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Anthony Hope was a prolific writer, especially of adventure novels. His works are set in the contemporaneous fictional country of Ruritania and spawned the genre known as Ruritanian romance, works set in fictional European locales similar to the novels. This book contains: - The Adventure of Lady Ursula. - AspirationsExplanations. - A Cut and a Kiss. - Promising. - Imagination. - Uncle John and the Rubies. - Lucifera.
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A highly clever performance, with little touches that recall both Balzac and Meredith. Mr. Hope, being disinclined to follow any of the beaten tracks of romance writing, is endowed with exceeding originality. The tragic undercurrent but increases the charm of the pervading wit and humor of the tale, which embodies a study of character as skillful and true as anything we have lately had, but at the same time so simple and unpretentious as to be very welcome indeed amid the flood of inartistic analysis which we are compelled to accept in so many recent novels.
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"A Man of Mark" is, like "The Prisoner of Zenda," a story of adventure and intrigue, its scene laid in an imaginary South American republic, and told in a manner strongly suggestive of opera bouffe. The writer gives his fancy the freest of play, and his characters, despite their unreality, succeed in interesting us in their fortunes. The narrative has swiftness of action, diversity of incident, and cleverness in a hundred minor touches.
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If you are a fan of classic action-adventure stories who loved Anthony Hope's The Prisoner of Zenda, A Man of Mark should be right up your alley. Set amidst a political uprising in the fictional country of Aureataland, this fast-paced romp is a rip-roaring read. Sir Anthony Hope Hawkins, better known as Anthony Hope (9 February 1863 – 8 July 1933), was an English novelist and playwright. He was a prolific writer, especially of adventure novels but he is remembered predominantly for only two books: The Prisoner of Zenda (1894) and its sequel Rupert of Hentzau (1898). These works, "minor classics" of English literature, are set in the contemporaneous fictional country of Ruritania and spawned the genre known as Ruritanian romance, works set in fictional European locales similar to the novels. Zenda has inspired many adaptations, most notably the 1937 Hollywood movie of the same name.
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It is easy to be enthusiastic about the story. It is psychologic—but with a difference, the difference being the bright and compelling interest of Mr. Hope's dialogue, and the smiling sanity of his spirit. Imagine much that is best in Meredith or James, and all that is best in Anthony Hope, and you have a fair idea of ' A Servant of the Public'. It is not the conventional story of the stage, with glib talk of the greenroom, and intimate glimpses 'behind the footlights.' It is the story of an actress off, rather than on, the stage—an analysis of the theatrical, perhaps 'artistic' temperament.
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Mr. Anthony Hope offers from time to time a welcome relief from the special brand of seriousness that has come to be the hall-mark of the school of British novelists. Not that he fails to take himself seriously; on the contrary, few writers in England show a greater contrast between their earlier and their later work than the author of The Prisoner of Zenda and of the A Young Man's Year. From the rainbow air-castles of sheer romance to the practical problem of a young man's first start in the working world is surely a broad enough step to satisfy any demand that present-day fiction shall be serious. But the big difference between the newer school and that which Mr. Hope's later manner typifies is that his interest remains centred in the individual, in spite of all the new problems, social, ethical, moral or religious, that may have their formative influence; while writers like Galsworthy, Wells, and their followers although able to picture memorable characters when they choose to, are obviously more interested in movements and tendencies and problems than they are in the individual man or woman, and not infrequently give us characters that are really little more than types, standing symbolically for groups rather than for persons. That is why Mr. Hope's new volume, without being a big achievement, is a welcome diversion. Yet it is simply a careful, minute and at the same time vivid chronicle of just one year in the early life of Arthur Lisle, who when.we first meet him is a specimen of that essentially British creation, a briefless barrister. As yet he has by no means made up his mind whether he will welcome his first brief, if it ever comes. He is diffident and self-distrustful, and the mere thought of rising to address the Court fills him with an anticipatory ague. Meanwhile, time hanging heavily upon him, he seeks to fill it in by various social relaxations, and forms friendships, some more desirable than others.
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The scene of this story of mystery and romance is laid in the little town of Inkston, near London, shortly after the world war. Interest centers in three characters: the "puzzling unaccounted-for Mr Beaumaroy," recently of the British army overseas, now companion to an eccentric old man; the old man himself, Aloyslus William Saffron, lonely and crazed by the war, who lives in Tower cottage; and Dr Mary Arkroyd, who attends Mr Saffron in his last illness and who changes her mind about Hector Beaumaroy.
