帕赫贝尔:卡农
格里格:“清晨”皮尔金组曲
维瓦尔第:四季小提琴协奏曲
柴可斯夫基:天鹅湖“情景”
莫扎特:小夜曲
贝多芬:月光奏鸣曲
德沃夏克:第九交响曲“新世界”
华格纳:女武神
卡尔欧菲:布兰诗歌
盖希文:蓝色狂想曲
亨德尔:水上音乐
约翰·施特劳斯:蓝色多瑙河
贝多芬:第五号交响曲“命运”
莫扎特:第21号钢琴协奏曲
巴赫:小步舞曲
柴可夫斯基:胡桃钳“特巴雷克舞曲”
穆梭斯基:展览会之画
莫扎特:法国号协奏曲
西贝流士:卡列里亚组曲
约翰·施特劳斯:春之声圆舞曲
约翰施特劳斯:维也纳森林的故事
勃拉姆斯:大学庆典
雷可莱:小鼓
圣桑:动物狂欢节“天鹅”
马斯奈:泰伊思螟想曲
拉赫曼尼诺夫:帕格尼尼主题变奏
巴赫:G骇之歌
李斯特:爱之梦
萧邦:降E大调第二号夜曲
莫扎特:A大调短笛协奏曲
佛汉威廉斯:绿袖子幻想曲
柴可夫斯基:胡桃“糖梅仙之舞”
阿尔诺尼:慢板
巴赫:耶苏,人们仰望喜悦
圣桑:动物狂欢节“水族”
瓦德菲尔:溜冰者圆舞曲

柴可夫斯基:第一号钢琴协奏曲
贝多芬:悲怆奏鸣曲
麦尔斯:短歌
威尔第:曼陀玲协奏曲
莫扎特:第25号交响曲
柴可夫斯基:睡美人圆舞曲
穆梭斯基:基辅城门
柯普兰:众人信号曲
威廉斯:奥林匹克鼓号曲
门德尔松:乘着歌声的翅膀
莫扎特:41号交响曲“朱彼德”
西贝流士:芬兰颂
贝多芬:第六号交响曲“田圆”
亨德尔:萨巴女王驾到
巴赫:无伴奏小提琴协奏曲
柴可夫斯基:如歌行板
帕格尼尼:常动曲
亨德尔:皇家烟火
萧邦:即兴曲
柴可无斯基:弦乐小夜曲
艾尔加:爱的礼赞
德沃夏克:斯拉夫舞曲
马斯奈:领袖
门德尔松:仲夏夜之梦“夜曲”
莫扎特:第40号交响曲
柴可夫斯基:胡桃钳进行曲
苏佩:轻骑兵序曲
海顿:降E大调小号协奏曲
奥芬巴哈:天堂与地狱
比才:阿莱姑娘“法兰都舞曲”
克拉克:小号即兴曲
鲍凯利亚:小步舞曲
普罗利菲夫:交响组曲:基杰中尉
哈尔都量:盖聂“剑舞”
马勒:第一号交响曲“巨人”
霍特斯:行星组曲
巴赫:布兰登堡协奏曲
圣桑:第三号交响曲“管风琴”
莫扎特:一个音乐玩笑
萨替:第一号吉姆培迪诺
萧邦:第三11号圆舞曲
维瓦尔第:小提琴协奏曲“秋”
德彪西:月光
贝多芬:第七号交响曲
贝多芬:第八号交响曲
门德尔松:春之歌
德沃夏克:母亲教我的歌
韦伯:邀舞
巴赫:D小调触技曲与赋格曲
拉威尔:波丽路
勃拉姆斯:第六号匈牙利舞曲
理查史特劳斯:查拉图如是说
门德尔松:婚礼进行曲
莫扎特:土耳其进行曲
华尔顿:加冕进行曲
约翰·史特劳斯:香槟波加
巴赫:士诺圣母颂
德彪西:棕发少女
艾尔加:“谜”变奏曲
威尔第:阿伊达进行曲
舒伯特:鳟鱼五重奏
巴赫:第二号管弦组曲
萧邦:E大调练习曲“悲伤”
西贝流士:黄泉的天鹅
海顿:第94号交响曲“警惕”
海顿:第101号交响曲“时钟”
罗西尼:弦乐奏鸣曲第四号
奥芬巴哈:船歌
舒曼:浪漫曲
克莱斯勒:爱之悲
克莱斯勒:爱之喜
舒柏特:圣母颂
勃拉姆斯:第五号匈牙利舞曲
莫扎特:费加罗婚礼
科特比:波斯市场
艾尔加:威风凛凛进行曲
比才:卡门组曲
伯恩斯坦:豪勇七蛟龙
苏莎:永恒的星条旗
萧邦:第三号波兰舞曲“军队”
李斯特:匈牙利舞曲
约翰史特劳斯:爆炸波加
林姆斯基高沙可夫:大黄峰飞行
鲍罗定:鞑靼舞曲
这些都是比较经典且著名的曲目,是初学者的最佳之选

yogano1168 發表在 痞客邦 留言(0) 人氣()

因人而異,沒有一種飲食方法是適用所有的人。我覺得早餐要是要吃,晚餐不要吃太飽才是上上之策。

 

日本No.1自然醫學博士‧長壽研究專家


石原結實著 歐凱寧 譯


醫學實驗證明,上萬病患見証分享!
最簡單、最省錢、最有效的驚奇健康革命!

我也靠著﹁一天一餐﹂,常保健康
我天生體弱多病,小時候常常發燒,讓父母很擔心。讀國中時雖然健康了不
少,但是一到高中又開始為了慢性腹瀉所苦,吃了各種中藥西藥,都不見起色。
只要碰到考試或大活動,腹瀉情況就會更嚴重,只要外出就必須先找找看附近有
沒有廁所,找到才能安心。
從這些症狀來看,應該就是﹁腸躁症﹂吧。不過,當時這個診斷名稱似乎還
沒有出現。

上了大學之後,我開始研讀各種民俗療法的書,像是東京大學醫學系榮譽教
授二木謙三博士的︽食物與疾病︾,或是提倡西方醫學的西勝造先生所寫的︽西
式健康讀本︾等,裡面都有提到﹁少吃點比較好﹂﹁蔬果汁對身體很好﹂之類的
言論,所以我從大學二年級開始,嘗試把早餐改成高麗菜跟蘋果打成的蔬果汁。
結果讓我苦惱了四年之久的﹁腹瀉與腹痛﹂竟然就痊癒了。從那時候起,我才醒

027 第一章 有人就是一天一餐,照樣健康
悟到飲食攝取方法和食物本身,對健康有多麼大的影響。
從大學三年級開始,我加入了舉重社團,除了鍛鍊身體之外,再加上不吃早
餐只喝蔬果汁的少吃療法,終於恢復健康了。
做了重量訓練之後,力氣越來越大,畢業時甚至拿到全九州的學生舉重輕量
級冠軍。仰臥推舉一百公斤,蹲舉一百五十公斤,讓人不禁讚嘆這六十四公斤的
小伙子竟然這麼厲害。
大學畢業之後,我便當上了醫生,加入血液內科,為白血病、再生不良性貧
血、惡性淋巴腫瘤等等當時幾乎無藥可救的病患看診,持續我的診療生涯。
或許是不認輸吧,我對疾病預防醫學開始產生了興趣,突然決定要投身於健
康長壽的研究,於是進入研究所修習博士課程,開始了長達四年的研究生活。
那四年的研究所生活可說是相當充實。研究室的主題是﹁食物和運動能夠對
白血球免疫功能造成多大的影響﹂。只要有時間,就會到美國考察自然飲食運
動,或是到高加索的長壽村調查他們的飲食生活。
另外,當時我也在瑞士知名醫院學習慢性病的飲食療法,該醫院從一八九七
年設立以來就一直是用飲食療法來治療疾病的。而且在前往高加索長壽村的時

