It’s been several months since Caspian became Elincia’s knight. Their work hasn’t been too difficult thus far, but that is about to change when Sylvia tasks them with settling a dispute between two MagiTech companies: Thaumaturgical Industries and Harmonix. What should have been a simple investigation regarding the buying, selling, and creation of magical matrices becomes so much more when Cassadinia is attacked by Murakumos—the powerful MagiTech automatons that devastated the Colosseum during the Sorceress’s Knight’s Tournament. Discovering who is behind these attacks will take all the wit and skill these two possess. But they may not like what happens when they discover who the culprit is.

Arcadia's Knight Academy is the premier school for young men hoping to become a Sorceress’s Knight. Only nobles, people with power and prestige, are allowed within these hallowed grounds—which explains why Caspian Ignis del Sol is hated by everyone. He's not a noble, or of even slightly noble lineage. As payment for being enrolled in the academy, Caspian is sometimes given tasks to perform that take him outside of the academy walls. This time, his job is to deliver a letter to a Sorceress living in Ashtown, but when the train that he’s riding on is attacked by a mysterious band of thugs in cloaks, he’ll find that there is a whole lot more to this quest than he first imagined.

Caspian has made contact with the sorceress who resides in Ashtown, but Erica Demonica de Angelo is nothing like he expected. Arrogant. Narcissistic. Rude. She is everything that he despises, and now he's being forced to protect her. With disaster waiting around every corner, a clumsy but cute maid, a masochistic knight, the threat from an assassin looming over his head, and, of course, Erica herself, Caspian will need to hone all of his skill, strength, and wit if he wants to survive this precarious situation alive and sane.

Caspian Ignis del Sol, a knight in training, finds himself in over his head when he becomes the temporary protector of a sorceress who's been given the nickname "Succubus."

According to Roger Caillois, play is an occasion of pure waste. In spite of this - or because of it - play constitutes an essential element of human social and spiritual development. In this study, the author defines play as a free and voluntary activity that occurs in a pure space, isolated and protected from the rest of life.

This revelatory exploration of Book One of the Argonautica rescues Jason from his status as the ineffectual hero of Apollonius' epic poem. James J. Clauss argues that by posing the question, "Who is the best of the Argonauts?" Apollonius redefines the epic hero and creates, in Jason, a man more realistic and less awesome than his Homeric predecessors, one who is vulnerable, dependent on the help of others, even morally questionable, yet ultimately successful. In bringing Apollonius' "curious and demanding poem" to life, Clauss illuminates two features of the poet's narrative style: his ubiquitous allusions to the poetry of others, especially Homer, and the carefully balanced structural organization of his episodes. The poet's subtextual interplay is explored, as is his propensity for underscoring the manipulation of the poetry of others through ring composition. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1993.

This volume investigates the various ways in which writers comment on, present, and defend their own works, and at the same time themselves, across early modern Europe. A multiplicity of self-commenting modes, ranging from annotations to explicatory prose to prefaces to separate critical texts and exemplifying a variety of literary genres, are subjected to analysis. Self-commentaries are more than just an external apparatus: they direct and control reception of the primary text, thus affecting notions of authorship and readership. With the writer understood as a potentially very influential and often tendentious interpreter of their own work, the essays in this collection offer new perspectives on pre-modern and modern forms of critical self-consciousness, self-representation, and self-validation. Contributors are Harriet Archer, Gilles Bertheau, Carlo Caruso, Jeroen De Keyser, Russell Ganim, Joseph Harris, Ian Johnson, Richard Maber, Martin McLaughlin, John O’Brien, Magdalena Ożarska, Federica Pich, Brian Richardson, Els Stronks, and Colin Thompson.