The Lady of Lyons; Or, Love and Pride
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About this ebook
In addition to being a politician, he wrote across all genres, from horror stories to historical fiction and action titles.
Edward Bulwer Lytton
Edward Bulwer-Lytton, engl. Romanschriftsteller und Politiker, ist bekannt geworden durch seine populären historischen/metaphysischen und unvergleichlichen Romane wie „Zanoni“, „Rienzi“, „Die letzten Tage von Pompeji“ und „Das kommende Geschlecht“. Ihm wird die Mitgliedschaft in der sagenumwobenen Gemeinschaft der Rosenkreuzer nachgesagt. 1852 wurde er zum Kolonialminister von Großbritannien ernannt.
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The Lady of Lyons; Or, Love and Pride - Edward Bulwer Lytton
THE LADY OF LYONS; OR, LOVE AND PRIDE
..................
Edward Bulwer-Lytton
YURITA PRESS
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This book is a work of fiction; its contents are wholly imagined.
All rights reserved. Aside from brief quotations for media coverage and reviews, no part of this book may be reproduced or distributed in any form without the author’s permission. Thank you for supporting authors and a diverse, creative culture by purchasing this book and complying with copyright laws.
Copyright © 2016 by Edward Bulwer-Lytton
Interior design by Pronoun
Distribution by Pronoun
TABLE OF CONTENTS
PREFACE.
THE LADY OF LYONS;: or,: LOVE AND PRIDE.: ACT I.—SCENE I.
ACT II.—SCENE I.
ACT III.—SCENE I.
ACT IV.—SCENE I.
ACT V.: Two years and a half from the date of Act IV.
The Lady of Lyons; Or, Love and Pride
By
Edward Bulwer-Lytton
The Lady of Lyons; Or, Love and Pride
Published by Yurita Press
New York City, NY
First published circa 1873
Copyright © Yurita Press, 2015
All rights reserved
Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser.
About YURITA Press
Yurita Press is a boutique publishing company run by people who are passionate about history’s greatest works. We strive to republish the best books ever written across every conceivable genre and making them easily and cheaply available to readers across the world.
PREFACE.
..................
AN INDISTINCT RECOLLECTION OF THE very pretty little tale, called The Bellows-Mender,
suggested the plot of this Drama. The incidents are, however, greatly altered from those in the tale, and the characters entirely re-cast.
Having long had a wish to illustrate certain periods of the French history, so, in the selection of the date in which the scenes of this play are laid, I saw that the era of the Republic was that in which the incidents were rendered most probable, in which the probationary career of the hero could well be made sufficiently rapid for dramatic effect, and in which the character of the time itself was depicted by the agencies necessary to the conduct of the narrative. For during the early years of the first and most brilliant successes of the French Republic, in the general ferment of society, and the brief equalization of ranks, Claude’s high-placed love; his ardent feelings, his unsettled principles (the struggle between which makes the passion of this drama), his ambition, and his career, were phenomena that characterized the age, and in which the spirit of the nation went along with the extravagance of the individual.
The play itself was composed with a twofold object. In the first place, sympathizing with the enterprise of Mr. Macready, as Manager of Covent Garden, and believing that many of the higher interests of the Drama were involved in the success or failure of an enterprise equally hazardous and disinterested, I felt, if I may so presume to express myself, something of the Brotherhood of Art; and it was only for Mr. Macready to think it possible that I might serve him in order to induce me to make the attempt.
Secondly, in that attempt I was mainly anxious to see whether or not, after the comparative failure on the stage of The Duchess de la Valliere,
certain critics had truly declared that it was not in my power to attain the art of dramatic construction and theatrical