先別急著吃三餐028
候,也會順道前往莫斯科的尼可拉耶夫教授的斷食醫院,聽取他的講課。
有了這些經驗之後,我學到了﹁飲食生活對健康與疾病有多大的關聯﹂;在
莫斯科的斷食醫院,我更是驚訝地發現癌症、心臟病、高血壓、精神病等疾病都
是可以用斷食來治療的。
研究所畢業後,我到東京的私人診所工作了一段時間,在一九八二年開了自
己的診所。到了一九八五年,又在伊豆創辦了﹁喝胡蘿蔔汁來增進健康的保養診
所﹂。這間保養診所在二十二年中,讓大約三萬人執行了胡蘿蔔汁斷食法,並取
回健康與青春。


從前內閣總理、前厚生大臣到各大官員、國會議員、學者、經濟法律界知名
人士、學生等等都做過這種治療。最近甚至連許多醫生都來這間診所看診呢。
有了這間﹁果菜汁斷食保養診所﹂的經驗,我更相信﹁我們現代文明人類真
的吃太多了﹂﹁只要斷食或少吃,一定能夠更健康﹂。
最近,我自己也是越來越忙了。東京健康中心的看診,伊豆保養診所的每週
健康演說,每年五十∼六十次的電台或電視演出,每年四十∼五十次的全國巡迴
演說,每年寫上十∼二十本書等等,真的是﹁全年無休﹂的狀態了。

029 第一章 有人就是一天一餐,照樣健康
我在四十五歲之前的飲食生活,依然是早餐喝胡蘿蔔.蘋果汁兩杯,中午吃
蕎麥麵,晚餐想吃什麼就吃什麼;但是過了四十五歲之後,一天兩餐我還是覺得
有點胖,而且每天吃午餐的時候都會有各種雜誌的記者來採訪,結果只好跟記者
一起喝兩杯薑茶︵加了不少黑糖︶打發午餐。


結果,現在的生活就是﹁每週有四到五次,從伊豆的家開車,然後轉乘電車
在來線、新幹線,再轉搭計程車,單程花上兩個半小時到東京的健康中心上班,
晚上再從相同路線回家,回家之後立刻慢跑四到五公里。週末兩天留在伊豆,
工作結束之後我會在保養診所的訓練室裡面做重量訓練。﹂就因為這樣健康的生
活,如今我五十九歲了,還是能仰臥推舉一百公斤,蹲舉一百五十公斤,而且身
高一六二公分,體重六十四公斤卻毫無贅肉,維持結實強壯的身材。

飲食方面,早餐是胡蘿蔔.蘋果汁兩杯加上薑茶一杯,中午是薑茶兩杯,晚
上則是我最喜歡的魚貝類、米飯、味噌湯、納豆、豆腐等等的菜單。酒精方面則
是一到兩合的啤酒或日本酒。
當我對病患展現出強壯的肌肉,跟他們說我一天只吃一餐,加上兩杯胡蘿
蔔.蘋果汁還有三杯薑茶的時候,他們總是難以置信,不過這卻是千真萬確的。

不過有時候我確實會偷吃一點仙貝、羊羹、巧克力之類的點心就是了。
如果這樣吃下來會渾身是病,那我就無話可說;不過我今年五十九歲,沒有
老花眼,一百公尺跑十二秒九,四百公尺只要五十九秒。﹁好累﹂或﹁真沒鬥
志﹂這些老化症狀,跟我一點關係都沒有。當然,生活惡習症狀和血液檢查數值
也都完全沒問題。
現在有時候臨時要排演說行程,或是要上電視通告,所以目前的生活比前面
提到的還要忙碌。這時候我還會把食量減少到三分之二甚至二分之一。而在這種
狀況,正常食量下沒辦法完成的勞累工作,我也能確實完成。
每天吃三餐的人,想要馬上改成一天一餐是很困難的。可以像本書所介紹的
一樣,從︵一天兩餐︶+︵早餐改成薑茶一到兩杯,或是胡蘿蔔.蘋果汁一到兩
杯︶。當你體會到﹁飢餓的愉悅感﹂之後,就能獲得穩定的健康了。

 

石原式﹁基本餐﹂
從現代人的勞動量、運動量來看,或許一天三餐還是太多了。
只有每天早睡早起,白天靠運動或勞動充分活動身體的人,才可以在細嚼慢
嚥、八分飽的條件下,一天吃三餐。
但是一般的上班男女、自己開店的人,總是工作到很晚,下班之後又喝酒吃
飯到晚上九點十點,睡眠只有五六個小時,隔天早上又急急忙忙開始工作,不是
嗎?
這些人的胃裡面,幾乎都還留著前一天晚餐所吃的食物,再加上本能雖然告
訴自己﹁不想吃了﹂,卻又看到醫科大學和大醫院的知名醫生,在報章雜誌上大
聲疾呼﹁不吃早餐,就無法攝取一天活動所需的熱量﹂﹁每天沒有確實吃三餐,
會得到新陳代謝症候群﹂,而勉強吃早餐,結果身體反而更差。
一早就沒有食慾的人,只要用茶或水來補充﹁水分﹂,就沒有吃的必要了。

 

石原式「基本餐」
早餐(擇其一)
(1)不吃
(2)喝茶配酸梅乾
(3)加黑糖的薑茶一到兩杯
(4)胡蘿蔔.蘋果汁一到兩杯
(5)薑茶一到兩杯加上胡蘿蔔.蘋果汁一到兩杯
午餐(擇其一)
(1)蕎麥麵(加蒟蒻、加裙帶菜、乾麵)加上許多
蔥和七味辣椒粉
(2)很多料的烏龍麵加上許多蔥和七味辣椒粉
(3)披薩或義大利麵加上辣椒醬
(4)白飯或便當要細嚼慢嚥,吃八分飽以下
晚餐
含酒精在內,吃什麼都可以

 

