Publisher: Qasim Idrees
Chekhov revolutionised world literature influencing generations of playwrights, screenwriters and actors. George Bernard Shaw described Chekhov's work as a fantasia in the Russian manner on English themes.
LibriVox volunteers bring you 7 different recordings of Sister Rosa: A Ballad by Percy Bysshe Shelley.Show book
poems and short stories from the dark side for adultsShow book
William Collins Books and Decca Records are proud to present ARGO Classics, a historic catalogue of classic prose and verse read by some of the world’s most renowned voices. Originally released as vinyl records, these expertly remastered stories are now available to download for the first time. ‘Vengeance is in my heart, death in my hand, Blood and revenge are hammering in my head.’ A story of hatred and revenge, Titus Andronicus is Shakespeare’s most bloody revenge tragedy. The Roman general Titus Andronicus returns from war with four prisoners who vow to take revenge against him. They rape and mutilate Titus' daughter and have his sons killed and banished. Titus kills two of them and cooks them into a pie, which he serves to their mother before killing her too. The Roman emperor kills Titus, and Titus' last remaining son kills the emperor and takes his place. All of the Shakespeare plays within the ARGO Classics catalogue are performed by the Marlowe Dramatic Society and Professional Players. The Marlowe was founded in 1907 with a mission to focus on effective delivery of verse, respect the integrity of texts, and rescue neglected plays by Shakespeare’s contemporaries and the less performed plays of Shakespeare himself. The Marlowe has performed annually at Cambridge Arts Theatre since its opening in 1936 and continues to produce some of the finest actors of their generations. Thurston Dart, Professor of Music at London University and a Fellow of Jesus College Cambridge, directed the music for this production. The full cast includes: Dennis Arundell; John Tydeman; William Devlin; Tony Church; Frank Duncan; Gordon Gardner; Richard Marquand; Roger Clissold; Jean England; Bob Jones; Roger Croucher; David Rowe-Beddoe; Anthony Jacobs; Peter Orr; Peter Woodthorpe; David King, Philip Strick, George Rylands; Jill Balcon; Susan Maryott; Barbara Lott. The Titus Andronicus is a top performing play in European theatres, showcasing the best of Shakespeare's dramatic writing. Its short but intense narrative has captivated audiences, making it a must-read for any literature enthusiast. For fans of Richard Parsons (GCSE English Shakespeare Text Guide), and Arthur Miller (Incident at Vichy).Show book
Among monuments of narrative poetry, The Prelude; or, Growth of a Poet's Mind, by William Wordsworth, occupies a unique place. Wordsworth published the first version of the poem in 1798, but continued to work on it for the rest of his life. The final version, which is the subject of this recording, was published posthumously in 1850, by Wordworth’s widow, Mary.The Prelude is the first major narrative poem in European literature which deals solely with the spiritual journey of the author. In this respect the only predecessor to which it can be compared in Dante’s Divine Comedy, which is similarly a journey from personal confusion to certitude, from ignorance to realization. However, Dante starts his journey at the age of 35, and, through a lengthy rite of passage, involving both moral and intellectual purification, arrives at a state of illumination that he is not really able to describe. In The Prelude, on the other hand, illumination appears as the background on which the story is inscribed. Wordsworth is really no wiser at the end of his journey than he was at the start, but appears more accepting of the inexorable and sometimes bewildering fluctuations in the flow of human life. Despite Wordsworth’s occasional graceful genuflection to Providence, the poem has a secularity which would have been anathema to a writer like Dante, ensconced in the theocratic fastness of the Middle Ages.The tone of the Prelude is gentle and reflective. Almost completely absent are the crashing cadences of narrative poems like the Aeneid and Paradise Lost, and there is nothing to match the terrible and multifarious griefs endured by so many characters in Dante’s Inferno. Wordsworth led an unheroic life, made remarkable by intensity of observation rather than incident. This is not to suggest that Wordsworth was unfamiliar with either grief or difficulty, but rather that he could accommodate such troubles in his view of life, which seems never to have quite lost its lustre.The Prelude may be considered as Wordsworth’s crowning achievement, and one not really matched by any other poet. Despite the poem’s intractably self-referential nature, Wordsworth does not come across as either vain or tedious. The avoidance of tedium is largely due to his incomparable versification, which is a shining example of “the art which conceals art.” Nor are we tempted to see Wordsworth as unduly self-centred, because he communicates the potential glory of everyday events in a way that the reader (or listener) is drawn to share them. A hundred years before T.S.Eliot Wordsworth had arrived “'where we started “ and had “known that place for the first time.” (Summary by Algy Pug)Show book
Step into the enchanting world of Shakespeare's "Love's Labour's Lost" with our captivating digital audiobook. Immerse yourself in the whimsical and witty tale of four young men who vow to abstain from love, only to have their resolutions tested when they encounter a group of equally clever and charming women. With a stellar cast of narrators who bring Shakespeare's poetic genius to life, you'll be transported to a realm of laughter, romance, and linguistic brilliance. Whether you're a lifelong Shakespeare enthusiast or a newcomer to the Bard's work, this audiobook is a delightful way to experience the timeless charm of "Love's Labour's Lost" in a convenient and engaging format.Show book
LibriVox’s Short Poetry Collection 037: a collection of 20 public-domain poems.Show book
