The Royal Hunt

From antiquity to the nineteenth century, the royal hunt was a vital component of the political cultures of the Middle East, India, Central Asia, and China. Besides marking elite status, royal hunts functioned as inspection tours and imperial progresses, a means of asserting kingly authority over the countryside. The hunt was, in fact, the "court out-of-doors," an open-air theater for displays of majesty, the entertainment of guests, and the bestowal of favor on subjects. In the conduct of interstate relations, great hunts were used to train armies, show the flag, and send diplomatic signals. Wars sometimes began as hunts and ended as celebratory chases. Often understood as a kind of covert military training, the royal hunt was subject to the same strict discipline as that applied in war and was also a source of innovation in military organization and tactics. Just as human subjects were to recognize royal power, so was the natural kingdom brought within the power structure by means of the royal hunt. Hunting parks were centers of botanical exchange, military depots, early conservation reserves, and important links in local ecologies. The mastery of the king over nature served an important purpose in official renderings: as a manifestation of his possession of heavenly good fortune he could tame the natural world and keep his kingdom safe from marauding threats, human or animal. The exchanges of hunting partners—cheetahs, elephants, and even birds—became diplomatic tools as well as serving to create an elite hunting culture that transcended political allegiances and ecological frontiers. This sweeping comparative work ranges from ancient Egypt to India under the Raj. With a magisterial command of contemporary sources, literature, material culture, and archaeology, Thomas T. Allsen chronicles the vast range of traditions surrounding this fabled royal occupation.

"The Spanish expedition under Pizzaro to the land of the Incas told in dazzling spectacle and moral chiaroscuro. After general absolution for any crimes they may commit against the pagan Incas, the conquerors set forth upon the sea. The Inca god is a sun god, ruler of the riches and people of Peru and thought to be immortal. But the Spaniards have come in conquest rather than in reverence. There is misunderstanding, confusion, and slaughter: the Spaniards kill 3000 unarmed Incas and take the sun god captive. The ransom is 9000 pounds of gold. The avaricious Spaniards mutiny, try the sun god in kangaroo court and garrote him. He does not revive. The Incas behold their dead god."--Publisher's Website.

A couple of young Frenchmen go hunting in the Vosges, where one of them falls in love with a country girl.

This book THE ROYAL HUNT THE HUNT FOR PRINCE VESPIAN is the sequel for “THE ROYAL HUNT”. Everyone who read “THE ROYAL HUNT”, asked me if there was going to be a sequel. I said No there is not. Needless to say I was talked into it lol. I hope you like this sequel as much as I liked writing it.

‘Packed with fun, fantasy and the sort of adventure guaranteed to have sticky little fingers hungrily turning the pages’ The Mail on Sunday ‘The Royal Rabbits of London is sweet, funny and beautifully illustrated' The Times The adventure continues for Shylo and his Royal Rabbit friends in this charming series from bestselling authors Santa Montefiore and Simon Sebag Montefiore and illustrator Kate Hindley, which shows that even the smallest rabbit can be the biggest hero. Life is an adventure. Anything in the world is possible – by will and by luck, with a moist carrot, a wet noise and a slice of mad courage! Now that Shylo is a Royal Rabbit, his life is full of adventure and new friends, but he still misses his mother and family. So he jumps at the chance to visit his home warren! As soon as Shylo arrives he finds something strange and dark going on. A mysterious bunny called Harlequin is on the farm, attracting many followers with his crazy singing and loopy dancing. But Harlequin is also digging for the Golden Carrot, which, says an ancient legend, will give him power over over all humans and animals. Harlequin believes it's buried somewhere on the farm. Then as more followers flock to the warren, Shylo wonders if the hunt for the Golden Carrot is a fun game or if Harlequin is plotting world domination… And when the quest turns deadly, Shylo calls in the Royal Rabbits. Can they stop power-mad Harlequin? And who will find the Carrot first?

Like most empires, the Ming court sponsored grand displays of dynastic strength and military prowess. Covering the first two centuries of the Ming dynasty (1368–1644), Martial Spectacles of the Ming Court explores how the royal hunt, polo matches, archery contests, equestrian demonstrations, and the imperial menagerie were represented in poetry, prose, and portraiture. This study reveals that martial spectacles were highly charged sites of contestation, where Ming emperors and senior court ministers staked claims about rulership, ruler-minister relations, and the role of the military in the polity. Simultaneously colorful entertainment, prestigious social events, and statements of power, martial spectacles were intended to make manifest the ruler’s personal generosity, keen discernment, and respect for family tradition. They were, however, subject to competing interpretations that were often beyond the emperor’s control or even knowledge. By situating Ming martial spectacles in the wider context of Eurasia, David Robinson brings to light the commensurability of the Ming court with both the Mongols and Manchus but more broadly with other early modern courts such as the Timurids, the Mughals, and the Ottomans.