以前我從來沒去過醫院,也相信自己是個完全的健康寶寶,直到十八歲秋天
潰瘍性大腸炎發作為止。醫生告訴我以後不可能完全痊癒,往後一輩子都必須重
複住院、出院的人生,就這麼過了四年之久。想起那四年裡面不斷重複的腹痛與
腹瀉,連日常生活都有問題,就會覺得現在的健康有如作夢一般神奇呢。
如果不是在發病初期偶然看到了石原醫師的斷食療法,我想我現在還在跟這
個疾病奮戰吧。如今每天我在早晨醒來,體會到自己的健康,都會感謝這上天賜
予的機緣。
我的身體第一次出現不健康症狀,是在高中畢業之後的夏天。那時我已經確
定九月可以到美國的大學留學,終於擺脫大考壓力,鬆了一口氣;但同時卻也為
了人際關係,而感到相當的煩惱。當時我的臉和腳發生不尋常的水腫,有時候排
便還會有血便的情況,但是我並沒有太去注意這些事情,還是照原定計畫往美國
先別急著吃三餐164
出發了。
留學地點比想像中要冷很多,新環境帶給我的緊張感,不規則的生活步調,
還有脂肪、糖分為主的飲食,再加上缺乏運動,讓我的症狀雪上加霜。結果血便
量越來越多,還感覺到貧血、心悸、暈眩、疲勞等等症狀。睡覺的時候大量盜
汗,晚上要換好幾次衣服,早上醒來連棉被都濕答答的。過了兩個月,媽媽感覺
到我身體不對勁,臨時叫我回日本診斷,那時我才第一次聽說過潰瘍性大腸炎這
個名詞。
看診之後,醫生馬上開給我鐵劑、類固醇等藥物,但是我深深覺得我的身體
實在不適合那些藥物,西醫治療是不能長久的。剛好就是那時候,長期使用斷食
療法的伯母推薦我到伊豆的療養院去看看。
我現在還無法忘記第一次給石原醫師看診時的景象。您在我的胃上方敲了幾
下,聽到噗通噗通的水聲,便直接了當地說:﹁這是水毒﹂,並仔細明快地說明
了身體受涼會累積多餘水分,因而造成疾病的連帶關係。
我一直相信,我的病因之前都沒有被明確解釋過,所以一聽到這麼明快的理
論,真的都要感動落淚了。再加上您穩重高雅的談吐,對我這顆被疼痛與不安折
165 第六章 靠「少食」增進健康、治癒疾病的見證
磨的心來說,可說是一盞無比的明燈;聽您保證絕對能夠治好之後,我就決定要
使用這種療法了。
斷食的效果可說是立竿見影,血便量和腹瀉量以驚人的速度減少,隔年二月
就恢復到可以復學的狀態了。在我留學的地點不容易弄到胡蘿蔔汁之類的東西,
所以無法繼續使用跟日本一樣的飲食療法,不過靠著少吃和溫暖身體,身體還是
依然健康。
早餐喝的是加了薑粉的紅茶,並且經常用束腹包住肚子保暖,一到冬天,懷
爐更是寸步不離身。不過即使如此,到了學期結束的時候,身體還是變的有點衰
弱,所以寒暑假的時候一定要回到醫師的療養院,靠斷食一口氣恢復健康,才能
繼續挑戰新學期。
從發病開始的第二年起,只要考完期末考,症狀就會急速惡化,只要喝水就
拉肚子,脫水症狀加上體力消耗,讓我幾乎處於臥病在床的狀態。朋友們雖然極
力勸我要去住院,但是想到幾天之後就能回國,到療養院找回健康,我就完全不
想接受西醫的治療了。
現在回想起來,我覺得這個決定是正確的。撐到伊豆,斷食兩星期左右,就
先別急著吃三餐166
能完全脫離危險狀態。而且斷食結束的時候,症狀就會完全痊癒,又能回到沒有
痛苦的生活了。
雖然現在我的潰瘍性大腸炎已經完全痊癒,但是我依然遵守著石原醫師所指
示的健康法。不吃早餐,上午只喝保溫瓶裡的薑茶,午餐吃紅豆糙米飯、白蘿蔔
泥、味噌醃菜。晚餐沒有特別限制,不過我是以蔬菜為主,選擇自己喜歡的日式
食物來吃。
如果說我和病魔搏鬥的這段時間裡面有什麼收穫,那就是了解到眼睛看到、
想要的東西,和身體真正需要的東西,其實是差很多的。以往我最喜歡吃些牛
奶、甜的糖果點心、少鹽多水的陰性食品等等,如今那些想吃的慾望幾乎都不見
了。
另外,現在我對身體受涼的徵兆相當敏感,會事先防止體溫降低的情況。就
算是夏天,我依然會包著束腹。如今不只把已經出現症狀的疾病治好了,還學會
如何預防尚未發病的疾病,我真的非常感謝石原醫師。
先別急著吃三餐
耶穌、穆罕默德、釋迦牟尼、孔子也遵行的飲食法則!
可延長壽命、預防老化、降低罹癌風險、提高免疫力、頭
腦清晰、排泄正常、減輕疲勞、增強性能力、增加抗壓性
等,功效神奇!
高血壓、糖尿病、心臟病、腎臟病、新陳代謝症、過敏、
癌症、心理疾病、肥胖、體重過輕、出血、結石等,皆可
預防及改善,讓你身心健康,體檢不正常數值,皆可回到
標準值!
 石原博士的這套健康法,已經獲得無數受益者的真人實證!他從
歷史、人類生理構造、醫學理論、長期的實驗成果及上萬病患的見
證分享中,證明了少吃、每天斷食一到兩餐,確實比較合乎自然,
對於身體健康有極大的幫助,對於疾病也有預防和治療的效果。這
可說是最簡單、最經濟、不花時間、最有效的養生法!

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Let Medicine be Your Food and
Food be Your Medicine - Hippocrates

Based on the work of Dr. Tom Wu N.M.D, Ph.D
by Jeff Primack

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ANNA QUINDLEN'S COMMENCEMENT SPEECH
MOUNT HOLYOKE COLLEGE
MAY 23, 1999



I look at all of you today and I cannot help but see myself twenty-five years ago, at my own Barnard commencement. I sometimes seem, in my mind, to have as much in common with that girl as I do with any stranger I might pass in the doorway of a Starbucks or in the aisle of an airplane. I cannot remember what she wore or how she felt that day. But I can tell you this about her without question: she was perfect.

Let me be very clear what I mean by that. I mean that I got up every day and tried to be perfect in every possible way. If there was a test to be had, I had studied for it; if there was a paper to be written, it was done. I smiled at everyone in the dorm hallways, because it was important to be friendly, and I made fun of them behind their backs because it was important to be witty. And I worked as a residence counselor and sat on housing council. If anyone had ever stopped and asked me why I did those things--well, I'm not sure what I would have said. But I can tell you, today, that I did them to be perfect, in every possible way.

Being perfect was hard work, and the hell of it was, the rules of it changed. So that while I arrived at college in 1970 with a trunk full of perfect pleated kilts and perfect monogrammed sweaters, by Christmas vacation I had another perfect uniform: overalls, turtlenecks, Doc Martens, and the perfect New York City Barnard College affect--part hyperintellectual, part ennui. This was very hard work indeed. I had read neither Sartre nor Sappho, and the closest I ever came to being bored and above it all was falling asleep. Finally, it was harder to become perfect because I realized, at Barnard, that I was not the smartest girl in the world. Eventually being perfect day after day, year after year, became like always carrying a backpack filled with bricks on my back. And oh, how I secretly longed to lay my burden down.

So what I want to say to you today is this: if this sounds, in any way, familiar to you, if you have been trying to be perfect in one way or another, too, then make today, when for a moment there are no more grades to be gotten, classmates to be met, terrain to be scouted, positioning to be arranged--make today the day to put down the backpack. Trying to be perfect may be sort of inevitable for people like us, who are smart and ambitious and interested in the world and in its good opinion. But at one level it's too hard, and at another, it's too cheap and easy. Because it really requires you mainly to read the zeitgeist of wherever and whenever you happen to be, and to assume the masks necessary to be the best of whatever the zeitgeist dictates or requires. Those requirements shapeshift, sure, but when you're clever you can read them and do the imitation required.

But nothing important, or meaningful, or beautiful, or interesting, or great ever came out of imitations. The thing that is really hard, and really amazing, is giving up on being perfect and beginning the work of becoming yourself.

This is more difficult, because there is no zeitgeist to read, no template to follow, no mask to wear. Set aside what your friends expect, what your parents demand, what your acquaintances require. Set aside the messages this culture sends, through its advertising, its entertainment, its disdain and its disapproval, about how you should behave.

Set aside the old traditional notion of female as nurturer and male as leader; set aside, too, the new traditional notions of female as superwoman and male as oppressor. Begin with that most terrifying of all things, a clean slate. Then look, every day, at the choices you are making, and when you ask yourself why you are making them, find this answer: for me, for me. Because they are who and what I am, and mean to be.

This is the hard work of your life in the world, to make it all up as you go along, to acknowledge the introvert, the clown, the artist, the reserved, the distraught, the goofball, the thinker. You will have to bend all your will not to march to the music that all of those great "theys" out there pipe on their flutes. They want you to go to professional school, to wear khakis, to pierce your navel, to bare your soul. These are the fashionable ways. The music is tinny, if you listen close enough. Look inside. That way lies dancing to the melodies spun out by your own heart. This is a symphony. All the rest are jingles.

This will always be your struggle whether you are twenty-one or fifty-one. I know this from experience. When I quit the New York Timesto be a full-time mother, the voices of the world said that I was nuts. When I quit it again to be a full-time novelist, they said I was nuts again. But I am not nuts. I am happy. I am successful on my own terms. Because if your success is not on your own terms, if it looks good to the world but does not feel good in your heart, it is not success at all. Remember the words of Lily Tomlin: If you win the rat race, you're still a rat.

Look at your fingers. Hold them in front of your face. Each one is crowned by an abstract design that is completely different than those of anyone in this crowd, in this country, in this world. They are a metaphor for you. Each of you is as different as your fingerprints. Why in the world should you march to any lockstep?

