invented theatrical love interest, or anything of that sort, to confuse the simple lines of the accepted story."—Scotsman. 

 "Written in language which will commend itself to all educated people, who will certainly not only be entertained, but instructed thereby. The author has done his work excellently in every way."—Road. 

 

 LONDON: SIMPKIN, MARSHALL & CO. 

 

 BY THE SAME AUTHOR 

 Fcap. 4to, cloth, 5s. net 

 MANIN AND THE DEFENCE OF VENICE 

 

 EXTRACTS FROM REVIEWS 

 "... The play is genuinely dramatic, and its impressiveness is heightened by the dignity of the blank verse. There is poetry on every page, but the effects are gained, not by flaunting rhetoric, but by simplicity of language, which is forcible through its truth.... We can only advise those who love English verse to read this play; they will see that poetry is still a living thing among us."—Oxford Magazine. 

 "Mr. Presland follows up his dramas 'Joan of Arc' and 'Mary Queen of Scots,' with a picture, at once moving and terrible, of the siege of Venice by the Austrians in 1849.... He has once more proved himself a dramatist of that high poetic order which we have so often been told died out with the eighteenth century."—Literary World. 

 "His new work condenses into four acts of vigorous and flexible blank verse, always animated in movement, and skilfully wrought together into a fine unity of action.... Mr. Presland's Manin is an impressive, pathetic figure, and the play one which cultured readers should follow with unqualified interest."—Scotsman. 

 "... The poetry never clogs the action and the whole play is tense with the struggle in the soul of the hero.... The play thus becomes the tragedy of a city but the triumph of a 

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