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The aim of this volume is to offer a selection of long-established and well-loved classics which provide examples of the wide range and quality of English comedy in the 17th and 18th centuries. From the height of 17th century drama comes Ben Jonson's "Volpone", a biting satire on human cupidity; while the urbane social comedy of the restoration is represented by Congreve's "The Way of the World", where manners and attitudes provide the comedy and style and elegance adorn the language. Finally, from the glittering age of the 18th century come plays from Sheridan and Goldsmith, the two rumbustious comedies, "The School For Scandal" and "She Stoops to Conquer".

What is wit made out of in the comedies of Shakespeare, Jonson, Shirley and their contemporaries? What does it hide? What does it reveal? This book addresses these questions by turning to the relationship between comic form and local history. Explorations of familiar sites, including Windsor Forest, Smithfield, Covent Garden and Hyde Park, are matched with close readings of drama that focus on overlays between theatrical, spatial, narrative and social conventions. Dramatic comedy's definitive interest in cultural competency and incompetence, and wit and witlessness, is revealed through discussions of commerce, gambling, royal forests and new or newly public spaces in and around early modern London. Along with Shakespeare's The Merry Wives of Windsor and Ben Jonson's Epicene and Bartholomew Fair, special emphasis is placed on the neglected town comedies of the 1630s - the forerunners of the Restoration comedy of manners and satirical realism of our own day.

What is wit made out of in the comedies of Shakespeare, Jonson, Shirley and their contemporaries? What does it hide? What does it reveal? This book addresses these questions by turning to the relationship between comic form and local history. Explorations of familiar sites, including Windsor Forest, Smithfield, Covent Garden and Hyde Park, are matched with close readings of drama that focus on overlays between theatrical, spatial, narrative and social conventions. Dramatic comedy's definitive interest in cultural competency and incompetence, and wit and witlessness, is revealed through discussions of commerce, gambling, royal forests and new or newly public spaces in and around early modern London. Along with Shakespeare's The Merry Wives of Windsor and Ben Jonson's Epicene and Bartholomew Fair, special emphasis is placed on the neglected town comedies of the 1630s - the forerunners of the Restoration comedy of manners and satirical realism of our own day.

Introduction to English Renaissance comedy provides a comprehensive introduction to Elizabethan, Jacobean and Caroline comedy, covering both public and private theatres, emphasising the eclectic, experimental nature of this comedy: its departures from the mainstream New Comedy tradition, its searching, witty analysis of social and personal relations in court, city and country. This book makes a close analysis of some of the richest comedies of the period, making unexpected connections between them: Shakespeare's A Midsummer Night's Dream and The Tempest, Lyly's Endymion, Greene's Friar Bacon and Friar Bungay, Marston's The Malcontent, Middleton's Michaelmas Term, Jonson's Bartholomew Fair, Shirley's The Lady of Pleasure and Brome's A Jovial Crew. Through these plays the reader is given a comprehensive picture of English comedy in one of its most creative periods.

English comedy from the fifteenth to the early seventeenth century abounds in song lyrics, but most of the original tunes were thought to have been lost--until now. By deducing that playwrights borrowed melodies from songs they already knew, Ross W. Duffin has used the existing English repertory of songs, both popular and composed, to reconstruct hundreds of songs from more than a hundred plays and other stage entertainments. Thanks to Duffin's incredible breakthrough, these plays have been rendered performable with period music for the first time in five hundred years. Some Other Note not only brings these songs back from the dead, but tells a thrilling tale of the investigations that unraveled these centuries-old mysteries.

English comedy from the fifteenth to the early seventeenth century abounds in song lyrics, but most of the original tunes were thought to have been lost--until now. By deducing that playwrights borrowed melodies from songs they already knew, Ross W. Duffin has used the existing English repertory of songs, both popular and composed, to reconstruct hundreds of songs from more than a hundred plays and other stage entertainments. Thanks to Duffin's incredible breakthrough, these plays have been rendered performable with period music for the first time in five hundred years. Some Other Note not only brings these songs back from the dead, but tells a thrilling tale of the investigations that unraveled these centuries-old mysteries.