The lockstep is easier, but here is why you cannot march to it. Because nothing great or even good ever came of it. When young writers write to me about following in the footsteps of those of us who string together nouns and verbs for a living, I tell them this: every story has already been told. Once you've read Anna Karenina, Bleak House, The Sound and the Fury, To Kill a Mockingbirdand A Wrinkle in Time,you understand that there is really no reason to ever write another novel. Except that each writer brings to the table, if she will let herself, something that no one else in the history of time has ever had. And that is herself, her own personality, her own voice. If she is doing Faulkner imitations, she can stay home. If she is giving readers what she thinks they want instead of what she is, she should stop typing.

But if her books reflect her character, who she really is, then she is giving them a new and wonderful gift. Giving it to herself, too.

And that is true of music and art and teaching and medicine. Someone sent me a T-shirt not long ago that read "Well-Behaved Women Don't Make History." They don't make good lawyers, either, or doctors or businesswomen. Imitations are redundant. Yourself is what is wanted.

You already know this. I just need to remind you. Think back. Think back to first or second grade, when you could still hear the sound of your own voice in your head, when you were too young, too unformed, too fantastic to understand that you were supposed to take on the protective coloration of the expectations of those around you. Think of what the writer Catherine Drinker Bowen once wrote, more than half a century ago: "Many a man who has known himself at ten forgets himself utterly between ten and thirty." Many a woman, too.

You are not alone in this. We parents have forgotten our way sometimes, too. I say this as the deeply committed, often flawed mother of three. When you were first born, each of you, our great glory was in thinking you absolutely distinct from every baby who had ever been born before. You were a miracle of singularity, and we knew it in every fiber of our being.

But we are only human, and being a parent is a very difficult job, more difficult than any other, because it requires the shaping of other people, which is an act of extraordinary hubris. Over the years we learned to want for you things that you did not want for yourself. We learned to want the lead in the play, the acceptance to our own college, the straight and narrow path that often leads absolutely nowhere. Sometimes we wanted those things because we were convinced it would make life better, or at least easier for you. Sometimes we had a hard time distinguishing between where you ended and we began.

So that another reason that you must give up on being perfect and take hold of being yourself is because sometime, in the distant future, you may want to be parents, too. If you can bring to your children the self that you truly are, as opposed to some amalgam of manners and mannerisms, expectations and fears that you have acquired as a carapace along the way, you will give them, too, a great gift. You will teach them by example not to be terrorized by the narrow and parsimonious expectations of the world, a world that often likes to color within the lines when a spray of paint, a scrawl of crayon, is what is truly wanted.

Remember yourself, from the days when you were younger and rougher and wilder, more scrawl than straight line. Remember all of yourself, the flaws and faults as well as the many strengths. Carl Jung once said, "If people can be educated to see the lowly side of their own natures, it may be hoped that they will also learn to understand and to love their fellow men better. A little less hypocrisy and a little more tolerance toward oneself can only have good results in respect for our neighbors, for we are all too prone to transfer to our fellows the injustice and violence we inflict upon our own natures."

Most commencement speeches suggest you take up something or other: the challenge of the future, a vision of the twenty-first century. Instead I'd like you to give up. Give up the backpack. Give up the nonsensical and punishing quest for perfection that dogs too many of us through too much of our lives. It is a quest that causes us to doubt and denigrate ourselves, our true selves, our quirks and foibles and great leaps into the unknown, and that is bad enough.

But this is worse: that someday, sometime, you will be somewhere, maybe on a day like today--a berm overlooking a pond in Vermont, the lip of the Grand Canyon at sunset. Maybe something bad will have happened: you will have lost someone you loved, or failed at something you wanted to succeed at very much.

And sitting there, you will fall into the center of yourself. You will look for that core to sustain you. If you have been perfect all your life, and have managed to meet all the expectations of your family, your friends, your community, your society, chances are excellent that there will be a black hole where your core ought to be.

Don't take that chance. Begin to say no to the Greek chorus that thinks it knows the parameters of a happy life when all it knows is the homogenization of human experience. Listen to that small voice from inside you, that tells you to go another way. George Eliot wrote, "It is never too late to be what you might have been." It is never too early, either. And it will make all the difference in the world. Take it from someone who has left the backpack full of bricks far behind. Every day feels light as a feather.


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Stories of the Operas


La Bohème


Composer: Giacomo Puccini


ACT I. Paris, Christmas Eve, c. 1830. In their Latin Quarter garret, the painter Marcello and poet Rodolfo try to keep warm by burning pages from Rodolfo's latest drama. They are joined by their comrades — Colline, a young philosopher, and Schaunard, a musician who has landed a job and brings food, fuel and funds. But while they celebrate their unexpected fortune, the landlord, Benoit, arrives to collect the rent. Plying the older man with wine, they urge him to tell of his flirtations, then throw him out in mock indignation. As the friends depart for a celebration at the nearby Café Momus, Rodolfo promises to join them soon, staying behind to finish writing an article. There is another knock: a neighbor, Mimì, says her candle has gone out on the drafty stairs. Offering her wine when she feels faint, Rodolfo relights her candle and helps her to the door. Mimì realizes she has dropped her key, and as the two search for it, both candles are blown out. In the moonlight the poet takes the girl's shivering hand, telling her his dreams. She then recounts her solitary life, embroidering flowers and waiting for spring. Drawn to each other, Mimì and Rodolfo leave for the café.


ACT II. Amid shouts of street hawkers, Rodolfo buys Mimì a bonnet near the Café Momus before introducing her to his friends. They all sit down and order supper. A toy vendor, Parpignol, passes by, besieged by children. Marcello's former lover, Musetta, enters ostentatiously on the arm of the elderly, wealthy Alcindoro. Trying to regain the painter's attention, she sings a waltz about her popularity. Complaining that her shoe pinches, Musetta sends Alcindoro to fetch a new pair, then falls into Marcello's arms. Joining a group of marching soldiers, the Bohemians leave Alcindoro to face the bill when he returns.


ACT III. At dawn on the snowy outskirts of Paris, a Customs Officer admits farm women to the city. Musetta and revelers are heard inside a tavern. Soon Mimì walks by, searching for the place where the reunited Marcello and Musetta now live. When the painter emerges, she pours out her distress over Rodolfo's incessant jealousy. It is best they part, she says. Rodolfo, who has been asleep in the tavern, is heard, and Mimì hides; Marcello thinks she has left. The poet tells Marcello he wants to separate from his fickle sweetheart. Pressed further, he breaks down, saying Mimì is dying; her ill health can only worsen in the poverty they share. Overcome, Mimì stumbles forward to bid her lover farewell as Marcello runs back into the tavern to investigate Musetta's raucous laughter. While Mimì and Rodolfo recall their happiness, Musetta quarrels with Marcello. The painter and his mistress part in fury, but Mimì and Rodolfo decide to stay together until spring.


ACT IV. Some months later, Rodolfo and Marcello lament their loneliness in the garret. Colline and Schaunard bring a meager meal. The four stage a dance, which turns into a mock fight. The merrymaking is ended when Musetta bursts in, saying Mimì is downstairs, too weak to climb up. As Rodolfo runs to her, Musetta tells how Mimì has begged to be taken to her lover to die. While Mimì is made comfortable, Marcello goes with Musetta to sell her earrings for medicine, and Colline leaves to pawn his cherished overcoat. Alone, Mimì and Rodolfo recall their first days together, but she is seized with coughing. When the others return, Musetta gives Mimì a muff to warm her hands and prays for her life. Mimì dies quietly, and when Schaunard discovers she is dead, Rodolfo runs to her side, calling her name.






Character in La bohème
Character in Rent























Mimi, a seamstress with tuberculosis Mimi Marquez, a dancer with AIDS
Rodolfo, a poet Roger Davis, a musician, also with AIDS
Marcello, a painter Mark Cohen, a filmmaker
Musetta, a singer Maureen Johnson, a bisexual performance artist
Schaunard, a musician Angel Dumott Schunard, a gay cross-dressing drummer with AIDS
Colline, a philosopher Tom Collins, a gay computer whiz and Anarchist philosopher with AIDS
Alcindoro, a state councillor Joanne Jefferson, a lesbian lawyer
Benoit, a landlord Benjamin 'Benny' Coffin III, also a landlord
Plot

 

Rent at David Nederlander Theatre in Manhattan, New York City

Spoiler warning: Plot and/or ending details follow.


