Kirjahaku

Anne Barton's essays on Shakespeare and his contemporaries are characterized by their combination of intelligence, humanity and elegance. In this linked but wide-ranging collection she addresses such diverse issues as Shakespeare's trust (and mistrust) of language, the puzzle of Falstaff's inability to survive in a genuinely comic world, the unconsummated marriage of Imogen and Posthumus in Cymbeline, Shakespeare's debt to Livy and Machiavelli in Coriolanus, 'hidden' kings in the Tudor and Stuart history play, comedy and the city, and deer-parks as places of liberation and danger in English drama up to and beyond the Restoration. Professor Barton looks at both major and neglected plays of the period and the ongoing dialogue between them. Taken together the essays reveal a remarkable range of reference and depth of insight, together with an increasing emphasis on historical and social contexts.

In her introduction to this brilliant and outrageous literary landmark, Anne Barton places Don Juan within the context of Byron's life and reading, and offers an interpretation of the poem which demonstrates its underlying coherence and artistic integrity, despite Byron's mischievous protestations to the contrary. A long chapter on the reception of the poem considers some of the attempts to imitate or continue it, using them to define what is fundamental to Byron's own handling of the Don Juan legend.

Anne Barton’s essays on Shakespeare and his contemporaries are characterised by their combination of intelligence, humanity and elegance. In this linked but wide-ranging collection she addresses such diverse issues as Shakespeare’s trust (and mistrust) of language, the puzzle of Falstaff’s inability to survive in a genuinely comic world, the unconsummated marriage of Imogen and Posthumus in Cymbeline, Shakespeare’s debt to Livy and Machiavelli in Coriolanus, ‘hidden’ kings in the Tudor and Stuart history play, comedy and the city, and deer-parks as places of liberation and danger in English drama up to and beyond the Restoration. Professor Barton looks at both major and neglected plays of the period and the ongoing dialogue between them. Taken together the essays reveal a remarkable range of reference and depth of insight, together with an increasing emphasis on historical and social contexts.

The Shakespearean Forest, Anne Barton's final book, uncovers the pervasive presence of woodland in early modern drama, revealing its persistent imaginative power. The collection is representative of the startling breadth of Barton's scholarship: ranging across plays by Shakespeare (including Titus Andronicus, As You Like It, Macbeth, The Two Gentlemen of Verona and Timon of Athens) and his contemporaries (including Jonson, Dekker, Lyly, Massinger and Greene), it also considers court pageants, treatises on forestry and chronicle history. Barton's incisive literary analysis characteristically pays careful attention to the practicalities of performance, and is supplemented by numerous illustrations and a bibliographical essay exploring recent scholarship in the field. Prepared for publication by Hester Lees-Jeffries, featuring a Foreword by Adrian Poole and an Afterword by Peter Holland, the book explores the forest as a source of cultural and psychological fascination, embracing and illuminating its mysteriousness.

The Shakespearean Forest, Anne Barton's final book, uncovers the pervasive presence of woodland in early modern drama, revealing its persistent imaginative power. The collection is representative of the startling breadth of Barton's scholarship: ranging across plays by Shakespeare (including Titus Andronicus, As You Like It, Macbeth, The Two Gentlemen of Verona and Timon of Athens) and his contemporaries (including Jonson, Dekker, Lyly, Massinger and Greene), it also considers court pageants, treatises on forestry and chronicle history. Barton's incisive literary analysis characteristically pays careful attention to the practicalities of performance, and is supplemented by numerous illustrations and a bibliographical essay exploring recent scholarship in the field. Prepared for publication by Hester Lees-Jeffries, featuring a Foreword by Adrian Poole and an Afterword by Peter Holland, the book explores the forest as a source of cultural and psychological fascination, embracing and illuminating its mysteriousness.

SOME RULES SIMPLY BEG TO BE BROKENA dressmaker in London's busiest shop, Miss Anabelle Honeycote overhears the ton's steamiest secrets - and (occasionally) uses them to her advantage. It isn't something she's proud of, but the reluctant blackmailer needs the money to care for her gravely ill mother. To make up for her misdeeds, Anabelle keeps to a firm set of rules:Never request payment from someone who cannot afford it.Never reveal the secrets of a paying client.Never enter into any form of social interaction with a client.Her list keeps her (somewhat) honest - until she encounters Owen Sherbourne, the Duke of Huntford.Not only does Owen nip Anabelle's extortion plans in the bud, the devilishly handsome duke soon has the sexy seamstress dreaming of more than silk and satin. With Owen, Anabelle enjoys pleasures she never imagined . . . until a scandal from the past resurfaces. Now her rules could mean his family's ruin. Owen's searing kisses carry the promise of passion, but how will he react when Anabelle's most devastating secret is finally revealed?

HOW FAR WILL TEMPTATION TAKE HIM . . . Lady Olivia Sherbourne isn't shy about speaking her mind, except when it comes to James Averill. For ten long years he has been her brother's best friend and her heart's only desire. But when Olivia hears James will soon set sail for an expedition to Egypt, she knows the time has come to make her move. It's now or never . . . James has always found Olivia bewitchingly attractive, but what kind of gentleman takes up with his best friend's sister? Not that he's thinking particularly gentlemanly thoughts when she appears on his exploratory trip-three hundred miles from home!-and incites a tavern fight. No matter what the devil she's doing there, it's his duty to see her safely back to her family. But how safe will she be when every starlit night brings wicked temptation . . . ?

As the Duke of Huntford's sister, Lady Rose Sherbourne follows the rules of well-bred society. Always chaperoned. Never engaging in unseemly behavior. Well, except for that one summer, years ago. And yet she's never been able to forget that handsome stable master or the stolen moments they shared. She's always wondered what might have happened if he hadn't disappeared without a word . . . Now she's about to find out. Charles Holland never expected to see Lady Rose again. And yet the years haven't lessened his devotion-or his desire-in any way. Despite their differences in class, Charles cannot stop himself from wanting to possess her. But as they uncover one intimate secret after another about her family, they realize that, this time, their love may come at a very dear price . . .

Every few years, someone writes a book about the wonders of living the simple life in the wilderness. For every person who loves that life, there are hundreds-no thousands-of others who can't wait to get away from it, and to enjoy the comforts of civilization. These people need a spokesperson, so Anne Barton, whose family lived for two years when she was a child, in a tent in the mountains, decided to set a mystery novel in an isolated mountain valley. Fourteen-year-old Derek Taylor discovers that the simple life isn't so simple after all when his family settles in a mountain valley, far from civilization. In fact, it's very hard work, even for him and his little sister. His parents want to get their children away from the drugs and street crime of an urban environment. But Derek meets another teen-age boy, who shows him how to catch fish right under the nose of the conservation officer, how to use smokeless tobacco, and where the marijuana is grown. Derek is dragged into a murder investigation when he and the other boy trip an alarm at a marijuana grow-op, and in running away, fall into an open grave. He unwittingly takes his sister into potential danger while looking for clues to the identity of the murderer, and also when he discovers that another, more subtle crime is being worked in the mountain valley. Anne Barton now lives, in comfort, in the beautiful Okanagan Valley of British Columbia.