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In this third exciting installment of Michael Zévaco's novels The Pardaillan is filled with more treacheries, palace intrigues, murder plots, which culminate eventually with the greatest tragedy in the history of the world as of that time with the St. Bartholomew Massacre. A "permanent peace" between the Roman Catholics and French Protestants, or Huguenots, invites the later ones to come to Paris. However, it was a ruse and shortly after the marriage of Princess Margot with Henri of Navarre the battle begins, which turned the streets of Paris literary in rivers of blood. But, where are our heroes the Pardaillan? The knight of Pardaillan continues to court (in his imaginings) the daughter of Francis of Montmorency, Louise, who is seeking to marry her with the Count of Margency. While the old Pardaillan finds himself in the Temple awaiting the most horrific tortures imaginable. Learn about this intriguing denouement in the third volume Aqua Toffana. And learn what happened to the rest of our personages. The Queen's swarm of female assassins goes to work under the nave of the church in an orgy of blood, fulfilling Catherine of Medici grand plans of power to retain the crown of France for her predilect son the duke of Anjou. The Lady in Mourning finally meets her lover Francis of Montmorency in a surprising reunion. Let's travel together to a romantic epoch of swashbuckling with Michael Zévaco at the helm and our itinerary The Pardaillan - Aqua Toffana
Find out the exciting completion and sometimes nefarious ending of the fourth book of MICHAEL ZÈVACO'S THE PARDAILLAN and what is going to be the impossible to imagine climax of the series, in this new edition of Volume IV: Quietus Leonor was a typical French provincial woman, very beautiful, in her early twenties with golden hair, ice-blue eyes and lovely pale skin, as white as snow. Her svelte body would soon swing by the neck in the scaffold guaranteed to be a site for the eye of the beholder. Her principal crime was being the daughter of a Protestant and having a Catholic lover who left her. Aside from her intoxicating physical attributes, she loved to travel especially to the big cities and more specifically Paris. Where the splendor of spring was fitted for enamors during that time of the year. Even so, the stench of death and the bloody stains still perfumed the air and permeated the streets by the tens of thousands of cadavers that were further being cleared. This massacre of historical proportions had been the product of the great Huguenot slaughter during Saint Bartholomew's holidays. King Charles IX and his more culpable mother Catherine of Medici had thus cannily planned and conceived it. On occasions, new butchered Protestant bodies were found strewn on the side streets. Like on one morning, as she was strolling near Our Lady Cathedral, one of the sites of the massacre, she spotted a bishop wearing his full official garments going inside the church with the faithful where he was going to officiate mass in Latin; it was Sunday mid morning in May. He was a tall, virile man, of handsome features, with raven-black hair, but his peculiar eyes appeared familiar to Leonor, and not only the eyes, but his masculinity, his gait, in essence, the entire package. That something about him woke up her curiosity, and even though being a Protestant she had never gone to Our Lady or any church, for that matter, she chose to follow him inside. To her dismay, she discovered that the bishop at the altar officiating mass indeed was John, the lover who had abandoned her. The ringing of the small bells signaling the elevation ritual when John the bishop raised the consecrated elements of bread and wine during the celebration of the Eucharist, allowed her to see the features of his full face. Immediately, she launched in anger toward him, without realizing the importance of the sacredness of the moment, and went up the steps of the altar to expose the bishop's adulterous behavior in front of the community of Catholics. The faithful people shocked and angry rushed to seize her and hauled her off to the bottom of a wet and dark jail cell at a nearby prison. The tribunal took six months to find her guilt of heresy, blasphemy, and spreading publicly slanderous calumnies against the reverend bishop, and sentenced her to death by hanging. In the scaffold, the executioner placed the noose around her neck, and the trap door opened. As she fell to the void of her death, she began to spookily shout while swinging in the hangman's rope. However, those shouts were not of dying but were from labor pains. An innocent and scared creature had dropped, still connected to the umbilical cord of the mother's placenta, fallen on the scaffold's hardwood, begun crying and extended the arms as begging for the mercy of innocence while seeking the comfort, warmth and love that only a mother could give... Edited and Translated by Eduardo Berdugo
Dont miss the continued saga of the intrepid knight-errant John of Pardaillan caught in a web of treacherous and vindictive royal revenge! Why do the courtiers want to kill him? Why are Pardaillan father and son fighting against each other on different camps? The long and bloodied religious war between Catholics and Huguenots (French Protestants) finally comes to an end as Queen Catherine of Medici through her handsomest and gallant son (whom she abandoned at birth to die) the Count of Marillac delivers to her cousin the Queen of Navarra Jeanne of Albret, his adoptive mother . . . Here is what I propose: Long lasting and definitive peace the right of the reformed religion to sustain a priest and to build a temple here in Paris and with assured liberty to exercise their cult, ten strong bastions elected by the queen of Navarra with titles of refuge and guarantee, twenty court appointments for her coreligionists, the right to preach their theology, the right to access all employments, as if they were Catholics . . . Or will she renege, a ruse to further her diabolical plans? And finally, the mesmerizing encounter of Joan of Piennes with Francis of Montmorency, after sixteen-years of tumultuous separation comes to an end.
