(9)This title includes introduction and notes by Robin Mitchell-Boyask.
Among the known dramatic composition of ancient India, the Mrichchhakatika occupies a very high and distinguished position. It is a creation of outstanding brilliance. The Mrichchhatika is a drama in ten Acts based on the story of the love of Charudatta, a prominent but poor inhabitant of Ujjayini, and Vasantasena, an exquisitely beautiful but pure-minded courtesan of the city. By virtue of its high dramatic charm and its great literary excellence it has endeared itself to generations of spectators and readers; the play has been adapted in many Indian vernaculars, and in that modern form still continues to draw admiring crowds. The editor makes this book as comprehensive and useful as possible. To the commentary of Prithvidhara, which is somewhat abrupt and meagre in places, he has made considerable additions where he felt them to be necessary for the elucidation of the text. The relation of this play to: Bhasa's Charudatta has been fully discussed in the Introduction. The Prakrit passages, which prove a hindrance to the student, have been printed below the text, and along with the' text, only the Sanskrit renderings are given above; the utility of this contrivance has been established in actual use.
(1)Treating ancient plays as living drama. Classical Greek drama is brought vividly to life in this series of new translations. Students are encouraged to engage with the text through detailed commentaries, including suggestions for discussion and analysis. In addition, numerous practical questions stimulate ideas on staging and encourage students to explore the play's dramatic qualities. Electra is suitable for students of both Classical Civilisation and Drama. Useful features include full synopsis of the play, commentary alongside translation for easy reference and a comprehensive introduction to the Greek Theatre. Electra is aimed primarily at A-level and undergraduate students in the UK, and college students in North America.
(1)Since it was first performed in Athens in the 420s BC, Oedipus the King has been widely regarded as Sophocles' greatest tragedy and one of the foundation stones of western drama. Taken as a model by Aristotle in his Poetics, it became a yardstick for future generations. Since the play's rediscovery in the Renaissance, audiences - including Sigmund Freud - have found new interpretations and meanings in Sophocles' portrayal of the Theban king, inexorably pursuing the truth, only to discover that he has killed his father and married his mother.
(10)Love and loyalty, hatred and revenge, fear, deprivation, and political ambition: these are the motives which thrust the characters portrayed in these three Sophoclean masterpieces on to their collision course with catastrophe.
Recognized in his own day as perhaps the greatest of the Greek tragedians, Sophocles's reputation has remained undimmed for two and a half thousand years. His greatest innovation in the tragic medium was his development of a central tragic figure, faced with a test of will and character, risking obloquy and death rather than compromise his or her principles: it is striking that Antigone and Electra both have a woman as their intransigent `hero'. Antigone dies rather than
neglect her duty to her family, Oedipus's determination to save his city results in the horrific discovery that he has committed both incest and parricide, and Electra's unremitting anger at her mother and her lover keeps her in servitude and despair.
These vivid translations combine elegance and modernity, and are equally suitable for reading or theatrical performance. - ;Love and loyalty, hatred and revenge, fear, deprivation, and political ambition: these are the motives which thrust the characters portrayed in these three Sophoclean masterpieces on to their collision course with catastrophe.
Recognized in his own day as perhaps the greatest of the Greek tragedians, Sophocles' reputation has remained undimmed for two and a half thousand years. His greatest innovation in the tragic medium was his development of a central tragic figure, faced with a test of will and character, risking obloquy and death rather than compromise his or her principles: it is striking that Antigone and Electra both have a woman as their intransigent 'hero'.
Antigone dies rather neglect her duty to her family, Oedipus' determination to save his city results in the horrific discovery that he has committed both incest and parricide, and Electra's unremitting anger at her mother and her lover keeps her in servitude and despair.
These vivid translations combine elegance and modernity, and are remarkable for their lucidity and accuracy. Their sonorous diction, economy, and sensitivity to the varied metres and modes of the original musical delivery make them equally suitable for reading or theatrical peformance. -
(10)Aeschylus, the earliest of the great Attic tragedians, presented his Oresteia at Athens' City Dionysia festival in 458 BCE. Born in the last quarter of the sixth century, Aeschylus had fought with the victorious Greeks in one and probably both of the Persian Wars (190 and 480-79). He died around 456 at about seventy years of age in Gela, Sicily. His epitaph records his role as a soldier at Marathon, not his artistic achievements, but these were many. The author of more than seventy plays, he won his first of thirteen tragic victories in 484. Of these plays, only seven remain. The Oresteia is Aeschylus' only complete surviving trilogy; the satyr play with which it was first performed, Proteus, is lost. Peter Meineck has aimed to translate the Oresteia for the modern stage.
