Leonora, the heroine of Miss Edgeworth’s novel of the same name. The object of the tale is to make the reader feel what is good, and desirous of being so (1806).
Leonora, wife of Fernando Florestan, a State prisoner in Seville. In order to effect her husband’s release, she assumed the attire of a man, and the name of Fidelio. In this disguise she entered the service of Rocco, the jailer, and Marcellina, the jailer’s daughter, fell in love with her. Pizzaro, the governor of the prison resolving to assassinate Fernando Florestan, sent Rocco and Fidelio to dig his grave in the prison-cell. When Pizarro descended to perpetrate the deed of blood, Fidelio drew a pistol on him; and the minister of State, arriving at this crisis, ordered the prisoner to be released. Leonora (Fidelio) was allowed to unlock her husband’s chains, and Pizarro’s revenge came to naught.—Beethoven, Fidelio (an opera, 1791).
Leonora, a princess, who falls in love with Manri´co, the supposed son of Azuce´na, a gypsy, but in reality the son of Garzia (brother of the Conte di Luna). The Conte di Luna entertains a base passion for the princess, and, getting Manrico into his power, is about to kill him, when Leonora intercedes, and promises to give herself to the count if he will spare his nephew’s life. The count consents; but while he goes to release Manrico, Leonora kills herself by sucking poison from a ring, and Manrico dies also.—Verdi, Il Trovato´rê (an opera, 1853).
Leonora (The History of), an episode in the novel of Joseph Andrews, by Fielding (1742).
Leonora [d’Este] (2 syl.), sister of Alfonso II., reigning duke of Ferrara. The poet Tasso conceived a violent passion for this princess, “but she knew it not nor viewed it with disdain.” Leonora never married, but lived with her eldest sister, Lauretta, duchess of Urbino, who was separated from her husband. The episode of Sophronia and Olindo (Jerusalem Delivered, ii.) is based on this love incident. The description of Sophronia is that of Leonora, and her ignorance of Olindo’s love points to the poet’s unregarded devotion.
But thou ... shalt have
One half the laurel which o’ershades my grave ...
Yes, Leonora, it shall be our fate
To be entwined forever—but too late.
Byron, The Lament of Tasso (1817).