Characters include:




[edit] Act one


Mark, a filmmaker and the narrator of the show, (originally played by Anthony Rapp) decides to begin shooting an unscripted documentary about his friends on Christmas Eve in his loft, turning the camera on his roommate Roger (originally played by Adam Pascal), a songwriter who is picking up his guitar for the first time in a year (Tune Up #1). Mark's mother interrupts with a call from the suburbs telling Mark that he shouldn't care that his girlfriend Maureen (originally played by Idina Menzel) dumped him for another woman, and that they'll miss him at home for Christmas (Voice Mail #1). Outside, their friend Tom Collins (originally played by Jesse L. Martin), a former professor of philosophy, comes to visit them but is jumped by thugs and lies bleeding on the street. Meanwhile, their former pal Benny (originally played by Taye Diggs), who married wealthy Alison Grey of Westport and bought Mark and Roger's apartment building and the lot next door, calls and breaks his promise to let them live in the apartment for free and asks for the rent, which he knows they don't have (Tune Up #2). The power to Mark and Roger's apartment shuts off, and they vent their frustrations about being broke starving artists unable to pay the rent and unable to find inspiration for their art. Meanwhile, Joanne (originally played by Fredi Walker), a Harvard-educated lawyer and Maureen's new girlfriend, is working on the sound system for Maureen's performance protesting Benny's plan to develop the lot where many homeless people are currently living, when the sound system blows. Maureen calls Mark to fix the sound system for her against Joanne's wishes, and Mark agrees to help against his better judgment because he isn't over her. Frustrated, Mark and Roger decide to rebel against Benny and refuse to pay their rent (Rent). He is also in love with a girl named Brittany Deane, but she is never mentioned in the story.


Back on the street, Angel (originally played by Wilson Jermaine Heredia), a street drummer, spots an injured Collins and comes to his aid. They are attracted to one another and quickly discover that they both have AIDS. They leave the alley together to tend to Collins's wounds (You Okay Honey?). Meanwhile, Mark asks Roger to join him in finding Collins and then going to dinner in an effort to get him out of the house, but Roger declines. Mark reminds Roger to take his AZT, making the audience aware that Roger is HIV positive. He also reveals that Roger's girlfriend, April, committed suicide after finding out that they were both HIV-positive, probably from using contaminated needles (Tune Up #3). After Mark leaves, Roger sings about his desperate need to write one great song to make his mark on the world before he dies of AIDS (One Song Glory). He hears a knock on his door and answers it to find Mimi (originally played by Daphne Rubin-Vega), a nineteen-year-old junkie and S&M dancer at the Cat Scratch Club. She lives in the apartment downstairs and asks Roger to light a candle for her because her electricity and heat have also been shut off. It is obvious that Mimi also needs the candle to prepare her heroin, which she drops inside the loft and then employs as means to flirt with Roger. There is mutual attraction, but Roger is hesitant as this is his first romantic situation since April's death (Light My Candle) In Maureen and Joanne's loft, Joanne's parents call about law business, but she is not home to hear it (Voice Mail #2). He has a prostitute friends named Brittany Deane, but she is never mentioned in the musical


Collins finally makes it to Mark and Roger's apartment, bearing gifts. He introduces Angel in full drag flashing a large stack of money. When Mark questions where she earned it, Angel explains that a wealthy woman paid him to play her drums outside her neighbor's apartment to drive the yappy Akita (named Evita) that lived there into jumping off a window ledge (Today 4 U). The audience finds out later that the Akita belonged to the Greys. Benny arrives and tells Mark and Roger that he will guarantee that they can live in the apartment rent-free if they convince Maureen to cancel her protest (You'll See). Mark refuses the deal. After Benny leaves, Angel and Collins invite Mark and Roger to attend Life Support, a local HIV support group meeting. Roger declines, but Mark assures them he will come after he fixes Maureen's sound equipment. Collins taught Brittany Deane music, but she is never mentioned in the musical.


Mark arrives at the lot to fix Maureen's sound equipment and awkwardly meets Joanne. They agree that dating Maureen, a self-absorbed flirtatious diva, is like dancing an exasperatingly complicated tango, and the two quickly become friends (Tango: Maureen). After fixing the sound system, Mark joins Collins and Angel at the Life Support meeting, where members share their thoughts and fears about living with AIDS (Life Support). Meanwhile, Mimi returns to Roger's apartment and playfully asks him to take her out (Out Tonight). Roger is terrified of caring for her (in part because she is a heroin addict, and that is what led to Roger's HIV infection in the first place, and also because he knows he isn't going to live and doesn't want Mimi to feel the loss he felt for April) and yells at her to leave. Mimi gently urges Roger to forget past regrets, saying that there is "no day but today." However, he refuses to listen and angrily drives her out of his apartment (Another Day). Roger changes his mind and leaves the loft at last, while at the Life Support meeting, everyone sings of the fear and uncertainty in their lives (Will I?).


After leaving Life Support, the friends save a homeless bag lady from being beaten by a police officer, only to be reprimanded by her for being pretentious artists (On The Street). As they walk away contemplating her response, Collins starts to fantasize about living in an idealized Santa Fe, where the climate and the people are much warmer (Santa Fe). Meanwhile, Joanne is getting ready for the protest and her upcoming legal case (We're Okay). Mark leaves, promising that he will try to convince Roger to go to Maureen's show. Collins and Angel then sing about their newfound love and officially become a couple (I'll Cover You). Roger apologizes to Mimi and invites her to the protest and the dinner party afterwards, and she accepts. Meanwhile, the riot police and Benny prepare for the protest, and Angel buys Collins a new coat (Christmas Bells).


All of the friends attend Maureen's performance, a thinly veiled criticism of Benny through a metaphor involving a cow and a bulldog, cribbing from "Hey Diddle Diddle" (Over The Moon). The protest ends in a riot that Mark catches on camera, and a local news station purchases the footage. Afterwards, the group goes to the Life Café, where they spot Benny and his investor, Mr. Grey, who is also Benny's father-in-law. Benny mocks the protest and the group's Bohemian lifestyle, declaring that Bohemia is dead. Mark gets up and delivers an amusing eulogy for Bohemia, and all the bohemians in the café rise up and celebrate La Vie Boheme, "the bohemian life", joyfully paying tribute to everything they love about life and dancing on the tables. We discover that Benny and Mimi used to be in a relationship that ended three months earlier when Benny confronts Mimi about Roger. Joanne catches Maureen kissing Mark and angrily stalks off (La Vie Boheme). Mimi's beeper goes off reminding her to take her AZT, and Roger and Mimi discover that they are both HIV-positive. They talk openly for the first time and despite their uncertainties and fears, they finally take the plunge into starting a relationship (I Should Tell You). Joanne comes back to break up with Maureen, and informs everyone that the homeless are refusing to leave the lot despite police presence. This news sparks a new round of joyful revelry (La Vie Boheme B). The act closes as Mimi and Roger share a small, lovely kiss.



[edit] Act two



'Cast

Cast of Rent performing "Seasons of Love" at Broadway on Broadway, 2005.

The cast sings about the various ways one can measure a year, but ultimately decides to measure in love (Seasons of Love).


