By the same Author.
THE HOUSE OF RAVENSBURG.
Fcap. 8vo, 4s. 6d.
"This story is much more powerful than it appears in the foregoing narrative, and in its presentation of vague terror, recalls that famous verse of Dobell. …
'O Keith of Ravelston, the sorrows of thy line.'
Portions of the treatment are fine, we might almost say splendid, from the poetical standpoint."—Athenæum.
"'The House of Ravensburg' is the first production of its kind we have had from Mr. Noel. It is more complete than any other of his longer poems, and may he taken to indicate a new range in his versatile genius. In point of dramatic power it will compare with any contemporary efforts. … The characters of the play are massed very strongly in light and shade, and the piece abounds in rapid transitions, recalling those of Wagner, to whom Mr. Noel has various points of resemblance. He has the faculty, most remarkable in a metaphysical poet, of appealing impressively to the senses, and, as in such situations as the dungeon scene, of putting in the touches with all a painter's instinct for scenical effect."—Scotsman.
"At the same time, the poem contains some very fine elements, and, taken as a whole, the picture of Sigismund, both before and after death—Mr. Noel assumes Shakespeare's licence, and brings Sigismund back to us from the other world, and, even bolder than Shakespeare, undertakes to show us his character, still undergoing change in that world—seems to us one of very considerable power. The following passage, spoken by Sigismund the disembodied, and presenting the central idea of the play, with great fire, seems to us a noble one. … Again, there are one or two beautiful songs, and at least one very fine picture of a mountain sunset. … That is very fine verse, and the readers of this imperfect but powerfully conceived drama will find much in it which is equally fine, and much, too, of far higher meaning."—Spectator.
"From the pen of one of the first lyrists of our time."—Daily Review.
"Mr. Noel's genius has here reached a considerably higher point than in any of his former works, and makes us look for other and yet more popular dramatic works from his pen at no very distant date."—British Quarterly Review.
DALDY, ISBISTER & CO., 56, LUDGATE HILL, LONDON.
