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The Canterbury Tales (Middle English: Tales of Caunterbury) is a collection of over 20 stories written in Middle English by Geoffrey Chaucer at the end of the 14th century, during the time of the Hundred Years War. The tales (mostly written in verse, although some are in prose) are presented as part of a story-telling contest by a group of pilgrims as they travel together on a journey from Southwark to the shrine of Saint Thomas Becket at Canterbury Cathedral. The prize for this contest is a free meal at the Tabard Inn at Southwark on their return. After a long list of works written earlier in his career, including Troilus and Criseyde, House of Fame, and "Parliament of Fowls", The Canterbury Tales is near-unanimously seen as Chaucers magnum opus. He uses the tales and the descriptions of its characters to paint an ironic and critical portrait of English society at the time, and particularly of the Church. Structurally, the collection resembles The Decameron, which Chaucer may have read during his first diplomatic mission to Italy in 1372. It is sometimes argued that the greatest contribution The Canterbury Tales made to English literature was in popularising the literary use of vernacular, English, rather than French or Latin. English had, however, been used as a literary language centuries before Chaucers time, and several of Chaucers contemporariesJohn Gower, William Langland, the Pearl Poet, and Julian of Norwichalso wrote major literary works in English. It is unclear to what extent Chaucer was responsible for starting a trend as opposed to simply being part of it. While Chaucer clearly states the addressees of many of his poems, the intended audience of The Canterbury Tales is more difficult to determine. Chaucer was a courtier, leading some to believe that he was mainly a court poet who wrote exclusively for nobility.

The Call of the Wild is a 1903 novel by Jack London.

Freeman began writing stories and verse for children while still a teenager to help support her family and was quickly successful. When the supernatural caught her interest, the result was a group of short stories which combined domestic realism with supernaturalism and these have proved very influential. Her best known work was written in the 1880s and 1890s while she lived in Randolph. She produced more than two dozen volumes of published short stories and novels. She is best known for two collections of stories, A Humble Romance and Other Stories (1887) and A New England Nun and Other Stories (1891). Her stories deal mostly with New England life and are among the best of their kind. Freeman is also remembered for her novel Pembroke (1894), and she contributed a notable chapter to the collaborative novel The Whole Family (1908).

John Ford is known to have written numerous plays during the reigns of James I (1603-1625) and Charles I (1625-1649), although only eight have survived. Their somewhat morbid and violent character speaks in part to the growing social tensions in the years before the English Revolution of 1640, which would lead to the execution of Charles nine years later."The Broken Heart" (written between 1625 and 1633) is laid in ancient Greece and its complex narrative revolves around Amyclas, king of Sparta, his daughter Calantha and their royal court. Commentators suggest that the court of Charles I might more appropriately be considered the plays real setting.The action begins as Orgilus prepares to depart Sparta for Athens. Hes leaving his home country because he can no longer stand to see Penthea, the woman to whom he was once betrothed, married to the abusive and jealous Bassanes. Orgilus also believes that once he has left, Bassanes irrational behaviour, inspired by the fear that his wife will cheat on him, might abate, giving Penthea, who married her husband, not for love, but at the command of her ambitious brother Ithocles, a more tolerable existence.Orgilus does not, however, leave Sparta, but merely disguises himself as a student of the philosopher Tecnicus, so that he can keep an eye not only on Penthea, but also his sister Euphrania. She falls in love with Ithocles best friend, Prophilus, even as Ithcoles finds himself passionately fixated on Calantha, the daughter of the ailing Spartan King...

"The Blue Bird" by Maurice Maeterlinck is a captivating fairy play, unfolding in six acts. Focused on two children, Tyltyl and Mytyl, accompanied by magical companions, it explores themes of imagination and the quest for true happiness. Their mystical journey navigates the realms of fantasy, teaching profound lessons about the significance of appreciating the present moment and the beauty inherent in the simplest aspects of life. Maeterlincks play is a timeless exploration of the human spirit and the transformative power of perception.

