Rienzi, the Last of the Roman Tribunes — Themes and Context

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Lytton, Edward Bulwer Lytton, Baron, 1803-1873 Project Gutenberg 2006 Not confirmed
Rienzo, Cola di, -1354 -- Fiction; Biographical fiction Readers of public-domain and historical texts
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Edition facts

Words 188,829
Reading time 821 min
Text sections 23

The catalog record for Rienzi, the Last of the Roman Tribunes — Themes and Context provides practical reading context through 188,829 words, 13 hr 41 min estimated reading time, and 23 detected text sections.

The text analysis averages about 20.8 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Rienzo, Cola di, -1354 -- Fiction,” connecting these edition facts with the source record’s subject description.

Edward Bulwer Lytton's 1835 historical novel dramatizes the rise and fall of Cola di Rienzo, the 14th-century Roman tribune. The excerpts reveal a theatrical courtroom confrontation, a secret corselet, and a blood-red council chamber, blending political intrigue with melodramatic rhetoric.
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oth the chief; “she is ours!”

“Hold!” said a captain (a German) riding next to Martino, in a half whisper; “I hear sounds which I like not, by yonder trees--hark! The neigh of a horse!--by my faith, too, there is the gleam of a corselet.”

“Push on, my masters,” cried Martino; “the heron shall not balk the eagle--push on!”

With renewed shouts, those on foot pushed forward, till, as they had nearly gained the copse referred to by the German, a small compact body of horsemen, armed cap-a-pie, dashed from amidst the trees, and, with spears in their rests, charged into the ranks of the pursuers.

“A Colonna! a Colonna!” “An Orsini! an Orsini!” were shouts loudly and fiercely interchanged. Martino di Porto, a man of great bulk and ferocity, and his cavaliers, who were chiefly German Mercenaries, met the encounter unshaken. “Beware the bear’s hug,” cried the Orsini, as down went his antagonist, rider and steed, before his lance.

The contest was short and fierce; the complete armour of the horsemen protected them on either side from wounds,--not so unscathed fared the half-armed foot-followers of the Orsini, as they pressed, each pushed on by the other, against the Colonna. After a shower of stones and darts, which fell but as hailstones against the thick mail of the horsemen, they closed in, and, by their number, obstructed the movements of the steeds, while the spear, sword, and battle-axe of their opponents made ruthless havoc amongst their undisciplined ranks. And Martino, who cared little how many of his mere mob were butchered, seeing that his foes were for the moment embarrassed by the wild rush and gathering circle of his foot train (for the place of conflict, though wider than the previous road, was confined and narrow), made a sign to some of his horsemen, and was about to ride forward towards the boat, now nearly out of sight, when a bugle at some distance was answered by one of his enemy at hand; and the shout of “Colonna to the rescue!” was echoed afar off. A few moments brought in view a numerous train of horse at full speed, with the banners of the Colonna waving gallantly in the front.

“A plague on the wizards! who would have imagined they had divined us so craftily!” muttered Martino; “we must not abide these odds;” and the hand he had first raised for advance, now gave the signal of retreat.

Serried breast to breast and in complete order, the horsemen of Martino turned to fly; the foot rabble who had come for spoil remained but for slaughter. They endeavoured to imitate their leaders; but how could they all elude the rushing chargers and sharp lances of their antagonists, whose blood was heated by the affray, and who regarded the lives at their mercy as a boy regards the wasp’s nest he destroys. The crowd dispersing in all directions,--some, indeed, escaped up the hills, where the footing was impracticable to the horses; some plunged into the river and swam across to the opposite bank--those less cool or experienced, who fled right onwards, served, by clogging the way of their enemy, to facilitate the flight of their leaders, but fell themselves, corpse upon corpse, butchered in the unrelenting and unresisted pursuit.

