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A hero is forged in battle and a legend is born in this second installment in the Vespasian series Thracia, AD30: Even after four years of military service at the edge of the Roman world, Vespasian can't escape the tumultuous politics of an Empire on the brink of disintegration. His patrons in Rome have charged him with the clandestine extraction of an old enemy from a fortress on the banks of the Danube before it falls to the Roman legion besieging it. Vespasian's mission is the key move in a deadly struggle for the right to rule the Roman Empire. The man he has been ordered to seize could be the witness that will destroy Sejanus, commander of the Praetorian Guard, and ruler of the Empire in all but name. Before he completes his mission, Vespasian will face ambush in snowbound mountains, pirates on the high seas, and Sejanus's spies all around him. But by far the greatest danger lies at the rotten heart of the Empire, at the nightmarish court of Tiberius, Emperor of Rome and debauched, paranoid madman.
One man, born in rural obscurity, destined to become one of Rome's greatest Emperors 26 AD: 16-year-old Vespasian leaves his family farm for Rome, his sights set on finding a patron and following his brother into the army, but he discovers a city in turmoil and an Empire on the brink. The aging emperor Tiberius is in seclusion on Capri, leaving Rome in the iron grip of Sejanus, commander of the Praetorian Guard. Sejanus is ruler of the Empire in all but name, but many fear that isn't enough for him. Sejanus' spies are everywhere—careless words at a dinner party can be as dangerous as a barbarian arrow. Vespasian is totally out of his depth, making dangerous enemies (and even more dangerous friends—like the young Caligula) and soon finds himself ensnared in a conspiracy against Tiberius. With the situation in Rome deteriorating, Vespasian flees the city to take up a position as tribune in an unfashionable legion on the Balkan frontier. Even here, rebellion is in the air and unblooded and inexperienced, Vespasian must lead his men in savage battle with hostile mountain tribes. Vespasian will soon realize that he can't escape Roman politics any more than he can escape his destiny.
The first book in the classic vigilante action series from a “writer who spawned a genre” (The New York Times). Overseas, Mack Bolan was dubbed “Sgt. Mercy” for the compassion he showed the innocent. On the home front, they’re calling him the Executioner for what he’s doing to the guilty. In the jungles of Southeast Asia, American sniper Mack Bolan honed his skills. After twelve years, with ninety-five confirmed hits, he returns home to Massachusetts. But it’s not to reunite with his family, it’s to bury them—victims in a mass murder/suicide. Even though Bolan’s own father pulled the trigger, he knows the old man was no killer. He was driven to madness by Mafia thugs who have turned his idyllic hometown into a new kind of war zone. Duty calls . . . Introducing an action hero “who would make Jack Reacher think twice,” this is the first book in the iconic series of vigilante justice that has become a publishing phenomenon (Empireonline.com). With more than two hundred million Executioner books sold since its debut, the series continues to stimulate. Gerry Conway, cocreator of Marvel Comics’ The Punisher, credits the Executioner as “my inspiration . . . that’s what gave me the idea for the lone, slightly psychotic avenger.” The series is also now in development as a major motion picture. War Against the Mafia is the 1st book in the Executioner series, but you may enjoy reading the series in any order.
From 1573 to 1617, Master Franz Schmidt was the executioner for the towns of Bamberg and Nuremberg. During that span, he personally executed more than 350 people while keeping a journal throughout his career. A Hangman’s Diary is not only a collection of detailed writings by Schmidt about his work, but also an account of criminal procedure in Germany during the Middle Ages. With analysis and explanation, editor Albrecht Keller and translators C. Calvert and A. W. Gruner have put together a masterful tome that sets the scene of execution day and puts you in Master Franz Schmidt’s shoes as he does his duty for his country. Originally published more than eighty years ago, A Hangman’s Diary gives a year-by-year breakdown on all of Master Schmidt’s executions, which include hangings, beheadings, and other methods of murder, as well as explanations of each crime and the reason for the punishment. An incredible classic, A Hangman’s Diary is more than a history lesson; it shows the true anarchy that inhabited our world only a few hundred years ago. Skyhorse Publishing, as well as our Arcade imprint, are proud to publish a broad range of books for readers interested in history--books about World War II, the Third Reich, Hitler and his henchmen, the JFK assassination, conspiracies, the American Civil War, the American Revolution, gladiators, Vikings, ancient Rome, medieval times, the old West, and much more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to books on subjects that are sometimes overlooked and to authors whose work might not otherwise find a home.