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This new story is in the author's most finished and delicate style. The gallant Captain is a French soldier of fortune, and the surprising adventures into which he is projected, by his choice of a night's lodging in the Castle of Fieramondi, form the basis of a characteristically ingenious and interesting tale.
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Mr. Anthony Hope is original, and original with a light-handed grace not too often found in English writers of fiction. His Comedies of Courtship remind one of pretty dances. The step of the dancers is light and firm, the figures graceful and lively. The whole leaves a sense of harmony and completeness. As in a dance, too, the people are real, the movements artificial. The plots of these tales can scarcely be taken quite seriously. But the young men and women in whom Mr. Hope delights, and makes us delight, talk and behave in the most natural manner. Through these comedies there runs a spice of smiling mischief—it is not even a distant cousin to cynicism—which unites the reader and author in bonds of pleasant fraternity. It is a skilful thing to place behind his smiling groups, as Mr. Hope sometimes does, a background of slightly but well-defined tragedy—a ghastly or pathetic bygone incident of family history, against which plays the modern scene. Tennis parties, afternoon tea ; the bright girls with the ready tongues, and the men who answer deliberately but so much to the point also, are haunted— pleasantly haunted—by the shadow of the past. Between the whiffs of the cigarettes you see the plaintive eyes of a Lady Agatha of a former age looking down on her descendants from a portrait on the wall ; and you suspect that by some imaginative laws of heredity she guides the freakish plot. Merimee was a great master of this art of threading a tragic underplot with the every-day realism of a modern tale which Mr. Hope also uses.
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The " Dolly Dialogues " serve much the same purpose that the ballet does in an opera—they are a divertissement pure and simple. The winsome, irresponsible "Dolly" picks her steps amid the conversational pitfalls which the adroit " Mr. Carter" spreads for her, with as much dainty sureness as a premiere danseuse, and we cannot but admire and applaud her grace and vivacity. There is no hidden meaning to the "Dialogues " any more than there is to "Dolly." They but reveal the polished inanity of the modern ball-room, the fashionable frivolity of the five o'clock tea-table, and the harmless flirtations of the lawn-tennis court. As "trifles light as air," Mr. Hope offered them to us; as trifles we accept them, and who but the most nobly serious could refuse to smile over their gracefulness, their immaculate innuendo! As a hand-book on "Polite Conversations; or, The Art of Saying Nothing Gracefully," these " Dolly Dialogues " might almost take rank as a serious classic.
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A study of modern marriage as it exists in modern London life especially. Three couples are closely described, and the author writes in the most uncompromising English and discusses some of the most intricate problems of "double harness." Uncontrollable temper, increasing idealism, love of pleasure, consideration of worldly status, claims of children, sympathetic friendships, etc., etc., are a few of the problems that are finally solved into a good story.
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Welcome to the Essential Novelists book series, were we present to you the best works of remarkable authors. For this book, the literary critic August Nemo has chosen the two most important and meaningful novels ofAnthony Hopewhich areThe Prisoner of Zenda and Rupert of Hentzau. Anthony Hope was a prolific writer, especially of adventure novels. His works are set in the contemporaneous fictional country of Ruritania and spawned the genre known as Ruritanian romance, works set in fictional European locales similar to the novels. Novels selected for this book: - The Prisoner of Zenda - Rupert of Hentzau This is one of many books in the series Essential Novelists. If you liked this book, look for the other titles in the series, we are sure you will like some of the authors.
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Father Stafford is veritably a tragic tale, albeit it appears that he has seen fit to give it more the setting of a comi-tragedy. But when the heart of a noble, maguanimous character, like that of Father Stafford, is involved in a serious love affair, with no future but that of blighted hopes and disappointment, one feels like looking upon such scenes with a solemn, thoughtful mien , yet one must smile occasionally, for Anthony Hope has the knack of applying the most sparkling and humorous of dialogues exactly at the right moment, thus saving his dramatic and tragical scenes from going utterly to pieces. However, this is Anthony Hope over and over again. We recognized him as the prince of dialogue in " The Prisoner of Zenda," and although the story of " Father Stafford " is of entirely different aspect, the " speaking parts" are just as delicious. Father Stafford is an Anglican clergyman, and a man of remarkable talents, yet his inclinations would probably have been better directed had he turned them toward affairs of the world. As it is, a good, well-meaning man, who has bound himself to prayers, self-abnegation, and the Church, also taking the vow of celibacy, discovers too late that the flesh of mankind is weak, and that love is king of all emotions. His life is one of peacefulness until he meets Lady Claudia Territon at the English houseparty where the story is cast, when life for the " pope," as she charmingly dubs him, begins to drift into other spheres, different from the altitude of the religious devotee, and extremely unfortunate for the young minister, whose duty it is to walk in the ways of the righteous ...
