The Prisoner of Zenda (1894), by Anthony Hope, is an adventure novel in which the King of Ruritania is drugged on the eve of his coronation and thus is unable to attend the ceremony. Political forces within the realm are such that, in order for the king to retain the crown, his coronation must proceed. Fortuitously, an English gentleman on holiday in Ruritania who resembles the monarch is persuaded to act as his political decoy in an effort to save the unstable political situation of the interregnum.

Well then — and I must premise that I am going, perforce, to rake up the very scandal which my dear Lady Burlesdon wishes forgotten — in the year 1733, George II. sitting then on the throne, peace reigning for the moment, and the King and the Prince of Wales being not yet at loggerheads, there came on a visit to the English Court a certain prince, who was afterwards known to history as Rudolf the Third of Ruritania. The prince was a tall, handsome young fellow, marked (maybe marred, it is not for me to say) by a somewhat unusually long, sharp and straight nose, and a mass of dark-red hair — in fact, the nose and the hair which have stamped the Elphbergs time out of mind. He stayed some months in England, where he was most courteously received; yet, in the end, he left rather under a cloud. For he fought a duel (it was considered highly well bred of him to waive all question of his rank) with a nobleman, well known in the society of the day, not only for his own merits, but as the husband of a very beautiful wife. In that duel Prince Rudolf received a severe wound, and, recovering therefrom, was adroitly smuggled off by the Ruritanian ambassador, who had found him a pretty handful. The nobleman was not wounded in the duel; but the morning being raw and damp on the occasion of the meeting, he contracted a severe chill, and, failing to throw it off, he died some six months after the departure of Prince Rudolf, without having found leisure to adjust his relations with his wife — who, after another two months, bore an heir to the title and estates of the family of Burlesdon. This lady was the Countess Amelia, whose picture my sister-in-law wished to remove from the drawing-room in Park Lane; and her husband was James, fifth Earl of Burlesdon and twenty-second Baron Rassendyll, both in the peerage of England, and a Knight of the Garter. As for Rudolf, he went back to Ruritania, married a wife, and ascended the throne, whereon his progeny in the direct line have sat from then till this very hour — with one short interval. And, finally, if you walk through the picture galleries at Burlesdon, among the fifty portraits or so of the last century and a half, you will find five or six, including that of the sixth earl, distinguished by long, sharp, straight noses and a quantity of dark-red hair; these five or six have also blue eyes, whereas among the Rassendylls dark eyes are the commoner...FROM THE BOOKS.

Set in the fictional land of Ruritania, "The Prisoner of Zenda" is a tale of intrigue, crime and scheming villains trying to depose the rightful heir to the throne... Classics Illustrated tells this wonderful tale in colourful comic strip form, offering an excellent introduction for younger readers. This edition also includes theme discussions and study questions, which can be used both in the classroom and at home to further engage the reader in the story. The Classics Illustrated comic book series began in 1941 with its first issue, Alexandre Dumas's The Three Musketeers, and has since included over 200 classic tales released around the world. This new Paperback Replica edition is part of a continuing effort to make Classics Illustrated available to all, be they young readers just beginning their journeys into the great world of classic literature, or collectors who have fond memories of this much loved comic book series.

Queen Flavia, dutifully but unhappily married to her cousin Rudolf V, writes to her true love Rudolf Rassendyll. The letter is carried by von Tarlenheim and his servant Bauer to be delivered by hand, but Fritz is betrayed by Bauer and it is stolen by the exiled Rupert of Hentzau and his loyal cousin the Count of Luzau-Rischenheim. Hentzau sees in it a chance to return to favor by informing the pathologically jealous and paranoid King.

A cultural history of Anthony Hope's The Prisoner of Zenda that explores its afterlife including how it was adapted for stage and screen, woven into narratives about the Cold War, and influenced children's writers such as Frances Hodgson Burnett and Meg Cabot.

Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals. This volume collects Euipides' Alcestis (translated by William Arrowsmith), a subtle drama about Alcestis and her husband Admetos, which is the oldest surviving work by the dramatist; Medea (Michael Collier and Georgia Machemer), a moving vengeance story and an excellent example of the prominence and complexity that Euripides gave to female characters; Helen (Peter Burian), a genre breaking play based on the myth of Helen in Egypt; and Cyclops (Heather McHugh and David Konstan), a highly lyrical drama based on a celebrated episode from the Odyssey. This volume retains the informative introductions and explanatory notes of the original editions and adds a single combined glossary and Greek line numbers.