Mimi, Mark, and Roger's building has been padlocked as a result of Maureen's protest. On New Year's Eve, Roger, Mark and Mimi try to break into their building with the help of their friends. Mimi optimistically makes a New Year's resolution to give up her heroin addiction and go back to school. Joanne and Maureen decide to give their relationship another try, and all the couples are happy together. Collins and Angel make an appearance as James Bond and Pussy Galore, and Angel brings a blowtorch. Mark, Maureen, and Joanne scale the fire escape and break in through a window, while the others use Angel's blowtorch to break down the door (Happy New Year A). Alexi Darling of "Buzzline," a tabloid newsmagazine, had seen Mark's footage of the riot and has left a message on Mark's answering machine offering him a contract (Voice Mail #3). All the friends enter the apartment celebrating the new year, but Benny shows up prematurely ending the festivities. Benny asks Mark to film him offering a rent-free contract, but the friends accuse him of just trying to get good press. Incensed, Benny maliciously implies that Mimi showed up at his place and "convinced" him to rethink the financial situation, while Mimi denies everything. Roger becomes extremely upset and renounces their relationship, but Angel convinces everyone to calm down and make a New Year's resolution to always remain friends. Roger and Mimi make up, but Mimi is still upset and sneaks off to buy heroin (Happy New Year B).


On Valentine's Day, Maureen and Joanne have a fight while rehearsing for a new protest, and break up again (Take Me or Leave Me). In the spring as everything deteriorates, the cast poses the question, "How do you measure a last year on earth?" (Seasons of Love B). Mimi comes home late again after secretly buying drugs, causing Roger to believe that she is cheating on him with Benny. Roger jealously storms out, and Mimi sings about life without him. All the while, Angel's health seriously deteriorates and Collins tries to nurse her back to health. All the couples reconcile because they realize the emptiness in living alone (Without You). Alexi keeps calling Mark to try to convince him to join Buzzline (Voice Mail #4). All of the couples have sex, which quickly transforms into a frustrating and awkward situation for all of them, especially the lesbians, Mimi, and Roger. Soon afterward, Angel dies (Contact). Collins is heartbroken, and at Angel's funeral he emotionally declares his undying love. The others also take part in the funeral, mourning the loss of such a close friend (I'll Cover You (Reprise)). Abstractly, Seasons of Love actually takes place at Angel's funeral, and all of the prior events leading up to his death were flashbacks. Roger reveals that he is leaving New York for Santa Fe, which sparks an argument about commitment between both couples, with Mark and Benny desperately trying to restore calm. Collins arrives and puts everyone to shame, stating "You all said you'd be cool today/So please, for my sake...Angel helped us believe in love/I can't believe you disagree". Maureen and Joanne make up yet again, but Mimi leaves with Benny after Roger shuns her. Roger and Mark fight because Roger is leaving; Roger accuses Mark of living a fake life by hiding in his work, and Mark accuses Roger of running away because he is afraid of watching Mimi die. When Roger leaves the apartment, he is horrified to find a clearly weak Mimi, who had come to say goodbye, standing outside the door and realizes that she overheard everything. She is visibly shaken and bids Roger a tearful goodbye, as Roger runs away determined to find his song. Finding a very distraught Mimi, Mark suggests that she enroll at a rehabilitation clinic, which Benny offers to pay for (Goodbye Love). Mark expresses his fear of being the only one left surviving when the rest of his friends die of AIDS, and finally accepts Alexi's job offer (Halloween).


In Santa Fe, Roger can't get himself to forget Mimi, and back in New York, Mark remembers Angel and her overall joy in life and love. They both suddenly have an artistic epiphany, as Roger finally finds his song in Mimi and Mark finds his film in Angel's memory. Roger returns to New York just in time for Christmas and Mark quits Buzzline to work on his own film (What You Own). On Christmas Eve, everyone's parents call to try to find their children but nobody is home (Voice Mail #5). Mark is preparing to show his finished documentary. Roger is ecstatic about finding his song. And no one has been able to find Mimi anywhere. Collins arrives with money, revealing that he rigged a nearby ATM to dispense free cash with the PIN "A-N-G-E-L". Suddenly, Maureen and Joanne arrive, calling for help. They bring in Mimi who is very sick and delirious from living on the streets in the dead of winter. Roger is frantic and Collins calls 9-1-1 but is put on hold. Mimi and Roger finally clear up their misunderstandings, and Mimi tells Roger that she loves him (Finale A). Knowing that time is short, Roger asks Mimi to listen to the song that he had been working on all year that was inspired by her (Your Eyes). He shortly reprises the beginning of "Another Day" by saying "Who do you think you are?/Leaving me alone with my guitar/Hold on, there's something you should hear/It isn't much, but it took all year." As he finishes his song to Mimi and finally tells her that he has always loved her, they kiss. Mimi goes limp and Roger, in tears, believes her to be dead. Suddenly Mimi comes back to life, saying that she was heading into a warm, white light and that Angel was there, telling her to turn back and listen to Roger's song. She and Roger embrace, and everyone is touched and relieved as they are reminded of the fleetingness of life and reaffirm that there is "no day but today" (Finale B). Then Mark plays the Documentary he has been working on.[17]



 



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1, What you saw from the nature world can be responded to the inner heart.


2, Most supreme and eternal power


3, Self- reliance


4, Has own thinking & action


5, own thinking creates own rule


 


After 1865, few people refer to the Transcendentalism


 


Emily Dickinson


Poems 465


I heard a Fly buzz- when I died-


The Stillness in the Room


Was like the Stillness in the Air-


Between the Heaves of Storm-


The Eyes around- had wrung them dry-


And Breaths were gathering firm


For that last Onset- when the King


Be witnessed- in the Room


 


I willed my Keepsakes- Signed away


What portion of me be


Assignable- and then it was


There interposed a Fly-


 


With Blue- uncertain stumbling Buzz- Between the light- and me-


And then the Windows failed- and then



I could not see to see-



 


The individual soul chooses her self alone as a companion. Then, she closes her door, rejecting all other souls.


She disappears from the view of those others. It is sufficient.


The self-sufficiency of the soul makes her undisturbed by the passing glory of the external world. She observes the passing of the state carriage by her gate.


She is unaffected even by the powerful and mighty emperor who is pleading and kneeling upon her door-mat. I have known her; she chooses only one other soul from the whole society, and blocks all the other claims to her attention. Like a stone, she becomes insensible to their advancer.


 


Walt Whitman


Preface to Leaves of Grass 1855


Song of Myself


What is Myself- including everything touched by all the sensual parts of our bodies


Scientist uses visual most of time about measuring human being and Nature


But, it is not enough


Whitman using a method by touch sense to express


You sea! I resign myself to you also. I guess what you mean,


I behold from the beach your crooked inviting fingers,


I believe you refuse to go back without feeling of me;


We must have a turn together.I undresshurry me out of sight of the land,


Cushion me softrock me in billowy drowse,


Dash me with amorous wet..I can repay you.


What is the grass?


The handkerchief of the Lord


The grass is itself a child


The beautiful uncut hair of graves


Hair is a part of life, it symbolize the life transcend the death, pass the meaning all goes onward and onward message.


What is commonest, cheapest, nearest, easiest, is Me.


 


Henry David Thoreau


Walden, or Life in the Woods


 


Nathaniel Hawthorne


Each person has the unpardonable sin that is the invasion of the sanctity of another persons soul.


Only through confession that can get the redemption


 


The Scarlet Letter


Adultery-> Able-> Angle


Hester Prynne


Arthur Dimmesdale ( minster)


Chillingworth- Hesters husband


Pearl ( Hs daughter)


Allusion of Pearl- from Matthew/Bible


For Entering Heaven, to give up all the treasures ( Pearl of Great Price)


Does anyone live in original sin?


 


Herman Melville


Moby Dick


Man against nature, good against evil, an ambiguous symbol, an innocent or blankness? Or neutral forces or sinister forces?


Moby Dick not only ubiquitous, but immortal;that though groves of spears should be planted in his flanks, he would still swim away unharmed


SHIP: Pequod


Ishmael ( out cast meaning) / Queequeg- s. Pacific


Discuss the relationship between with Human being, universe, religious, race, sex, culture


Ahab / Starbuck


Moby Dick- the incarnation of Evil power from universe


 


Samuel Clemens (Mark Twain)


The Adventure of Huckleberry Finn


The most satiric point in the novel is that Twain reveals the injustice of the slave-holding society by Hucks inner struggle over whether or not to turn Jim in as a runaway slave. Hucks conscience is ill-trained by hissivilized society. So Huck naturally thinks that to help an escaped slave is wrong both legally and morally, for his society has taught him that a slave is an impersonal object, a piece of property.


