King Markon of Montalier is at the end of his tether. His son, Prince Parrin, is afflicted with a rather nasty curse that slaughters, maims, or brutally attacks any woman with whom he so much as flirts. After the rumour that sweeps around the kingdom, promising that any woman breaking the ‘curse’ will be eligible to marry the prince, there is no shortage of willing volunteers. Unfortunately, there is also no shortage of bodies piling up. Markon needs to do something, but what? Can a visiting enchantress from Avernse help, or is she simply another accident waiting to happen? And will Markon be able to give her up to his son if she does break the curse?

King Markon of Montalier is at the end of his tether. His son is afflicted with a curse that slaughters, maims, or brutally attacks any woman around him. When a rumour spreads that any woman breaking the 'curse' will marry the prince, there is no shortage of willing volunteers. There is also no shortage of bodies piling up...

It would be enough to recommend this astonishing, 45-volume set, first published in 1896, if it were merely a wonderfully massive compilation of the world's best writings from the world's best authors up until the advent of the 20th century. But A Library of the World's Best Literature is so much more than that. For this marvelous collection represents the evolution of human thought-the evolution of human civilization, even-as seen through the mind of one of the most important, if sadly almost forgotten, literary figures of the 19th century. Popular American essayist, novelist, and journalist CHARLES DUDLEY WARNER (1829-1900) was renowned for the warmth and intimacy of his writing, which encompassed travelogue, biography and autobiography, fiction, and more, and influenced entire generations of his fellow writers. Here, the prolific writer turned editor for his final grand work, a splendid survey of global literature, classic and modern, and it's not too much to suggest that if his friend and colleague Mark Twain-who stole Warner's quip about how "everybody complains about the weather, but nobody does anything about it"-had assembled this set, it would still be hailed today as one of the great achievements of the book world. And so it still deserves to be. Arranged not chronologically but alphabetically, mostly under the names of authors but in some cases of literatures or special subjects-such as Icelandic literature or Arthurian legend-this set is no dry reference work. These eminently browsable volumes-available through Cosimo for the first time in decades in both paperback and hardcover editions-are meant to be read and enjoyed by anyone who loves the written word. Volume 45 features more synopses of notable works-from Adam Bede by George Eliot to Zury; The Meanest Man in Spring County by Joseph Kirkland-including many not previously referenced in the set but highlighted as well worth a serious reader's time and attention. This volume also includes a General Index to the 45-volume set.

It would be enough to recommend this astonishing, 45-volume set, first published in 1896, if it were merely a wonderfully massive compilation of the world's best writings from the world's best authors up until the advent of the 20th century. But A Library of the World's Best Literature is so much more than that. For this marvelous collection represents the evolution of human thought-the evolution of human civilization, even-as seen through the mind of one of the most important, if sadly almost forgotten, literary figures of the 19th century.Popular American essayist, novelist, and journalist CHARLES DUDLEY WARNER (1829-1900) was renowned for the warmth and intimacy of his writing, which encompassed travelogue, biography and autobiography, fiction, and more, and influenced entire generations of his fellow writers. Here, the prolific writer turned editor for his final grand work, a splendid survey of global literature, classic and modern, and it's not too much to suggest that if his friend and colleague Mark Twain-who stole Warner's quip about how "everybody complains about the weather, but nobody does anything about it"-had assembled this set, it would still be hailed today as one of the great achievements of the book world.And so it still deserves to be. Arranged not chronologically but alphabetically, mostly under the names of authors but in some cases of literatures or special subjects-such as Icelandic literature or Arthurian legend-this set is no dry reference work. These eminently browsable volumes-available through Cosimo for the first time in decades in both paperback and hardcover editions-are meant to be read and enjoyed by anyone who loves the written word.Volume 45 features more synopses of notable works-from Adam Bede by George Eliot to Zury; The Meanest Man in Spring County by Joseph Kirkland-including many not previously referenced in the set but highlighted as well worth a serious reader's time and attention.This volume also includes a General Index to the 45-volume set.

Carnival and Literature in Early Modern England explores the elite and popular festive materials appropriated by authors during the English Renaissance in a wide range of dramatic and non-dramatic texts. Although historical records of rural, urban, and courtly seasonal customs in early modern England exist only in fragmentary form, Jennifer Vaught traces the sustained impact of festivals and rituals on the plays and poetry of sixteenth- and seventeenth-century English writers. She focuses on the diverse ways in which Shakespeare, Spenser, Marlowe, Dekker, Jonson, Milton and Herrick incorporated the carnivalesque in their works. Further, she demonstrates how these early modern texts were used-and misused-by later writers, performers, and inventors of spectacles, notably Mardi Gras krewes organizing parades in the American Deep South. The works featured here often highlight violent conflicts between individuals of different ranks, ethnicities, and religions, which the author argues reflect the social realities of the time. These Renaissance writers responded to republican, egalitarian notions of liberty for the populace with radical support, ambivalence, or conservative opposition. Ultimately, the vital, folkloric dimension of these plays and poems challenges the notion that canonical works by Shakespeare and his contemporaries belong only to 'high' and not to 'low' culture.