The death penalty in classical Judaism has been a highly politicized subject in modern scholarship. Enlightenment attacks on the Talmud's legitimacy led scholars to use the Talmud's criminal law as evidence for its elevated morals. But even more pressing was the need to prove Jews' innocence of the charge of killing Christ. The reconstruction of a just Jewish death penalty was a defense against the accusation that a corrupt Jewish court was responsible for the death of Christ. In Execution and Invention, Beth A. Berkowitz tells the story of modern scholarship on the ancient rabbinic death penalty and offers a fresh perspective using the approaches of ritual studies, cultural criticism, and talmudic source criticism. Against the scholarly consensus, Berkowitz argues that the early Rabbis used the rabbinic laws of the death penalty to establish their power in the wake of the destruction of the Temple. Following recent currents in historiography, Berkowitz sees the Rabbis as an embattled, almost invisible sect within second-century Judaism. The function of their death penalty laws, Berkowitz contends, was to create a complex ritual of execution under rabbinic control, thus bolstering rabbinic claims to authority in the context of Roman political and cultural domination. Understanding rabbinic literature to be in dialogue with the Bible, with the variety of ancient Jews, and with Roman imperialism, Berkowitz shows how the Rabbis tried to create an appealing alternative to the Roman, paganized culture of Palestine's Jews. In their death penalty, the Rabbis substituted Rome's power with their own. Early Christians, on the other hand, used death penalty discourse to critique judicial power. But Berkowitz argues that the Christian critique of execution produced new claims to authority as much as the rabbinic embrace. By comparing rabbinic conversations about the death penalty with Christian ones, Berkowitz reveals death penalty discourse as a significant means of creating authority in second-century western religious cultures. Advancing the death penalty discourse as a discourse of power, Berkowitz sheds light on the central relationship between religious and political authority and the severest form of punishment.
The sixth installment in Robert Fabbri's epic Vespasian series Rome, AD 51: Vespasian brings Rome's greatest enemy before the Emperor. After eight years of resistance, the British warrior Caratacus has been caught. But even Vespasian's victory cannot remove the newly-made consul from Roman politics: Agrippina, Emperor Claudius's wife, pardons Caratacus. Claudius is a drunken fool and Narcissus and Pallas, his freedmen, are battling for control of his throne. Separately, they decide to send Vespasian East to Armenia to defend Rome's interests. But there is more at stake than protecting a client kingdom. Rumors abound that Agrippina is involved in a plot to destabilise the East. Vespasian must find a way to serve two masters—Narcissus is determined to ruin Agrippina, Pallas to save her. Meanwhile, the East is in turmoil. A new Jewish cult is flourishing and its adherents refuse to swear loyalty to the Emperor. In Armenia, Vespasian is captured. Immured in the oldest city on earth, how can he escape? And is a Rome ruled by a woman who despises Vespasian any safer than a prison cell?