This book is an abridged translation of La Escatologia Musalmana en la Divine Comedia., originally published in Spanish in Madrid in 1919. The author, though a catholic priest, was attracted by the Muslim philosopher and Sufi 's of Spain, particular Ibn Massara, Ibn Hazm, Ibn Rushad, and the great Sufi Ibn-al-Arabi. He wrote several books on Hispano-Islamic philosophy and Sufism, but the international renown he earned was on account of this book. After years of extensive research, he discovered parallel between the Islamic lore about the after life based on the hadith and this book by the Italian poet Dante Aligieri, a work for which he is justly famed. The similarities, far from being superficial, pervade the entire poem. The author concluded that Dante had derived most of the features of and episode about the here after from (1) the Hadith literature relating to the Prophet Muhammad and his ascension (mir'aj) and (2)to the spiritual visions of Ibn al-Arabi. In his opinion, this book was not entirely original work, as Dante has had before him a ready made pattern based on Islamic writing on the after With the publication of this book, Prof. Asin found himself in the eye of a storm, as nationalist Italians, the Roman Catholic clergy, and other European Christians could not reconcile themselves to the thought of their most cherished religious poem being based on non-Christian sources. Prof. Asin, however, faced up to his critics by enumerating the possible sources from which Dante could have obtained the salient features of Islamic eschatology. The consensus of opinion of all eminent scholars of Europe and America is now in favor of Prof. Asin's thesis.

The translation into English verse of one of Molière’s most masterful and most popular plays. “A continuous delight from beginning to end” (Richard Eberhart). Introduction by Richard Wilbur.

Drawings and humorous poems satirize human hypocrisy, pride, and pretentiousness, and tell stories about thwarted ambitions and desires

water marks the back jacket as well as the edges. pages look good otherwise.

Drawings and humorous poems satirize human hypocrisy, pride, and pretentiousness, and tell stories about thwarted ambitions and desires

Classic comedy / 5 m., 6 f. (doubling possible). / Int. This rollicking version of Les Femmes Savantes delighted audiences Off Broadway in a production starring Jean Stapleton as Philamente, a most unliterary lady intent on having a high toned literary salon. She has neither literary nor common sense, which makes her easy prey for sycophantic con artist Trissotin. He passes himself off as a famous poet and becomes a permanent house guest. Philamente hopes to marry her daughter to Trissotin, but the daughter wishes to marry the unsuitable Clitandre. This version strays from a strictly literal translation of Moliere's play, often employing anachronisms in the rhymed couplets that will appall purists and absolutely delight everyone else. If you want your audiences to roll with laughter as they watch a play by a "famous dead playwright," this version is for you. "Thomas' modernisms smartly put the satire's emphasis on the pomposity rather than the feminism of the Precieuse Movement." Variety. FEE: $75 per performance.

Taking a literary journey through hell certainly sounds intriguing enough--and it is! If you can understand it! If you don't understand it, then you are not alone. If you have struggled in the past reading the ancient classic, then BookCaps can help you out. This book is a modern translation with a fresh spin. The original text is also presented in the book, along with a comparable version of the modern text. We all need refreshers every now and then. Whether you are a student trying to cram for that big final, or someone just trying to understand a book more, BookCaps can help. We are a small, but growing company, and are adding titles every month.

This edition gives a side-by-side parallel translation of Dante's Divine Comedy using Longfellow's translation. The Divine Comedy is an epic poem written by Dante Alighieri between 1308 and his death in 1321. It is generally considered to be the preeminent work of Italian literature and one of the greatest works of world literature. The poem is written in the Tuscan dialect, and the poem helped establish this dialect as the standardized Italian language. The poem is divided into three parts: Inferno, Purgatorio, and Paradiso. At the superficial level, the poem describes Dante's travels through Hell, Purgatory, and Heaven; but at a deeper level, it ia an allegory of the soul's journey towards God. In order to articulate this journey towards God, Dante uses on medieval Christian theology and philosophy, especially Thomistic philosophy and the Summa Theologica of Thomas Aquinas. Longfellow's translation is considered to be the best translation, overall. Longfellow, being a poet himself, was able to create a flowing translation that has not been surpassed.

