By Guy Boothby
[b]One of literature’s first, maximum, and such a lot dastardly gentleman rogues ultimately joins the Penguin Classics crime list
First released in 1900, A Prince of Swindlers introduces Simon Carne, a gentleman thief predating either E. W. Hornung’s A. J. Raffles and Maurice Leblanc’s Arsène Lupin. The British Viceroy first meets Carne whereas touring in India. Charmed, he invitations the reclusive hunchbacked student to London, little suspecting that his visitor is absolutely an adventurer and a grasp of cover. Carne—aided via his dependable butler, Belton—embarks on a criminal offense spree, stealing from London’s richest voters after which making fools of them via posing as a detective investigating the thefts. Now again in print after over a century, man Boothby’s story supplies to please a brand new new release of crime fans.
For greater than seventy years, Penguin has been the best writer of vintage literature within the English-speaking international. With greater than 1,700 titles, Penguin Classics represents an international bookshelf of the easiest works all through background and throughout genres and disciplines. Readers belief the series to supply authoritative texts more suitable through introductions and notes by means of special students and modern authors, in addition to up-to-date translations by way of award-winning translators.
From the exchange Paperback edition.
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Additional info for A Prince of Swindlers
Mistress and Metaphor in Augustan Elegy 27 poet’s aberrant Penelope. The strategies employed in the construction of a realistic mistress appear to change according to the requirements of a poetic project that commences in rivalry with the elegists Gallus and Tibullus and ends in appropriation of the terms of Horatian lyric and Virgilian epic. Thus the realist devices of the Propertian corpus map out only a precarious pathway to the realities of women’s lives in Augustan society and often direct us instead toward the features and habits of characters in other Augustan texts.
Hence the beloved’s capacity to captivate begins the ﬁrst book of Propertian elegies, but the next opens with a consideration of her role in the practice of writing. The elegiac man is now explicitly both lover and writer, the elegiac woman both beloved and narrative material. 11–12). 93) is the subject matter which locates the elegiac poet in a Roman tradition for producers of female repre5 Lyne (1980), 125. 6 Richardson (1977), 15. 10–13) 49 sentations. Thus, in poems that frame her second formulation, Cynthia is depicted as matter for poetic composition not as a woman to be wooed through writing.
20 Both these readings of elegiac ﬁrst-person narratives warn us to be cautious in equating a stylistic realism with Augustan reality. But what of the particular realist devices used to depict women? Some modern critics have thought, for example, that the elegiac texts do offer sufﬁcient materials from which to sketch the characteristics and habits of their authors’ girlfriends or, at the very least, contain scattered details that together make up plausible portraits. From couplets of the Propertian corpus, John Sullivan assembles a physique for Cynthia: ‘She had a milk-and-roses complexion.