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Author: John Arthur Nichol
Publisher: John Arthur Nichol
ISBN: 0648905934
Category : Humor
Languages : en
Pages : 121
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Book Description
Edward Lear is remembered, and rightly so, as the Father of the Limerick. Were it not for him, this little five line verse form may never have become such a beloved, ubiquitous part of our literary and popular culture. Yet the very thing that makes the limerick so appealing, held no appeal for Edward Lear. The final line of his verses offered no twist, and it didn’t seek to make his readers giggle. It was a summing up, and nothing more. But Lear had opened Victorian eyes to the possibilities inherent in the limerick: His Book of Nonsense was a runaway bestseller. In 1872 Lear published one hundred new limericks, hoping to repeat his earlier success. But while his earlier verses are still fondly remembered today, still anthologised, still quoted in mainstream and social media, his next hundred limericks are unknown. Why? Because, by 1872, the limerick had taken on a life of its own, and was romping towards the twentieth century with outlandish, irreverent and often obscene delight. And Lear couldn't follow. It just wasn't in his nature to go there. So having set the limerick on its journey, he now stood alone and watched it vanish in the distance. Limericks After Lear breathes new life into Edward Lear's creations. Book One, The Fifth Line, took A Book of Nonsense as its starting point and sent all 112 verses off in new directions. Now, Book Two retrieves the forgotten verses of 1872 and presents them complete: one hundred original Lears, plus a brand new, family-friendly limerick for each. The Next Hundred Lears ... Two hundred limericks you won’t have met before. And they might even make you giggle :)
Author: John Arthur Nichol
Publisher: John Arthur Nichol
ISBN: 0648905934
Category : Humor
Languages : en
Pages : 121
Get Book Here
Book Description
Edward Lear is remembered, and rightly so, as the Father of the Limerick. Were it not for him, this little five line verse form may never have become such a beloved, ubiquitous part of our literary and popular culture. Yet the very thing that makes the limerick so appealing, held no appeal for Edward Lear. The final line of his verses offered no twist, and it didn’t seek to make his readers giggle. It was a summing up, and nothing more. But Lear had opened Victorian eyes to the possibilities inherent in the limerick: His Book of Nonsense was a runaway bestseller. In 1872 Lear published one hundred new limericks, hoping to repeat his earlier success. But while his earlier verses are still fondly remembered today, still anthologised, still quoted in mainstream and social media, his next hundred limericks are unknown. Why? Because, by 1872, the limerick had taken on a life of its own, and was romping towards the twentieth century with outlandish, irreverent and often obscene delight. And Lear couldn't follow. It just wasn't in his nature to go there. So having set the limerick on its journey, he now stood alone and watched it vanish in the distance. Limericks After Lear breathes new life into Edward Lear's creations. Book One, The Fifth Line, took A Book of Nonsense as its starting point and sent all 112 verses off in new directions. Now, Book Two retrieves the forgotten verses of 1872 and presents them complete: one hundred original Lears, plus a brand new, family-friendly limerick for each. The Next Hundred Lears ... Two hundred limericks you won’t have met before. And they might even make you giggle :)
Author: John Arthur Nichol
Publisher: John Arthur Nichol
ISBN: 0648905918
Category : Humor
Languages : en
Pages : 131
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Book Description
If you've ever longed for the Old Man of Cape Horn to cheer up, or to rescue the Person of Cromer from his sudden and unexplained conclusion, or to silence that annoying Old Man with a Bell, then this is the book you've been waiting for. The Fifth Line: Limericks After Lear. One hundred and twelve brand new limericks based on Edward Lear's verses in his ground-breaking work, A Book of Nonsense (1846 and 1863). Plus Edward Lear's original verses. That's two hundred and twenty four limericks! But why the new new take on old poems? Because Edward Lear abandoned the most important part of the limerick - the fifth line - an ending that adds a twist to the story and makes us chuckle. Lear would establish a premise that was knowingly and joyfully absurd, then end with an anti-climax. His final line simply repeated the rhyme and substance of what he'd said at the start. The Fifth Line revisits every verse in A Book of Nonsense, restoring to each the proper form and function of a limerick. They're all here, from An Old Man With a Nose to A Young Lady Whose Bonnet, and everything in between. And there's a laugh in every one. The Fifth Line: Limericks After Lear. Plus Lear. Plus laughs. Lots of laughs.
Author: John Arthur Nichol
Publisher: John Arthur Nichol
ISBN: 0648905950
Category : Juvenile Fiction
Languages : en
Pages : 54
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Book Description
Sascha Martin’s News Day. Mr Jack and Mrs Barnum are strangely upbeat, when they should be terrified. And kids are bouncing off the walls with excitement. Introducing his latest invention, Sascha has only this to say: “Don’t drop the Super Ball!” Why not? What happens if you drop it? Sascha’s not telling. And his nemesis, Mary-Alice Cooper, will do anything to uncover his secret. Could things get out of hand? They certainly could, and it wouldn’t take much to set the ball rolling. One small misstep for Sascha. Check. One giant leap for Mr Jack. Check. One girl who won’t take “Just be patient, Mary-Alice,” for an answer. Check. From John Arthur Nichol and Manuela Pentangelo, the team who brought you Sascha Martin’s Rocket-Ship and Sascha Martin’s Time Machine, comes the latest chortle-inducing catastrophe from the chain of disasters that is the Sascha Martin series. Sascha Martin’s Super Ball. His worst disaster yet, by leaps and bounds.