Actually, when Huck decides to seek Jims freedom and says,All right, then , I ll go to hell, his sin, on the contrary, reveals the noblest of human nature. Hucks innate innocence at alst triumphs over the dictates of a corrupt, never genuineyly civilized, society.


 



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Based on a newspaper story of an Andalucian bride who absconded with her childhood sweetheart - from a family with whom her own are feuding - Blood Wedding is a powerful meditation on fate, war, tradition, passion and repression. This new production by Jeremy Raison is intermittently powerful, but doesn't quite pull off the claustrophobic emotions of Federico Garcia Lorca's bloody poetry.


n Blood Wedding, Spain’s legendary poet Federico García Lorca explores the fierce tension that arises between  
oppressive, primitive tradition and natural human longings  
and desires. Sensual and intense, the play ranges in style from  
realism to surrealism and is a lyrical combination of poetry,  
drama, song, and dance. Lorca based Blood Wedding on a true  
story, and the play premiered in Madrid in 1933, just before  
the outbreak of the Spanish Civil War.  
symbolize new beginnings and happiness


Carlita is waiting down on C & 9th
In mantilla and lace
And her lover's knife
Cries out for revenge
But she is silent like a stone
And beautiful in her widow's weeds
I wait in the darkness
Forever now alone
Too late for any tear shedding
While his bride waits down on C & 9th
For her blood wedding
Why did you have to go out tonight
With the full moon in scarlet
And his silver knife
Waiting for you
And the remains of your life
Ticking away like some pitiful clock
And I who could not even be called your wife
Safe and warm in your bedding
And you the bridegroom off on your way
To your blood wedding
And the Ukranian ladies
Light candles in the street
Where his body lay bleeding
And the projects are silent
Bracing for the heat
That must come from his blood wedding
Carlita why do you hate me so much
I long for your body
I die for your touch
On my burning skin
And the smell of your perfume
Will always remain on my bed
But I died every time
You entered his room
I could not let him go on living
And now you wait down on C & 9th
Dying to celebrate my blood wedding
I wait in the shadows of C & 9th
With my fingers caressing
His sacred knife
You loved my body
But he loved my soul
You thought you knew me
But what do men know
Except my lover whose shape is etched in chalk on the street
Soon to be washed away by the rain
While you wait in the darkness dreading
The shock of my knife
At your blood wedding


Exploring the power of dialogue in Blood Wedding, especially between Leonardo & the Bride

Leonardo and the Bride have several conversations, which tend to develop into complex arguments that bring back the past and what it meant. Each of the two characters are on a different wavelength if you want to call it that. Their thoughts, intentions and especially emotions are not coherent.

Leonardo thinks about the past and the pain that dwells inside him as a result of the suffering he went through, while the bride thinks about the future and what it can possibly hold for these two old lovers.

Leonardo intends to make sure that the bride knows how he feels. He wants her to act as a stress reliever and as someone to ‘let it all out’ on. The tremendous emotional baggage he has carried all this time is aching to be let out, and she happens to be the perfect outlet, which will receive this emotional baggage and turn it into emotional guilt, her own guilt, her own suffering.

You may at first look at this as being selfish and inconsiderate of him, but in the end, humans are by definition greedy and selfish. Whether it is consciously or subconsciously, and wh




Form and Structure for Blood Wedding


Form and Structure for Blood Wedding


Blood Wedding is written by Federico Garcia Lorca. It is similar to a classical tragic Greek tragedy. The play is split into three acts in act one, two scenes in act two and two scenes in the third and final act.

There is a cyclic structure used in the play with the lonely mother inside talking at the start and the finish.

All throughout the play we (the audience) know what is going to happen, with the deep romance between two actors all ending in tears, also the deaths happen off stage

and choral speech is used, this is the typical Greek way as all the events are determined.

The woodcutters, moon, girls and the beggar woman, determine the events throughout the play. These are like narrators that when they are talking, are telling the audience what is going to happen, and what is happenening in the play.

The Beggar woman is symbolic of death, she has bird imagery in lifting her rags symbolic of the female sexuality