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Half a Hero / Anthony Hope. - [miejsce nieznane] : Jazzybee Verlag : Legimi, 2015.
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Anthony Hope's novel, "Half a Hero," is a study of political and social life in the English colony of New Lindsey, which may possibly be New Zealand. The half hero is one Medland, leader of the radicals, who by a coalition comes into power as premier. He had been a common laborer, had risen by integrity and energy, and although unpolished of manners shows qualities that make the true man. The humor of the situation arises from the necessity forced upon the snobbish family of the titled governor to receive him and his daughter on terms of social equality. Later on it appears that there has been something "irregular" about Medland's marriage, but when disgrace is threatened and he has the chance to silence his enemies by a skilful distribution of spoils he refuses to submit and dares political death and social obloquy rather than sacrifice his manliness. The end of the story is tragic.
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For clever dialogue and spirited situations Anthony Hope is eminently satisfactory. "Helena's Path" contains both these characteristics, and much beside; a keen appreciation of humorous values and a delightful emotional restraint. Helena's path is the bone of contention between Helena and the English earl whose estate joins hers. It is a sparkling comedy from cover to cover. Helena's beauty and the earl's wit make a good combination when it comes to open war, as it does.
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Lucinda / Anthony Hope. - [miejsce nieznane] : Jazzybee Verlag : Legimi, 2015.
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Everything is ready for the fashionable London wedding of the heroine and the son of a famous old diplomat. But the bride has simply disappeared. Circumstantial evidence points to the fact that an Italian is connected with the girl's disappearance. The outbreak of war just at this time postpones the chase for years. This novel by the author of "The Prisoner of Zenda" and "Dolly Dialogues" is much more closely related to reality in life and character than most other books. One feels that Mr. Hope is now writing to please his own ideals of the art of fiction rather than to amuse the crowd.
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The Hon. Gerald Neston, the on of Lord Tottlebuiy, agrees with his noble father, that the dignity of the title as well as his own comfort, make a rich marriage incumbent upon him. So he seeks out Mr. Witt's widow, a lady of great wealth and no family, and is accepted by her. But at the dinner given in honor of the lady by Lord Tottlebury, a young lawyer, who belongs also to the house of Neston, recognizes in Mrs. Witte the young thief who had been his first "case." The fascinations of Mr. Witt's widow are "harmonious contrasts." chief among which are dark eyes and golden hair. She is about to take as second husband Gerald Neston, an Englishman of good position, when his cousin, a young lawyer. Is struck with the resemblance of Neaera Witt to Nelly Gale, a girl he had defended seven years before on a charge of theft. The story relates his efforts to trace her identity, and leaves the reader's mind in suspense until the unexpected denouement.
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In "Mrs. Maxon Protests" Hope has presented with his usual brilliancy a study of the false position incurred by a thoroughly good woman when she defies fundamental conventionalities. Mrs. Maxon's marriage is a failure, so is her attempt to find satisfaction outside the marriage tie. And, as she exclaims, "If both orthodoxy and unorthodoxy go wrong, what is a poor human woman to do?" Mr. Hawkins' answer to this provides an interesting examination of the complexities of the divorce and separation question, and although he attempts no definite solution, his discussion exploits many suggestive theories of social philosophy. He touches a fundamental factor for solution when one of his characters remarks: "That's to some extent like the woman question—are we to change the law or the people first? Hope a better law will make better people, or tell the people they can't have a better law till they're better themselves?" The two quotations are inevitably two questions—because the book itself is precisely a long and brilliantly expressed question.
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Phroso / Anthony Hope. - [miejsce nieznane] : Jazzybee Verlag : Legimi, 2015.
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For this story there can be nothing but praise. It is true that it can scarcely be called literature, as doubtless no one knows better than the author. A writer who leaves off such work as Half a Hero and takes a royal road to fortune, if not to fame, with The Prisoner of Zenda, must be conscious of the change of method. But the work is quite as fine in its different way as if it were of much finer literary quality, and far more interesting than many a better written story. Too many books are worn thin by overuse of literature's tools, too few are endowed with the vitality that makes this tale vividly alive. From beginning to end it moves with a breathless rush. The plot is the purchase by an English nobleman ot an isolated island inhabited by semi-civilised Greeks who have a confirmed habit of killing any man who buys the island. They kill the old lord who sells it, and who dies just as the new owner arrives, so that the story opens with murder, to be followed by attempted assassination, all leading to blood and adventures galore.
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