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Title: Savonarola; a tragedy. [In verse.] Publisher: British Library, Historical Print Editions The British Library is the national library of the United Kingdom. It is one​.
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Savonarola: A Tragedy

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Who was Savonarola?

Additional information Sku TMB. Title Savonarola: A Tragedy. Author Alfred Austin.

influence OF Girolamo Savonarola Research Papers - leondumoulin.nl

Condition Used - Good. Binding type Hardback. Ex-Library Yes.


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Dust jacket condition No Jacket. Pagination Edition Second Edition.


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Cover note Book image taken of actual book. Note This is a used book. We do our best to provide good quality books for you to read, but there is no escaping the fact that it has been owned and read by someone else previously. Therefore it will show signs of wear and previous use. Year published The first act, which must be regarded as a prologue, brings before us the great Reformer in his youth loving Laodamia Strozzi, daughter of a Florentine Notable, and beloved by her.

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The girl sees that her lover's life is in danger from the arts of a rival, and sacrifices herself to save it by accepting the suit of his enemy. The youth, who naturally does not understand her motive, takes refuge from his disappointment in a monastery.

When the second act opens he is at the height of his influence.


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    4. He exercises his mysterious power of command over Charles, the French King, and Florence, grateful for French benefits and dominated by the monk's personality, accepts him as her master. Then Laodamia re- appears, and with her, her husband, though the two are strangers, for the marriage has been in name only. It is no little demand upon our faith when we are required to believe that Laodamia does not recognise the man whom she has spurned, and becomes his accomplice in tempting Savonarola from the path of duty.

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    We need say no more on this topic; the play is, we think, seriously weakened by the introduction of the now element. This or that scene in which it is brought into action may show a certain power, but the play would have been better without them. The ancients found it possible to have powerful dramas without calling in the motive of love. Is it impossible with us? But while we feel ourselves bound to pass this criticism on Mr. Howard's work, we willingly admit that it shows genuine dramatic power. The scene in which, like another Paul before another Felix, Savonarola makes Charles of France tremble, and extorts by sheer force of denunciation things that the King was most unwilling to concede, is very powerful.

    Others, too, might be mentioned which are scarcely inferior. We do not find ourselves always able to appreciate the rhythm of the verse. We are well aware that the blank verse of drama differs from that which is used for narrative, reflection, or description.