e. The
disaffection which has arisen among the Swiss, owing to the tyranny of
Gessler, suddenly comes to a climax when one of Gessler's followers
attempts an outrage upon the only daughter of the herdsman Leutold,
and meets his death at the hands of the indignant father. Leutold
seeks protection at the hands of Tell, who, in the face of the
herdsman's pursuers, succeeds in placing him beyond the reach of
danger, and this circumstance arouses the wrath of Gessler. Melchtal,
the village patriarch, is accused by him of inciting the people to
insubordination, and is put to death. Meanwhile Arnold, his son, is
enamoured of Mathilde, Gessler's daughter, and hesitates between love
and duty when he is called upon to avenge his father's death. At last
duty prevails, and he joins his comrades when the men of the three
cantons, who are loyal to Tell, meet and swear death to the tyrant. In
the last act occurs the famous archery scene. To discover the leading
offenders Gessler erects a pole in the square of Altorf, upon which he
places his hat and commands the people to do homage to it. Tell
refuses, and as a punishment is ordered to shoot an apple from his
son's head. He successfully accomplishes the feat, but as he is about
to retire Gessler observes a second arrow concealed in his garments,
and inquires the reason for it, when Tell boldly replies it was
intended for him in case the first had killed his son. Gessler throws
him into prison, whereupon Mathilde abandons her father and determines
to help in the rescue of Tell and his son. Her lover, Arnold,
meanwhile, raises a band of brave followers and accomplishes the
rescue himself. After slaying the tyrant and freeing his country Tell
returns to his family, and Arnold and Mathilde are united.

The overture to "William Tell," with its Alpine repose, its great
storm-picture, the stirring "Ranz des Vaches," and the trumpet-call to
freedom, is one of the most perfect and beautiful ever written, and is
so familiar that it does not need analysis. The first act opens with a
delightfully fresh Alpine chorus ("E il ciel sereno"), which is
followed by a pastoral quartet between a fisherman, Tell, Hedwig, and
Jemmy. Arnold enters, and a long duet, one of Rossini's finest
inspirations, follows between Arnold and Tell. The duet is interrupted
by the entrance of several of the peasants escorting two brides and
bridegrooms, which is the signal for a most graceful chorus and dance
("Cinto il cr