Blood of the Rose (Tudor Vampire Chronicles, Book 2) by Kate Pearce

By Kate Pearce

While vampire slayer Rosalind Llewellyn needed to sign up for forces along with her enemy Christopher Ellis to defeat a rogue vampire threatening Henry VIII, their alliance ended in a shocking ardour. Reunited after a year's separation, they now face a brand new probability which can spoil their final probability at happiness.

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Additional resources for Blood of the Rose (Tudor Vampire Chronicles, Book 2)

Sample text

It is Cotton who, fictionalized as ‘the young master’, identifies the ‘qualities’ of cricket as a team game: ‘“The discipline and reliance on one another which it teaches is so valuable, I think,” went on the master, “it ought to be such an unselfish game. It merges the individual in the eleven; he doesn’t play that he may win, but that his side may”’ (TBS, 315). This much-quoted statement contains those elements of democratic Christian patriotism that are the hallmarks of Hughes’s ideals in education; at a time when women were still denied the vote such an education was significantly aimed at boys.

Papillon is dismayed by the lack of academic knowledge attained by public school boys but suggests that, nevertheless, the schoolboy ‘brings away with him something beyond all price, a manly, straightforward character, a scorn of lying and meanness, habits of obedience and command, and fearless courage. Thus equipped, he goes into the world, and bears a man’s part in subduing the earth, ruling its wild folk and building up the Empire’ (Richards, 13). The essence of male education, then, was perceived as existing not in academic learning but in the creation of men of character, fit to rule the Empire.

Indeed, Quatermain is so revered by Curtis that he is forgiven his jealousy of Nyleptha, the white African queen whom Curtis marries, because ‘it is, after all, but one little weakness, which makes no great show among so many and such lovable [sic] virtues’ (AQ, 274). Unlike the complex human relationships and moral dilemmas of the realist novel, and of Conrad’s early fiction, the romance relies on simple male loyalties and idealized love. Thus in Quatermain’s deathbed scene depicted in plate 6 the draperies, the dignified poses of Curtis, Good, and Nyleptha, and the classic profile of the dying man constitute an image of noble suffering and dignified grief.

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