Chikamatsu is thought to have written the first major tragedies about the common man. This edition of four of his most important plays includes three popular domestic dramas and one history play. Chikamatsu's domestic dramas are accurate reflections of Japanese society at the time: his characters are samurai, farmers, merchants, and prostitutes who speak colloquially, and who people the shops, streets, teahouses, and brothels that constituted their daily environment. The heroes and heroines of these plays gain their tragic stature from their conflicts with society. "The Love Suicides at Sonezaki" and "The Love Suicides at Amijima" became so popular that they actually initiated a vogue for love suicides, both in life and onstage. Donald Keene's translation of the original text is presented here with an introduction and a new preface to aid readers in their comprehension and enjoyment of the plays.PrefaceIntroductionThe Love Suicides at Sonezaki (Sonezaki Shinju)The Battles of Coxinga (Kokusenya Kassen)The Uprooted Pine (Nebiki No Kadomatsu)The Love Suicides at Amijima (Shinju ten no Amijima)Appendix 1: A Note on Prostitution in Chikamatsu's PlaysApendix 2: Contemporary Puppet Performances of Chikamatsu's PlaysBibliography

    Wright interweaves familiar, coloquial speech with strikingly inventive language, leaving each poem a distinctive entity, yet interconnected by linked metaphors and images.

    His career has spanned more than half a century, his lyrics have become synonymous with musical theater and popular culture, and in Finishing the Hat—titled after perhaps his most autobiographical song, from Sunday in the Park with George—Sondheim has not only collected his lyrics for the first time, he is giving readers a rare personal look into his life as well as his remarkable productions.Along with the lyrics for all of his musicals from 1954 to 1981—including West Side Story, Company, Follies, A Little Night Music and Sweeney Todd—Sondheim treats us to never-before-published songs from each show, songs that were cut or discarded before seeing the light of day. He discusses his relationship with his mentor, Oscar Hammerstein II, and his collaborations with extraordinary talents such as Leonard Bernstein, Arthur Laurents, Ethel Merman, Richard Rodgers, Angela Lansbury, Harold Prince and a panoply of others. The anecdotes—filled with history, pointed observations and intimate details—transport us back to a time when theater was a major pillar of American culture. Best of all, Sondheim appraises his work and dissects his lyrics, as well as those of others, offering unparalleled insights into songwriting that will be studied by fans and aspiring songwriters for years to come. Accompanying Sondheim’s sparkling writing are behind-the-scenes photographs from each production, along with handwritten music and lyrics from the songwriter’s personal collection. Penetrating and surprising, poignant, funny and sometimes provocative, Finishing the Hat is not only an informative look at the art and craft of lyric writing, it is a history of the theater that belongs on the same literary shelf as Moss Hart’s Act One and Arthur Miller’s Timebends. It is also a book that will leave you humming the final bars of Merrily We Roll Along, while eagerly anticipating the next volume, which begins with the opening lines of Sunday in the Park with George.

    From Bosworth Field to Beijing, the Boyne to Bull Run, from a series of text messages to the nineteenth-century Irish poet Tom Moore to an elegy for Warren Zevon, and from post-Agreement Ireland to George W. Bush's America, this book presents us with fields of battle and fields of debate, in which we often seem to have come to a standstill, but in which language that has been debased may yet be restruck and made current to our predicament. "Horse Latitudes "is a triumphant new collection by one of the most esteemed poets of our time.

    First published in 1993, this acclaimed translation, which follows the verse form of the original exactly, filled that niche. It reads smoothly and idiomatically, yet is the result of prolonged thought and deep back- ground knowledge.The translation is accompanied by Stewart Spencer’s introductory essay on the libretto and a series of specially commissioned texts by Barry Millington, Roger Hollinrake, Elizabeth Magee, and Warren Darcy that discuss the cycle’s musical structure, philosophical implications, medieval sources, and Wagner’s own changing attitude to its meaning. With a glossary of names, a review of audio and video recordings, and a select bibliography, this book is an essential complement to Wagner’s great epic.