Drawing on studies of kings from Cyrus to Shah Abbas, this volume provides a rich variety of readings on royal authority and its limitations in medieval societies in both Europe and the Middle East, exemplified especially in the case of Alexander the Great, God and King, and the persistence of his legend in later eras.

The role of kings, the source of their authority and the nature of the practical restraints on their power have exercised political and religious philosophers, historians, competing candidates for rule and subject populations from the time of the earliest documented human societies. How the kingly image is created and presented and how the ruler performs his or her function as the source of justice are among the topics addressed in this volume, which also covers the role of queens in maintaining dynastic succession yet being the target of tales of adultery. This volume is of particular interest in bringing together studies of kingly power from Cyrus the Great and Alexander in the ancient world to Shah Abbas in the seventeenth century, and covering the European Middle Ages as well as Iran and the Muslim world.

Is King Lear an autonomous text, or a rewrite of the earlier and anonymous play King Leir? Should we refer to Shakespeare’s original quarto when discussing the play, the revised folio text, or the popular composite version, stitched together by Alexander Pope in 1725? What of its stage variations? When turning from page to stage, the critical view on King Lear is skewed by the fact that for almost half of the four hundred years the play has been performed, audiences preferred Naham Tate's optimistic adaptation, in which Lear and Cordelia live happily ever after. When discussing King Lear, the question of what comprises ‘the play’ is both complex and fragmentary. These issues of identity and authenticity across time and across mediums are outlined, debated, and considered critically by the contributors to this volume. Using a variety of approaches, from postcolonialism and New Historicism to psychoanalysis and gender studies, the leading international contributors to King Lear: New Critical Essays offer major new interpretations on the conception and writing, editing, and cultural productions of King Lear. This book is an up-to-date and comprehensive anthology of textual scholarship, performance research, and critical writing on one of Shakespeare's most important and perplexing tragedies. Contributors Include: R.A. Foakes, Richard Knowles, Tom Clayton, Cynthia Clegg, Edward L. Rocklin, Christy Desmet, Paul Cantor, Robert V. Young, Stanley Stewart and Jean R. Brink

Otto of Schlepsig is risking his neck as an acrobat in a third-rate circus in the middle of nowhere when news arrives that the land of Shqiperi has invited Prince Halim Eddin to become its new king. Otto doesn’t know the prince from Adam, but he does happen to look just like him—a coincidence that inspires Otto with a mad plan to assume Halim’s identity and rule in his stead. True, Shqiperi is an uncivilized backwater, but even in uncivilized backwaters kings live better than acrobats. Plus, kingship in Shqiperi comes with a harem. Rank, as they say, has its privileges. With his friend Max, a sword-swallowing giant whose chronic cough makes every performance a potential tonsillectomy, Otto embarks on a rollicking journey filled with feats of derring-do, wondrous magic, and beautiful maidens—well, beautiful women. And that’s before he enters a royal world that is truly fantastical.

Females young and old, beautiful and plain crave Valerian's touch. None can resist his blatant sensuality and potent allure—until he steals Shaye Holling from a Florida beach and holds her prisoner in his underwater kingdom. The cynical Shaye wants nothing to do with the mighty warlord, but she's inexplicably drawn to him. For underneath the warrior's arrogant beauty lies a complex and powerful man. A man whose caress is like fire…. Now Valerian must fight for the privilege of claiming her as his own. Because there's one thing Shaye doesn't know…. That when a nymph discovers his true mate, she's his for life.

Otto of Schlepsig is risking his neck as an acrobat in a third-rate circus in the middle of nowhere when news arrives that the land of Shqiperi has invited Prince Halim Eddin to become its new king. Otto doesn’t know the prince from Adam, but he does happen to look just like him—a coincidence that inspires Otto with a mad plan to assume Halim’s identity and rule in his stead. True, Shqiperi is an uncivilized backwater, but even in uncivilized backwaters kings live better than acrobats. Plus, kingship in Shqiperi comes with a harem. Rank, as they say, has its privileges. With his friend Max, a sword-swallowing giant whose chronic cough makes every performance a potential tonsillectomy, Otto embarks on a rollicking journey filled with feats of derring-do, wondrous magic, and beautiful maidens—well, beautiful women. And that’s before he enters a royal world that is truly fantastical.