The plot of the play revolves around Pisthetaerus, an Athenian who convinces the birds to create a great city in the sky, and thus regain their status as the original gods. Pisthetaerus eventually transforms into a bird-like god himself, and replaces Zeus as the king of the gods.

The Betrothed is an 1825 novel by Sir Walter Scott. It is the first of two Tales of the Crusaders, the second being The Talisman. Parts of the novel were incorporated into Francesco Maria Piaves libretto for Giuseppe Verdis 1857 opera, Aroldo, itself a re-working of an earlier Verdi opera, Stiffelio.

The Betrothed is an 1825 novel by Sir Walter Scott. It is the first of two Tales of the Crusaders, the second being The Talisman. Parts of the novel were incorporated into Francesco Maria Piaves libretto for Giuseppe Verdis 1857 opera, Aroldo, itself a re-working of an earlier Verdi opera, Stiffelio.

American author of short stories and novels, mostly of a Louisiana Creole background. She is now considered by some to have been a forerunner of feminist authors of the 20th century. From 1892 to 1895, she wrote short stories for both children and adults which were published in such magazines as Atlantic Monthly, Vogue, the Century, and Harpers Youths Companion. Her major works were two short story collections, Bayou Folk (1894) and A Night in Acadie (1897). Her important short stories included "Desirees Baby", a tale of miscegenation in antebellum Louisiana (published in 1893); "The Story of an Hour" (1894), and "The Storm "(1898). "The Storm" is a sequel to "The Cadian Ball," which appeared in her first collection of short stories, Bayou Folk. Chopin also wrote two novels: At Fault (1890) and The Awakening (1899), which are set in New Orleans and Grand Isle, respectively. The people in her stories are usually inhabitants of Louisiana. Many of her works are set in Natchitoches in north central Louisiana. Within a decade of her death, Chopin was widely recognized as one of the leading writers of her time.

The Autobiography of James T. Kirk chronicles the greatest Starfleet captains life (2233-2371), in his own words. From his youth spent on Tarsus IV, his time in the Starfleet Academy, his meteoric raise through the ranks of Starfleet, and his illustrious career at the helm of the Enterprise, this in-world memoir uncovers Captain Kirk in a way Star Trek fans have never seen.

In "The Art of Theatrical Make-up," Cavendish Morton presents a comprehensive exploration of the transformative power of makeup in the realm of performance. This meticulously crafted guide blends technical instruction with an artistic perspective, highlighting the crucial role of makeup in character development and storytelling. Mortons writing is both accessible and scholarly, infused with detailed illustrations and step-by-step techniques that allow readers to grasp the intricacies of theatrical makeup application. Embodying the essence of theatricality, the book situates itself within the broader context of performance arts, reflecting on historical and modern practices alike. Cavendish Morton, a distinguished figure in the world of theater, boasts a remarkable career as a makeup artist, educator, and theatre director. His first-hand experiences in various theatrical productions, coupled with an academic background in fine arts and design, underpin his authoritative voice in this work. Mortons passion for the performing arts, combined with a keen understanding of visual aesthetics, has catalyzed his dedication to teaching the transformative artistry of makeup, making him an invaluable contributor to the field. This book serves as an essential resource for aspiring makeup artists, theater professionals, and enthusiasts alike. Whether you are seeking to cultivate your technical skills or looking to appreciate the nuanced art of character portrayal, Mortons insights will undoubtedly enrich your understanding of theatrical makeup as a vital component of performance. Dive into this captivating world and elevate your craft with Mortons expert guidance.In this enriched edition, we have carefully created added value for your reading experience:- Handpicked Memorable Quotes shine a spotlight on moments of literary brilliance.- Interactive footnotes clarify unusual references, historical allusions, and archaic phrases for an effortless, more informed read.