This edition gives a side-by-side parallel translation of Dante's Divine Comedy using Longfellow's translation. The Divine Comedy is an epic poem written by Dante Alighieri between 1308 and his death in 1321. It is generally considered to be the preeminent work of Italian literature and one of the greatest works of world literature. The poem is written in the Tuscan dialect, and the poem helped establish this dialect as the standardized Italian language. The poem is divided into three parts: Inferno, Purgatorio, and Paradiso. At the superficial level, the poem describes Dante's travels through Hell, Purgatory, and Heaven; but at a deeper level, it ia an allegory of the soul's journey towards God. In order to articulate this journey towards God, Dante uses on medieval Christian theology and philosophy, especially Thomistic philosophy and the Summa Theologica of Thomas Aquinas. Longfellow's translation is considered to be the best translation, overall. Longfellow, being a poet himself, was able to create a flowing translation that has not been surpassed.

This edition gives a side-by-side parallel translation of Dante's Divine Comedy using Longfellow's translation. The Divine Comedy is an epic poem written by Dante Alighieri between 1308 and his death in 1321. It is generally considered to be the preeminent work of Italian literature and one of the greatest works of world literature. The poem is written in the Tuscan dialect, and the poem helped establish this dialect as the standardized Italian language. The poem is divided into three parts: Inferno, Purgatorio, and Paradiso. At the superficial level, the poem describes Dante's travels through Hell, Purgatory, and Heaven; but at a deeper level, it ia an allegory of the soul's journey towards God. In order to articulate this journey towards God, Dante uses on medieval Christian theology and philosophy, especially Thomistic philosophy and the Summa Theologica of Thomas Aquinas. Longfellow's translation is considered to be the best translation, overall. Longfellow, being a poet himself, was able to create a flowing translation that has not been surpassed.

This edition gives a side-by-side parallel translation of Dante's Divine Comedy using Longfellow's translation. The Divine Comedy is an epic poem written by Dante Alighieri between 1308 and his death in 1321. It is generally considered to be the preeminent work of Italian literature and one of the greatest works of world literature. The poem is written in the Tuscan dialect, and the poem helped establish this dialect as the standardized Italian language. The poem is divided into three parts: Inferno, Purgatorio, and Paradiso. At the superficial level, the poem describes Dante's travels through Hell, Purgatory, and Heaven; but at a deeper level, it ia an allegory of the soul's journey towards God. In order to articulate this journey towards God, Dante uses on medieval Christian theology and philosophy, especially Thomistic philosophy and the Summa Theologica of Thomas Aquinas. Longfellow's translation is considered to be the best translation, overall. Longfellow, being a poet himself, was able to create a flowing translation that has not been surpassed.

The ten plays in this new collection show both the continuity and the changes in comedy over the course of the Restoration and eighteenth century. Each play includes its original prologue and epilogue, as well as an historical introduction and full annotation. The editor’s Introduction provides a rich historical and literary context for the plays’ composition and production. A glossary of frequently used words likely to be unfamiliar to general readers is also included.

The complete, translated text of Dante's great masterpiece is accompanied by 139 prints, which provide a visual commentary to the poet's journey through hell

Though better known today as a political theorist than as a dramatist, Machiavelli secured his fame as a giant in the history of Italian comedy more than fifty years before Shakespeare's comedies delighted English-speaking audiences. This bilingual edition includes all three examples of Machiavelli's comedic art: sparkling translations of his farcical masterpiece, The Mandrake; of his version of Terence's The Woman From Andros; and of his Plautus-inspired Clizia--works whose genre afforded Machiavelli a unique vehicle not only for entertaining audiences but for examining virtue amid the twists and turns of fortune.