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By Poul Anderson

A marvelous story of intrigue, love, battle, magic, and swashbuckling experience 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. the following faeries and sprites gambol in English woods, railroads race around the panorama whereas manned balloons flow 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. whilst Rupert, nephew of King Charles I, is taken captive through Cromwell's troops and imprisoned in a Puritan domestic, he's instantly smitten with the gorgeous Jennifer Alayne, his captor's niece. Escaping with the aid of his newfound liked and the dependable trooper Will Fairweather, Rupert leads Jennifer deep into the woodland, the place the faerie people who live there have a vested curiosity within the end result of the good and bloody clash. notwithstanding the enthusiasts needs to quickly part—with the prince project a perilous challenge for his magical benefactors that may flip the tide of war—Rupert and his girl love should be eternally joined through the earrings offered to them by way of King Oberon and Queen Titania. And regardless of the unusual, twisting pathways and turbulent seas they're destined to come across, they'll consistently be ready to locate one another again... so long as their love continues to be true.

Nominated for the realm myth Award and winner of the Mythopoeic Award, Poul Anderson's A Midsummer Tempest is a monstrous achievement—a pleasant alternate-history fable that brings the fictitious worlds of Shakespeare's performs to breathtaking existence with variety, wit, and exceptional mind's eye.

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Additional resources for A Midsummer Tempest (Operation Otherworld, Book 3)

Example text

In the circumstances where we see the hero placed, his tragic trait, which is also his greatness, is fatal to him. .. [The] fatal imperfection or error . . [in] Hamlet . . is a painful consciousness that duty is being neglected' (Bradley 1957, pp. 13-15). 27], of the four fluids or 'humours' - black and yellow bile, phlegm, and blood - which were to be found in the human body. The protagonists of French classical drama were created according to this recipe, and the notion of the 'ruling passion' was accorded much respect in the eighteenth century.

1817) Again Brecht's manifesto for his new kind of theatre may serve as a useful balance to this sort of thing: The new ... theatre exposes any given type together with his way of behaving, so as to throw light on his social motivations .... Individuals remain individual, but become a social phenomenon. The individual's position in society loses its God-given character and becomes the centre ofattention. (1977, p. 103) Thirdly, too much of this kind of criticism ignores the material dimension of character we encounter in the theatre.

441-50] God remains hidden in the play, and Shakespeare seems to be making it impossible for us to find in the play the kind of moral certainty that Stoll derives from his construction of a genre (Heinemann 1985, p. 219). It follows that we cannot deduce a meaning for a work of art from its form alone: we must consider all the particularities of its content, its differences as much as its likenesses with other similar works of its time. As Hegel asserted in The Philosophy of Fine Art (1835) 'every definite content determines a form suitable to it' (cited in Eagleton 1976, p.

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