In "The Art of Iugling or Legerdemaine," Samuel Rid presents a comprehensive exploration of the art of juggling and sleight of hand, bridging the practical with the philosophical. Written in a didactic style, the book combines instruction with anecdotes, making it both an informative manual and an engaging narrative. Rids work is situated within the rich tradition of English Renaissance literature, reflecting the periods fascination with performance arts and the intersection of magic and morality, where entertainment intertwines with the exploration of deception and truth. Samuel Rid, a noted figure in 17th-century England, was deeply immersed in the theatrical culture of his time. His vocation as a writer and performer afforded him the opportunity to witness the intricate relationship between illusion and reality, likely influencing his desire to articulate the complexities of sport and spectacle. Rids intent was not merely to teach but to provoke thought about the implications of performance, underscoring the fine line between skillful artistry and manipulation. This book is a must-read for anyone interested in the history of performance arts or the cultural narratives surrounding deception. RidAos insightful commentary invites readers to appreciate the nuanced artistry of juggling and magic, making it an essential addition to the library of performers, historians, and enthusiasts of magic alike.

The Art of Assembly surveys theatre today to demonstrate its political potential in both form and content. Drawing on numerous examples from around the world in performance, visual art, and activist art, curator and author Florian Malzacher examines works that draw on the particular possibilities of theatre to navigate the space between representation and participation, at once playfully and with sincerity. In a time of wide-ranging crisis, The Art of Assembly is a plea for a strong definition of the political and for a theatre that is not content merely to reflect the worlds ills, but instead acts to change them.A knowledgeable foray through the landscape of political theatre. die tageszeitung (taz)A very good overview of current postdramatic events, bringing together a great deal of empirical material. Frankfurter Allgemeine Zeitung (FAZ)Rarely have the pitfalls of representation as the cornerstone of theatre been explained so elegantly. Berliner ZeitungA stimulating book that brings you up to date with the latest discursive thinking without overwhelming you with theory. An ideal side effect. profilMalzachers analysis is clever, enjoyable and accessible even for the theory-shy. A briefing on the state of the discourse and a declaration of love for theatre. Die Wochenzeitung (WOZ)

The Art of Acting provides a basic introduction and general advice for people wishing to develop their skills as actors or actresses. It is aimed at both the amateur enthusiast and for those wishing to pursue their interest further and undertake professional training. Advice is given on the basic skills which every actor needs to develop, such as breathing, voice control, the use of body language, timing and handling the audience. The importance of understanding a text and the interaction of the characters within it is considered, as is the relationship between the actor/actress and director.Auxiliary activities such as actors exercises and warm-ups are evaluated and general advice provided. Specific skills are discussed, such as the learning of lines, mime, mastering dialects and accents, period manners, and ensuring that make-up is suitable to the role.Summaries of the ideas of famous theorists, directors and actors, are included such as: Stanislawski, Lee Strasberg, Michael Chekhov and Dorothy Heathcote; Peter Brook and Peter Hall; and John Gielgud, Laurence Olivier, Simon Callow, Ian McKellen, Judi Dench, Alec Guinness, Michael Caine and Dirk Bogarde.There is also some consideration of the differences between stage and screen acting; the problems of acting in the open air and the particular demands of certain playwrights, such as Shakespeare, and Brecht.

Joseph Conrad (born Józef Teodor Konrad Korzeniowski; 3 December 1857 – 3 August 1924) was a Polish-British writer regarded as one of the greatest novelists to write in the English language. He was g

Classical Greek philosopher, mathematician, writer of philosophical dialogues, and founder of the Academy in Athens, the first institution of higher learning in the Western world. Along with his mentor, Socrates, and his student, Aristotle, Plato helped to lay the foundations of natural philosophy, science, and Western philosophy. Plato was originally a student of Socrates, and was as much influenced by his thinking as by what he saw as his teachers unjust death.Platos sophistication as a writer is evident in his Socratic dialogues; thirty-five dialogues and thirteen letters have been ascribed to him. Platos writings have been published in several fashions; this has led to several conventions regarding the naming and referencing of Platos texts.

