Book Collections of Plays and Programs for Young People

Total Page:16

File Type:pdf, Size:1020Kb

Book Collections of Plays and Programs for Young People 350+ scripts now downloadable! agazine.com www.playsm 2) (see details on page 4 THE DRAMA MAGAZINE FOR YOUNG PEOPLE MARCH 2015 UPPER GRADES Pygmalion . Craig Sodaro 2 PGranny frolm Kiallarney. y. Annes Coulter Martens 11 DRAMATIZED CLASSICS (F OR UPPER GRADES ) The Pardoner’s Tale. Geoffrey Chaucer 23 Adapted by Lowell Swortzell The Open Window. Saki 29 Adapted by Carol D. Wise MIDDLE AND LOWER GRADES Prince Roger and the Dastardly Marriage Plot . Amber Herrick 33 Stone Soup. Amy Green 43 Zadig the Observant. Margaret Hall 53 The Singing Bone. Bruce Berger 57 PANTOMIME (F OR ALL GRADES ) The Leak. Danni Robb and Michael Sturko 62 Terms of Use • Vol. 74, No. 5 Subscribers . Persons and entities with subscriptions in force at the time of the performance may produce the plays in any issue of this magazine royalty-free, provided the performance is part of a regular school or dramatic club activity. Such persons and entities may also reproduce copies of the individual play being produced for members of the cast, and may videotape or record rehearsals or performances of the play, for use by such members in connection with preparation for a performance of the play. Subscribers may not videotape or record the production of the play for any other reason, and may not reproduce or transmit the production via television or radio, or via the internet or other electronic methods, without the written permission of, and the payment of any required royalties to, Plays/Sterling Partners, Inc. Non-subscribers . Persons and entities that are not current subscribers to this magazine must apply in writing to Plays/Sterling Partners, Inc. for royalty quotations and permission to copy, reproduce, distribute, transmit, publicly display, or publicly perform any of the plays herein. Permission will be granted on a per-performance basis only, and under no condition may permission be transferred. All readers . All rights not expressly granted by these paragraphs are reserved by Plays/Sterling Partners, Inc. If you have a question about the rights granted herein, or would like to request permission to per - form, distribute, transmit, display or copy any of the literary or dra - matic works in this magazine, please contact PLAYS, The Drama Magazine for Young People, 897 Washington St., #600160, Newton, MA 02460. Publisher : PETER A. D IMOND Editor : ELIZABETH PRESTON Editorial Assistant : PAIGE TURNER Customer Service : LINDA HAND Shipping : WOODY PALLET Cover Illustration : CHRIS DEMAREST 897 Washington St., #600160, Newton, MA 02460-0002 (617) 630-9100 Toll-free: (800) 630-5755 Fax: (617) 630-9101 E-mail: [email protected] © Sterling Partners, Inc. 2015. Title registered as trademark. PLAYS, The Drama Magazine for Young People (ISSN 0032-1540, USPS 473-810) is published seven times a year, monthly except June, July, August, and September, and bimonthly January/February, by STERLING PARTNERS, INC., 897 Washington St., #600160, Newton, MA 02460. Subscription rates: 1 year, $55.00; 2 years, $100.00. Canadian: Add $12 per year to cover postage. All other for - eign: Add $25 per year to cover postage. Canadian & other foreign sub - scriptions must be paid in U.S. funds drawn on a U.S. bank (or if in U.S. funds drawn on foreign bank, add $4 U.S.). Periodicals postage paid at Boston, MA, and additional offices. POSTMASTER: Send address changes to: Plays/Sterling Partners 897 Washington St. #600160 Newton, MA 02460 Printed in U.S.A. March 2015 The drama magazine for young people What you’ll findPin tl hiayss issue. For upper and middle grades Pygmalion , by Craig Sodaro 9 actors: 5 female, 4 male; 20 minutes. In this version of “My Fair Lady”—set in Ancient Greece—foolish sculptor searches in vain for his perfect love while demand - ing changes in her speech, manners, and personality. Granny from Killarney , by Anne Coulter Martens 6 actors: 4 female, 2 male; 25 minutes. Perfect for St. Patrick’s Day: Shawn is grant - ed three wishes by his great-great grandmother, who urges him to choose wisely— which he doesn’t. Could she have been just a figment of his imagination? The Pardoner’s Tale , adapted from Geoffrey Chaucer’s Canterbury Tales by Lowell Swortzell 8 actors: 2 male, 1 female, 5 male or female; 20 minutes. A clever tale of greed, thiev - ery, foul deeds, and revenge as we learn once again that money is the root of all evil. The Open Window , by H. H. Munro (Saki) and adapted by Carol D. Wise 4 actors: 2 male, 2 female; 15 minutes. A friendly young girl with an overactive imagination terrorizes an