ows Rinaldo in quest of adventures which may win him
the favour of Godfrey of Bouillon, whose wrath he has incurred. Armida's
enchantments lead him to her magic gardens, where, amidst scenes of
voluptuous beauty, he yields to the fascinations of the place, lays down
his arms, and sinks into sleep. Armida rushes in, dagger in hand, but
the sight of the sleeping hero is too potent for her, and overcome by
passion, she bids the spirits of the air transport them to the bounds of
the universe. In the third act we find that Rinaldo has rejected the
love of the enchantress. Armida is inconsolable; she is ashamed of her
weakness, and will not listen to the well-meaning consolations of her
attendants. She calls upon the spirit of Hate, but when he appears she
rejects his aid, and still clings desperately to her fatal passion. The
fourth act, which is entirely superfluous, is devoted to the adventures
in the enchanted garden of Ubaldo and a Danish knight, two Crusaders who
have set forth with the intention of rescuing Rinaldo from the clutches
of the sorceress. The fifth act takes place in Armida's palace.
Rinaldo's proud spirit has at length been subdued, and he is completely
the slave of the enchantress. The duet between the lovers is of the most
bewitching loveliness, and much of it curiously anticipates the romantic
element which was to burst forth in a future generation. Armida tears
herself from Rinaldo's arms, and leaves him to be entertained by a
ballet of spirits, while she transacts some business with the powers
below. Ubaldo and the Danish knight now burst in, and soon bring Rinaldo
to a proper frame of mind. He takes a polite farewell of Armida, who in
vain attempts to prevent his going, and is walked off by his two
Mentors. Left alone, Armida calls on her demons to destroy the palace,
and the opera ends in wild confusion and tumult.

To say that 'Armide' recalls the romantic grace of 'Paride ed Elena,' is
but half the truth. The lyrical grace of the earlier work is as it were
concentrated and condensed in a series of pictures which for voluptuous
beauty surpass anything that had been written before Gluck's day.
Against the background formed by the magical splendour of the enchanted
garden, the figure of Armida stands out in striking relief. The mingled
pride and passion of the imperious princess are drawn with wonderful
art. Even while her passion brings her to the feet of her conqueror, her
haughty spirit rebels agai