Cornish farmer Joseph Moyle's loyalty to the crown goes well rewarded - his stepson Ralf is appointed page to the future Charles II. And when Ralf takes up his post, Britain is in the midst of its most tumultuous period ever - the war between the Royalists and the Parliamentarians and the dawning of an entirely new era . . . Ralf's duties oblige him to follow the heir to the throne through the western counties, where he experiences not only court intrigue and the constant threat of Cromwell's armies, but also romance. As Charles begins the first of many affairs, Ralf also falls in love. But this first love is a dangerous one. Brighid is an Irish Catholic and complicit in an attempt to kidnap Charles - a fact that Ralf discovers when he foils the plot . . .
Since Kate Beaton appeared on the comics scene in 2007 her cartoons have become fan favourites and gathered an enormous following, appearing in the New Yorker, Harper and the LA Times, to name but a few. Her website, Hark! A Vagrant, receives an average of 1.2 million hits a month, 500 thousand of them unique. Why? Because she's not just making silly jokes. She's making jokes about everything we learned in school, and more. Praised for their expression, intelligence and comic timing, her cartoons are best known for their wonderfully light touch on historical and literary topics. The jokes are a knowing look at history through a very modern perspective, written for every reader, and are a crusade against anyone with the idea that history is boring. It's pretty hard to argue with that when you're laughing your head off at a comic about Thucydides. They also cover whatever's on her mind that week - be it the perils of city living or the pop-cultural infiltration of Sex and the City, featuring an array of characters, from a mischievous pony, to reinvented superheroes, to a surly teen duo who could be the anti-Hardy-Boys. Perceptive, sharp and wonderfully irreverent, Hark! A Vagrant is as informative as it is hilarious, and a comic collection to treasure.
A laugh-out-loud picture book with royal appeal! All hail King Baby! He greets his adoring public with giggles and wiggles and coos, posing for photos and allowing hugs and kisses. But this royal ruler also has many demands, and when his subjects can't quite keep up, King Baby takes matters into his own tiny hands.Created by Kate Beaton, author of The Princess and the Pony and #1 New York Times bestsellers Hark! A Vagrant and Step Aside, Pops!, this modern, funny, and (let's be honest) realistic take on life with a new baby is the perfect gift for anyone with an adorable little monarch in their world.
Cornish farmer Joseph Moyle's loyalty to the crown goes well rewarded - his step-son Ralf is appointed page to the future Charles II. And when Ralph takes up his post Britain is in the midst of its most tumultuous period ever - the war between the Royalists and the Parliamentarians and the dawning of an entirely new era ... Ralf's duties oblige him to follow the heir to the throne through the western counties, as he learns of court intrigue and the constant threat of Cromwell's armies. And of romance. As Charles begins the first of many affairs, Ralf falls in love. But this first love is a dangerous one. Brighid is an Irish Catholic. She is also complicit in an attempt to kidnap Charles - a fact that Ralf discovers when he foils the plot ... In 1645, when the conclusive Battle of Naseby marks ultimate defeat for the Royalists, Ralf follows Charles into exile. His return finds him more experienced, promoted to personal secretary - and desperate to return to Cornwall. But after ten years of loyal service to Charles, Ralf's dreams of the homecoming to his beloved Trecarne are shattered...
V. 1-11. House of Lords (1677-1865) -- v. 12-20. Privy Council (including Indian Appeals) (1809-1865) -- v. 21-47. Chancery (including Collateral reports) (1557-1865) -- v. 48-55. Rolls Court (1829-1865) -- v. 56-71. Vice-Chancellors' Courts (1815-1865) -- v. 72-122. King's Bench (1378-1865) -- v. 123-144. Common Pleas (1486-1865) -- v. 145-160. Exchequer (1220-1865) -- v. 161-167. Ecclesiastical (1752-1857), Admiralty (1776-1840), and Probate and Divorce (1858-1865) -- v. 168-169. Crown Cases (1743-1865) -- v. 170-176. Nisi Prius (1688-1867).
Investigating representations of poverty in Tudor-Stuart England, Fat King, Lean Beggar reveals the gaps and outright contradictions in what poets, pamphleteers, government functionaries, and dramatists of the period said about beggars and vagabonds. William C. Carroll analyzes these conflicting "truths" and reveals the various aesthetic, political, and socio-economic purposes Renaissance constructions of beggary were made to serve.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.Fat King, Lean Beggar then focuses on dramatic inscriptions of poverty, primarily in Shakespeare's plays. Carroll's analysis of The Taming of the Shrew and The Winter's Tale links the tradition of the merry beggar to the socioeconomic forces of the day; and his reading of King Lear makes a case for the uniqueness of Edgar, the Bedlam beggar, in the history of drama. Carroll also considers later plays such as Fletcher and Massinger's Beggars' Bush and Richard Brome's Jovial Crew to show how idealizations of the beggar ironically equate him with a monarch in his supposed freedom.
