The Mirror of Literature, Amusement, and Instruction - Volume 19, No. 539, March 24, 1832 by Various
page 24 of 54 (44%)
page 24 of 54 (44%)
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is cast entirely in the mould of one of Shakspeare's historical tragedies."
The drama too was written without any view to its representation, as the _Quarterly_ reviewer has been "informed by persons who long ago perused the manuscript, several years before Miss Kemble appeared upon the stage, and at a time when she little anticipated the probability that she herself might be called upon to impersonate the conceptions of her own imagination. We believe that we are quite safe when we state that the drama, in its present form, was written when the authoress was not more than seventeen." Yet it should be added that the above statement is not made by way of extenuation; for, to say the truth, it needs no such adventitious aid. A mere outline of the story will convince the reader that, as the Reviewer states, "the tragedy is alive from the beginning to the end;" and our extracts will we trust show the language to be bold and vigorous; the imagery sweetly poetical; and the workings of the passions which actuate the personages to be evidently of high promise if not of masterly spirit. The tragedy opens with the recall of the Constable De Bourbon from Italy, through the supposed political intrigue, but really, the secret love, of the mother of Francis, Louisa of Savoy, Duchess of Angouleme, whom Miss Kemble calls the Queen Mother. In the second scene the Queen Mother communicates to Gonzales, a monk in disguise, but in, reality an emissary of the Court of Spain, her secret passion for De Bourbon, and her design in his recall. Francis is introduced at a tourney, where he not only triumphs in the jousts, but over the heart of the beautiful Françoise de Foix. Bourbon returns, and the second act opens with his interview with Renée, (or Margaret,) the daughter of the Queen Mother, and sister of Francis I., |
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