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Venice, 1586. William Shakespeare is disguised as a steward to the English Ambassador. He and his actor friends, Oldcastle and Hemming, possess a deadly secret: the names of the Catholic spies in England who seek to destroy Queen Elizabeth. Before long the Pope’s agents begin to close in on them, so fleeing the city is the players’ only option. In Verona, Aemelia, the daughter of a Duke, is struggling to conceal her passionate affair with her cousin Valentine. But darker times lie ahead with the arrival of the sinister Father Thornhill, who is determined to seek out anyone who doesn’t conform to the Pope’s ruthless agenda . . . Events will converge in the forests around Verona as a multitude of plots are hatched and discovered, players fall in and out of love, and disguises are adopted and then discarded. Will the brash William Shakespeare and his friends escape with their secrets—and their lives?
When he is caught by his wife in one ill-advised seduction too many, young William Shakespeare flees Stratford to seek his fortune. Cast adrift in London, Will falls in with a band of players, but greater men have their eye on this talented young wordsmith. England’s very survival hangs in the balance, and Will finds himself dispatched to Venice on a crucial assignment. Once there, Will is dazzled by the city’s masques and its beauties, but Catholic assassins would stop at nothing to end his mission on the point of their sharpened knives—and lurking in the shadows is a killer as clever as he is cruel.Suspenseful, seductive, and as sharp as an assassin’s blade, The Spy of Venice introduces a major new literary talent to the genre—thrilling if you’ve never read a word of Shakespeare and sublime if you have.
Classical Rhetoric, the art of persuasion, formed the sum and substance of Shakespeare's education and was the basis of his understanding of the power of language and how it worked to move, delight and teach. Rhetoric, which seeks to explain the way that language works to influence others, provides a powerful, transformative tool for approaching text in performance. This book helps you understand the key concepts of rhetoric. It gives clear explanations, stripped of jargon, and examples of rhetorical technique in the plays. It also provides engaging, practical exercises to unlock character and to identify themes in the plays through the lens of rhetoric. Academically rigorous, based on more than a decade of practical experience in the use of rhetoric in drama at the highest level, it is an ideal companion for anyone engaging with Shakespeare in performance.
In the Houses of Montague and Capulet, there is only one goal: power. The boys are born to fight and die for honor and—if they survive—marry for influence and money, not love. The girls are assets, to be spent wisely. Their wishes are of no import. Their fates are written on the day they are born. Benvolio Montague, cousin to Romeo, knows all this. He expects to die for his cousin, for his house, but a spark of rebellion still lives inside him. At night, he is the Prince of Shadows, the greatest thief in Verona—and he risks all as he steals from House Capulet. In doing so, he sets eyes on convent-bound Rosaline, and a terrible curse begins that will claim the lives of many in Verona… …And will rewrite all their fates, forever.
In 1314, seventeen year old Pietro Alighieri travels to Verona with his father, the infamous poet Dante, at the invitation of its leader, the legendary Francesco “Cangrande” della Scala. A sneak attack from Padua leads Pietro into his first battle, fighting alongside the charismatic Cangrande, and into a tight friendship with Mariotto Montecchio and Antonio Capulletto. Behind the scenes, repeated attempts are made against the life of a child believed to be Cangrande’s illegitimate son and possible heir. Pietro is drawn into the web of intrigue around the child and the tension building between Mariotto and Antonio over a woman betrothed to one and in love with the other – a situation that will sever a friendship, divide a city, and ultimately lead to the events of the best known tragic romance in the world. Inspired by the plays of Shakespeare, the poetry of Dante, and the events of history, The Master of Verona is a compelling novel of politics, loyalty, conspiracy and star-crossed romance.