anxiety-ridden visitor to her family’s home. For middle and lower grades Prince Roger and the Dastardly Marriage Plot , by Amber Herrick 17+ actors: 3 male, 5 female, 2 male/female, 7+ male or female extras; 25 minutes. A rollicking play featuring one bride, two grooms, a King and Queen who can’t tell them apart, and a whole kingdom full of kindhearted silliness. Stone Soup , by Amy Green 8 actors: 4 female, 4 male; 30 minutes. A stranger blows like the tumbleweed into an unfriendly town in the Old West, with a cooking pot and recipe for stone soup. Through lies and trickery he manages to encourage the townspeople to share in a community meal that brings out the friendliness in everyone. Zadig the Observant , adapted by Margaret Hall from a story by Voltaire 10 actors: 2 male, 1 female, and 7 male/female; 10 minutes. Insightful reasoning help an ingenious young peasant solve a mystery and win a place in the royal court. The Singing Bone , a reading play by Bruce Berger 7 actors: 3 male, 1 female, and 3 male/female; 15 minutes. Two brothers accept King’s challenge to slay a wild boar that is terrorizing the Kingdom, with one broth - er overcoming family deceit to win the hand of the fair princess. For all grades The Leak , by Danni Robb and Michael Sturko 1 male or female actor (in pantomime) and offstage sound effects. Mime tries to read the newspaper only to end up fighting to plug that darned water leak! MARCH 2015 1 Upper Grades Plays is protected by U.S. copyright law. Only current subscribers may use this play (www.playsmagazine.com). Pygmalion “My Fair Lady” meets Ancient Greek sculptor. Looking for love in all the wrong places! . by Craig Sodaro HOMER, the poet racy. We’ve also got an awful lot of artists painting and sculpting. I’ve PYGMALION, a sculptor always wanted to be a sculptor, but my ADONIA, a young woman talent is pretty limited. I whittle nice little toothpicks and that’s about it. APHRODITE, goddess of love But I do have a tale about a sculptor, and it’s very well known. I mean, it’s THEO, a restaurant maitre’d even been turned into a movie and a DAPHNE, a young woman musical. It’s the story of My Fair Lady, aka Pygmalion. But Hollywood always MEGADATES, her boyfriend has to go for the big happy ending. Let me tell you the real story of Pygmalion PHOEBE, blind date and his fair lady. ( HOMER sits on one of the benches. PYGMALION enters GALATEA, a statue left, followed by ADONIA .) TIME : Long, long ago. PYGMALION (Peevishly ): You just did - n’t follow the directions, Adonia! SETTING : Ancient Greece. A few benches or blocks can be used for seating. ADONIA : But honey, I stuffed the grape Perhaps a pillar or two to suggest the leaves exactly like you told me to. Greek mythological setting. PYGMALION : They didn’t taste like AT RISE : HOMER enters right, whit - Mother’s! tling a piece of wood. ADONIA (Sweetly ): Maybe she didn’t HOMER (To audience ): This happens to quite give you her exact recipe, honey. be what historians will call the Golden Age of Greece. We’re a very creative PYGMALION : Mother would never have bunch and recently have come up with made a mistake. things like poetry, drama, and democ - 2 PLAYS • playsmagazine.com ADONIA : Maybe you copied it wrong. APHRODITE (Sighing ): We’ve been through this before, Pygmalion. PYGMALION : I don’t make mistakes, either! PYGMALION : But there’s something wrong with every girl I meet. ADONIA : So I guess that leaves me. APHRODITE : Korinna was just lovely. PYGMALION : I’m sorry, Adonia, but I don’t think we should see each other PYGMALION : She had flat feet. again. APHRODITE : How about Hermia? ADONIA : But we were going to get mar - ried! You said you’d love me forever PYGMALION : Hideous hair. and ever. We’d never be apart and we’d watch the sun set in our golden years. APHRODITE : Hestra? PYGMALION : Yeah, well, the sun just PYGMALION : Horrible habits. went down. You just don’t stuff a grape leaf the way I like it stuffed. APHRODITE : Hippolyta? ADONIA : Oh, Pygmalion, everybody PYGMALION : Heinous housekeeper. told me not to waste my time with you because you’re soooooo picky. But did I APHRODITE : Surely you couldn’t find listen? Oh, no! I thought you just need - fault with Timo! She was Miss Ancient ed a little love and caring. Well, they Greece! were right! You’re a waste of time! (ADONIA moves right, then turns PYGMALION : Exaggerated Ego! back .) Go stuff your own grape leaves! (ADONIA huffs off right .) APHRODITE : All right, all right, I’ll try to set something up. Let’s see. .O.K., PYGMALION : Well, of all the nerve! how about you show up at the Oracle (Calls out ) Aphrodite! Aphrodite! Oh, Café at nine sharp? The girl of your sweet goddess of love.
