Set in the early 1890s, at a fashionable summer resort somewhere on the East Coast of the United States, this book tells the story of Mr. Twelvemough, an author who has been selected to function as host to a visitor from the faraway island of Altruria. The visitor, Mr. Homos, has come all the way to the United States, a country which prides itself on democracy and equality, to experience everyday life in America firsthand, and to see for himself how the principle that "All men are created equal" is being put into practice. Due to Altruria's secluded existence, very little is known about the island, so Twelvemough and his circle of acquaintances, all of whom are staying at the same resort hotel, seem more eager to learn about Altruria than to explain American life and institutions. To their dismay, it becomes gradually clear that the United States is greatly lagging behind Altruria in practically every aspect of life, be it political, economic, cultural or moral.
Meet the Golovliovs, the ultimate dysfunctional family. In the difficult transition years before and after the liberation of Russia’s serfs, the Golovliovs are a gentry family ill-equipped to face the adaptations necessary in the new social order. Petty, back-biting, greedy, rigid, ignorant, and cruel, their personalities are captured in the array of nicknames they themselves give each other: The Hag, Little Judas, Simple Simon, Pavel the Sneak, the Orphans, the Blood-Sucker. They hate each other ferociously and utterly despise the peasants around them, who are gradually awakening to the potentialities of their new freedoms. In this most famous of Saltykov-Shchedrin’s novels, there is a keen sympathy toward the plight of women caught in the complexities of social change: Anninka and Lubinka, the aristocratic orphans who, seeking independence, recklessly cast themselves into the bohemian life; the matriarch Arina Petrovna, whose desperately vigorous administration of the estate leads to an exhilarating but only temporary stability; the peasant girl Yevpraksia, who is resistlessly taken by the loathsome Porfiry Vladimirych as his mistress. Far from a piece of social propaganda, A Family of Noblemen shows a subtle portraiture of the complex characters and convoluted circumstances of the time. (Expatriate)
This is satirical look at the English educational system and society in the early twentieth century and the effect of World War I on them by following the lives of Peter Stublands and the orphaned Joan. It is a sad indictment, and Wells includes "An Apology of a Schoolmaster" to explain the constraints of the system.
In Chicago lay a street called Archey Road, which stretched through a neighborhood which was mostly Irish immigrants, among whom was Martin Dooley, "doctor of philosophy." Mr. Dooley was a saloonkeeper with opinions on most everything in his day, political or not. His pronouncements found their mark often as not in the White House, and President Theodore Roosevelt would begin his cabinet meetings with readings of Mr. Dooley's thoughts for the day. Of course, Mr. Dooley was entirely fictional, but his keen wit and insight were as relevant as any put forth by, say, Finley Peter Dunne, that penner of satirical essays.
Mr. Pinero holds that farce should treat of probable people placed in possible circumstances, but regarded from a point of view which exaggerates their sentiments and magnifies their foibles. In this light it is permitted to this class of play, not only to deal with ridiculous incongruities of incident and character, but to satirise society, and to wring laughter from those possible distresses of life which might trace their origin to fallacies of feeling and extravagances of motive.
As early as 1720 Steele spoke in the Theatre of "a friend of mine" who was lately preparing a comedy according to the just laws of the stage, and had introduced a scene in which the first character bore unprovoked wrong, denied a duel, and still appeared a man of honour and courage. This was clearly an allusion to the play eventually to be published as The Conscious Lovers.
Robert Cortes Holliday was an early 20th century essayist, editor, and librarian. Writer Christopher Morley said that he "has the genuine gift of the personal essay, mellow, fluent, and pleasantly eccentric." Most of these pleasant pieces appeared originally in various American newspapers and magazines.
Headlong Hall is the first novel by Thomas Love Peacock, published in 1815 (dated 1816). As in his later novel Crotchet Castle, Peacock assembles a group of eccentrics, each with a single monomaniacal obsession, and derives humor and social satire from their various interactions and conversations. The setting is the country estate of Squire Harry Headlong Ap-Rhaiader, Esq. in Wales.
The "true" story of the Wantley Dragon. Set at Christmas time, it is a tale of a Baron, his daughter, a brave knight, True Love, and the terrible Dragon of Wantley. Oh, and don't forget the wine.
George Farquhar, the author of this comedy, was the son of a clergyman in the north of Ireland. He was born in the year 1678, discovered an early taste for literature, and wrote poetic stanzas at ten years of age. In 1694 he was sent to Trinity College, Dublin, and there made such progress in his studies as to acquire considerable reputation. But he was volatile and poor—the first misfortune led him to expense; the second, to devise means how to support his extravagance.
In the year 1700 he brought out this comedy of "The Constant Couple; or, A Trip to the Jubilee." It was then the Jubilee year at Rome, and the author took advantage of that occurrence to render the title of his drama popular; for which cause alone it must be supposed he made any thing in his play refer to that festival, as no one material point is in any shape connected with it.
Another Pinero play from the early 1900s. With a social message about the effects of stardom on the star as well as those that love them. "I’m afraid there’s one thing finer than winning the woman you love and, when you’ve won her, being prepared to go through fire and water for her." "What’s that?" "Having the courage to give her up"
Alan Alexander Milne, popularly known as A. A. Milne, is best known – perhaps to most people only known – for his children’s book, Winnie the Pooh. Yet he was an incredibly prolific author. He published dozens of successful plays, myriad humorous articles written for internationally prominent journals, a wide range of social, political, and other nonfiction works, and even a murder mystery.
This collection is humorous throughout, but humorous in a particularly Milnesque way: he consciously and quite openly rejected the bitterness of satire in favor of a peculiarly gentle, often self-deprecating humor. Included here are dozens of short essays showing, among other things, Milne’s extraordinary capacity to understand – and be understood by – children, and his special affinity for women, as friends and as lovers.