This edition is annotated, with additional information about the work, and also its author, Ben Johnson. There is a convenient, active table of contents, and this work has been formatted for your Kindle.
The Alchemist is a comedy by English playwright Ben Jonson. First performed in 1610 by the King's Men, it is generally considered Jonson's best and most characteristic comedy; Samuel Taylor Coleridge claimed that it had one of the three most perfect plots in literature. The play's clever fulfilment of the classical unities and vivid depiction of human folly have made it one of the few Renaissance plays (except the works of Shakespeare) with a continuing life on stage (except for a period of neglect during the Victorian era).
(12)Everyman is the most durable of medieval morality plays, in which the central character, summoned by death, must face final judgment on the strength of his good deeds. The work is reprinted here along with 3 other medieval classics: The Second Shepherd's Play, Noah's Flood, and Hickscorner. All from standard texts.
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Albrecht Dürer, the most famous Renaissance artist of his time, more famous that Michelangelo or Da Vinci, perpetrated the greatest art hoax in history. No one discovered his secret codes and ciphers for over 500 years until now. Crimes in the Art: The Secret Cipher of Albrecht Dürer is the newly revised edition updated with new amazing discoveries which reveals how one artist fooled the entire Holy Roman Empire with incredible secrets of enormous magnitude. The books shatters centuries of prejudice, myth, and censorship about Albrecht Dürer, one of civilization's greatest hidden Jewish artists. With this compelling reading you'll never look at Albrecht Dürer's art the same way again.
At 52,000 feet and dicing always with danger Squadron Leader Bob Gardener is facing the challenge of his lifetime. Ice cold conditions for which his Supermarine Spitfire was never designed eat at his extremities as he puts the nose of his aircraft down and powers at full throttle into a cloud bank that for him holds the secret of the sound barrier. Is he fated to be the first to cross that frontier as the Battle of Britain and World War 2 rage below? Others in his squadron had tried and failed, never to return, but Bob is on the threshold of a dynamic discovery and has never flinched from a challenge. As an ace Battle of Britain pilot he is prepared for most things, but no one could anticipate what awaits him when he brings his aircraft to earth sixty years into the future. Huge drama evolves as Bob becomes Lost In Time and is swept up in a wave of ethereal voyaging that buffets him through centuries to the early 18th century. Now trapped in time Bob is confronted with the savagery of the Hawkhurst Gang as they claim Kent and Southern England for their own in a land where no judicial system exists. Bob's advanced 20th century learning enables him to prosper in a primitive society. His pugilistic skills earn him a fat purse which he uses to purchase Trillinghurst Farm, a neglected but bountiful acreage which he converts into a hop farm. He creates work for the local residents, bringsprosperity to the land, wins the respect of a band of Gyspies and in the process rouses the ire of the Hawkhurst Gang. As the successful squire of the area he takes beautiful Meg as his wife - despite being married in the 20th century - but pays the price of a restless spirit. He is then pursued through time by wife Andrea Gardener who is determined to bring him home to 1941 and the sanctuary of Trillinghurst Farm . Bob Gardener - Lost In Time. Does he want to be found?
A ruthless female warrior and untamed has yet to meet a man that can match her skills. Her reputation is as fierce as her manner of being. Until, Lilithe encountered Eramus a few years ago on camp for a brief moment. Yet, that moment was all it took for her to become his prey.
This untamed creature proved to be irresistible and compelling leaving him powerless in his thoughts and in every day mundane things.
Eramus is known well throughout the land as the best at what he does – hunting for animals or man. To seduce this temptress, Eramus will need more skill than he can fathom and even greater patience. A challenge he will not deny himself. Lilithe is one prey he may never lure into his grasp or can he?
This fierce independent woman befalls a tragic fate; will Eramus’s love be enough to pull Lilithe out of this tragedy?
There is no rest for the wicked and Drakekar is up to his devilish schemes. What price will fate make them all pay?
What must be shall be - Seneca