Recommended publications
  • Camp Parody in the British Long Eighteenth Century
    GREAT AFFECTATIONS: CAMP PARODY IN THE BRITISH LONG EIGHTEENTH CENTURY A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Sarah Lynn Cote January 2014 © 2014 Sarah Lynn Cote GREAT AFFECTATIONS: CAMP PARODY IN THE BRITISH LONG EIGHTEENTH CENTURY Sarah Lynn Cote, Ph.D. Cornell University 2014 My dissertation explains that, despite the nominal anachronism, camp has always inhabited literature of the long eighteenth century, namely those examples that were created from and, to some degree, for those experiencing the world from a socially or sexually marginal perspective. To interpret as camp is to not only account for the excesses of style that often infuriate and discompose aesthetic and generic categories of the time period, although it can provide an explanatory motive for noticeably disruptive and even flamboyant literary style. A camp reading can also bring together seemingly disparate texts under the umbrella of alterity. It provides an ideal and common language for discussing formal and generic literary styles alongside feminist, queer, and cultural interpretations. Camp in the eighteenth century is particularly well-positioned to make important contributions to ongoing discussions about the public sphere, the shifts in audience and reception among all media, and the influences of realism, especially relating to the bourgeois representations of affects and emotions. To me, camp is a parodic project, which means that it must bear a symbiotic relationship to the normative text or value that it plays up. Its parody is reliant on those modes opposed as “other” to their marginalized selves; in my examples, the target ranges among the heteronormative family, the orderly body, the sexual object, temporal mastery, aesthetic ownership, sentimental empathy, and even the self.
    [Show full text]
  • Galatea : a Pastoral Romance
    Presented to the UNIVERSITY OF TORONTO LIBRARY by the ONTARIO LEGISLATIVE LIBRARY 1980 V C V GALA MIGUEL DE CERVANTES SAAYEDRA 1ITERALLY TEANSLATED FROM THE SPANISH BY GORDON W1LLOUGHBY JAMES GYLL, "A TRACTATE OK "THE HISTORY OF AUTHOR OF LANGUAGE," WRAYSBUBT , HORTON, AND COLNBROOK, BUCKS," ETC. LONDON: GEORGE BELL & SONS, YORK ST., COVENT GARDEN. AND NEW YORK. 1892. ^ LONDON : REPRINTED FROM STEREO-PLATES BY WILLIAM CLOWES AND SONS, LIMITED. STAMFORD STREET AND CHARING CROSS. TRANSLATOE'S PEEFACE. IN this translation of the Galatea of Cervantes, the object has been to convey the story in language as closely as pos- sible to the original. The translator fears he may not alway have succeeded in completely rendering the narratives ot the various incidents which characterise this simple pastoral epic, and that also he may have to apologise for somewhat ot roughness in his transfusion of the poetry, which has found its equivalent, where the lines have been long, in blank verse. The other portions of the poetry he has rendered literally, but wherever the two dialects assimilated he has thought it sufficient to furnish only a kind of metrical rhythm. This elegant and simple production, the earliest from the pen of the eminent poet and novelist of Spain, pour- traying young, fresh, and vivid scintillations of genius, has never been translated into any language. We have only its shadow in the French production of Florian, which is based on the Spanish story, and though written in an en- gaging and graceful style, is not that mature and elegant child of the brain of Cervantes which is now for the first time presented to the English reader.