Pinafore’s sublimely silly story is made even sillier by this (ostensibly for children) 1908 story version of the 1878 Gilbert and Sullivan operetta. Gilbert, the author of the operetta’s lyrics, writes this version of the story with his tongue planted firmly in his cheek. Most adults and children will find this version vastly amusing.
This is the funny, romantic, slightly tongue-in-cheek story of how little May Cheffington makes her way in the world despite being the sole surviving product of "that unfortunate marriage."
Once upon a time, a princess was born, and a fairy cursed her with a mind: "She is a woman-child, and yet she shall think. She shall be alien to her own sex, and undesired by the other. She shall ask and it will not be given her. She shall achieve and it shall count her for naught. Men shall point the finger at her like this...and shall whisper, 'There goes the woman with brains, poor thing!" This and four other joyful feminist fairy tales make up The Princess Pourquoi.
"The King [Louis XIV], who will have nothing but what is magnificent in all he undertakes, wished to give his court an entertainment which should comprise all that the stage can furnish. To facilitate the execution of so vast an idea, and to link together so many different things, his Majesty chose for the subject two rival princes, who, in the lovely vale of Tempe, where the Pythian Games were to be celebrated, vie with each other in fêting a young princess and her mother with all imaginable gallantries."
This is a collection of broadsides from London. Broadsides are short, popular publications, a precursor to today's tabloid journalism. The collection contains sensationalist and sometimes comical stories about criminal conduct, love, the Royal Family, politics, as well as gallows' literature. Gallow's literature (confessions, verses etc. relating to individuals condemned to public execution) were often sold at the execution. As a collection these broadsides are a reminder of how important the printer was at this time -- it is surely no coincidence that the printers are printed at the end of every broadside, while the authors remain anonymous.
Laurence Oliphant, author, international traveller, diplomatist and mystic, who spent a decade in later life under the influence of the spiritualist prophet Thomas Lake Harris, writes here under the amusing guise of Lord Frank Vanecourt, bringing us a veritable pot-pourri of events from everyday life in 1865 as he moves amongst the great, the good, and not so good who reside in the exclusive area of London's Piccadilly W1 and its surroundings.
This "Afterpiece" - a short play to follow a main production - was first produced in 1746. It was based on Regnard's five-act comedy le Legetaire Universel (1707), which is itself a composite of Italian comedy with echoes of Molière, moving from scene to scene with little effort at logical consistency or structure but treating each scene autonomously for its own comic value.
The rather long Prologue to A WILL AND NO WILL (11 pages of manuscript) makes fun of the convention of the eighteenth century prologues by the familiar dodge of having actors chatting as though they were in the Pit waiting for the actors in the preceding main play to dress for the afterpiece.
Mr. Crittenden Yollop makes friends with the man who came to burglarize his home and sets out to help him return to where he really wants to be...prison. This humorous satire takes a somewhat different look at prisons, criminals, the law and reformers.
"The characters are well delineated, and fathers, lovers, mistresses, and servants all move about amidst a complication of errors from which there is no visible disentangling. The conversation between Valère and Ascanio in man's clothes, the mutual begging pardon of Albert and Polydore, the natural astonishment of Lucile, accused in the presence of her father, and the stratagem of Éraste to get the truth from his servants, are all described in a masterly manner, whilst the tiff between Éraste and Lucile, which gives the title to the piece, as well as their reconciliation, are considered among the best scenes of this play."
"When, in the course of human events, it becomes necessary for an author to dissolve the bands which have connected him with his publishers, a decent respect for the opinions of mankind requires that he should declare the causes which impel him to the separation." So begins the alleged author's introduction to this work, which chronicles the conflict between a female author and her publisher. This conflict really did happen, although the details (dates, names, etc.) in this book are fictitious. For more information about the actual situation, see the author's Wikipedia article.
Moliere: "Never was any Dramatic performance so hurried as this; and it is a thing, I believe, quite new, to have a comedy planned, finished, got up, and played in a fortnight. I do not say this to boast of an impromptu, or to pretend to any reputation on that account: but only to prevent certain people, who might object that I have not introduced here all the species of Bores who are to be found. I know that the number of them is great, both at the Court and in the City, and that, without episodes, I might have composed a comedy of five acts and still have had matter to spare."
A very early Moliere. From the Translator: "In this piece the plot is carried on ... by a servant, Mascarille, who is the first original personage Molière has created; he is not a mere imitation of the valets of the Italian or classical comedy; he has not the coarseness and base feelings of the servants of his contemporaries, but he is a lineal descendant of Villon, a free and easy fellow, not over nice in the choice or execution of his plans, but inventing new ones after each failure, simply to keep in his hand; not too valiant, except perhaps when in his cups, rather jovial and chaffy, making fun of himself and everybody else besides, no respecter of persons or things, and doomed probably not to die in his bed."
Subtitled "The Way to Win Him:, this play is placed in Paris - a change from many others of Farquhar's plays which used English settings - though still presented to the same English audience. "This comedy ... had a reception, on the first night of its appearance, far inferior to that of his other productions. It was, with difficulty, saved from condemnation; and the author ... boldly charged some secret enemies with having attempted its destruction." (I can sympathize with the author; I think this play is as complex and funny as all his rest. - thw)
Lucas Cleeve is living in Venice with a widow, Mrs. Ebbsmith. His relatives do not accept this arrangement and come to intervene. Note that this is NOT a farce - the hypocrisy is not played for laughs.
Clarence Day, Jr., best known for his work Life with Father, presents a satirical speculation on how the world might be different if we apes had not risen to prominence, but rather one of the other species had become dominant in our place.