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Crowned masterpieces of eloquence, representing the advance of civilization, as collected in The world's best orations, from the earliest period to the present time.
FROM THE AUTHOR OF THE SUNDAY TIMES NUMBER ONE BESTSELLER THE ETYMOLOGICON. 'An informative but highly entertaining journey through the figures of rhetoric ... Mark Forsyth wears his considerable knowledge lightly. He also writes beautifully.' David Marsh, Guardian. Mark Forsyth presents the secret of writing unforgettable phrases, uncovering the techniques that have made immortal such lines as 'To be or not to be' and 'Bond. James Bond.' In his inimitably entertaining and witty style, he takes apart famous quotations and shows how you too can write like Shakespeare, Oscar Wilde or John Lennon. Crammed with tricks to make the most humdrum sentiments seem poetic or wise, The Elements of Eloquencereveals how writers through the ages have turned humble words into literary gold - and how you can do the same.
Opera developed during a time when the position of women—their rights and freedoms, their virtues and vices, and even the most basic substance of their sexuality—was constantly debated. Many of these controversies manifested themselves in the representation of the historical and mythological women whose voices were heard on the Venetian operatic stage. Drawing upon a complex web of early modern sources and ancient texts, this engaging study is the first comprehensive treatment of women, gender, and sexuality in seventeenth-century opera. Wendy Heller explores the operatic manifestations of female chastity, power, transvestism, androgyny, and desire, showing how the emerging genre was shaped by and infused with the Republic's taste for the erotic and its ambivalent attitudes toward women and sexuality. Heller begins by examining contemporary Venetian writings about gender and sexuality that influenced the development of female vocality in opera. The Venetian reception and transformation of ancient texts—by Ovid, Virgil, Tacitus, and Diodorus Siculus—form the background for her penetrating analyses of the musical and dramatic representation of five extraordinary women as presented in operas by Claudio Monteverdi, Francesco Cavalli, and their successors in Venice: Dido, queen of Carthage (Cavalli); Octavia, wife of Nero (Monteverdi); the nymph Callisto (Cavalli); Queen Semiramis of Assyria (Pietro Andrea Ziani); and Messalina, wife of Claudius (Carlo Pallavicino).