r 
 
 ^2= 
 
 -«: 
 
 :?=p: 
 
 -* — c~ p — «_p=- 
 
 *^^ 
 
 ^ 
 
 jfe= 
 
 11^ 
 
 
 V- 
 
 mer 
 
 S3?- 
 
 cy ? From whom then grief - be - la 
 
 I 
 P 
 
 
 K 
 
 
 
 den, dost 
 
 
 -F 
 
 
 -e> — 
 f— 
 
 — i. 
 -<©- 
 
 
 o 
 
 thou my 
 
 = — X— 
 
 com 
 
 -US'- 
 
 t=-P= 
 
 fort 
 
 
 
 
 
 P: 
 
 
 
 %$= ee 
 
 
 m 
 
 ..#_ 
 
 £: 
 
 -P"- 
 
 :p- 
 
 _. 2^_^ 
 
 Fa 
 
 tber, 
 
 tbou in 
 
 Heav 
 
 « 1 — : 
 
 en! 
 
 — vzr. 
 
 -fg 
 
 bor 
 
 :p: 
 
 row, 
 
 pray 
 
 :p: 
 
 to 
 
 'p: 
 
 
 v— H 
 
 ■ 
 
 :z2=z2gii: 
 
 E-^, 
 
 
 
 Heav - en! Who sweet -ens all thy 
 
 _1 
 
 
 ;i: 
 
 
 
 i 
 
 pp 
 
 g-: 
 
 -r — 
 
 ±±rj2—jztip: p= # -p-^=b.p = p = rf-.r^- E^zt: E pi#zt>t=t«^-p=P=^>^ 
 
 ^ 
 
 
 ^ 
 
 1^
 
 NERO. 
 
 55 
 
 
 Chbysa. 
 
 :3E 
 
 3 
 
 
 
 -y— f — !-- 
 
 Source thou of 
 
 :f=£=i: 
 
 :f— y— (:: 
 
 
 sor 
 
 row ? Who iaith . . . bath giv'n, Strong in a brighter inor - row 
 
 il 
 
 fe 
 
 
 :^=: 
 
 -«?— ■ 
 
 
 p: 
 
 
 4?-- 
 
 Z52Z 
 
 !?. 
 
 zzg: 
 
 f— 
 
 ' 1 
 
 :■ 1 
 
 
 s!j> 
 
 £*>V j^* 
 
 fcilfe 
 
 5_— a: 
 
 
 S- 
 
 -F- 
 
 :|z=: 
 
 _«_i 
 
 
 i 
 
 mer 
 
 cy 
 
 ev 
 
 er flow 
 
 mg ! . . 
 
 ')■ -' 
 
 :t: 
 
 lnm ing thy 
 
 soul, 
 
 
 O 
 
 
 m 
 
 rnai 
 
 den?. 
 
 
 *9 n— &-± 1- —H- 
 
 
 :b£ 
 
 2 
 
 r=5<-=— z?: 
 
 
 - *gg — 
 
 -J— ^5/ 6- 
 
 -iC — 
 
 I 
 
 -ri_a_' — f— I ^^em 
 
 :#=f: 
 
 -«- 
 
 T>^- 
 
 
 ^ 
 
 Moderate assai. 
 
 1 
 
 ClIRYSA. 
 
 JL+ r 
 
 N N iS — Ps — Pv - fx -H 
 
 
 2.B4 
 
 7 * -j-# # #-v , ,- 5 
 
 VlNDEX. 
 
 O love - ly dream take not thy flight ! 
 
 
 :E=i 
 
 .«_• 
 
 -# — « 
 
 *— *- 
 
 I . m «_". m r 
 
 #_: 
 
 .U y - 
 
 )/ — 1/ — 
 
 O love 
 
 ]y dream, 
 
 O stay take not thy flight, Lin - ger 
 
 
 ^ 
 
 5»#v» #» : 
 
 ,— #— --j- 
 
 -r < 
 
 ' — #-• 
 
 ± 
 
 _ m-'~ — 0-, -N — 
 
 
 < 
 
 rsr: 
 
 < 
 
 
 ~g
 
 56 
 
 NERO. 
 
 ^ : -^=^ = ^^--=^ ± = R = g=§=E ==— 
 
 
 Lin-ger, lin - ger, 
 
 iEB^ 
 
 3= 
 
 -»- 
 "i — 
 
 
 Sfe^: 
 
 hour. 
 
 2=! 
 
 lin-ger, moments sweet, 
 
 un - blight - eJ ! 
 
 P 
 
 Ah!. 
 
 to 
 
 :zlnf- 
 
 : E=:p 
 
 so sun - ny and so bright ! 
 
 Thou lov'st 
 
 me, O 
 
 fcfc 
 
 -0 — 
 
 ¥=^ 
 
 :-b— *-- — =?-* 
 
 
 ^- • g e 
 
 — # — I — #_• #— #- 
 
 :p 
 
 # « — I 1 # 
 
 
 5- . ^*- 
 
 TT? 
 
