Read Ebook {PDF EPUB} Arrows of Desire by Lynne Connolly Danger Wears White. "Full of political intrigue, steamy romance and plenty of twists and turns. a well crafted story that kept me on the edge of my seat until the very last page. If Lynne Connolly isn't on your auto-buy list, she should be." Sharon Cullen, author of Sebastian's Lady Spy. Hoping to live down her family's connections to the traitorous Jacobite cause, Imogen wants nothing more than a quiet life in the country. When she stumbles upon a wounded man, the white cockade in his coat tells her he's a Jacobite, and a danger to the crown. Yet there's something about him she can't resist . In search of a document on behalf of his powerful family, Tony is shot and left for dead. Secreted away to a hidden chamber, he finds himself both a guest and prisoner of a beautiful but mysterious woman. What she wants and who she serves, he cannot know. But what he does understand is the desire burning strongly between them. And that neither of them will be spared until their lust is sated. When the action moves to London, suddenly it's Tony who has to act to save Imogen. Forced to become a lady in waiting to Princess Amelia, she is in peril from the Jacobites, who are convinced she is their salvation. Only the strength of Tony and Imogen's love can save them now. King Lear. As Reginald Foakes has argued, King Lear has probably replaced Hamlet as Shakespeare's most admired play because of its recognition of the broadest range of human relationships. Nevertheless, the play has usually been mutilated in performance. Shakespeare's downbeat ending of the plot with the deaths of Lear and Cordelia (in contrast to his sources) has oppressed so many that it was often played with Nahum Tate's happy ending: with Edgar marrying Cordelia and Lear restored; the Fool eliminated and Arante added as confidant for Cordelia. This version was acted by Thomas Betterton, David Garrick, and Edmund Kean, and preferred by Samuel Johnson. The play was even suppressed for a time when George III was suffering mental impairment. Macready's production of 1838 restored the original text. However, distortions remain customary in stage and film productions. The famous 1962 film production by Peter Brook, with Paul Scofield as Lear and Alan McCowan as the Fool, pessimistically omits Edmund's repentance. In contrast, Kozintsev's film suppresses the attempted suicide of Gloucester and Lear's hint at the Fool's death. Actors and directors tend to see the ranting scenes and supposed madness as the play's core, rather than Lear's acquiring of wry humor in the face of disaster (yet significantly the Folio text cut Lear's most hallucinatory scene: the trial of Goneril and Regan). The contrastingly positive role of Edgar is often under-stressed—but it provided a hopeful conclusion to Kozintsev's film; and Branagh cast himself as Edgar in his staged version. (See The Tragicomedy of King Lear as well as Performing King Lear: Researching a Plot Sequence.) Pages. Essay Title Author The Tragicomedy of "King Lear" Hugh Richmond Staging "King Lear" Jonny Patrick Edgar, King of England, 959-975: King Lear subplot Hugh Richmond. Alpers, Paul J. " King Lear and the Theory of the 'Sight Pattern.'" In In Defense of Reading. A Reader's Approach to Literary Criticism , edited by Reuben A. Brower and Richard Poirier, 133-52. New York: Dutton & Co, 1963. Bennett, Susan. "Godard and Lear : Trashing the Can(n)on." Theatre Survey 39, no. 1 (1998): 7-19. Bradley, Lynne. Adapting "King Lear" for the Stage. Burlington, VT: Ashgate, 2010. Bratton, J. S., ed. King Lear . Bristol: Bristol Classical Press, 1987. Brown, John Russell, ed. King Lear . New York and London: Applause, 1996. Champion, Larry S. King Lear: An Annotated Bibliography , 2 volumes. New York: Garland, 1980. Cox, Brian. The "King Lear" Diaries: the Story of the Royal National Theatre's Productions of Shakespeare's "Richard III" and " King Lear" London: Methuen, 1992. Coursen, H. R. "The Peter Brook/Orson Welles King Lear ." Shakespeare on Film Newsletter 15, no. 2 (1991): 8. Crowl, Samuel. "The Bow Is Bent and Drawn: Kurosawa's Ran and the Shakespearean Arrow of Desire." Literature/Film Quarterly 22 (1994): 109-16. Davies, Anthony. " King Lear on Film." In Lear from Study to Stage: Essays in Criticism , edited by James Ogden and Arthur H. Scouten, 247- 66. Madison: Fairleigh Dickinson University Press; London: Associated University Presses, 1997. Davies, Oliver Ford. Playing Lear . London: Hern, 2003. Eyber, Vitaliy. "Shakespeare in Russia: King Lear at Leo Dodin's Theatre of Europe." Shakespeare Bulletin 25, no. 1 (Spring 2007): 87-94. Favorini, Attilio. "Episodes in the History of the Stage Business of Shakespeare's King Lear. " Maske und Kothurn 29 (1983): 168-78. Fischer-Lichte, Erika. "Between Difference and Indifference: Marianne Hoppe in Robert Wilson's Lear ." In Gender in Performance: The Presentation of Difference in