Author: Lynne Bradley
Publisher: Routledge
ISBN: 1317185439
Category : Literary Criticism
Languages : en
Pages : 305
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Book Description
Questioning whether the impulse to adapt Shakespeare has changed over time, Lynne Bradley argues for restoring a sense of historicity to the study of adaptation. Bradley compares Nahum Tate's History of King Lear (1681), adaptations by David Garrick in the mid-eighteenth century, and nineteenth-century Shakespeare burlesques to twentieth-century theatrical rewritings of King Lear, and suggests latter-day adaptations should be viewed as a unique genre that allows playwrights to express modern subject positions with regard to their literary heritage while also participating in broader debates about art and society. In identifying and relocating different adaptive gestures within this historical framework, Bradley explores the link between the critical and the creative in the history of Shakespearean adaptation. Focusing on works such as Gordon Bottomley's King Lear's Wife (1913), Edward Bond's Lear (1971), Howard Barker's Seven Lears (1989), and the Women's Theatre Group's Lear's Daughters (1987), Bradley theorizes that modern rewritings of Shakespeare constitute a new type of textual interaction based on a simultaneous double-gesture of collaboration and rejection. She suggests that this new interaction provides constituent groups, such as the feminist collective who wrote Lear's Daughters, a strategy to acknowledge their debt to Shakespeare while writing against the traditional and negative representations of femininity they see reflected in his plays.
Author: William Shakespeare
Publisher:
ISBN:
Category : Aging parents
Languages : en
Pages : 226
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Book Description
Author: Louis Fantasia
Publisher: Rowman & Littlefield
ISBN: 0810885085
Category : Drama
Languages : en
Pages : 331
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Book Description
In an era of Twitter and televised therapy, it may seem that classic theatre has little place in contemporary society. Accustomed to the indulgences of a celebrity-driven culture, how can modern audiences understand and interpret classic works of drama? In Tragedy in the Age of Oprah: Essays on Five Great Plays, Louis Fantasia provides a provocative examination of the relationship between popular culture and classical tragedy. Making a persuasive argument for the lessons tragedy has to offer today's audiences, Fantasia examines five enduring works of theatre: Euripides' Medea, William Shakespeare's King Lear, Jean Racine's Ph dre, Friedrich Schiller's Mary Stuart, and Eugene O'Neill's Long Day's Journey into Night. Fantasia discusses in detail each of these plays, framing them in a contemporary context that explores the suffering, responsibility, and identity that tragedy advocates. Each play is presented as an engaging, powerful encounter for the reader, recreating as closely as possible the impact of a great performance. A unique look at the role classical theatre can and should play in contemporary society, these essays reveal the lessons great plays have to teach us about ourselves. Directed toward theatre professionals and students, Tragedy in the Age of Oprah will also resonate with anyone interested in theatre, literature, and cultural studies.
Author: William Shakespeare
Publisher: Cambridge University Press
ISBN: 1139835335
Category : Literary Collections
Languages : en
Pages : 335
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Book Description
The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For this second edition of King Lear, Jay L. Halio has added a new introductory section that focuses on recent developments in scholarly criticism as well as on contemporary productions of the play. The edition features a comprehensive account of Shakespeare's sources, including literary, political and folkloric influences on the work. Halio's text is edited from the Folio and he explains the differences between the quarto and Folio versions, alerting the reader to the rival charms of the quarto by sampling parallel passages in the Introduction and by including in an Appendix annotated passages that are unique to the quarto. An updated reading list completes the edition.
Author: Kenneth Muir
Publisher: Routledge
ISBN: 1317531302
Category : Literary Criticism
Languages : en
Pages : 317
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Book Description
Originally published in 1984. With selections organised chronologically, this collection presents the best writing on one of Shakespeare’s most studied plays. The structure displays the changing responses to the play and includes a wide range of criticism from the likes of Coleridge, Hazlitt, Moulton, Granville-Barker, Orwell, Levin, Stampfer, Gardner and Speaight interspersed with short entries from Keats, Raleigh, Freud and others. The final chapter by the editor elucidates his own thoughts on Lear, building on his commentary in the Introduction which puts the collection in context.
Author: William Oxberry
Publisher:
ISBN:
Category :
Languages : en
Pages : 418
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Book Description
Author: Charles Creighton
Publisher:
ISBN:
Category :
Languages : en
Pages : 172
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Book Description