 ^ 
 
 -S 1 
 
 ^E££ 
 
 :J==p 
 
 -#-- 
 
 J 
 
 - -# — P-s— *— #- 
 * i v - — *■ 
 
 E 
 
 « 
 
 Se 
 
 love 
 
 thee, 
 
 with thee u 
 
 ni 
 
 :p 
 
 — — . 
 
 tJ=Uzzx: 
 
 ted ! O mo - ment of rap - ture, how 
 
 heaven - ly glo - ry ! from her own lipi 
 
 the 
 
 won 
 
 d'rous sto 
 
 rj! 
 
 •0- -£- — «i — ■— 
 
 -•-r+rj - » 0~'—\A — , 1= (■ 
 
 joy 
 
 ous thy sway! With thee let me pass 
 
 iprzz; 
 
 BE 
 
 :t.t— 
 
 U i P -pi- 
 
 + 
 
 in love a - way ! 
 
 — I — 
 
 "t" 
 
 4- 
 
 S 
 
 Liv - ing and dy - ing for thee ! . . Tho u rlrpam 
 
 of
 
 NERO. 
 
 57 
 
 
 -*- 
 
 ^d: 
 
 rtffczfc*: 
 
 0* 
 
 r ' — r I 
 
 Bc'rzzl :: 
 zzfarzzz 
 
 let me pass 
 
 -#- 
 
 a - way. 
 
 Do uot fly, 
 
 V—V—tf—tr 
 
 -izrrl'- 
 
 .U=p=c_ 
 
 1- 
 
 H H 
 
 -W — /- 
 
 do not fly, 
 
 hour 
 
 zEEES 
 
 light, oh, take thou not thy flight, uot thy flight. Linger long hour 
 
 un - 
 
 eg? ._| : 
 
 \VHzzj^z 
 
 =t 
 
 s 
 
 ■4 
 
 i 1- 
 
 JL 
 ■O- 
 
 -0 
 
 •* 
 
 nip 
 
 -zz£=zz=zzE'EE-=_^?=:= 54 
 
 
 ^ JJ *** *** ** 
 
 fer^: 
 
 •EzzzzzEEL : !^zzzEEz^=zzz:E 
 
 =P 
 
 i^ 
 
 ^ 
 
 \r- 
 
 v— 
 
 :i2# _ « #_7_jx_ 
 
 i^-=tf 
 
 " *— *H ~ 
 
 » — E 
 
 0—0- 
 
 Z-fzb — 
 
 • • • so u n - blight - ed ! 
 
 Let me pass, 
 
 V— *— '- 
 
 • fi w'- — 1/ 
 
 — b— b— F — P— 
 let me pass 
 
 i=|zzzz= 
 
 blight 
 
 ed ! Let me live, 
 
 let mc live 
 
 with 
 
 -t- 
 
 :E 
 
 with thee 
 
 EE 
 
 zfczz: 
 
 thee 
 
 u - 
 
 _l- 
 
 ifezizz: -zzzt»zz 
 
 #_• 
 
 ' 
 
 0* 
 
 — Ni-H 
 
 
 zz»ziz~s 
 
 ^0-'-0- 
 
 * 0* 
 
 J_ 
 
 
 <y — 0- 
 
 
 
 -=I=F 
 
 *— zz_?zz: 
 
 4.- -^^-^^^^--•-H 
 
 wy> 
 
 0* 0* 
 
 ^JEjzzz 
 
 ■9--0--Q- ' 
 
 .0-0-0 . 
 * ?-0- 
 
 ■£■ ■*- ' -=--=--3- 
 
 •>m0-' a*-* -,-. 0-0-0-* 
 
 • _JZ «_«_«_• 
 
 r-1- 
 
 -!«- 
 
 >* 
 
 2" 
 
 'W~ 
 
 :?#zz#_-_vz: 
 
 ivz: jzzzzizz: 
 
 F=5=F= 
 
 *. Z Z?£ # * *- 
 
 V--I 
 
 -<s<- 
 
 V— / — ^ p : 
 
 ^^Hl 
 
 ted. love - ly dream, love - ly dream, 
 
 *-W<2 
 
 — <? 
 
 r 
 
 — 0—0 — 0- 
 
 — I ; V — V— V-bh 
 
 WZZZ 
 
 -b 1 ¥- 
 
 With thee, O 
 
 -* Wfz 
 
 - m 
 
 ted, With thee 
 
 let. 
 
 mepassa-way, with theo 
 
 l ■ » , I I K^^f ?<_ »* ** *» Czrl 
 
 5-z;tz ~ ?* ~ z»~ • — m - :-zvzr # z-z^ . : # . " viz?. ~~~ g — » — H* ~f i 
 
 zzzzsi-z*-. ' .'zSz'Tiz-.zziSzJJ! i .z} :•: , *7*_-_^zz# ) zzz:zzz; H - Jas!^ 
 0.' * ^.*.. i>n# .. V "^ 
 
 0+ * * 0* p 
 
 nrr 
 
 & 
 
 
 
 v 
 
 
 tzzrzzt:
 
 58 
 
 NERO. 
 
 ritard. 
 