the Performing Arts , edited by Laurence Senelick, 86-98. Hanover and London: University Press of New England for Tufts University, 1992. Foakes, Reginald. Hamlet Versus King Lear: Cultural Politics and Shakespeare's Art . Cambridge: Cambridge University Press, 1993. Gaines, Robert A. "William Hutt: Thirty-Five Years with King Lear ." Theatre History Studies 18 (1998): 39-60. Gerould, Daniel C. "Literary Values in Theatrical Performances: King Lear on Stage." Theatre Journal 19 (1967): 311-21. Gibinska, Marta. "Olivier's King Lear and the Problem of Naturalistic Mimesis in Modern Media." In Reception of the Classics in Modern Theatre , edited by Marta Gibinska, 57-72. Cracow: Universitas, 1991. Gilman, Todd. "The Textual Fabric of Peter Brook's King Lear: 'Holes' in Cinema, Screenplay, and Playtext." Literature/Film Quarterly 20, no. 4 (1992): 294-300. Glover, William. "An Attempt at the Summit: The Making of King Lear ." On-Stage Studies 4 (1980): 21-38. Good, Maurice. Every Inch a Lear: a Rehearsal Journal of "King Lear" with Peter Ustinov and the Stratford Festival Company . Victoria, BC: Sono Nis Press, 1982. Graham, Kenneth J. E. "'Without the form of justice': Plainness and the Performance of Love in King Lear ." Shakespeare Quarterly 42 (1991): 438-61. Greenwald, Michael L. "A Lear of Mixed Means: King Lear at Texas A and M University." On-Stage Studies 11 (1988): 36-51. Gurr, Andrew. "Headgear as a Paralinguistic Signifier in King Lear ." Shakespeare Survey 55 (2002): 43-52. Halio , Jay L. King Lear: A Guide to the Play . Westport and London: Greenwood, 2001. Halio, Jay L. "Staging King Lear 1.1 and 5.3." In Shakespeare Illuminations: Essays in Honor of Marvin Rosenberg , edited by Jay Halio and Hugh Richmond, 102-9. Newark: University of Delaware Press, 1998. Harris, Laurilyn J. "Peter Brook's King Lear: Aesthetic Achievement or Far Side of the Moon?" Theatre Research International 11, no. 3 (Autumn 1986): 223-39. Hawkes, Terence. "Lear's Maps: A General Survey." Shakespeare-Jahrbuch (Bochum) (1989): 134-47. Hicks, Penelope. "Filling In the Gaps: Further Comments on Two Performances of Nahum Tate's King Lear in 1701, Their Dates and Cast." Theatre Notebook: A Journal of the History and Technique of the British Theatre 49, no. 1 (1995): 310. Holland, Peter. "Two-Dimensional Shakespeare: King Lear on Film." In Shakespeare and the Moving Image , edited by Anthony Davies and Stanley Wells, 50-68. Cambridge; New York: Cambridge University Press, 1994. Hughes, Alan. "'A Poor, Infirm, Weak and Despis'd Old Man': Henry Irving's King Lear." Wascana Review 12, no. 1 (1977): 49-64. Ioppolo, Grace, ed. A Routledge Literary Sourcebook on William Shakespeare's "King Lear." London and New York: Routledge, 2003. Ioppolo, Grace. "The Performance of Text in the Royal National Theatre's 1997 Production of King Lear ." In Shakespeare Performed: Essays in Honor of R. A. Foakes , edited by Grace Ioppolo, 180-97. Newark: University of Delaware Press; London: Associated University Presses, 2000. Johansen, I. "Visible Darkness: Shakespeare's King Lear and Kurosawa's Ran ." In Screen Shakespeare , edited by Michael Skovmand and Tim Caudery, 64-86. Cambridge, England: Aarhus University Press, 1994. Kelly, Philippa. "Performing Australian Identity: Gendering King Lear ." Theatre Journal 57, no. 2 (2005): 205-227. Kennedy, Dennis. "King Lear and the Theatre." Theatre Journal 28 (1976): 35-44. Keyishian, Harry. "Performing Violence in King Lear: Edgar's Encounters in 4.6 and 5.3." Shakespeare Bulletin 14, no. 3 (1996): 36-38. Kimbrough, R. Alan. "Olivier's Lear and the Limits of Video." In Shakespeare on Television: An Anthology of Essays and Review , edited by James C. Bulman and H. R. Coursen, 115-22. Hanover and London: University Press of New England, 1988. Kozintsev, Grigorii Mikhailovich. "King Lear": The Space of Tragedy: The Diary of a Film Director. Translated by Mary Mackintosh. Forward by Peter Brook. Berkeley: University of California Press, 1977. Leggatt, Alexander. King Lear . Shakespeare in Performance. Manchester; New York: Manchester University Press, 1991. Lehmann, Courtney. "A Thousand Shakespeares: From Cinematic Saga to Feminist Geography or, The Escape from Iceland." In A Companion to Shakespeare and Performance , edited by Barbara Hodgdon and W. B. Worthen, 588-608. Malden, MA: Blackwell Publishing, 2005. Lusardi, James P. and Jane Schlueter. Reading Shakespeare in Performance: King Lear . Rutherford, NJ: Fairleigh Dickinson University Press; London and Toronto: Associated University Presses, 1991. Lyall, Sarah. "For Derek Jacobi, Now is the Time for a Certain Role." Review of King Lear , Donmar Warehouse, December 2010; Brooklyn Academy of Music, April 2011. New York Times , April 24, 2012. Maguire, Nancy Klein. "Nahum Tate's King Lear: 'the king's blest restoration.'" In Appropriation of Shakespeare: Post-Renaissance Reconstructions of the Works and the Myth , edited by Jean I.