Rosamund, queen of the Lombards, a tragedy By: Algernon Charles Swinburne (1837-1909) |
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In Algernon Charles Swinburne's tragic play, Rosamund, Queen of the Lombards, the author recreates the atmosphere of medieval Italy with vibrant language and complex characters. Set in the 12th century, the play follows the tumultuous life of Rosamund, a young queen whose fate is dictated by political power struggles, personal ambition, and ill-fated love.
Swinburne's mastery of poetic language shines throughout the play, creating a vivid backdrop against which the dramatic events unfold. His evocative descriptions transport readers to a bygone era, immersing them in the grandeur and decadence of medieval courts. The dialogues are skillfully crafted, blending poetic verse with a natural flow of emotions, giving the characters depth and complexity.
Rosamund herself emerges as a compelling protagonist, torn between her love for the young King Alboin and her responsibility as a queen. As the plot progresses, Swinburne delves into the inner turmoil of Rosamund, showcasing the tragic consequences of her choices and the ultimate price she pays for her ambition. Her character development is poignantly depicted, allowing readers to empathize with her struggles and dilemmas.
The supporting characters in Rosamund add further depth to the narrative. From the treacherous Lombard nobles, who seek to exploit the queen's vulnerability for personal gain, to the enigmatic figure of Cunimund, Rosamund's long-lost father, the cast of personalities brings forth an intricate web of relationships and motivations. Swinburne's portrayal of these secondary characters adds layers of suspense and intrigue to the unfolding tragedy.
One of the play's strengths lies in Swinburne's ability to captivate readers with his exploration of themes such as love, power, and betrayal. Through the struggles of Rosamund and her counterparts, he raises questions about the nature of love and its consequences. Additionally, the pervasive sense of political machinations and the manipulation of power highlight the inevitable clashes between personal desires and duties of the ruling class.
While Rosamund, Queen of the Lombards showcases Swinburne's poetic prowess and ability to craft a compelling tragedy, it must be noted that the play's complexity and dense language may pose a challenge for some readers. The intricate plot, filled with political intricacies and emotional tensions, demands close attention to fully appreciate its intricacies.
Overall, Rosamund, Queen of the Lombards stands as a testament to Algernon Charles Swinburne's talent as a poet and playwright. Through rich language, complex characters, and an exploration of timeless themes, he weaves a tragic tale that both transports and captivates. For those eager to dive into a vivid depiction of medieval Italy's struggles and dramatic affairs, this play provides a satisfying journey into the dark corners of the human soul. by Algernon Charles Swinburne PERSONS REPRESENTED ALBOVINE, King of the Lombards. ALMACHILDES, a young Lombard warrior. NARSETES, an old leader and counsellor. ROSAMUND, Queen of the Lombards HILDEGARD, a noble Lombard maiden. SCENE, VERONA Time, June 573 ACT I A hall in the Palace: a curtain drawn midway across it. Enter ALBOVINE and NARSETES. ALBOVINE. This is no matter of the wars: in war Thy king, old friend, is less than king of thine, And comrade less than follower. Hast thou loved Ever loved woman, not as chance may love, But as thou hast loved thy sword or friend or me? Thou hast shewn me love more stout of heart than death. Death quailed before thee when thou gav'st me life, Borne down in battle. NARSETES. Woman? As I love Flowers in their season. A rose is but a rose. ALBOVINE. Dost thou know rose from thistle or bindweed? Man, Speak as our north wind speaks, if harsh and hard Truth. NARSETES. White I know from red, and dark from bright, And milk from blood in hawthorn flowers: but not Woman from woman. ALBOVINE. How should God our Lord, Except his eye see further than his world? For women ever make themselves anew, Meseems, to match and mock the maker. Friend, If ever I were friend of thine in fight, Speak, and I bid thee not speak truth: I know Thy tongue knows nought but truth or silence... Continue reading book >>
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