 
 
 -<5>- 
 
 "i — 
 
 .-± 
 
 :t=i 
 
 * — «■ 
 
 let me pass a - way, 
 
 let me pass 
 
 
 .0 a. 
 
 
 way! . 
 
 a 
 
 let me pass a - way, 
 
 let me pass a - way! 
 
 |__(_h A—V^ J=±-L-0 - «-f-+— 
 
 ■0- — #- - -g-,-0- . - •- . — • — 
 
 IF • T 
 
 9 +-0-*4- 
 
 -9-r 
 
 -0—0 0-0 
 
 M- 
 
 -#*- 
 
 >* 
 
 u " — i 
 
 \ -u<-£- 
 
 ritard. . 
 3 _ 3 
 
 /T\ 
 
 £= 
 
 *T\ 
 
 ^1 
 
 
 i 
 
 .0*tl— CIE±= \ yr w*?-0-0-0-» - . 
 
 -0-0--0-'-0-'-0' 
 
 l r 0~7"0Z' ' 0' 
 
 0_0_9. 
 
 .0-0-0 0- 
 
 • 0' 
 -0-i-0\ 
 
 
 /7\ 
 -i5> - 
 
 Epicuaeis. 
 
 :i^I 
 
 RT3= 
 
 -5 Js IS ! 
 
 Moderate. 
 
 :z|=z 
 
 -0- -0- -0- " 
 
 Oh, sleep my child, 
 
 fas=£=c 
 
 * — * — 
 
 free from all sor - row, 
 
 
 §ss= 
 
 -i- » — p— -»- *¥ — 
 
 tc: 
 
 -g- 
 
 >=2=t5^^3 
 
 L_B J<_ 
 
 ■0- s 
 
 1 — 0—F- 
 
 *^*5 
 
 Hb±S^+: 
 
 iii 
 
 , — # _ 
 
 thy moth - er 
 
 r»rfc-U=, 
 
 :S— — 
 
 b -.' * 
 
 
 v 7 > 
 
 
 * # 
 
 .#» ; 
 
 5=3 
 
 -—&- 
 
 wakes ! 
 
 JL 
 
 --i—0, 
 
 M 
 
 ■f- 
 
 — N h Ss-L'IZJ 
 
 Oh, sweet - ly sleep 
 
 r 1« 
 
 
 
 
 .% 
 
 ■0- s 
 
 ■«■ N 
 
 "*"» S 
 
 f- N 
 
 -*■ s 
 
 fl S 
 
 Pi? * 
 
 . — _ J . 
 
 '6"J 1 — #ZjT~ 
 "— — * — 
 
 • ' 
 
 * . m 
 
 r^-l— *-, — 
 
 i - *! ~» — w~~ 
 
 
 :-' *-*-:
 
 NERO. 
 
 59 
 
 i&Z* 
 
 ! _ N --t— i I — -t ^ 
 
 
 
 
 
 L 
 
 u 
 
 £ee 
 
 i 
 
 uu - til to - mor - row 
 
 the 
 
 sun - light breaks ! 
 
 — 0- 
 
 « v _ - 0- 
 
 1 T* 
 
 
 
 -I — »— „- 
 
 — 7- 
 
 h — 9 - - 
 
 -> 
 
 "7% 
 
 r _-fe#_ 
 ^^zSlZZZZZM 
 
 -'— ^— I#^ 
 
 I 
 
 ClIRYSA. 
 
 ■U-" 
 
 
 u<~ 
 
 -* 
 
 ^EEEp: 
 
 :*: 
 
 And our souls 
 
 m^m 
 
 to 
 
 star - ry gold - en 
 
 realms to 
 
 -* S- 
 
 geth 
 
 : 0- 
 
 - er 
 
 .0 
 0— 
 
 
 ~-\t-t -i 
 
 '■PTK 
 
 .0 ._ 
 * 
 
 0. 
 
 V 
 
 — > 
 
 2fc 
 
 ** 
 
 ZTI» 1 _ 7 .b K-!^ 5— *f — ■■ * *! ^* V -»_^fc. -ft 
 
 ■tr 
 
 — #- 
 
 ■_ — ~ 
 
 .0- 
 
 ■tr 
 
 «_ 
 
 r 
 
 E3L*==i 
 
 =»=£ 
 
 _-«_ 
 
 
 — f — **- H-— F 
 
 took their flight, 
 
 And in dreams 
 
 . 5 „"_ * 
 
 a: p — 
 
 
 jS 
 
 8 
 
 s _ 
 
 
 r 
 
 9 
 
 
 
 # 
 
 
 V- 
 
 —l» » — : 
 
 slum - ber hold - en 
 
 . 
 
 
 
 life 
 
 — K 
 
 
 ^_ — *- 
 
 .7_ L> 
 
 \r 
 
 §=^I^ 
 
 £td? 
 
 
 
 p. 
 
 :_=r--rP— f-bb^=z=ifc=d 
 
 came tl'e 
 
 blis 
 
 And our souls 
 
 to 
 
 Epicharis. 
 
 m 
 
 m 
 
 : K5_.#. 
 
 -# 
 
 - 
 
 U 5 , 
 
 ful rest of night! 
 