The idea that morris dancing captures the essence of ancient Englishness, inherently carefree and merry, has been present for over four hundred years. The Ancient English Morris Dance traces the history of those attitudes, from the dances introduction to England in the fifteenth century, through the contention of the Reformation and Civil War, during which morris dancing and maypoles became potent symbols of the older ways of living. Thereafter it developed and diversified, neglected and disdained, until antiquaries began to take an interest in its history, leading to its re-invention as emblematic of Victorian concepts of Merrie England in the nineteenth century. The quest for authentic understanding of what that meant led to its revival at the beginning of the twentieth century, but that was predicated on the perception of it as part of Englands declining rural past, to the neglect of the one area (the industrial north-west) where it continued to flourish. The revival led in turn to its further evolution into the multitude of forms and styles in which it may be encountered today.

Fortune, that favours fools, these two short hours,We wish away, both for your sakes and ours,Judging spectators; and desire, in place,To the author justice, to ourselves but grace.Our scene is London, cause we would make known,No countrys mirth is better than our own:No clime breeds better matter for your whore,Bawd, squire, impostor, many persons more,Whose manners, now calld humours, feed the stage;And which have still been subject for the rageOr spleen of comic writers. Though this penDid never aim to grieve, but better men;Howeer the age he lives in doth endureThe vices that she breeds, above their cure.But when the wholesome remedies are sweet,And in their working gain and profit meet,He hopes to find no spirit so much diseased,But will with such fair correctives be pleased:For here he doth not fear who can apply.If there be any that will sit so nighUnto the stream, to look what it doth run,They shall find things, theyd think or wish were done;They are so natural follies, but so shewn,As even the doers may see, and yet not own.

The Adventures of Ferdinand Count Fathom is a novel by Tobias Smollett first published in 1753. It was Smolletts third novel and met with less success than his two previous more picaresque tales. The central character is a villainous dandy who cheats, swindles and philanders his way across Europe and England with little concern for the law or the welfare of others. The son of an equally disreputable mother, Smollett himself comments that "Fathom justifies the proverb, Whats bred in the bone will never come out of the flesh". Sir Walter Scott commented that the novel paints a "complete picture of human depravity".The main character reappears as a minor character in Smollets later novel The Expedition of Humphry Clinker. The novels elements of terror and the supernatural have caused some historians of English literature to describe it as anticipating the themes of the Gothic novel.

Australian-born novelist, born Mary Annette Beauchamp. By marriage she became Grafin (Countess) von Arnim-Schlagenthin, and by a second marriage, Countess Russell. Although known in her early life as Mary, after the publication of her first book, she was known to her readers, eventually to her friends, and finally even to her family as Elizabeth, and she is now invariably referred to as Elizabeth von Arnim. She also wrote under the pen name Alice Cholmondeley.Arnim would later refer to her domineering first husband as the "Man of Wrath" and writing became her refuge from what turned out to be an incompatible marriage. Arnims husband had increasing debts and was eventually sent to prison for fraud. This was when she created her pen name "Elizabeth" and launched her career as a writer by publishing her semi-autobiographical, brooding, yet satirical Elizabeth and her German Garden (1898). Detailing her struggles both to create a garden on the estate and her attempts to integrate into German high-class Junker society, it was such a success that it was reprinted twenty times in its first year. A bitter-sweet memoir and companion to it was The Solitary Summer (1899). Other works, such as the The Benefactress (1902), Vera (1921), and Love (1925), were also semi-autobiographical. Other titles dealing with feminist protest and witty observations of life in provincial Germany were to follow, including The Princess Priscillas Fortnight (1905) and Fraulein Schmidt and Mr Anstruther (1907).Although she never wrote a traditional autobiography, All the Dogs of My Life, her 1936 account of her love for her pets, contains many glimpses of the glittering social circle of which she was part.