By Poul Anderson
A magnificent story of intrigue, love, conflict, magic, and swashbuckling event set in an alternative universe the place fairies mingle freely with Englishmen and all of Shakespeare's fictional characters are real
Welcome to another civil-war-torn seventeenth-century England—a global the place Hamlet as soon as brooded and Othello jealously raged. the following faeries and sprites gambol in English woods, railroads race around the panorama whereas manned balloons drift above the nation-state, and the main revered historian of all is one William Shakespeare of Stratford-upon-Avon.
The yr is 1644, and the battle among the Roundheads and the Cavaliers rages. while Rupert, nephew of King Charles I, is taken captive by means of Cromwell's troops and imprisoned in a Puritan domestic, he's instantly smitten with the gorgeous Jennifer Alayne, his captor's niece. Escaping with assistance from his newfound cherished and the dependable trooper Will Fairweather, Rupert leads Jennifer deep into the wooded area, the place the faerie people who stay there have a vested curiosity within the end result of the nice and bloody clash. although the fans needs to quickly part—with the prince project a deadly project for his magical benefactors which may flip the tide of war—Rupert and his woman love may be eternally joined by means of the earrings awarded to them by way of King Oberon and Queen Titania. And regardless of the unusual, twisting pathways and turbulent seas they're destined to come across, they are going to continually be capable to locate one another again... so long as their love is still true.
Nominated for the realm fable Award and winner of the Mythopoeic Award, Poul Anderson's A Midsummer Tempest is a big achievement—a pleasant alternate-history fable that brings the fictitious worlds of Shakespeare's performs to breathtaking existence with variety, wit, and exceptional mind's eye.
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Extra resources for A Midsummer Tempest (Operation Otherworld, Book 3)
Problems of Dostoevsky’s Poetics, p. 160. Gary Saul Morson, ‘Parody, History, and Metaparody’, in Rethinking Bakhtin: Extensions and Challenges, ed. Gary Saul Morson and Caryl Emerson (Evanston, Ill: Northwestern University Press, 1989), p. 67. Annabel Patterson, Shakespeare and the Popular Voice (Oxford: Basil Blackwell, 1989), p. 42. Phyllis Rackin, Stages of History (London: Routledge, 1990), p. 214. Wilson, p. 28; see also Richard Helgerson, Forms of Nationhood (Chicago: Chicago University Press, 1992), p.
Kemp/Cade not only inverts York’s own genealogy, but adds in an obviously fake ancestor of his own. 62 In the terms of Bakhtin’s work on parodic stylization, the clown (Kemp) would need to have visibly greater ‘semantic authority’ than the clown (Cade) for this to be so. On the face of it, semantic SAC-02 (13-35) 26 1/14/98 1:46 PM Page 26 Stephen Longstaffe authority would seem to belong to the contemporary popular clown rather than the historical despoiler of London. But would it be possible in performance to distinguish ‘Cade’ from ‘Kemp’?
The pretty wretch left crying and said ‘Ay’ … I warrant, and I should live a thousand years I never should forget it. 61). 95), the Nurse roundly adds ‘No less, nay bigger. 95), thereby completing the cyclic pattern of her speech with yet further generation. 16–40). But as we shall see, this carnivalesque dance of life is haunted by the late medieval dance of death. In the Nurse and Juliet we have in emergent realism a splitting of the image of the grotesque body. Bakhtin remarks that ‘in the seventeenth century some forms of the grotesque began to degenerate into static “character” presentation and narrow “genrism”’ (p.
A Midsummer Tempest (Operation Otherworld, Book 3) by Poul Anderson