 # r TT # 
 
 r==EJ — t- 
 
 
 And_ 
 
 -#- 
 
 czz 
 
 » — 
 
 F= 
 p 
 
 our 
 
 souls to 
 
 r 
 
 :E 
 
 
 -cr-'-sr^- ± 
 
 : S3 
 
 — N-2
 
 60 
 
 NERO. 
 
 
 star - ry gold 
 
 0— -f— f — -0 — — » — — Z&IZZ. 
 
 u— F * — - — Vt— : &— & — b> — £ = £— F z ==::: - =: — j + 
 
 realms to - geth - er took their flight, 
 
 & — 
 
 en 
 
 7 — **- a«- 
 
 -0- 
 
 ^=* 
 
 
 e==3-i=; 
 
 star 
 
 IT 
 
 gold - en realms to 
 
 ife 
 
 r =h= 
 
 ■*- 
 
 ii-Efe 
 
 
 
 -^ I- 
 
 geth 
 
 er 
 
 took their flight, 
 
 :E= 
 
 =r=^- 
 
 r 
 
 E*==S==d 
 
 ^ 
 
 :ir-— r^r^ 
 
 --?— 
 
 -*— <-- 
 
 —t— 
 
 fegfe!=z=g=:* 
 
 y— f- 
 
 r 
 
 ■! y— L - 
 
 — ft — ft- 
 
 — N Ps Pv 
 
 Aud in drdams 
 
 slum - ber bold 
 
 en 
 
 came the bliss-ful rest of 
 
 SEEEEE3ESEB 
 
 -I 0. —0 
 
 ~-$0 &0 
 
 :1- 
 
 =t 
 
 And 
 
 
 10 
 
 dreams 
 
 slum - ber hold - en 
 
 _ i_zEjat: 
 
 came the 
 
 bliss 
 
 3= 
 
 ful 
 
 
 -b. ± 
 
 fli=t= 
 
 b* 
 
 — # - 
 
 
 z:2 _ 
 
 p= 
 
 -^-t- '— hT= T= 
 
 --mr 
 
 -7-t—T— g-7- 
 
 -"«■« 1- 
 
 EF=iE 
 
 * *7 
 
 tr <^u * «f 
 
 
 
 b> 
 
 U 
 
 lii^i 
 
 — y- 
 
 -0 
 
 -0-zz-az 
 
 :£Ebtrz 
 
 K— 1 
 
 nicrht. 
 
 Oh, slum -ber sweet, 
 
 J * 
 
 free from all 
 
 n- 
 
 =t=: 
 
 E?E£E=: 
 
 -«&- 
 
 2 N- 
 
 — 1 
 
 =t 
 
 -N — ~i 
 — I * 
 
 N — 
 
 
 rest 
 
 of night ! 
 
 Oh, slum - ber sweet, 
 
 free from all sor - row, 
 
 :!*: 
 
 ■4 
 
 /> 
 
 
 <» 
 
 :*•_- 
 
 3: 
 
 5 
 
 §ife=^ 
 
 -1 1— — » ! 
 
 
 r=»- 
 
 # — 
 
 
 "** — > :
 
 NERO. 
 
 61 
 
 --■&=*■- 
 
 sor 
 
 ;^;S^* 
 
 -fl— h 
 
 fef= 
 
 j # 
 
 P=3S= 
 
 ■# — # - 
 thy moth - er 
 
 « — 
 
 row, the moth - er 
 
 wakes, 
 
 -0 
 
 | | 
 
 -y — y — y — 
 
 Oh, slumber 
 
 :pr 
 
 F- 
 
 - — r 
 
 •wakes ! 
 
 Ht 
 
 
 
 =t 
 
 y?- 
 
 Oh, slum -ber sweet, 
 
 
 
 — P y * 1 **" — 9 r_ — ==B '— -» — i -*— > 
 
 c — »_ 
 
 S^ 
 
 » 
 
 KF?= 
 
 a — 2 1 — 0- 
 
 —9 * 
 
 za~. 
 
 -c 
 
 -I— 
 
 V- 
 
 mm 
 
 sweet, 
 
 tm - til to - mor - - row the sun - light wakes ! 
 
 :trk——z:r—— — :* 
 
 3 
 
 un - til to - mor - row 
 
 r- 
 
 -0- 
 
 :t?2-: 
 
 :&_ 
 
 the sun - light wakes! 
 
 
 m^l 
 
 I 
 
 3= 
 
 
 
 
 :t : 
 
 J ,_ 
 
 £= 
 
 I v \? # __L ^^ 9 i ^ # II ^" y L 5 I E. 
 
 = Sfc: 
 
 -3- 
 
 *= 
 
 
 1 — y — y- 
 
 -# — 
 i — 
 -y— 
 
 Oh, slum -ber 
 
 m 
 
 : LUid 
 
 --?- 
 
 =fc 
 
 
 >c — 
 
 Oh, sleep my child, 
 
 -*•- 
 
 
 
 b*" 
 
 b- 
 
 :-*- 
 V 
 
 b-^ 
 
 
 
 <): ^^ 
 
 £&b=£&b: 
 
 ■2^" 
 
 l — — 3-p »- Fc-h » - 
 
 ,4?- 
 
 't 
 
 ■O- 
 
 
 S. 
 
 •»-
 
 62 
 
 NERO. 
 
 * 
 
 fel^S 
 
 m 
 
 =ir: 
 
 :i-z 
 
 sweet, , 
 
 te 
 
 4Bi 
 
 ,JjLk_ 4 
 
 3 & 
 
 -4- 
 
 H 
 
 ■t 
 
 m 
 
 n< 
 
 6t- 
 
 =—=^--^-*- — #— 
 
 I 
 Pi 
 
 g^fe^ 
 
 E3E 
 
 — *— 
 
 iy? 
 
