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Then the people conveniently flock in; ambassadors come from all corners of the earth to acknowledge Rienzi; Adriano warns him that mischief is breeding, and Rienzi calmly smiles; there is a most elaborate ballet, occupying many pages of the score and full of trumpery tunes; Orsini stabs Rienzi, and all the patricians are seized by the guards; Rienzi shows himself unhurt, being protected by a breastplate; the conspirators are condemned to die and are led away.
The price of their simony paid and their vacated offices sold, the pope made his choice of those he was to poison: the number was fixed at three, one old and two new; the old one was Cardinal Casanova, and the new ones Melchiore Copis and Adriano Castellense, who had taken the name of Adrian of Carneta from that town where he had been born, and where, in the capacity of clerk of the chamber, treasurer-general, and secretary of briefs, he had amassed an immense fortune.
It is found in nearly all Elizabethan prose writers, and partially accounts for their general tendency to artificiality. Shakespeare satirizes euphuism in the character of Don Adriano of Love's Labour's Lost, but is himself tiresomely euphuistic at times, especially in his early or "Lylian" comedies. Lyly, by the way, did not invent the style, but did more than any other to diffuse it.
He was so dreadful that I conceived the idea of making the Capitol tumble down in the second act, so as to bury him sooner in its ruins, a plan which would have cut out several of the processions, which were so dear to the heart of the director. I found my one ray of light in a lady singer, who delighted me with the fire with which she played the part of Adriano. This was a Mme.
Then Adriano and Irene plead for Colonna; at first Rienzi is obdurate; then he, too, turns weakling and promises pardon. He pleads for his enemies with the people; in spite of two citizens who see nothing but danger, he prevails, and the act ends with another huge chorus. There is much very Italian stuff in the music; but on the whole this scene is the strongest in the opera.
See Greg. Stadt Rom, vol. viii. pp. 382, 383. The details about Adriano are chiefly taken from the Relazioni of the Venetian embassadors, series ii. vol. iii. pp. 75-120. His father's name was Florus or Flerentius, of the Flemish family, it is supposed, of Dedel. Berni calls him a carpet-maker. Other accounts represent him as a ship's carpenter. The Pope's baptismal name was Adrian.
In vain Adriano pleads once more for pardon. The fortune of war goes in favour of the plebeians. The nobles are routed, Colonna is slain, and the scene closes as Adriano vows vengeance over his father's body upon his murderer. In the fourth act the tide has turned against Rienzi. The citizens suspect him of treachery to their cause.
They take the oath only to violate it. The people rise and demand their extermination. Rienzi once more draws the sword, and Adriano in vain appeals to him to avert the slaughter. He is again successful, and on his return announces to Adriano that the Colonnas and Orsinis are no more. The latter warns him of coming revenge, and the act closes with the coronation of Rienzi.
Meanwhile, Adriano, without intent aforethought, arose by chance for some natural occasion and going to despatch this, came upon the cradle, whereas it had been set by the good wife, and unable to pass without moving it, took it up and set it down beside his own bed; then, having accomplished that for which he had arisen, he returned and betook himself to bed again, without recking of the cradle.
I have learned from the best of sources that your Excellency has exceeded all the Pope's expectations. After we had conversed a while with his Holiness, the illustrious Duke of Romagna and Cardinal Orsini were summoned. There were also present Monsignor Elna, Monsignor Troche, and Messer Adriano.
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