Rupert of Hentzau

Anthony Hope

• Publisher: Jazzybee Verlag
• Year: 2015
• eBook ISBN: 9783849647988
• Topic: Literatur
• Subtopic: Altertumswissenschaften

The many thousands who have read and admired The Prisoner of Zenda will reach eagerly for its sequel, which has been published under the title Rupert of Hentzau. They will not be disappointed. Sequels of successful stories are frequently weaker and somewhat forced, but in this case it must be admitted that Anthony Hope has given us a book as powerful, vigorous and fascinating as the first. It is a cleverly wrought out romance, resplendent with stirring incidents and ingeniously invented adventures, told with the visor which carries the reader swiftly to the end, and which we are accustomed to find in all of Hope's writings. The book will doubtless have as large a sale as The Prisoner of Zenda, and will be gladly welcomed by many a person, who after having been wearied by the daily cares, seeks rest of mind and diversion in a good story.

Rupert Of Hentzau

From The Memoirs Of Fritz Von Tarlenheim

Anthony Hope

Contents:

Anthony Hope – His Life And Work

Rupert Of Hentzau

Chapter I. The Queen's Good-By

Chapter II. A Station Without A Cab

Chapter III. Again To Zenda

Chapter IV. An Eddy On The Moat

Chapter V. An Audience Of The King

Chapter VI. The Task Of The Queen's Servants

Chapter VII. The Message Of Simon The Huntsman

Chapter VIII. The Temper Of Boris The Hound

Chapter IX. The King In The Hunting Lodge

Chapter X. The King In Strelsau

Chapter XI. What The Chancellor's Wife Saw

Chapter XII. Before Them All!

Chapter XIII. A King Up His Sleeve

Chapter XIV. The News Comes To Strelsau

Chapter XV. A Pastime For Colonel Sapt

Chapter XVI. A Crowd In The Konigstrasse

Chapter XVII. Young Rupert And The Play-Actor

Chapter XVIII. The Triumph Of The King

Chapter XIX. For Our Love And Her Honor

Chapter XX. The Decision Of Heaven

Chapter XXI. The Coming Of The Dream

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ISBN: 9783849647988

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Anthony Hope – His Life And Work

By Frederick Taber Cooper

It is a sufficiently pleasant task to undertake to write a brief appreciation of Mr. Anthony Hope. The prevailing urbanity of his manner, the sustained sparkle of his wit, the agreeable expectation that he arouses of something stimulating about to happen, largely disarm criticism. Besides, he does not seem to demand to be taken too seriously; he is not a preacher or reformer, he is not trying to revolutionize the world; he is too well pleased with men and women as they actually are, to desire to make them something different. In short, he is a suave and charming public entertainer, and like all wise entertainers he alters the character of his program in accordance with the fluctuations of public taste. And being both versatile and farsighted he is usually in the van of each new movement. The God in the Car, his story of gigantic land speculations in South Africa, with the Herculean figure whom he chooses to disguise under the name of " Juggernaut," appeared in 1894, thus antedating by five years The Colossus, by Morley Roberts. Phroso, with its romantic setting among the islands of modern Greece, anticipated by a year Mr. E. F. Benson's analogous attempts, The Vintage and The Capsina. When the revival of the English historical novel was at its height, he succeeded once more in coming in ahead of his competitors, and Simon Dale, which appeared in 1898 and is a study of Restoration manners, with Nell Gwynn for its central interest, led the way for The Orange Girl by Sir Walter Besant, issued in 1899, and F. Frankfort Moore's Nell Gwynn, Comedian, which was not published until 1900.

But although he so cleverly adapts himself to the trend of public taste, Mr. Anthony Hope is not an innovator; he adapts but does not originate. Yet it is no uncommon thing to hear him erroneously praised for having created two new and widely popular types of fiction, the Zenda type and that of The Dolly Dialogues. Now, The Prisoner of Zenda, as we remember at once when we stop to think, is not the first up-to-date sword and buckler story of an imaginary principality; it was preceded, by nearly a decade, by Stevenson's Prince Otto; and the only reason that it so often gets the credit of being the forerunner of its class is simply because it was done with a defter, lighter touch, a more spontaneous inspiration. Similarly, The Dolly Dialogues are not the first attempt to imitate in English the sparkle and the piquancy of the Gallic dialogue in the form that " Gyp " and Henri Lavedan have made familiar. Although it is quite likely that at that time Anthony Hope had never even heard of it, The Story of the Gadsbys had at least three years the start of The Dolly Dialogues, and even though it was done with a heavier hand, it succeeded in getting a greater effectiveness out of the type.

But, after all, statistics of this sort, while interesting to a person of precise and inquiring mind, have little or no bearing upon the sources of enjoyment which a surprisingly large number of people undoubtedly find in Mr. Hope's writings. And there is variety enough among them to suit all tastes. He began in a spirit of blithe and irresponsible romanticism; he has gradually come, in his later years, to look upon life in a rather matter-of-fact way and to picture, by choice, the more serious problems of life in the social world to which he belongs. Yet his novels, even the most ambitious of them, never suggest the ponderousness of a novel-with-a-purpose; he never forgets what is expected from a conscientious entertainer. And one reason why he so uniformly succeeds is that he is an exceedingly good craftsman; he has mastered the sheer mechanics of his art. It is never wise for a novelist, whatever his literary creed may be, to be wantonly scornful of technique. There are just a few erratic geniuses who, because they have in them certain big thoughts that are struggling for utterance and apparently cannot be uttered in the simple usual way, boldly break the established rules and make new ones to suit ...

Table of contents

• Anthony Hope – His Life And Work