    [Show full text]
  • Activities Council Sponsors Popular Informal Tea Dance
    MUShare The Phoenix Campus Newspaper Collection 3-1-1942 The Phoenix, Vol. V, No. 3 (March, 1942) Marian University - Indianapolis Follow this and additional works at: https://mushare.marian.edu/phnx Recommended Citation Marian University - Indianapolis, "The Phoenix, Vol. V, No. 3 (March, 1942)" (1942). The Phoenix. 104. https://mushare.marian.edu/phnx/104 This Book is brought to you for free and open access by the Campus Newspaper Collection at MUShare. It has been accepted for inclusion in The Phoenix by an authorized administrator of MUShare. For more information, please contact [email protected]. Marian Guild Pygmalion and Spring Fete Galatea April 9 The Phoenix April 19 Vol. V Marian College, Indianapolis, Indiana, March, 1942 No. 3 Lectures, Reception Concertized Opera Marian Enriches Curricula; Top Recent Events Sets Music Pace Introduces 12-Week Term On Sodality Program Voice students, Bel Canto en­ semble, and Glee Chorus are prepar­ Faculty Increase, New Courses, U.S.O. Enrollment The Sodality observed Vocation ing a concertized version of Gounod's Week March 8-14. The chairman of grand opera, Faust. For the or­ Extend College Facilities For Emergency Service the research committee, Rosemary chestra, Gounod and Strauss selec­ Responding to the challenge made to higher education by the present Mackinaw, and assistant, Anna tions lead. Mehn, prepared interesting displays crisis, Marian has introduced a number of new courses this semester. of books on various vocations. Erna Features on the Marian Concert Among these are the popular Current International Relations, Social Se­ Santarossa and Licia Toffolo de­ program, May 24, are: solos for curity, First Aid, Home Nursing, and Social Aspects of Personality.
    [Show full text]
  • CUPID by Laura Jepsen a Thesis Submitted in Partial Fulfillment of The
    CUPID By Laura Jepsen A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts, in the Department of Classical Languages, in the Graduate College of the State University of Iowa July 1936 PREFACE I express my appreciation to Professor W. Leigh Sowers of the Department of English of the State University of Iowa, under whose direction this play became a thesis. Laura Jepsen Davenport May 3, 1936 ACT I ACT I The workshop of Pygmalion, which is the scene of our opening Act, is at the top of a rather high cliff in the hills of Mount Parnassus. We have a right to place it where we will, and the reason Parnassus is chosen is that poets live there. So did we, in former days when Ovid’s “Metamorphoses” was on exquisite flight for the imagination; and some desire to pay a little tribute to that poet’s genius, as well as some compulsion to recapture the curious native spirit of the place, drags us back to those unforgettable heights known as Mount Parnassus. Pygmalion, therefore, lives on Parnassus. To get there, some of the more sophisticated of us will have to turn back the time several decades and all of us will have to put on our winged sandals, for Parnassus is more than a question of geography. That done, we are at the foot of a flight of stone steps leading to the workshop of Pygmalion. It is an old house, one which must have started falling in the time of Homer and shows no signs of stopping.
    [Show full text]
  • A Study of the British Library Manuscripts of the Roman De Troie by Benoit De Sainte-Maure: Redaction, Decoration, and Reception
    A Study of the British Library Manuscripts of the Roman de Troie by Benoit de Sainte-Maure: Redaction, Decoration, and Reception Sian Prosser Doctor of Philosophy University of Sheffield Department of French January 2010 IMAGING SERVICES NORTH Boston Spa/ Wetherby West Yorkshire/ LS23 7BQ www.bl.uk THIS THESIS CONTAINS A CD IMAGING SERVICES NORTH Boston Spa, Wetherby West Yorkshire, LS23 7BQ www.bl.uk PAGE NUMBERING AS ORIGINAL Summary Recent studies of the Roman de Troie have highlighted the need for more research on the extant manuscripts, because of the unreliable nature of the critical edition and the importance of the text to scholars of twelfth -century literature. This study seeks to contribute to knowledge of one of the most popular versions of the Troy legend in medieval France by describing and analysing two little-known manuscripts of the text. London, British Library, Additional 30863 (L2) presents an abridged version of the poem that provides insights into the reception of the poem in the early thirteenth century. London, British Library, Harley 4482 (L 1) contains a series of decorated initials which exhibit a higher than suspected level of engagement with the text on the part of the manuscript's makers. Part I of the thesis concentrates on L2, beginning in chapter 1 with a codicological and palaeographical description, and a discussion of its likely provenance. Chapter 2 develops the codicological analysis, looking at specific evidence of scribal editing and comparing the manuscript with its closest relative to see which abridgments are unique to L2. It concludes with case studies that illustrate the scribe's abridgement techniques via the presentation of the principal female characters.
