By Poul Anderson
A wonderful story of intrigue, love, battle, 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 an alternative civil-war-torn seventeenth-century England—a global the place Hamlet as soon as brooded and Othello jealously raged. right here 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 struggle among the Roundheads and the Cavaliers rages. while Rupert, nephew of King Charles I, is taken captive via Cromwell's troops and imprisoned in a Puritan domestic, he's instantly smitten with the attractive Jennifer Alayne, his captor's niece. Escaping with assistance from his newfound liked and the unswerving trooper Will Fairweather, Rupert leads Jennifer deep into the woodland, the place the faerie folks who reside there have a vested curiosity within the consequence of the nice and bloody clash. notwithstanding the fans needs to quickly part—with the prince project a perilous challenge for his magical benefactors that can flip the tide of war—Rupert and his girl love may be without end joined via the jewelry awarded to them through King Oberon and Queen Titania. And regardless of the unusual, twisting pathways and turbulent seas they're destined to come across, they're going to regularly manage to locate one another again... so long as their love continues to be true.
Nominated for the area delusion 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 lifestyles with sort, wit, and exceptional mind's eye.
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Additional info for A Midsummer Tempest (Operation Otherworld, Book 3)
Commonness falsiﬁes what is special, private, too deep for utterance, by reducing it to the commonplace. Besides, the notion of vulgar ostentation shows how easily these two apparent opposites may be conﬂated. Claudius’ slickly ceremonious speech in Act 1, Scene 2. has something of this quality, especially in the unctuous professions to Laertes. What he professes to Hamlet, when he turns his attention to him, is a faith in the commonplace, claiming that his failure to grasp a simple platitude shows An understanding simple and unschooled; For what we know must be, and is as common As any the most vulgar thing to sense .
That distaste colours his response to the most powerful medium in his own culture, which is, of course, the theatre. After being cast in what seems to have been an exceptionally crude representation of his story, this Hamlet has every right to be discriminating. The ﬁrst audiences of Shakespeare’s Hamlet would have found their expectations fulﬁlled, brieﬂy. The play does indeed begin with a sighting of the ghost who had, in the old play, memorably issued the command, ‘Hamlet, revenge’. But the satisfying sense of familiarity would have evaporated very quickly.
HAMLET ’ S MEDIA STUDIES Media Studies is viewed with some disdain, especially in the older seats of learning, and this view has become a journalistic stereotype. This is 70 Wright, Passions of the Mind, ed. Newbold, 212–13. ,: University of Illinois Press, 1984), 56–105. 71 Pauline Kiernan has argued that the role of the human body and the power of performance are central to Shakespeare’s understanding of the dramatic medium (see Shakespeare’s Theory of Drama (Cambridge: Cambridge University Press, 1996) ).