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'Gamesters and Highwaymen are generally very good to their Whores, but they are very Devils to their Wives.' With The Beggar's Opera (1728), John Gay created one of the most enduringly popular works in English theatre history, and invented a new dramatic form, the ballad opera. Gay's daring mixture of caustic political satire, well-loved popular tunes, and a story of crime and betrayal set in the urban underworld of prostitutes and thieves was an overnight sensation. Captain Macheath and Polly Peachum have become famous well beyond the confines of Gay's original play, and in its sequel, Polly, banned in Gay's lifetime, their adventures continue in the West Indies. With a cross-dressing heroine and a cast of female adventurers, pirates, Indian princes, rebel slaves, and rapacious landowners, Polly lays bare a culture in which all human relationships are reduced to commercial transactions. Raucous, lyrical, witty, ironic and tragic by turns, The Beggar's Opera and Polly - published together here for the first time - offer a scathing and ebullient portrait of a society in which statesmen and outlaws, colonialists and pirates, are impossible to tell apart. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
Den fuldstændige libretto og musikken til alle sangene (for klaver med underlagte tekster), arrangeret af J.C. Pepusch
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Excerpt from The Beggar's Opera O Queensberry! Could happy Gay This offering to thee bring, 'tis his, my lord (he'd smiling say), Who taught your Gay to sing. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
That when I die this word may stand for me- He had a heart to praise, an eye to see, And beauty was his king. Dead at the age of thirty-one after a sudden operation, Claud Lovat Fraser was as surely a victim of the war as though he had fallen in action. He was full of vigour for his work, but shell-shock had left him with a heart that could not stand a strain of this kind, and all his own fine courage could not help the surgeons in a losing fight. We are not sorry for him-we learn that, not to be sorry for the dead. But for ourselves? This terror is always so fresh, so unexampled. I had telephoned to him to ask whether he would help me in a certain theatrical enterprise. I was told by his servant that he was ill, but one hears these things so often that one gave but little thought to it beyond sending a telegram asking for news; and now this. Personal griefs are of no public interest, but here is as sad a public loss as has befallen us, if the world can measure truly, in our generation. But it is not, I think, of our loss that we should speak now. These desolations, strangely, have a way of bringing their own fortitude. A few hours after hearing, without any warning, of Lovat Fraser's death, I was walking among the English landscape that he loved so well, and I felt there how poor and inadequate a thing death really was, how little to be feared. This apparent intention to destroy a life and genius so young, so admirable, and so rich in promise, seemed, for all the hurt, in some way wholly to have failed.