    [Show full text]
  • HANDEL Acis and Galatea
    SUPER AUDIO CD HANDEL ACIS AND GALATEA Lucy Crowe . Allan Clayton . Benjamin Hulett Neal Davies . Jeremy Budd Early Opera Company CHANDOS early music CHRISTIAN CURNYN GEOR G E FRIDERICH A NDEL, c . 1726 Portrait attributed to Balthasar Denner (1685 – 1749) © De Agostini / Lebrecht Music & Arts Photo Library GeoRge FRIdeRIC Handel (1685–1759) Acis and Galatea, HWV 49a (1718) Pastoral entertainment in one act Libretto probably co-authored by John Gay, Alexander Pope, and John Hughes Galatea .......................................................................................Lucy Crowe soprano Acis ..............................................................................................Allan Clayton tenor Damon .................................................................................Benjamin Hulett tenor Polyphemus...................................................................Neal Davies bass-baritone Coridon ........................................................................................Jeremy Budd tenor Soprano in choruses ....................................................... Rowan Pierce soprano Early Opera Company Christian Curnyn 3 COMPACT DISC ONE 1 1 Sinfonia. Presto 3:02 2 2 Chorus: ‘Oh, the pleasure of the plains!’ 5:07 3 3 Recitative, accompanied. Galatea: ‘Ye verdant plains and woody mountains’ 0:41 4 4 Air. Galatea: ‘Hush, ye pretty warbling choir!’. Andante 5:57 5 5 [Air.] Acis: ‘Where shall I seek the charming fair?’. Larghetto 2:50 6 6 Recitative. Damon: ‘Stay, shepherd, stay!’ 0:21 7 7 Air. Damon: ‘Shepherd, what art thou pursuing?’. Andante 4:05 8 8 Recitative. Acis: ‘Lo, here my love, turn, Galatea, hither turn thy eyes!’ 0:21 9 9 Air. Acis: ‘Love in her eyes sits playing’. Larghetto 6:15 10 10 Recitative. Galatea: ‘Oh, didst thou know the pains of absent love’ 0:13 11 11 Air. Galatea: ‘As when the dove’. Andante 5:53 12 12 Duet. Acis and Galatea: ‘Happy we!’. Presto 2:48 TT 37:38 4 COMPACT DISC TWO 1 14 Chorus: ‘Wretched lovers! Fate has past’.
    [Show full text]
  • FIVE DIAMONDS Barn 2 Hip No. 1
    Consigned by Three Chimneys Sales, Agent Barn Hip No. 2 FIVE DIAMONDS 1 Dark Bay or Brown Mare; foaled 2006 Seattle Slew A.P. Indy............................ Weekend Surprise Flatter................................ Mr. Prospector Praise................................ Wild Applause FIVE DIAMONDS Cyane Smarten ............................ Smartaire Smart Jane........................ (1993) *Vaguely Noble Synclinal........................... Hippodamia By FLATTER (1999). Black-type-placed winner of $148,815, 3rd Washington Park H. [G2] (AP, $44,000). Sire of 4 crops of racing age, 243 foals, 178 starters, 11 black-type winners, 130 winners of 382 races and earning $8,482,994, including Tar Heel Mom ($472,192, Distaff H. [G2] (AQU, $90,000), etc.), Apart ($469,878, Super Derby [G2] (LAD, $300,000), etc.), Mad Flatter ($231,488, Spend a Buck H. [G3] (CRC, $59,520), etc.), Single Solution [G3] (4 wins, $185,039), Jack o' Lantern [G3] ($83,240). 1st dam SMART JANE, by Smarten. 3 wins at 3 and 4, $61,656. Dam of 7 registered foals, 7 of racing age, 7 to race, 5 winners, including-- FIVE DIAMONDS (f. by Flatter). Black-type winner, see record. Smart Tori (f. by Tenpins). 5 wins at 2 and 3, 2010, $109,321, 3rd Tri-State Futurity-R (CT, $7,159). 2nd dam SYNCLINAL, by *Vaguely Noble. Unraced. Half-sister to GLOBE, HOYA, Foamflower, Balance. Dam of 6 foals to race, 5 winners, including-- Taroz. Winner at 3 and 4, $26,640. Sent to Argentina. Dam of 2 winners, incl.-- TAP (f. by Mari's Book). 10 wins, 2 to 6, 172,990 pesos, in Argentina, Ocurrencia [G2], Venezuela [G2], Condesa [G3], General Lavalle [G3], Guillermo Paats [G3], Mexico [G3], General Francisco B.