The Black Widows of the Eternal City offers, for the first time, a book-length study of an infamous cause célèbre in seventeenth-century Rome, how it resonated then and has continued to resonate: the 1659 investigation and prosecution of Gironima Spana and dozens of Roman widows, who shared a particularly effective poison to murder their husbands. This notorious case has been frequently discussed over 350 years, but the earliest writers concentrated more on fortifying their reading constituency’s shared attitudes than accurately narrating facts. Subsequent authors remained largely content to follow their predecessors or keen to improve upon them. Most recent writers and bloggers were unaware that their earlier sources were generally unconcerned with a correct portrayal of real events. In the present study, Craig A. Monson takes advantage of a recent discovery—the 1,450-page notary’s transcript of the 1659 investigation. It is supplemented here by many ancillary archival sources, unknown to all previous writers. Since the story of Gironima Spana and the would-be widows is partially about what people believed to be true, however, this investigation also juxtaposes some of the “alternative facts” from earlier, sensational accounts with what the notary’s transcript and other, more reliable archival documents reveal. Written in a style that avoids arcane idioms and specialist jargon, the book can potentially speak to students and general readers interested in seventeenth-century social history and gender issues. It rewrites the life story of Gironima Spana (largely unknown until now), who has dominated all earlier accounts, usually in caricatures that reiterate the tropes of witchcraft. It also concentrates on the dozen other widows whose stories could be the most recovered from archival sources and whom Spana had totally eclipsed in earlier accounts. Most were women “of a very ordinary sort” (prostitutes; beggars; wives of butchers, barbers, dyers, lineners, innkeepers), the kinds of women commonly lost to history. The book seeks to explain why some women were hanged (only six, in fact, most of whom may not have directly poisoned anyone), while dozens of others who did poison their husbands escaped the gallows and, in some cases, were not even interrogated. It also reveals what happened to these other alleged perpetrators, whose fates have remained unknown until now. Other purported culprits, about whom less complete pictures emerge, are briefly discussed in an appendix. The study incorporates illustrations of archival manuscripts to demonstrate the challenges of deciphering them and illustrates “scenes of the crime” and other important locations, identified on seventeenth-century, bird’s eye-perspective views of Rome and in modern photographs. It also includes GPS coordinates for any who might wish to revisit the sites.
The geographic scope of this work is all of Europe, European Russia, Great Britain, Ireland, Iceland, the Mediterranean Islands such as Sicily and Corsica, the Caucasus area north of Turkey, including territory now in the new republics of Armenia, Georgia and Azerbaijan, and the Balkans and Greece. There are entries for shorts, animation, silents, television series, films (both theatrical and made-for-television releases), miniseries, epics, war films, dramas, literary adaptations, comedies, horrors, mysteries, musical comedies, and operettas. Complete entries provide such particulars as the title, date, alternate title(s), black & white or color, nationality, director, production company, length, producer, screenplay writer, literary source, cinematographer, score composer, actors (in order of importance) with character names and a brief synopsis or description, commentary, and references to the Variety review and one other filmographic source. Most of the titles were produced in Europe or Hollywood, but a few were made in such countries as Japan, Canada, Australia, Mexico, and Argentina. Productions based on Shakespeare's plays themselves are omitted; those based on his life are included. Opera and ballet films are omitted but musical comedy and operetta films are included, as are silent films based on operas. Fairy tales are out but folkloric works are in. Documentaries are not included. Subject (places, periods, events, and historical figures) and name indexes allow for easy reference.
The internationally bestselling, “gorgeously moving, old-fashioned novel” about a woman’s life, loves, and self-discovery on the eve the Great War (O, The Oprah Magazine). Grania O’Neill, the daughter of hardworking Irish hoteliers in small-town Ontario, is five years old when she emerges from a bout of scarlet fever profoundly deaf—suddenly sealed off from the world that was just beginning to open for her. While her guilt-plagued mother cannot accept it, Grania finds allies in her grandmother and her older sister, Tress. It isn’t until she’s enrolled in the Ontario School for the Deaf in Belleville, that Grania truly begins to thrive. In time, she falls for Jim Lloyd, a hearing man with whom Grania creates a new emotional vocabulary that encompasses both sound and silence. But just two weeks after their wedding, Jim leaves to serve as a stretcher bearer on the blood-soaked battlefields of Flanders. During this long war of attrition, Jim and Grania’s letters back and forth—both real and imagined—attempt to sustain their young love in a world as brutal as it is hopeful. Winner of the Commonwealth Book Prize, Frances Itani’s debut novel is a “brilliantly lucid and masterfully sustained” ode to language—how it can console, imprison, and liberate—with “the integrity of an achieved artistic vision, the kind of power that is generally associated with the gracious, crystalline prose of Grace Paley, the flagrantly good, good lines of Robert Lowell and W. H. Auden’s poetry” (Kaye Gibbons, author of A Virtuous Woman).