 — « — 
 
 ■(-- 
 
 — -— - 
 
 -V 
 
 '30' 
 
 — T 
 
 t$E- 
 
 -0 a — *- 
 
 1 — 
 
 -<2- 
 
 -y — y 
 
 Oh, slum - ber sweet. 
 
 m 
 
 T=t 
 
 ^ 
 
 SkE^E^E^ 
 
 —<©<—- 
 
 Oh, sleep my child, 
 
 tjfc: 
 
 un 
 
 — 1_ 
 
 — t- 
 
 :d= 
 
 :b:fc 
 
 £S* 
 
 
 •--»»- 
 
 |e 
 
 til 
 
 i=n± 
 
 to 
 
 mor 
 
 
 
 
 
 —a— 
 
 z±zzz 
 •0- 
 
 HH 
 
 » — t a — r- — h # — i f — r — tzzzz* — ' 3 
 
 £—9. ~fL ZvZZXZZZZ-.—€,Z^l Z^ZZ ] ZZZZr—0—jZZZ3 
 
 &=. 
 
 jB^ 
 
 un 
 
 L l — 
 til 
 
 (5> — 
 
 
 *?e-^ 
 
 the 
 
 sun 
 
 light 
 
 wakes ! 
 
 
 
 ]] 
 
 - row the sun 
 
 :*6-i 
 
 it-fcrrP - — ' =1 
 
 light wakes ! . 
 _ I ^ 
 
 » L» tf L€__ # 1 — 2 j IJ 
 
 tw. * -fi- & f-_ n ♦-3 > - b^" 
 
 # 
 
 £!z: 
 
 ^e^^e^^e^^Hi^ 
 
 I]
 
 NERO. 
 
 63 
 
 Nero. 
 
 Andante. 
 
 -«t - , — -<• — +* — 
 
 ■= -*# \0- 
 
 I 1— <b-2- 9 — i H 1 1 *- 
 
 S-3-S gZ y P_ 3—y 
 
 li on, . , 
 
 *~ — -*— 
 
 <T0 <T0- 
 
 <T0 **- 
 
 -k0 — <r0- 
 
 +* — -<■#- 
 
 <T0 «• ±0- 
 
 <T0 +0 L <T0- 
 
 ■ » 
 
 4i- 
 
 m^z 
 
 :$Sz 
 
 It 
 
 <# <■£■ '-5- <-* 
 -Tf- ^ jjdttg: 
 ~T* 1 I -J=P 
 
 
 ££ 
 ££ 
 
 — k#- 
 
 i - li 
 
 I 
 <j 
 
 ou 
 
 ZIT* Tt# ZZ 1* TI*" 
 
 * m Y^m "*" \"^0~ 
 
 — *# '- *# <0 *-^0 - 
 
 --<»- 
 
 * 
 
 -<0 
 
 <-0- 
 ■k-0- 
 
 T* 
 
 :!!=. 
 
 <-0- 
 
 <T0- 
 
 I 
 
 zc: 
 
 Thou 
 
 
 
 
 
 
 #_ 
 
 
 0- 
 
 
 -i~ 
 
 by the Gods, . . yea, by the Gods up - rear'd in pride 
 
 Etes* 
 
 m 
 
 drib 
 
 «= 
 
 r^tzj: 
 
 -i — 
 
 
 3= 
 
 -0- 
 0" 
 
 -I 
 
 -0- 
 -0- 
 
 -0- 
 
 -0- 
 
 -0- 
 
 -0- 
 
 -0- 
 -0- 
 
 -0- 
 T" 
 
 I: 
 
 PS- 
 
 0- 
 ~0 
 
 :s=: 
 
 d- 
 
 4«=q 
 <0 — 
 
 *T0 
 
 *0 1 
 
 sf 
 
 J 
 
 I 1 H *-# 1 
 
 W— v — ' — 'f— 
 
 Thy glow.... reddens the 
 
 M 
 
 fez# 
 
 
 r_ ;J# 
 
 
 heaven 
 
 ly dome, 
 
 In it 
 
 t_«- 
 
 p_ — L_. <. — : 1 0** _ — a — 
 
 t 
 
 l=^ — ,# — » 1 tr — i 
 
 3&fez-z^L :
 
 64 
 
 NERO. 
 
 haugh - 
 
 .&: 
 
 
 -/— 
 
 ty Rome, 
 
 fez=E:g-?=E= 
 
 v — i^ 
 
 -y — ix-- 1 — ;- 
 
 <9 
 
 Like I 
 
 li - on, lite I - li - on ! Thy 
 
 pir-*- 
 
 -^"T 
 
 5 
 
 T&- 
 
 *3 — A<* 1- 
 
 ,— « »-" - 5 7-'« *^* K*~ 
 
 *=fc=± 
 
 f 5 ■»- -- «i_ (_5_j#- <_■*•__ <# 
 
 C||g:» — a - «F-s 1 %~A— F-tt-s'F-s H"5^-f ~h— ?x # » — =j« J 
 
 F 
 
 ^ 
 
 
 :-j a 
 
 :& 
 
 t — r 
 
 
 z tf-r— g =g 
 
 — y — y- 
 — g— g- 
 
 £=* 
 
 -y- — b- 
 
 
 S 
 
 walls on which glo - ri - ous bat - ties were fought. 
 