    [Show full text]
  • Troy-Story-Non-Rhyming-Script-Sample
    ‘Troy Story’ by Andrew Oxspring NON-RHYMING SCRIPT SAMPLE (To the intro music (track 9) the whole cast enters and positions are taken for the first song.) Song (tracks 1 & 10, lyrics p17) (Whole cast) (To one side of the main stage stand four narrators, reading from scrolls.) Narrator 1 Welcome, one and all, to our little bit of theatre which tells a tragic tale from Ancient Greece! Prepare to be astonished, astounded and amazed at just how crazy things could get three thousand years ago! Narrator 2 Before we start, however, we must ask that you keep any coughing, sneezing and, dare we say, snoring to a minimum – our actors are very sensitive, you know! Oh, and in respect for the historical period we are portraying, please ensure that all your mobile phones have been switched off! They didn’t have them in those days, in case you weren’t aware! Narrator 3 So, let’s begin our story on Mount Olympus, a paradise home to the gods and goddesses of Ancient Greece. We say ‘paradise’, but on this particular day things weren’t so happy and relaxed. Three of the goddesses had really got the hump with each other! (Hera, Athene and Aphrodite enter and stand on one side of the stage, hands on hips, glaring angrily at each other. Zeus leads on the other gods and goddesses and they stand opposite.) Narrator 4 Hera, Athene and Aphrodite had fallen out! It seemed that these three ladies couldn’t agree on who the winner of ‘most glamourous goddess’ should be.
    [Show full text]
  • Orality, Fluid Textualization and Interweaving Themes
    Orality,Fluid Textualization and Interweaving Themes. Some Remarks on the Doloneia: Magical Horses from Night to Light and Death to Life Anton Bierl * Introduction: Methodological Reflection The Doloneia, Book 10 of the Iliad, takes place during the night and its events have been long interpreted as unheroic exploits of ambush and cunning. First the desperate Greek leader Agamemnon cannot sleep and initiates a long series of wake-up calls as he seeks new information and counsel. When the Greeks finally send out Odysseus and Diomedes, the two heroes encounter the Trojan Dolon who intends to spy on the Achaeans. They hunt him down, and in his fear of death, Dolon betrays the whereabouts of Rhesus and his Thracian troops who have arrived on scene late. Accordingly, the focus shifts from the endeavor to obtain new knowledge to the massacre of enemies and the retrieval of won- drous horses through trickery and violence. * I would like to thank Antonios Rengakos for his kind invitation to Thessalo- niki, as well as the editors of this volume, Franco Montanari, Antonios Renga- kos and Christos Tsagalis. Besides the Conference Homer in the 21st Century,I gave other versions of the paper at Brown (2010) and Columbia University (CAM, 2011). I am grateful to the audiences for much useful criticism, partic- ularly to Casey Dué, Deborah Boedeker, Marco Fantuzzi, Pura Nieto Hernan- dez, David Konstan, Kurt Raaflaub and William Harris for stimulating conver- sations. Only after the final submission of this contribution, Donald E. Lavigne granted me insight into his not yet published manuscript “Bad Kharma: A ‘Fragment’ of the Iliad and Iambic Laughter” in which he detects iambic reso- nances in the Doloneia, and I received a reference to M.F.
