The Beggar King is the third book in Hangman's Daughter, the million-copy bestselling series. The year is 1662. Alpine village hangman Jakob Kuisl receives a letter from his sister calling him to the imperial city of Regensburg, where a gruesome sight awaits him: her throat has been slit. Arrested and framed for the murder, Kuisl faces firsthand the torture he's administered himself for years. Jakob's daughter, Magdalena, and a young medicus named Simon hasten to his aid. With the help of an underground network of beggars, a beer-brewing monk, and an Italian playboy, they discover that behind the false accusation is a plan that will endanger the entire German Empire. Chock-full of historical detail, The Beggar King brings to vibrant life another tale of the unlikely hangman and his tough-as-nails daughter, confirming Pötzsch's mettle as a writer to watch.
Hangman Jakob Kuisl is called upon to investigate whether witchcraft is being practiced in the small town of Schongau in 1659 after a dying boy is pulled from the river with a mark crudely tattooed on his shoulder.
This one act play is made available to all. It may be used freely to perform in any environment. No Royalties owed. You do not have to buy multiple copies to perform, copy this book. You may change lines and scenes. Please give credit to the original author as inspiration of the work.The elder Dumas, who wrote many successful plays, as well as the famous romances, said that all he needed for constructing a drama was "four boards, two actors, and a passion." What he meant by passion has been defined by a later French writer, Ferdinand Brunetière, as a conflict of wills. When two strong desires conflict and we wonder which is coming out ahead, we say that the situation is dramatic. This clash is clearly defined in any effective play, from the crude melodrama in which the forces are hero and villain with pistols, to such subtle conflicts, based on a man's misunderstanding of even his own motives and purposes.In comedy, and even in farce, struggle is clearly present. Here our sympathy is with people who engage in a not impossible combat—against rather obvious villains who can be unmasked, or against such public opinion or popular conventions as can be overset. The hold of an absurd bit of gossip upon stupid people is firm enough in "Spreading the News"; but fortunately it must yield to facts at last. The Queen and the Knave of Hearts are sufficiently clever, with the aid of the superb cookery of the Knave's wife, to do away with an ancient and solemnly reverenced law of Pompdebile's court.Again, in comedies as in mathematics, the problem is often solved by substitution. The soldier in Mr. Galsworthy's "The Sun" is able to find a satisfactory and apparently happy ending without achieving what he originally set out to gain. Or the play which does not end as the chief character wishes may still prove not too serious because, as in "Fame and the Poet," the situation is merely inconvenient and absurd rather than tragic. Now and then it is next to impossible to tell whether the ending is tragic or not. It is natural for us to desire a happy ending in stories, as we desire satisfying solutions of the problems in our own lives. And whenever the forces at work are such as make it true and possible, naturally this is the best ending for a story or a play. Where powerful and terrible influences have to be combated, only a poor dramatist will make use of mere chance, or compel his characters to do what such people really would not do, to bring about a factitious "happy ending." One of the best ways to understand these as real stage plays is through some sort of dramatization. This does not mean, however, that they need be produced with elaborate scenery and costumes, memorizing, and rehearsal; often the best understanding may be secured by quite informal reading in the class, with perhaps a hat and cloak and a lath sword or two for properties. With simply a clear space in the classroom for a stage, you and your imaginations can give all the performance necessary for realizing these plays very well indeed. Of course, you must clearly understand the lines and the play as a whole before you try to take a part, so that you can read simply and naturally, as you think the people in the story probably spoke. Some questions for discussion in the appendix may help you in talking the plays over in class or in reading them for yourself before you try to take a part. You will find it sometimes helps, also, to make a diagram or a colored sketch of the scene as the author describes it, or even a small model of the stage for a "dramatic museum" for your school. If you have not tried this, you do not know how much it helps in seeing plays of other times, like Shakespeare's or Molière's; and it is useful also for modern dramas. Such small stages can be used for puppet theatres as well. "The Knave of Hearts" is intended as a marionette play, and other dramas—Maeterlinck's and even Shakespeare's—have been given in this way with very interesting effects.
DigiCat Publishing presents to you this special edition of "Jewish Fairy Tales and Legends" by Gertrude Landa. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
Carroll begins with a broad survey of both the official images and explanations of poverty and also their unsettling unofficial counterparts. This discourse defines and contains the beggar by continually linking him with his hierarchical inversion, the king. Carroll then turns his attention to the exemplary case of Nicholas Genings, perhaps the single most famous beggar of the period, whose machinations as fraudulent parasite and histrionic genius were chronicled by Thomas Harman. Carroll next assesses institutional responses to poverty by considering two hospitals for the destitute, Bridewell and Bedlam, and their role as real and symbolic places in Elizabethan drama.
“You will marry the very next man who walks in that door.” As the only princess of a prosperous kingdom, I have wanted for nothing—and refused all suitors. What real man is worthy of my interest, when I secretly pen tales of handsome lords and beautiful brooding counts? But now my father has gathered up every eligible royal bachelor in all the realm. And it’s just as I suspected, not one to capture my fancy—especially King Brennus of the Wood Elves, who looks like a bandit and has the accent of a man born in a barn. I’d rather be on my own forever. I refuse them all. The last thing I expected was for my mild-mannered father to insist, in a fit of anger, that I marry the next man who walks in the door, even if he’s a peasant…and what do you know? “No, lass. I won’t let you starve. But you won’t exactly be free either. And just remember, any time you like, you can stop me. All you have to do is work or beg.” My new husband looks like a laborer and lives in a little cabin in the forest, but something tells me he’s not what he seems. He says he means to teach me humility in the form of honest work, making stew and scrubbing floors. But somehow or other, he knows all my secrets, all the deepest desires of my heart, and there is no one in the forest to hear me beg him for mercy...except the wolvenfolk who howl in the forest at night. They haven’t made any trouble in fifty years, but when the wolves are at the door, I don’t know if a peasant can save me… The Beggar Princess is a retelling of the Brothers Grimm's King Thrushbeard, a standalone fairy tale romance for those who like unabashedly adorable happily ever afters with a side of serious steaminess!
Chaos reigns in Marianstat as Duke Conrad of Regia, the king's uncle, plots to overthrow the new government of Westmark and bring an end to the reforms instituted by Mickle, now Queen Augusta, Theo, and their companions.