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From the author of Hot Dog Girl comes a fresh and funny queer YA contemporary novel about two teens who fall in love in an indie comic book shop. Jubilee has it all together. She's an elite cellist, and when she's not working in her stepmom's indie comic shop, she's prepping for the biggest audition of her life. Ridley is barely holding it together. His parents own the biggest comic-store chain in the country, and Ridley can't stop disappointing them--that is, when they're even paying attention. They meet one fateful night at a comic convention prom, and the two can't help falling for each other. Too bad their parents are at each other's throats every chance they get, making a relationship between them nearly impossible . . . unless they manage to keep it a secret. Then again, the feud between their families may be the least of their problems. As Ridley's anxiety spirals, Jubilee tries to help but finds her focus torn between her fast-approaching audition and their intensifying relationship. What if love can't conquer all? What if each of them needs more than the other can give? "A deep dive into first love while learning to manage significant mental health challenges . . . Dugan's strength is in creating a diverse cast of characters. Ridley is bisexual, Jubilee struggles with how to identify and label her sexuality, and most of the supporting characters are queer-identified." --School Library Journal
Two households, both alike in dignity, In fair Verona, where we raise our dead. Romeo - the only heir to the Montague name, a socialite who dreams of making a name for himself as a playwright and the consummate lover; he seems just as famous for his kissing skills as he is infamous for his inability to do much of anything else. Juliet - Capulet heiress, born soldier; in most every way, the precise opposite of Romeo. She's spent her entire life trying to find some way out of her insufferable life as a noblewoman, and so far she's had precious little luck. When a black plague breaks out in the city of Verona, these two feuding families are met with far more trouble than a mere feud, no matter how longstanding and bloody that feud has been. In this grim reimagining of Shakespeare's most famous tragic romance, Romeo and Juliet must form an unlikely alliance if they ever intend to survive being overrun by a horde of ravenous, flesh-seeking un-dead.
This is the story of a drug deal gone bad. Having committed the crime of selling a potent poison to a desperate youth, a destitute apothecary must decide how to spend his ill-gained fortune. Resolving to start his career afresh, he flees to the city of Verona to set up a new shop of medicinal healing and alchemical discovery. But plans go awry when he finds himself in the middle of a woeful tragedy he had unwittingly helped to cause. Can his knowledge of nature's secrets and the inspiration of a fairy queen help restore the six lives lost? Will his exploits go undetected by a hellbent inquisitor and a noble assassin? Or was the tragedy of Romeo and Juliet only the beginning of Verona's doom? This sick-minded sequel is both travesty and tribute to Shakespeare's classic play. New characters are introduced as old ones are re-envisioned in a madcap escapade of murder, magic, mystery, man-eating, and malicious mayhem. No flesh is safe from the eerie evil hidden in the minds of men, not even the flesh of the dead...
This is the ultimate anthology of theatrical anecdotes, edited by lifelong theatre-lover Gyles Brandreth in the Oxford tradition, and covering every kind of theatrical story and experience from the age of Shakespeare and Marlowe to the age of Stoppard and Mamet, from Richard Burbage to Richard Briers, from Nell Gwynn to Daniel Day-Lewis, from Sarah Bernhardt to Judi Dench. Players, playwrights, prompters, producers—they all feature. The Oxford Book of Theatrical Anecdotes provides a comprehensive, revealing, and hugely entertaining portrait of the world of theatre across four hundred years. Many of the anecdotes are humorous: all have something pertinent and illuminating to say about an aspect of theatrical life—whether it is the art of playwriting, the craft of covering up missed cues, the drama of the First Night, the nightmare of touring, or the secret ingredients of star quality. Edmund Kean, Henry Irving, John Gielgud, Laurence Olivier, Ellen Terry, Edith Evans, Maggie Smith, Helen Mirren—the great 'names' are all here, of course, but there are tales of the unexpected, too—and the unknown. This is a book—presented in five acts, with a suitably anecdotal and personal prologue from Gyles Brandreth—where, once in a while, the understudy takes centre-stage and Gyles Brandreth treats triumph and disaster just the same, including stories from the tattiest touring companies as well as from Broadway, the West End and theatres, large and small, in Australia, India, and across Europe.