Behind enemy lines, Jedi Knight Aayla Secura's covert mission is threatened by an encounter with Shon-Ju-a former Padawan turned cult leader. Shon-Ju claims to be after the same Separatist warlord that Aayla was sent to capture, but he also has plenty of reasons to hate the Republic and the Jedi. The Force is with Aayla, but she may need more than her lightsaber against The Deadly Hands of Shon-JuA"!

Jedi Master Mace Windu leads a battle against Separatist forces for control of the planet Simocadia! While the Confederacy of Independent Systems battles for the planet's rare fuel source, and the Republic tries to repel the invaders, the rulers of Simocadia choose a different option to save the planet: awakening the Ardana Shadex, an indestructible mechanized giant that has been sleeping for centuries under the planet's surface! But awakening the colossus could cost many lives and cause more destruction than the current war. Mace Windu races against time and across a dangerous landscape to prevent his onetime friend, Prince Yojan, from causing disaster.

More than 70 works of Hogarth include musical references, and Jeremy Barlow's book is the first full-length work devoted to this aspect of his imagery. The first two chapters examine the evidence for Hogarth's interest in music and the problems of assessing accuracy, realism and symbolic meaning in his musical representations. Subsequent chapters show how musical details in his works may often be interpreted as part of his satirical weaponry; the starting point seems to have been his illustrations of the clamorous 'rough music' protest in Samuel Butler's immensely popular poem Hudibras. Hogarth's use of music for satirical purposes also has connections with a particular type of burlesque music in 18th-century England. It may be seen too in the roles played by his humiliated fiddlers or abject ballad singers. Each of the final two chapters focuses on a particular Hogarth subject: his paintings of a scene from a theatrical satire of music and society, The Beggar's Opera, and the print The Enraged Musician itself. The latter work draws together uses of musical imagery discussed previously and the book concludes with an analysis of its internal relations from a musical perspective. The book is lavishly illustrated with Hogarth's drawings, prints and paintings. Many other images are reproduced to provide contextual background. Several indices and appendices enhance the book's value as a reference tool: these include an annotated index of Hogarth's instruments, with photographs or other representations of the instruments he depicts; a detailed index of Hogarth's works with musical imagery; the texts and music for broadside ballads and single-sheet songs related to Hogarth's titles; 18th-century texts and street cries related to Hogarth's The Enraged Musician, and other musical examples indicated in the text. Also included is a facsimile of Bonnell Thornton's burlesque Ode on St CA|cilia's Day.

John Rich (1692-1761) was a profoundly influential figure of the eighteenth-century London stage. As producer, manager, and performer, he transformed the urban entertainment market, creating genres and promotional methods still with us today. This volume gives the first comprehensive overview of Rich's multifaceted career, appreciation of which has suffered from his performing identity as Lun, London's most celebrated Harlequin. Far from the lightweight buffoon that this stereotype has suggested, Rich-the first producer of The Beggar's Opera, the founder of Covent Garden, the dauntless backer of Handel, and the promoter of the principal dancers from the Parisian opera-is revealed as an agent of changes much more enduring than those of his younger contemporary, David Garrick. Contributions by leading scholars from a range of disciplines-theatre, dance, music, art, and cultural history-provide detailed analyses of Rich's productions and representations. These findings complement Robert D. Hume's lead article, a study that radically alters our perception of Rich. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.

More than 70 works of Hogarth include musical references, and Jeremy Barlow's book is the first full-length work devoted to this aspect of his imagery. The first two chapters examine the evidence for Hogarth's interest in music and the problems of assessing accuracy, realism and symbolic meaning in his musical representations. Subsequent chapters show how musical details in his works may often be interpreted as part of his satirical weaponry; the starting point seems to have been his illustrations of the clamorous 'rough music' protest in Samuel Butler's immensely popular poem Hudibras. Hogarth's use of music for satirical purposes also has connections with a particular type of burlesque music in 18th-century England. It may be seen too in the roles played by his humiliated fiddlers or abject ballad singers. Each of the final two chapters focuses on a particular Hogarth subject: his paintings of a scene from a theatrical satire of music and society, The Beggar's Opera, and the print The Enraged Musician itself. The latter work draws together uses of musical imagery discussed previously and the book concludes with an analysis of its internal relations from a musical perspective. The book is lavishly illustrated with Hogarth's drawings, prints and paintings. Many other images are reproduced to provide contextual background. Several indices and appendices enhance the book's value as a reference tool: these include an annotated index of Hogarth's instruments, with photographs or other representations of the instruments he depicts; a detailed index of Hogarth's works with musical imagery; the texts and music for broadside ballads and single-sheet songs related to Hogarth's titles; 18th-century texts and street cries related to Hogarth's The Enraged Musician, and other musical examples indicated in the text. Also included is a facsimile of Bonnell Thornton's burlesque Ode on St CA|cilia's Day.