 -ft <9 *» 
 
 i* 
 
 And th' a - 
 
 4* 
 
 :« 
 
 mf 
 
 £±=—£==2: 
 
 zfc!=fc=zg=5 
 
 veng - ing wrath of the Gods set at nanght, ah ! 
 
 
 They have fal 
 
 trr*f — *9 — <» r**" 
 +M — -«■» — «» *»- 
 
 +* — <w-- 
 
 *» — 
 
 — I* — 
 
 +t- ij — <-* — «* f-.*-* 
 
 1 
 
 T 
 
 --iw- 
 
 4* 
 
 
 */• 
 
 -»- 
 
 r 
 
 £ 
 
 
 :t^:=t 
 
 
 . m/> 
 
 =t=t=f=±t:ffizz£ 
 
 ^; 
 
 £w 
 
 33 - J — =M=P 
 
 - len, they have fal 
 
 len, 
 
 
 zfcc 
 
 -v- 
 •v- 
 
 if-fi* 
 
 ->— 
 
 -y- 
 
 -f- 
 
 :£±5=: 
 ■y — F— 
 
 « — fe — | 
 
 t- -k-y— T 
 
 And on - ly thy ruins and graves of the 
 
 4- 
 
 _^ ^ _. m — 
 
 Sat 
 
 3=± 
 
 gfgi 
 
 -tft 
 
 fei^ 
 
 
 n-J- 
 
 * 
 
 «*" 
 
 c 3e 
 
 i9- 
 
 <■*■ 
 
 4^: 
 
 F 
 
 l'=& 
 
 -4- 
 
 ^ii^
 
 NERO. 
 
 65 
 
 dead, 
 
 
 The graves of thy fal - len he 
 
 o 
 
 
 
 
 m/ - 
 
 
 ==hj 
 
 -d==,::r=; 
 
 ^I^EE=i 
 
 •- 
 
 roes 
 
 g» — » — 
 
 -r— ^- 3 
 
 .J 
 
 -< 
 
 -9 
 
 £ 
 
 4* 
 
 
 
 
 re - mam 
 
 to 
 
 tell. 
 
 SH- 
 
 :£ 
 
 of 
 
 for 
 
 dtfc 
 
 3lZ 
 
 ^^« 
 
 mer 
 
 gran 
 
 deur fled. 
 
 I 
 
 Choeus op Gallic Legions. 
 Tenor. 
 
 EZ!--gEi-^d=^ 
 
 •ptL*= ' 
 
 He sang so much, so 
 
 Bass. 
 
 £4^=== 
 
 — J 4- 
 
 ifctzt 
 
 :t=rfc 
 
 t-=d — i- — 
 
 He sang so much, so 
 
 4- 
 
 J— J- 
 
 • ): ^~J— J-4-J — I 
 
 i i i 
 
 2 
 
 &. 
 
 
 ■-1- 
 
 -•- 
 
 -# 
 
 -»- 
 
 r 
 
 -# — 
 
 r 
 
 
 ._l 
 
 i * f f
 
 m 
 
 NERO. 
 
 — ,— * 1 — , 
 
 a — -[—0 — 
 
 
 
 9 
 
 L - 5- 
 
 
 -i — 
 
 *_4_ 
 
 itztip: 
 
 -> « 
 
 — 1 1 
 
 
 =f=i= 
 
 w — *< — 
 
 c f r c 
 
 ==££^=£=53= 
 
 
 =t= 
 
 ^ 
 
 
 much did Cse - sar, Till his song a - wak - ened the Gal - lie bird, yes he sang so 
 
 4. 
 
 
 -I— 
 
 -* — * — r~ — * — t~ 
 * — ^ — ? -F -^ — £ — 5- 
 
 I N_ _J_ 
 
 He* 
 
 4 d—4-- 
 
 
 &. 
 
 
 T r r + £ 
 
 
 #=*= 
 
 ££=£=: 
 
 .# 
 
 4- 
 
 .#- T ■#- ■#- 
 I I i I 
 
 
 
 -l — 
 -i — 
 
 i - i 
 
 loud, so 
 
 -#- 
 I: 
 
 -4— 
 
 -m — 
 
 :E= 
 
 m 
 
 
 
 =*= 
 
 
 loud did 
 
 Cse 
 
 i 
 
 sar 
 
 3 J ,.-#4L--* * 
 
 9* 
 
 -i — 
 
 S 
 
 S: 
 
 — >- 
 
 -»-■ 
 
 #- 
 -P- 
 
 0_ 
 
 — *- 
 
 z$z 
 
 -#- 
 -•- 
 
 -H- 
 
 
 till round him our Vin - dex his 
 
 0- 
 
 -0- 
 
 X f 
 
 T ♦ 
 
 T ♦ 
 
 i 
 
 r 
 
 Gal - li - ans called, He ran so well, 
 
 I IN I I i 
 
 m 
 
 
 
 :Ur-f 
 
 
 -0- 
 -i — 
 
 e£_ 
 
 E=EE:EE=E 
 
 
 *•=# 
 
 Cse - sar, 
 
 h—t- 
 
 EEEEEEEE 
 
 the 
 
 t 
 
 i i i i 
 
 ■0 — I 
 
 £ — v — 5 — e— j 
 
 p. 
 
