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Excerpt from Peter Simple At last I tore myself away. I had blubbered till my eyes were so red and swollen, that the pupils were scarcely to be distinguished, and tears and dirt had veined my cheeks like the marble of the chimney-piece. My handkerchief was soaked through with wiping my eyes and blowing my nose, before the scene was over. My brother Tom, with a kind ness which did honour to his heart, exchanged his for mine, saying, with fraternal regard, Here, Peter, take mine, it's as dry as a bone. But my father would not wait for a second handkerchief to perform its duty. He led me away through the ball, when, having shaken hands with all the men, and kissed all the maids, who stood in a row with their aprons to their eyes, I quitted my paternal roof. The coachman accompanied me to the place from whence the stage was to start. Having seen me securely wedged between two fat old women, and having put my parcel inside, he took his leave, and in a few minutes I was on my road to London. I was too much depressed to take notice of any thing during my journey. Ivhen we arrived in London, they drove to the Blue Boar (in a street, the name of which I have forgotten). I had never seen or heard of such an animal, and certainly it did appear very formidable; its mouth was Open and teeth very large. What surprised me still more was to observe that its teeth and hoofs were of pure gold. Who knows, thought I, that in some of the strange countries which I am doomed to visit, but that I may fall in with, and shoot one of these terrific monsters? With what haste shall I select those precious parts, and with what joy should I, on my return, pour them as an offering of filial affection into my mother's lap l - and then, as I thought of my mother, the tears again gushed into my eyes. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Peter Simple is an 1834 novel written by Frederick Marryat about a young British midshipman during the Napoleonic wars. It was originally published in serialized form in 1833.
This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.
A major contribution to the cultural and literary history of the Victorian age, Rule of Darkness maps the complex relationship between Victorian literary forms, genres, and theories and imperialist, racist ideology. Critics and cultural historians have usually regarded the Empire as being of marginal importance to early and mid-Victorian writers. Patrick Brantlinger asserts that the Empire was central to British culture as a source of ideological and artistic energy, both supported by and lending support to widespread belief in racial superiority, the need to transform "savagery" into "civilization," and the urgency of promoting emigration. Rule of Darkness brings together material from public records, memoirs, popular culture, and canonical literature. Brantlinger explores the influence of the novels of Captain Frederick Marryat, pioneer of British adolescent adventure fiction, and shows the importance of William Makepeace Thackeray's experience of India to his novels. He treats a number of Victorian best sellers previously ignored by literary historians, including the Anglo-Indian writer Philip Meadows Taylor's Confessions of a Thug and Seeta. Brantlinger situates explorers' narratives and travelogues by such famous author-adventurers as David Livingstone and Sir Richard Burton in relation to other forms of Victorian and Edwardian prose. Through readings of works by Arthur Conan Doyle, Joseph Conrad, H. Rider Haggard, Rudyard Kipling, John Hobson, and many others, he considers representations of Africa, India, and other non-British parts of the world in both fiction and nonfiction. The most comprehensive study yet of literature and imperialism in the early and mid-Victorian years, Rule of Darkness offers, in addition, a revisionary interpretation of imperialism as a significant factor in later British cultural history, from the 1880s to World War I. It is essential reading for anyone concerned with Victorian culture and society and, more generally, with the relationship between Victorian writers and imperialism, 'and between racist ideology and patterns of domination in modern history.