    [Show full text]
  • Catalogue for Kentucky Winter Mixed
    Barn 5A-E Hip No. Consigned by Paramount Sales, Agent XXVI 1 Madame Music Northern Dancer Danzig . { Pas de Nom Brahms . Mr. Prospector { Queena . { Too Chic Madame Music . Illustrious Bay mare; Loustrous Bid . { Heavenly Ade foaled 2003 {Bid’s Femme . Devil’s Bag (1997) { Devil’s Swap . { For Femme By BRAHMS (1997), $731,797 in N.A., Hollywood Derby [G1], etc. Sire of 4 crops, including 2-year-olds of 2008, 7 black type winners, 118 winners, $4,241,663 & $638,641 (Can), including Arson Squad (at 4, 2007, $636,450, Swaps Breeders’ Cup S. [G2], etc.), Test Boy (to 4, 2007, $122,881& $116,400-Can), Up an Octave ($184,672), Zaylaway. 1st dam BID’S FEMME, by Loustrous Bid. Winner at 2 and 3, $152,730, Lady Fingers S. [R] (FL, $42,975), 3rd Joseph A. Gimma S. [R] (BEL, $6,039). Dam of 3 other foals of racing age, including a 2-year-old of 2008, one to race-- Iron Gate (g. by Langfuhr). Placed at 2, $9,194. 2nd dam DEVIL’S SWAP, by Devil’s Bag. 2 wins at 3, $41,375. Dam of 6 winners, incl.-- BID’S FEMME (f. by Loustrous Bid). Black type winner, see above. Tallulah Darling. Winner at 2 and 3, $101,741. Producer. Dangerous Devil. 3 wins at 4, 2007, $65,523. Marco’s Choice. 3 wins at 3, 2007, $27,033. 3rd dam FOR FEMME, by *Forli. Unraced. Sister to FORETAKE. Dam of 8 foals to race, 7 winners, including-- North Warning. 20 wins, 3 to 10, $169,754, 3rd Wadsworth Memorial H.
    [Show full text]
  • Tennyson's Poems
    Tennyson’s Poems New Textual Parallels R. H. WINNICK To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/944 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. TENNYSON’S POEMS: NEW TEXTUAL PARALLELS Tennyson’s Poems: New Textual Parallels R. H. Winnick https://www.openbookpublishers.com Copyright © 2019 by R. H. Winnick This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work provided that attribution is made to the author (but not in any way which suggests that the author endorses you or your use of the work). Attribution should include the following information: R. H. Winnick, Tennyson’s Poems: New Textual Parallels. Cambridge, UK: Open Book Publishers, 2019. https://doi.org/10.11647/OBP.0161 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/944#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/944#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher.
    [Show full text]
  • Galatea's Daughters: Dolls, Female Identity and the Material Imagination
    Galatea‘s Daughters: Dolls, Female Identity and the Material Imagination in Victorian Literature and Culture Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Maria Eugenia Gonzalez-Posse, M.A. Graduate Program in English The Ohio State University 2012 Dissertation Committee: David G. Riede, Advisor Jill Galvan Clare A. Simmons Copyright by Maria Eugenia Gonzalez-Posse 2012 Abstract The doll, as we conceive of it today, is the product of a Victorian cultural phenomenon. It was not until the middle of the nineteenth century that a dedicated doll industry was developed and that dolls began to find their way into children‘s literature, the rhetoric of femininity, periodical publications and canonical texts. Surprisingly, the Victorian fascination with the doll has largely gone unexamined and critics and readers have tended to dismiss dolls as mere agents of female acculturation. Guided by the recent material turn in Victorian studies and drawing extensively from texts only recently made available through digitization projects and periodical databases, my dissertation seeks to provide a richer account of the way this most fraught and symbolic of objects figured in the lives and imaginations of the Victorians. By studying the treatment of dolls in canonical literature alongside hitherto neglected texts and genres and framing these readings in their larger cultural contexts, the doll emerges not as a symbol of female passivity but as an object celebrated for its remarkable imaginative potential. The doll, I argue, is therefore best understood as a descendant of Galatea – as a woman turned object, but also as an object that Victorians constantly and variously brought to life through the imagination.
    [Show full text]