But, truth to say, though married, rich, and ennobled, the Lord Carpezan was not happy. It may be that in his wild life, as leader of condottieri on both sides, he had committed crimes which agitated his mind with remorse. It may be that his rough soldier-manners consorted ill with his imperious highborn bride. She led him such a life—I am narrating as it were the Warrington manuscript, which is too long to print in entire—taunting him with his low birth, his vulgar companions, whom the old soldier loved to see about him, and so forth—that there were times when he rather wished that he had never rescued this lovely, quarrelsome, wayward vixen from the oubliette out of which he fished her. After the bustle of the first act this is a quiet one, and passed chiefly in quarrelling between the Baron and Baroness Carpezan, until horns blow, and it is announced that the young King of Bohemia and Hungary is coming bunting that way.
Act III. is passed at Prague, whither his Majesty has invited Lord Carpezan and his wife, with noble offers of preferment to the latter. From Baron he shall be promoted to be Count, from Colonel he shall be General-in-Chief. His wife is the most brilliant and fascinating of all the ladies of the court—and as for Carpzoff——
“Oh, stay—I have it—I know your story, sir, now,” says Mr. Johnson. “'Tis in 'Meteranus,' in the Theatrum Universum. I read it in Oxford as a boy—Carpezanus or Carpzoff——”
“That is the fourth act,” says Mr. Warrington. In the fourth act the young King's attentions towards Sybilla grow more and more marked; but her husband, battling against his jealousy, long refuses to yield to it, until his wife's criminality is put beyond a doubt—and here he read the act, which closes with the terrible tragedy which actually happened. Being convinced of his wife's guilt, Carpezan caused the executioner who followed his regiment to slay her in her own palace. And the curtain of the act falls just after the dreadful deed is done, in a side-chamber illuminated by the moon shining through a great oriel window, under which the King comes with his lute, and plays the song which was to be the signal between him and his guilty victim.
This song (writ in the ancient style, and repeated in the piece, being sung in the third act previously at a great festival given by the King and Queen) was pronounced by Mr. Johnson to be a happy imitation of Mr. Waller's manner, and its gay repetition at the moment of guilt, murder, and horror, very much deepened the tragic gloom of the scene.
“But whatever came afterwards?” he asked. “I remember in the Theatrum, Carpezan is said to have been taken into favour again by Count Mansfield, and doubtless to have murdered other folks on the reformed side.”
Here our poet has departed from historic truth. In the fifth act of Carpezan King Louis of Hungary and Bohemia (sufficiently terror-stricken, no doubt, by the sanguinary termination of his intrigue) has received word that the Emperor Solyman is invading his Hungarian dominions. Enter two noblemen who relate how, in the council which the King held upon the news, the injured Carpezan rushed infuriated into the royal presence, broke his sword, and flung it at the King's feet—along with a glove which he dared him to wear, and which he swore he would one day claim. After that wild challenge the rebel fled from Prague, and had not since been heard of; but it was reported that he had joined the Turkish invader, assumed the turban, and was now in the camp of the Sultan, whose white tents glance across the river yonder, and against whom the King was now on his march. Then the King comes to his tent with his generals, prepares his order of battle; and dismisses them to their posts, keeping by his side an aged and faithful knight, his master of the horse, to whom he expresses his repentance for his past crimes, his esteem for his good and injured Queen, and his determination to meet the day's battle like a man.
“What is this field called?”
“Mohacz, my liege!” says the old warrior, adding the remark that “Ere set of sun, Mohacz will see a battle bravely won.”
Trumpets and alarms now sound; they are the cymbals and barbaric music of the Janissaries: we are in the Turkish camp, and yonder, surrounded by turbaned chiefs, walks the Sultan Solyman's friend, the conqueror of Rhodes, the redoubted Grand Vizier.