“No quarter to the ruffians--every Orsini slain is a robber the less--strike for God, the Emperor, and the Colonna!” such were the shouts which rung the knell of the dismayed and falling fugitives. Among those who fled onward, in the very path most accessible to the cavalry, was the young brother of Cola, so innocently mixed with the affray. Fast he fled, dizzy with terror--poor boy, scarce before ever parted from his parents’ or his brother’s side!--the trees glided past him--the banks receded:--on he sped, and fast behind came the tramp of the hoofs--the shouts--the curses--the fierce laughter of the foe, as they bounded over the dead and the dying in their path. He was now at the spot in which his brother had left him; hastily he glanced behind, and saw the couched lance and horrent crest of the horseman close at his rear; despairingly he looked up, and behold! his brother bursting through the tangled brakes that clothed the mountain, and bounding to his succour.

Edward Bulwer Lytton's Rienzi, the Last of the Roman Tribunes (1835) opens with epigraphs from Byron and Gibbon, framing its protagonist as a 'Redeemer of dark centuries of shame' and a figure who 'realized for a moment his most splendid visions.' The novel's dedication to Alessandro Manzoni and the author's mother signals a self-conscious literary ambition, linking Italian historical fiction to personal sentiment. The excerpts, however, reveal a work more invested in theatrical confrontation than in measured historical reconstruction.

The Tribune's Stagecraft

The excerpt from the banquet scene shows Rienzi orchestrating a dramatic unmasking of conspiratorial barons. He wears a 'secret corselet' under his 'purple robe,' a detail that literalizes his vulnerability and his preparedness. The council hall is suddenly revealed hung with 'silk of a blood-red, relieved by rays of white,' an emblem of 'crime and death' that transforms political space into a stage set. Rienzi's speech—'Traitor and assassin, your conscience betrays you!'—relies on rhetorical crescendos and physical cues (the barons grow pale, tremble, cover their faces). The scene culminates in the production of a hired assassin, Rodolf of Saxony, who confesses with a 'horrid grin.' Lytton does not merely report the conspiracy; he choreographs it as a piece of civic theater, complete with props, lighting, and a villain's confession.

Rhetoric as Action

Rienzi's power in the excerpt is almost entirely verbal. He poses a Socratic question—'Is it best for a State's Ruler to be over-forgiving, or over-just?'—then answers it by exposing the barons' guilt. His long indictment ('What hath been my sin against you and yours?') lists his reforms: 'Disbanded ruffians—dismantled fortresses—impartial law.' He insists that the barons aimed not at him but at 'liberty, justice, law, order, the restored grandeur, the renovated rights of Rome.' This abstraction of his cause into 'the Abstract and the Immortal' is characteristic of Lytton's hero, who speaks in the cadences of a Roman orator. The novel's language thus becomes a form of political action, though the excerpts leave unclear whether this rhetoric succeeds beyond the immediate scene.

Catalog vs. Content: The Limits of Genre

The Project Gutenberg record categorizes Rienzi under 'Exploration, Survival & Adventure Tales,' a label that poorly fits the excerpts. The text contains no survivalist or exploratory elements; it is a historical melodrama centered on conspiracy and oratory. The catalog subjects—'Rienzo, Cola di, -1354 -- Fiction' and 'Biographical fiction'—are more accurate, though the excerpts are too fragmentary to confirm biographical fidelity. Lytton's note citing Muratori and the 'Bolognese Chronicle' suggests some scholarly pretension, but the theatrical staging (blood-red silk, a hired assassin's confession) leans toward romanticized history. Readers expecting adventure may find instead a novel of political speechifying and staged revelation.

The excerpts offer a narrow but vivid window into Lytton's method: he transforms historical conspiracy into a set piece of rhetorical and visual drama. The novel's full 188,829 words likely expand this pattern across Rienzi's rise and fall, but the available text does not reveal his ultimate fate or the novel's historical argument. Readers should approach Rienzi as a work of 19th-century historical fiction that prioritizes theatrical effect over strict accuracy, and judge its portrait of the tribune accordingly.

There’s something about Rienzi’s doomed theatricality that lingers, that blood-red chamber and the corselet hidden beneath the robe—it feels less like history than a half-remembered dream. It made me think of how secrets shape a room, and then, quietly, of The Woman in the Alcove — Story, Setting & Ideas, where a different kind of hidden presence waits behind silk. Both worlds keep their truths close to the chest.

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