Brief Notices
- Brief Notices
This volume begins with “on abbreviations, short titles, notes, and bibliography” (ix–x), a preface (xi–xv), an introduction (1–32), notes about this translation (33–54), brief plot summaries (55–62), and a brief actor’s prologue (63–64). The primary text includes the following plays: The Farce of the Fart [Farce nouvelle et fort joyeuse du Pect] (65–85); The Edict of Noée, or, Shut Up! It’s the Farce of the Rights of Women [Farce des Drois de la Porte Bodès] (86–106); Confession Lessons, or, The Farce of the Lusty Husband Who Makes His Confession to a Woman, His Neighbor, Who Is Disguised as a Priest [Farce de celuy qui se confesse à sa voisine] (107–43); The Farce of the Student Who Failed His Priest Exam because He Didn’t Know Who Was Buried in Grant’s Tomb [Farce du Clerc qui fut refusé à estre prestre] (144–58); Blind Man’s Bluff, or, The Farce of “The Chokester” [Farce du Goguelu] (159–93); Playing Doctor, or, Taking the Plunge (The Farce of the Woman Whose Neighbor Gives Her an Enema) [Farce d’une Femme à qui son Voisin baille ung clistoire] (194–218); At Cross Purposes, or, The Farce of the Three Lovers of the Cross [Farce de trois Amoureux de la Croix] (219–51); Shit for Brains, or, The Party Pooper-Scooper [Farce de Tarabin-Tarabas] (252–78); Monk-ey Business, or, A Marvelous New Farce for Four Actors, to Wit, the Cobbler, the Monk, the Wife, and the Gatekeeper [Le Savetier, le Moyne, la Femme, et le Portier] (279–310); Getting Off on the Wrong Foot, or, Who’s Minding the Whore? For Three Actors, to Wit, the Lover, Mending the Store, the Cobbler, and His Wife [Farce de Celuy qui garde les Patins] (311–32); Cooch E. Whippet, or, The Farce of Martin of Cambray [Farce de Martin de Cambray] (333–67); Birdbrain: A Musical Comedy? or, School Is for the Birds [Farce joyeuse de Maistre Mimin] (368–400). The text concludes with an appendix, “Scholarly References to Copyrighted Materials” (401–10), notes (411–62), bibliography (463–74), and acknowledgments (475–77).
This volume begins with acknowledgments (ix), an introduction (1–37), and a preface (38–40) by the editor. The primary text is comprised of a variety [End Page 453] of selected writings by the titular author. These include: “To My Readers [Fore-word to My Moments of Leisure] (1817)” (41), “Several Excerpts from a Journal Dedicated to My Friends (1817)” (42–48); “Blind Mother, or The Reward of Virtue Tested; A Drama in Three Acts (1818)” (49–83); “No Good Without Reward; A Comedy in Three Acts (1826)” (84–116); “Two Novellas (1827): Corinna and Emma” (117–64); “Count Gorsky, a Novel (1837)” (165–267); “Selected Poetry” (268–79). The text concludes with a bibliography (280–82) and an index (283–86).
This volume begins with a list of figures (ix–x), notes on contributors (xi–xiv), acknowledgments (xv–xvi), and an introductory essay, “‘Shall I teach you to know?’: Intersections of Pedagogy, Performance, and Gender,” by the editors (1–20). The primary text includes essays in four parts. Part 1, “Humanism and Its Discontents,” includes: Catherine Loomis, “‘Now began a new miserie’: The Performance of Pedagogy in Nicholas Bretons’s The Miseries of Mavillia” (21–32); Jerome de Groot, “‘Euery one teacheth after thyr owne fantasie’: French Language Instruction” (33–52); Deborah Uman, “‘Wonderfullye astonied at the stoutenes of her minde’: Translating Rhetoric and Education in Jane Lumley’s The Tragedie of Iphigeneia” (53–64); Chris Laoutaris, “The Radical Pedagogies of Lady Elizabeth Russell” (65–86). Part 2, “Manifestations of...
