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The play Manfred is one of Byron’s most famous and influential works. It established him throughout Europe as a bold, blasphemous genius. It inspired music by Tchaikovsky and Schumann, and was admired by, and influenced, Richard Wagner, whose uncle made one of its eighteen German translations. Going back to the primary manuscripts, Peter Cochran has created a new text of Manfred, so that it can at last be read as it left Byron’s pen, untouched by professional polishers, too anxious to impose a formal syntax on his fluent and spontaneous style. Cochran has – through a careful study of the original texts – decoded one hitherto-illegible note which throws light on Byron’s strange and elaborate demonology. Several essays cover the myriad sources of the play, and there are sections on its production history. Cochran ends with an amusing essay on how to, and how not to, bring Byron’s Manfred to the stage.
Manfred is a closet drama by Lord Byron. The main character is a Faustian noble man living in the Bernese Alps. Internally tortured by some mysterious guilt, which has to do with the death of his most beloved, Astarte, he uses his mastery of language and spell-casting to summon seven spirits, from whom he seeks forgetfulness. The spirits, who rule the various components of the corporeal world, are unable to control past events and thus cannot grant Manfred's plea. For some time, fate prevents him from escaping his guilt through suicide. Drama contains supernatural elements, in keeping with the popularity of the ghost story in England at the time. It is a typical example of a Gothic fiction.
The quintessential depiction of the Byronic hero is accompanied in this edition by a substantial selection of contextual materials, including Byron’s original draft of the play’s conclusion; influences on the poem, such as Paradise Lost, Goethe’s Faust, and Vathek; further examples of the Byronic hero from the poet’s other writings; a selection of contemporary reviews; and an excerpt from Man-Fred, a dramatic parody in which the protagonist is reimagined as a chimney-sweep.
Decadence meets gothic in Manfred Macmillan (1907), a carefully constructed tale of doppelgangers, magical intrigue, and the rootless scion of a noble house. This annotated, first-ever English translation presents an early queer novel long unavailable except in the original Czech. Author Jiří Karásek ze Lvovic (1871–1951) was a major cultural figure in his native Bohemia and cultivated ties with fellow artists from across Central Europe. In their extensive scholarly introduction, translator Carleton Bulkin and translation scholar Brian James Baer situate the novel within longer histories of gay literature, fascinations with the occult, and the cultural and linguistic politics of so-called peripheral European nations. They persuasively frame Karásek as a queer author and cultural disruptor in the fin de siècle Habsburg space. Karasék rejected Czech translations of ancient Greek writers that bowdlerized gay themes, and he personally and vigorously defended Oscar Wilde in print, both on the grounds of artistic freedom and of private morality. He also published a cycle of homoerotic poems under the title Sodom, confiscated by the Austrian authorities but republished in 1905 and repeatedly afterward. A colonized subject, a literary decadent, and a sexual outlaw, Karasék’s complex responses to his own marginalization can be traced through his fantastically strange novel trilogy Three Magicians. As the first volume in that series, Manfred Macmillan is a gorgeous, compelling, and important addition to expanding canons of LGBTQI+ literature.
A breathtaking adventure for children and parents. The Adventures of Manfred and Anton is not a story. Nor is it a children’s novel. It is somewhere between the two, and it would be more precise to say that it belongs in a new category - a genre that holds children aged 6 to 10 in its grips while conspicuously nurturing their value system, their respect for their parents, their capacity to form interpersonal relationships, and their desire to discover the wonders of the natural world. Almost inexplicably it also enhances their self-respect, creativity, powers of imagination, self-confidence, courage, and resilience. Having said all this, we’ve by no means said it all.... "This is a one-of-a-kind book. Try not to think of it as just a story. Oh, it’s much more. Wild adventures, thrills, and lessons await. The main characters are kids like you. What happens to them could just as easily happen to you. What they learn is worth remembering, because it will come in handy. Let’s find out what wild beasts Manfred and Anton had to fend off, how the Big Race ended, what the dark cellar was hiding, how Laura welcomed a little newcomer, what the secret gift was, and a whole lot more. Let’s get to know Manfred and Anton’s adventure-filled lives." It doesn’t matter whether parents read it to their children or schoolchildren read it to themselves-The Adventures of Manfred and Anton is an entertaining, enthralling read, whether read by a child or read to a child as a bedtime story. It is recommended for kids from five and six to twelve. While some scenes in each chapter are accompanied by striking, one-of-a-kind illustrations, the focus is not so much on wowing readers with images but, rather, on stirring their imaginations. With a richly detailed narrative that truly brings the setting and the stories to life, the book would stand on its own even without the illustrations. In contrast to the simple turns of phrase we’re used to encountering in books for children, The Adventures of Manfred and Anton unfolds in language that not only ensures an arresting style but also enhances children’s vocabularies and their powers of expression. The Adventures of Manfred and Anton is much more than a simple children’s book. It doesn’t merely entertain but can also help kids to: Develop their vocabularies, imaginations, and powers of empathy Conquer their fears and inhibitions Reinforce their perseverance, willpower, and desire to prevail-leaving them more motivated Enhance their social relationships (with siblings, across genders, and within groups) Bolster their ability to distinguish between appropriate and inappropriate, right and wrong-in short, to restore their moral foundations Strengthen their relationship with their parents-to be more obedient, show more respect, and model their behavior accordingly "Any child can readily make the realistic stories of Manfred and Anton their own, and with their tense pacing and enthralling storytelling, the overarching message hits home. This fine book is a must for parents who seek to give more to their children than an entertaining means of passing the time." Benedek Rab, school teacher & administrator "Through these short episodes in the life of his book’s two protagonists, the author poses problems and situations that comprise the defining elements of every child’s life. I was pleased to discover that these conflicts do not go unresolved, but that the characters solve them with the clarity and ingenuity of the children that they are." UNICEF Youth Ambassador
An unsettling storm arrives in Conrad’s seaside town, turning his life upside down when his housecat shifts into a sexy man. Manfred is used to being a cat -- and shifting to his human form whenever he wants -- until he crosses paths with a vindictive witch who curses him. He finds the man of his dream in Conrad, but before he can get his man, the curse must be broken for good.
Manfred is a closet drama by Lord Byron. The main character is a Faustian noble man living in the Bernese Alps. Internally tortured by some mysterious guilt, which has to do with the death of his most beloved, Astarte, he uses his mastery of language and spell-casting to summon seven spirits, from whom he seeks forgetfulness. The spirits, who rule the various components of the corporeal world, are unable to control past events and thus cannot grant Manfred's plea. For some time, fate prevents him from escaping his guilt through suicide. Drama contains supernatural elements, in keeping with the popularity of the ghost story in England at the time. It is a typical example of a Gothic fiction.