Dryden's audiences in 1671, both aristocratic and middle-class, would have been quick to respond to the themes of disputed royal succession, Francophilia and loyalty among subjects in his most successful tragicomedy. In the tragic plot, written in verse, young Leonidas has to struggle to assert his place as the rightful heir to the throne of Sicily and to the hand of the usurper's daughter. In the comic plot, written in prose, two fashionable couples (much more at home in London drawing-rooms than at the Sicilian court) play at switching partners in the 'modern' style. The introduction of this edition argues that Dryden's own ambivalence about King Charles and his entourage, on whom he came to rely more on more for patronage, manifests itself in both plots; most of all perhaps in the excessively Francophile Melantha, whose affectation cannot quite hide her endearing joie-de-vivre.

William’s heart aches. The pleasure he finds in his work is only a temporary distraction from the pain of being separated from his family, especially his wife. Every Saturday he takes the train down to the new house, full of new servants and Isabel’s Bohemian friends. It’s true that they needed a larger house. And he doesn’t really begrudge her the servants. But the extraordinary thing is that he’d never guessed she was so unhappy. HarperPerennial Classics brings great works of literature to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperPerennial Classics collection to build your digital library.

This book traces the development of wedding attire from the silver and white brocades of eighteenth-century formal, aristocratic weddings to the elegant crinoline revival of the late 1950s. Whenever possible, Shelley Tobin focuses on gowns and accessories where she can trace the provenance of the wearer, or the maker, to provide a social history of the past 300 years. The accoutrements of the brides reflected the luxury trades of the eighteenth and nineteenth centuries, but it was not until the 1850s that the white wedding became an established tradition. Even then, it was not available to everyone. Although formal, the wedding gown followed fashion and was often recycled as a suitable dress for the first presentation at court as a married woman. Wedding veils, if not passed down through the family, might also be used in another form, particularly as christening robes during the early twentieth century. The trend for producing costume dramas for stage and screen (e.g., Sense and Sensibility directed by Ang Lee, 1995) has seen the recreation of a number of period styles, and these in turn have influenced today's deigners.

Rake's Progress, Harlot's Progress, Illustrations for Hudibras, Before and After, Beer Street, and Gin Lane, 96 more. Commentary by Sean Shesgreen.

A new series debut from Odelia Grey mystery author Sue Ann Jaffarian! Granny was famous for her award-winning apple pies-and notorious for murdering her husband Jacob at their homestead in Julian, California. The only trouble is, Granny was framed, then murdered. For more than one hundred years, Granny's spirit has been searching for someone to help her see that justice is served—and she hits pay dirt when she pops in to a séance attended by her great-great-great-granddaughter, modern-day divorced mom Emma Whitecastle. Together, Emma and Granny Apples solve mysteries of the past—starting with Granny's own unjust murder rap in the final days of the California Gold Rush. Along with a sprinkling of history, this spirited new mystery series features the amateur sleuth team of Emma Whitecastle and the spirit of her pie-baking great-great-great-grandmother, Granny Apples. Praise: "A delectable first in a new paranormal cozy series from Sue Ann Jaffarian."—Publishers Weekly "A fun new series. Ghostly puzzles are one of the trendy new themes in cozy mysteries, and this is a good one."—Booklist "Jaffarian has done a nifty job of incorporating Julian's history into her tale of unresolved ghosts, uncanny psychics, unsolved murders and unhappy divorcees, while handily introducing some characters, alive and dead, to carry the series forward."—North Country Times "Emma handles her 'gift' of seeing the dead with aplomb, and class. I'll look forward to seeing where the sequel will take Emma and Granny."—Deadly Pleasures "A charming tale, as appealing as apple pie. I predict a long life (and afterlife) for Sue Ann's latest series."—Harley Jane Kozak, Agatha, Anthony and Macavity Award-winning author of Dating Dead Men "Take colorful characters in a charming setting, mix in a dash of romance, add a pinch of the paranormal, and serve it up like one of Granny's famous pies. I guarantee you'll be back for seconds."—Deborah Sharp, author of Mama Rides Shotgun

A highly illustrated journey through Hogarth's series paintings and engravings, from the blockbuster 'Rake's Progress and Marriage a la Mode' to the enigmatic and lesser known Happy Marriage this book offers a close analysis of place and setting in Hogarth's works' in order to revisit the artist's complex stance on morality, society, and the city, and the enduring appeal of his satires in the present.0William Hogarth (1697-1764) remains one of Britain's best loved painters. His most renowned works, the series relating to moral subjects, are rarely displayed together, and will be united at the Soane Museum for the first time in its history.0The book also focusses tightly on Hogarth's series; The Soane Museum's own Rake's Progress and An Election, as well as Marriage a la Mode, the Four Times of Day, as well as the three surviving paintings of The Happy Marriage engraved series such as Stages of Cruelty, Industry and Idleness and Gin Lane and Beer Street. It is edited by David Bindman, a world authority on Hogarth and comprises four essays by leading academics, along with Bindman's own introduction to each of the series according to the themes of "place" and "progress".00Exhibition: Sir John Soane's Museum, London, UK (09.10.2019-05.01.2020).

Studie over het werk van de Engelse schilder William Hogarth (1697-1764).