Tribune of Rome AD 26: Sixteen-year-old Vespasian leaves his family farm for Rome. However, he soon finds himself out of his depth, making dangerous enemies (and dangerous friends - like the young Caligula) and becomes ensnared in a conspiracy against Tiberius. Vespasian flees the city to take up his position as tribune in an unfashionable legion on the Balkan frontier. Unblooded and inexperienced, he must lead his men in savage battle with hostile mountain tribes... Rome's Executioner Thracia, AD 30: Even after four years military service at the edge of the Roman world, Vespasian can't escape the tumultuous politics of an Empire on the brink of disintegration. His patrons in Rome charge him with the clandestine extraction of an old enemy from a fortress on the banks of the Danube before it falls to the Roman legion besieging it. Vespasian's mission is the key move in a deadly struggle for the right to rule the Roman Empire... False God of Rome Rome, AD 34: Vespasian is serving as a military officer on the outskirts of the Empire. But political events in Rome draw him back to the city. The new emperor Caligula forms an extravagant project to bridge the bay of Neapolis and ride over it wearing Alexander's breastplate. And it falls to Vespasian to travel to Alexandria and steal it from Alexander's mausoleum. Vespasian's mission will lead to violence, mayhem and theft - and in the end, to a betrayal so great it will echo through the ages... BOOKS 1-3 IN THE VESPASIAN SERIES ______________________________________________ Don't miss Robert Fabbri's epic new series Alexander's Legacy
The Oxford Handbook of Shakespeare's Poetry contains thirty-eight original essays written by leading Shakespeareans around the world. Collectively, these essays seek to return readers to a revivified understanding of Shakespeare's verbal artistry in both the poems and the drama. The volume understands poetry to be not just a formal category designating a particular literary genre but to be inclusive of the dramatic verse as well, and of Shakespeare's influence as a poet on later generations of writers in English and beyond. Focusing on a broad set of interpretive concerns, the volume tackles general matters of Shakespeare's style, earlier and later; questions of influence from classical, continental, and native sources; the importance of words, line, and rhyme to meaning; the significance of songs and ballads in the drama; the place of gender in the verse, including the relationship of Shakespeare's poetry to the visual arts; the different values attached to speaking 'Shakespeare' in the theatre; and the adaptation of Shakespearean verse (as distinct from performance) into other periods and languages. The largest section, with ten essays, is devoted to the poems themselves: the Sonnets, plus 'A Lover's Complaint', the narrative poems, Venus and Adonis and The Rape of Lucrece, and 'The Phoenix and the Turtle'. If the volume as a whole urges a renewed involvement in the complex matter of Shakespeare's poetry, it does so, as the individual essays testify, by way of responding to critical trends and discoveries made during the last three decades.
A timeless tale of love, lust, and politics, Tosca is one of the most popular operas ever written. In Tosca's Rome, Susan Vandiver Nicassio explores the surprising historical realities that lie behind Giacomo Puccini's opera and the play by Victorien Sardou on which it is based. By far the most "historical" opera in the active repertoire, Tosca is set in a very specific time and place: Rome, from June 17 to 18, 1800. But as Nicassio demonstrates, history in Tosca is distorted by nationalism and by the vehement anticlerical perceptions of papal Rome shared by Sardou, Puccini, and the librettists. To provide the historical background necessary for understanding Tosca, Nicassio takes a detailed look at Rome in 1800 as each of Tosca's main characters would have seen it—the painter Cavaradossi, the singer Tosca, and the policeman Scarpia. Finally, she provides a scene-by-scene musical and dramatic analysis of the opera. "[Nicassio] must be the only living historian who can boast that she once sang the role of Tosca. Her deep knowledge of Puccini's score is only to be expected, but her understanding of daily and political life in Rome at the close of the 18th century is an unanticipated pleasure. She has steeped herself in the period and its prevailing culture-literary, artistic, and musical-and has come up with an unusual, and unusually entertaining, history."—Paul Bailey, Daily Telegraph "In Tosca's Rome, Susan Vandiver Nicassio . . . orchestrates a wealth of detail without losing view of the opera and its pleasures. . . . Nicassio aims for opera fans and for historians: she may well enthrall both."—Publishers Weekly "This is the book that ranks highest in my estimation as the most in-depth, and yet highly entertaining, journey into the story of the making of Tosca."—Catherine Malfitano "Nicassio's prose . . . is lively and approachable. There is plenty here to intrigue everyone-seasoned opera lovers, musical novices, history buffs, and Italophiles."—Library Journal
Rome, AD 34: Marcus Salvius Magnus, leader of the Crossroads Brotherhood, is searching for the resin of an eastern flower that can unlock the realm of Morpheus. His patron, Senator Pollo, needs it for the city's most powerful woman, the Lady Antonia, in order to recoup a considerable debt. Meanwhile, rebellion is in the air and as the Ides of October festival dawns to celebrate the completion of agricultural and military campaigns, a violent riot erupts. Can Magnus help right the wrongs that have been perpetrated upon the stirred-up crowd? A VESPASIAN NOVELLA ______________________________________________ Don't miss Robert Fabbri's epic new series Alexander's Legacy