 ^:3E==3 
 
 — #- 
 
 ^ 
 
 *=! 
 
 r 
 
 fI-st 
 
 
 #- 
 -»- 
 
 
 
 £ U
 
 NERO. 
 
 67 
 
 -v — \/ — - v — ^— L - 1— — — v — f>- 
 
 sar, but far fas-ter fol - low'd him Galba, the 
 
 =:: F ^_E=E£= -fc= 
 but far 
 
 bold, 
 
 fas 
 
 SPF 
 
 
 -,--# — # — #— # — r -#- 
 -t-v — ti> — b— b>— F-F- 
 
 * 
 
 
 
 ;l 
 
 =t 
 
 -* 
 
 =t 
 
 m= 
 
 4- 
 
 
 — rj-g i?# — r b«- 
 
 zz::i*:rj__«z:~ i_^~ 
 
 =fc=i 
 
 
 
 
 
 EE 
 
 Hm 
 
 =t 
 
 =t 
 
 ■= "X 
 
 ^-:t 
 
 # # 
 
 =E 
 
 
 
 fcE 
 
 # 
 
 _# 
 
 
 
 #- 
 
 X" 
 
 :fc± 
 
 ■-■£- 
 
 fol - lowed Gal - ba, yes, Gal - ba bold, yes Gal 
 
 s=£ 
 
 ■* — 
 
 s=» 
 
 -#- 
 -*- 
 
 5 
 
 £ 
 
 — 0- 
 
 N 1 — i — 0- 
 
 — — m 0- ■ — F 
 
 — g — L> D i 1 " 
 
 - ba, Gal 
 
 #— 
 
 i*- 
 
 
 ba, the 
 
 -P- 
 "T 
 
 
 « 1 1 1 ^ 1- 1 — i — — , — 0—\ 
 
 * — •— F-#-.- 3 — #— F-» •— »-F-» ■- 
 
 
 IE 
 
 tp
 
 68 
 
 NERO. 
 
 ba, the 
 
 
 ^S 
 
 i 
 
 fczar=n: 
 
 c « *. 
 
 -#-*-*-»- 
 
 ■+- 
 
 ■+- 
 
 
 y — ~»- 
 
 0-'-r-0- 
 
 ^T- f— 
 
 22 
 
 J? 
 
 .0 - 
 
 #-•-#-» 
 
 :d»:-sn: 
 
 
 -,— 0_ 
 *0~*~- 
 
 
 *£ 
 
 c=t 
 
 -9 -^r 
 
 s 
 
 
 * t2TT ^ 
 
 =t — r 
 
 :,* #= — 
 
 r: 
 
 J— i- 
 
 * — V" 
 
 I— — p#- 
 
 :.*:=.*— tin 
 
 .» 
 
 bold!. 
 
 the bold ! 
 
 E= f ~ 
 
 4- 
 
 r " 
 X 
 
 
 £ 
 
 :i: 
 
 1 — . i_ — 
 
 ____ ,5, 
 
 -«- 
 
 e?- 
 
 
 / 
 
 // 
 
 /TN 
 
 
 - & — 
 
 m
 
 =n 
 
 FRANZ LISZT. 
 
 Messrs. STEINWAY & SONS: 
 
 Gents: The magnificent Steinway Grand Piano now stands in my music room, 
 and presents a harmonic totality of admirable qualities, a detailed enumeration of which is 
 the more superfluous as this instrument fully justifies the world-wide reputation that for 
 years you have everywhere enjoyed. 
 
 After so much well-deserved praise, permit me also to add my homage, and the ex- 
 pression of my undisguised admiration, with which I remain, 
 
 Very sincerely yours, 
 
 FRANZ LISZT. 
 
 ANTON RUBINSTEIN. 
 
 New York, May 24, 1873. 
 Messrs. STEINWAY & SONS: 
 
 Gentlemen: On the eve of returning to Europe, I deem it my pleasant duty to 
 
 express to you my most heartfelt thanks for all the kindness and courtesy you have shown 
 
 me during my stay in the United States; but also, and above all, for your unrivaled 
 
 Piano-Fortes, which once more have done full justice to their world-wide reputation, 
 
 both for excellence and capacity of enduring the severest trials. For during all my long 
 
 and difficult journeys all over America", in a very inclement season, I used and have been 
 
 enabled to use, your Pianos exclusively in my Two Hundred and Fifteen Concerts, and 
 
 also in private, with the most eminent satisfaction and effect. 
 
 Yours very truly, 
 
 ANTON RUBINSTEIN 
 
 THEODORE THOMAS. 
 
 Cincinnati, July 19th, 1879. 
 Messrs. STEINWAY & SONS: 
 
 Gentlemen: I consider the Steinway Piano the best Piano at present made, and 
 that is the reason why I use it in private and also in all my public concerts. 
 
 As long as the Pianos of Messrs. Steinway & Sons retain that high degree of excel- 
 lence of manufacture, and those admirable qualities which have always distinguished 
 them, I shall continue to use them in preference to all other Pianos. 
 
 Respectfully Yours. 
 
 THEODORE THOMAS.
 
 
 MANUFACTURERS OF 
 
 Grand, Square and Upright 
 
 PIANO-FORTES. 
 
 ILLUSTRATED CATALOGUES MAILED FREE UPON APPLICATION. 
 
