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"You con artist. Someday I'll have my revenge!" Taz is dumped without explanation by her lover, Judeo, who suddenly turns on her. He believes that she and her father schemed to trick his family out of a fortune, and continues to despise her until they meet again, six years later - and Judeo is now Taz's stepmother's fiance. Is he using her to seek revenge? Taz tries to stand up to him to protect her stepmother and her late father, but finds that his appeal has only increased in the passing years, and that she is unable to resist his cruel but beautiful eyes...
Lisa Pennington will do anything to help her family--even if that means accepting an indecent proposal from the man who broke her heart! For five years Diego Raffacani has thought of nothing but Lisa--and revenge! He's sure that she will come to his bed, if only for her family's sake. But he soon realizes that he has underestimated her--and the strength of their passion. Now the only way to right the wrongs of the past is to make her his bride. But will Lisa yield to the Spaniard's seduction?
A succinct and disturbing account of the role of the Spanish Right in the course of the twentieth century.
“You know nothing about me, except that I’m an excellent lover.” Alejandro hits Rebecca in her most sensitive spot, because five years ago they had a passionate affair, but now, for reasons unknown to her, he’s managed to secretly buy up all of her company. Rebecca searches desperately for a way to understand his motives and distract him enough to get back her hotel business. The desire between them spills over into the cold world of the hotel industry and heats them up again. Rebecca carefully calculates her moves, but Alejandro has long since been able to break through!
David Bevington's new introduction to this classic play includes the latest developments in performance history and theater criticism. Detailed notes make this an ideal teching text.
As the Elizabethan era gave way to the reign of James I, England grappled with corruption within the royal court and widespread religious anxiety. Dramatists responded with morally complex plays of dark wit and violent spectacle, exploring the nature of death, the abuse of power and vigilante justice. In Kyd's The Spanish Tragedy a father failed by the Spanish court seeks his own bloody retribution for his son's murder. Shakespeare's 1603 version of Hamlet creates an avenging Prince of unique psychological depth, while Chettle's The Tragedy of Hoffman is a fascinating reworking of Hamlet's themes, probably for a rival theatre company. In Marston's Antonio's Revenge, thwarted love leads inexorably to gory reprisals and in Middleton's The Revenger's Tragedy, malcontent Vindice unleashes an escalating orgy of mayhem on a debauched Duke for his bride's murder, in a ferocious satire reflecting the mounting disillusionment of the age. Emma Smith's introduction considers the political and religious climate behind the plays and the dramatic conventions within them. This edition includes a chronology, playwrights' biographies and suggestions for further reading.
A comprehensive history that recounts the struggles of the Spanish Civil War in 1936 and the emergence of Francisco Franco as Spain's fascist dictator.
The first fully-fledged example of a revenge tragedy, the genrethat became so influential in later Elizabethan and Jacobean drama, TheSpanish Tragedy (1589) occupies a very special place in the history ofEnglish Renaissance drama. Hieronimo, Knight-Marshal of Spain duringits war with Portugal, fails to obtain justice when his son is murderedfor courting Bel-Imperia, the Duke of Castile's daughter, and decidesto take justice into his own hands… This new student edition has been freshly revised by ProfessorAndrew Gurr to incorporate the latest stage history and criticalinterpretations of the play. It also appends the scenes that were addedin 1602, discusses Elizabethan attitudes to revenge, the Senecanfeatures of the play and the significance of the Anglo-Spanish conflictin the 1580s.
Francis Bacon described revenge as a 'kind of wild justice'. Then as now, early modern playwrights and their theatre-going public were fascinated by the anarchic energies that a desire for retribution unleashes. Rather than rehearsing familiar conventions, each of these plays presents a unique social and cultural milieu where dark fantasies of revenge are variously played out. In Kyd's The Spanish Tragedy a grieving father seeks public justice for the murder of his son by envious princelings. When his attempts are thwarted he turns a court spectacle of murder into the 'real' thing. Blackly comic in its tone and style, The Revenger's Tragedy (anon.) presents vengeance as mimetic art, witty and cruel. Ford's 'Tis Pity She's a Whore represents an innovative re-working of the genre as a brother's love for his sister leads to his spectacular revenge on his rival, her husband, in a society in which brutal retaliation for perceived wrong is the norm. In Webster's The White Devil crimes of passion ignite revenge in the courts of the Italian city states. This student edition contains fully annotated, modernized texts of each play together with an introduction discussing the dramatic and poetic style of each play, focusing on its action and play of ideas.