 Warerooms, - Steinway Hali^ 
 
 107, 109 & 111 EAST 14TH STREET, 
 
 NEW YORK. 
 
 European Depots: 
 
 Steinway Hall, Stein way's Pianofabrik, ' . 
 
 1 5 Lower Seymour St., Portman Sq., W., St. Pauli, Neue Rosen-Strasse, 20-24, 
 LONDON, ENGLAND. HAMBURG, GERMANY. 
 
 H ». :OBT. PRINTER. 14 FRANKFORT ST., NEW YORK.
 
 ^OF-CALIF(%. ^OF-CALIFORfc, ,M UNIVERto 
 
 
 vSclOSANCElfXx 
 
 ^ - -^ 
 
 8 j 
 
 <f?13DNVS01^ %H3A!N(V3WV 
 
 .^OFCALIFO% 
 
 ^OFCALIFOfy 
 
 3> =1 
 
 
 .5jt\E-UNIVERS/A 
 
 'ftUDNV-SOV^ 
 
 ^vlOS-ANCElfj> 
 
 "%H3AINfl-3ttV 
 
 ^lllBRARY^c ^HIBRARY-0/r 
 
 
 
 ^E-UNIVERS/a 
 
 LvJvf 
 
 ^clOS-ANCElft) 
 
 u_ 
 
 LL_ 
 
 %a3AIN(H$ 
 
 5MEUNIVER57/ 
 
 ^UDNV-SOl^" 
 
 ^•LIBRARY^ 
 
 
 AOFCALIF0% 
 
 •^Aavaaiiv^ 
 
 ^E-UNIVERS/a 
 
 C 
 
 <fJ13DNYS01^ 
 
 ^E-UNIVERS/A 
 
 <&13DNV-Sm^ 
 
 UNIVERSITY OF CALIFORNIA LIBRARY 
 
 Los Angeles 
 
 OCT? 6 tq77 
 
 This book is DUE on the last date stamped below. 
 
 % 
 
 ' fo&L i 
 
 / 
 
 '■ 
 
 % 
 
 
 
 ^ylOSANGElfr. 
 
 Ce 
 
 5 S 
 
 "%3AINil3V\N 
 
 ^•LIBRARYtf, 
 
 ^OJIIVD-JO^ 
 
 ^OFCALIFOfy 
 
 y 0AHvaaii-$ 
 
 ^LOS-ANCELFj: 
 
 o 
 
 %i!3AINfl-3Vft 
 
 ^vlOS-ANCELfx 
 
 Form L9-Series 4939 
 
 "%3AINIH\\N 
 
 ^UIBRARY-0/r. ^UIBRARY^a 
 
 ^OJIIVD-JO*" ^aOJITVJ-JO 5 ^ 
 
 ^WE-UNIVER% 
 <ttl33NV-S01^ 
 
 ^lOS-AMCElfj^ 
 
 %a3AINn-3V\V 
 
 «$HIBRARY0 / r «$HIBRARY0 y 
 
 ^/OJIIVOJO^ %OJI1V>JO 
 
 ^OF-CALIFOftfc „40FCAL!F(% 
 
 i 
 
 <*Vtf-UNIVER%. 
 
 ^lOS-ANGELF/.* 
 
 ^OF-CALIFOR^ ^OFCALIFOfy
 
 ^v 
 
 s § 
 
 IRARY 
 
 
 ^OFCALIFC )FCALIF(%, 
 
 
 UCLA - Music Library 
 
 ML 50 R8245N3E 1886 
 
 MS/- 
 
 
 L 007 011 028 
 
 
 
 
 l^ 13WV 
 
 Musrc 
 
 LIBRARY 
 
 ML 
 
 50 
 
 R8245N3E 
 
 1886 
 
 ^OJITVj 
 
 
 
 
 
 =o 
 
 %. 
 
 WSOl^ 
 
 vvlOSANCElfj> 
 
 % 
 
 "^AINfHWV 
 
 
 ^/OJIIVOJO^ 
 
 ^OFCALIFOfcfc, ^OFCALIFl 
 
 5 
 
 
 ,UC SOUTHERN 
 
 REGIONAL LIBRARY 
 
 FACILITY 
 
 AA 000 187 725 7 
 
 
 <TJ130NVSO^ X 
 
 
 
 
 3> 
 
 
 AlIF0% 
 
 \LIFC%, 
 
 £, 
 
 ^AyVoaii^ ivaan-^ 
 
 AWMIVER% 
 
 ^m% 
 
 
 ^UIBRARYQ^, 
 
 
 R % 
 
 LOSANCEli 
 
 7VD ■ ^/OJITVj ^IJONVSOI^ 
 
 ]\\V 
 
 ■MUlBRARYc^ HIBRAR N 
 
 1 <i- 
 
 
 
 
 ,\we-univef; 
 
 ^lOS-ANGELfj".* 
 
 ■JNVSOl^ Nfl-3WV 
 
 tf-CAllFOfc^ 
 
 A;0f 
 
 iivyan^ 
 
 
 
 
 
 
 
 ^UIBR/ 'Y0/- 
 
 
 
 
 .tfUNIVERS/A 
 
 
 
 
 
 
 
 
 
 
 u~r 
 
 ( -WGElfr>