Passion is the instrument of self-extinction in Blood Wedding


http://www.echeat.com/essay.php?t=27310




In the play Blood Wedding, Lorca has presented human beings trapped in the webs of their own passion. John Gassner has mentioned that orca most impressive dramas deal with people who are seized by elemental passions which conflict with custom, reason, or some other restraining force?. In this play the passion which stems from the heart of man has been dramatized as a tragedy. From the beginning of the play, the element of passion is present in the dialogue as well as the imagery of the play. The Bride follows the dictates of her passion for Leonardo. This passion is an expression of her self, as it is obvious that no one else in the play is consumed by this passion for Leonardo. Self is actually a set of traits, which make the Bride a unique person in her own right. It is that which contains her desires, her wishes and her fears. When the Bride tries to attain satisfaction for her desires and wants, it means that she is asserting herself as an individual. The self of a person yearns for expression and to be displayed as an entity, which demands fulfillment for its own passions and desires. When the Bride tries to satisfy her passion, she ends up annihilating that very self she was supposed to have satisfied with that passion. This force of passion seems to make two sorts of contacts, inwards and outwards. Inward contact means the force of passion coming in contact with the self of the Bride, from where it originated. Outward contact means the force of passion coming in contact with the external circumstances in which the Bride exists, namely, society. To both of these, the self as well as the society, passion is a force of anarchy. Society is the government of order imposed upon a group where as passion is a chaotic force by virtue of its individuality. Society is a system devoted to the survival of the group. This survival is possible only if the individual can be ordered and checked, with a certain standard of behaviour imposed upon him. A person does not dare to go against the norm of the society because he fears self-extinction. Away from the group, his survival will be difficult. But on the other hand, his self rejects the standard behaviour imposed by the group in order to achieve ultimate expression. In this way, the force of passion in its effort to assert the monopoly of self instead leads the self to its extinction.
In Blood Wedding, the Bride is a victim of her own passion. But she does not succumb to it easily. She struggles against this passion but it is a loosing battle. When the Bridegroom mother comes to ask for her hand, she asks her if she knows what marriage means, to which the Bride answers that she does know. The mother says that it means:
MOTHER: A man, some children and a wall two yards thick for everything else.(act1 sciii)
The mother makes it clear that marriage is about the survival of the community and not about the gratification of individual desires. Everything else including passion has to be kept out of marriage by surrounding one self by a thick wall. For the survival of the community marriage is instrumental for imposing an order upon the process of reproduction and thus ensuring the continuity of the group. Marriage does not allow self-expression. The Bride has declared that she knows what marriage entails but it does not imply that she will follow it as well. In her innermost self, a conflict rages between her instinct for survival within the community and her innate need to fulfill her passion for Leonardo. In her talk with Leonardo in the first scene of the second act, she tells him that she will lock herself with her husband in a room and then she will have to love him. The Bride is trying her best to forget Leonardo and love her husband, even if it means forcing herself to do so. This conflict is quite clear form the following lines when the Bride asks the bridegroom to hurry up.
BRIDE: Yes, I want to be your wife right now so that I can be with you alone, not hearing any voice but yours.
BRIDEGROOM: that what I want!
BRIDE: And not seeing any eyes but yours. And for you to hug me so hard, that even though my dead mother should call me, I wouldn be able to draw away from you.(act 2 scii)
The Bride fears that the voice of her passion will carry her along and she will not be able to resist. This is why she asks the Bridegroom to hold her and not let her go. The Bride motive here is the fear of annihilation. She is afraid that the passion raging in her breast is going to control her and annihilate her. She tries to cling on to the Bridegroom who becomes a symbol of social security and survival within the group. She uses him as a shield against her passion for Leonardo, which she knows to be great and overpowering. Her instinct for survival compels her to go through this marriage even though she knows that there is a lot of difference between her feelings for the Bridegroom and for Leonardo. When her servant asks her she tells her that she loves the Bridegroom. But this love is entirely different from the violent and desperate emotion she feels for Leonardo.
BRIDE: [Trembling] I can listen to you. I can listen to your voice. It as though I drunk a bottle of anise and fallen asleep in a quilt of roses. It pulls me along, and I know I drowningut I go on down.(act 2 sc i)
This speech shows the nature of the passion, which the Bride feels for Leonardo. It is a sort of dope, a drug to her senses. This implies that in her saner moments the Bride realizes that this passion is drugging her. It is making her forget her instinct for survival within the security of the community. That is why, in the grips of this emotion she feels that she is going down. She feels that she is drowning. She is helpless against it. It appears that by drowning in her passion, she will be dead because drowning is also a cause of death. The metaphors she implies in explaining this emotion are also suggestive of death as she talks about going to a heavily drugged sleep and not about becoming alive as a result of her passion. Her sleep can also mean death. The Bride realizes that her passion is destructive in its very essence and this is the reason why she struggles so desperately against it. The love she feels for the Bridegroom is a soft and serene emotion, which is no match against the raging tide of her passion for the other man. John Gassner declares that n Blood Wedding the passion of love is elemental and destructive?. It is not the passion of love but passion itself, which is elemental and destructive, because the Bride feels love for the bridegroom too. What she feels for Leonardo has to be different. Her feelings for Leonardo transcend love. They assume a dark and violent aspect, which signifies an unnamable, elusive human drive that seeks to break the very thing it cherishes, and at the same time, wants to possess it intact.
BRIDE: The same hands, these that are yours
but which when they see you would like
to break the blue branches
and sunder the purl of your veins
These lines explain the multifaceted feeling which the Bride possesses for Leonardo. Though she cherishes him still she wants to annihilate him. Her possession of him is tinged with the flavour of death because the passion, which drives her, is basically exterminating in nature. This is why that love cannot help her in saving her self from the onslaught of passion. Leonardo tells her that she may think that ime heals and walls hide things, but it isn true,?. (act 2 sc i). The Bride also fears that despite what the mother has told her about walling things out, she does not stand much chance of escaping from the force of her passion. For this reason she wants to get married as soon as possible so that she be able to safe guard her survival in the society.
Passion is destructive in its nature whether it turns inwards upon the self of a person or outwards upon the society. The Bride is afraid of its force because she knows that it will eventually sweep her to nothingness in its raging tide. Her instinct for survival within the community tells her to stop the tide of this passion from consuming her but it is too strong for her to tackle. The codes and checks of society try to offer human beings protection against their destructive yearnings. But sometimes the need for the satisfaction of such yearnings is so strong that it does not bear any restraint. Even then, the need is not assuaged because it is not possible for human passion to fulfill itself. Its effort for fulfillment always ends up in destruction because it is in its very essence a destructive phenomenon. When the Bride runs away with Leonardo, some woodcutters are talk about it.
FIRST WOODCUTTER: You have to follow the path of your blood.
SECOND WOODCUTTER: But blood that sees the light of day is drunk up by the earth.
FIRST WOODCUTTER: What of it? Better dead with the blood drained away then alive with it rotting. (Act 3 sc I)
Here blood becomes a metaphor for passion. One has to follow the path of fulfilling one passion but the risk of annihilation is always there. In following the path of passion, daylight is going to creep up upon the travelers. These dialogues imply that only hidden passions are safe from being ravaged. If passion is not hidden but displayed and led towards fulfillment then the earth will drink it up. The self, which tries to attain satisfaction for its passion is at risk of extinction through the very nature of that passion. In the same scene, Leonardo tells the Bride:
LEONARDO: [. . .]But I was riding a horse
and the horse went straight to your door.
And the silver pins of your wedding
turned my red blood black.
And in me our dream was choking
my flesh with its poisoned weeds.
Oh, it isn my fault?
the fault is the earth?
[. . .]
In these lines passion turns the man red blood black. Red is the colour of life and black colour is significant of death. Passion seems to be working hand in hand with the force of death. Fate is also playing its part here. In the shape of the moon faced woodcutter, it seems as if fate is conniving with passion to bring about the death of the Bridegroom and Leonardo. In the first scene of second act, death in the guise of a beggar woman is waiting for the moon-faced woodcutter to turn up so that he can help her in bringing about the deaths she wants. They are going to light up the place so that the runaway couple can be easily caught. Moon says to death:
MOON: Let them be a long time a-daying so the blood
will slide its delicate hissing between my fingers.
Look how my ashen valleys already are waking
in longing for this fountain of shuddering gushes.
Moon seems to be bloodthirsty fate. But the blood, which it wants, is not only the real human blood but also the passion that is there in the human breast. The moon is also indicative of passion. As a sign of the zodiac, it is related to emotional upheavals, which are born in human beings as yearnings and desires that are grand and unattainable. Fate seems to be at work behind the elemental passion which Leonardo and the Bride have for each other. Passion becomes an instrument through which fate traps them.
LEONARDO: [. . .] But wherever you go, I go
Youe the same. Take a step. Try.
Nails of moonlight have fused
my waist and your chains.
These lines show that moon has played its part in bringing the lovers to the edge of a ravine of passion. If they fall, they fall together to their extinction because they are unable to free themselves of their passion. The fate of the lovers is to be unhappy. But the reason for this is not fate. Their destiny has not brought them unhappiness; it is their passion, which has brought them unhappiness. Even when the Bride struggles to do so, she cannot break away from Leonardo. Their passion is the result of the emotions that reside in their breasts and not a machination of fate. In the very nature of this passion there is tragedy. It is a force like a torrential rain, which destroys the very land it was supposed to fertilize. Fate is a factor, which is merely organizing the sequence of the events leading to tragedy. The essence of tragedy lies in the passion that originates in the hearts of human beings.
The bride tires to heed her instinct for survival but she fails miserably to do so. She goes away with Leonardo when her wedding feast is being celebrated. Leonardo and the Bridegroom kill each other and are brought back to the house. The bride also comes with them. The Bridegroom mother tries to kill her. The Bride does not try to escape. Instead she declares that she would prefer to die now. According to her speech:
BRIDE: [ To the Neighbour] Let her. I came here so she kill me and they take me away with them.
She has no desire left to live. The passion in her breast has taken everything from her. Her only desire now is to be finished herself as well. Passion has succeeded in bringing her to self-extinction. When she is unable to fulfill her passion for Leonardo, the Bride gives up all pretense of living. Her instinct for survival has already suffered defeat. Her going away with Leonardo is a testimony to that. But she is helpless against the force of her passion. She can not fulfill it but neither can she break free from it. Once the passion makes its presence known in her breast, the only option the Bride has is to strive for its satisfaction. Even though she tries her best to stem its flow she cannot control it. The very essence of this passion is self-exterminatory. In her last speech, she says that:


BRIDE: Because I ran away with the other one; I ran away! [With Anguish] You would have gone, too. I was a woman burning with desire, full of sores inside and out, and your son was a little bit of water from which I hoped for children, land, health; but the other one was a dark river, choked with brush, that brought near me the undertones of its rushes and its sweet song [. . .] . I didn want to; remember that! I didn want to. Your son was my destiny and I have not betrayed him, but the other one arm dragged me along like the pull of the sea, like the head toss of a mule, and he would have dragged me always, always, always--even if I were an old woman and all your son sons held me by the hair!
Her passion for Leonardo has been like a brute force. It has the power of a river in flood which sweeps away everything that comes in its path. Even if she had tried she could not have broken free from the traps of this passion. She would always have been a victim of it even if all the world had tried to save her. There is a comparison between passion and the instinct of survival. Even though the Bride realizes that her son could have given her land and childrenecurity and continuity within the communityhe cannot help but choose Leonardo even if it leads to her annihilation because her self craves fulfillment. It is the conflict between the individual self and society. Both are trying to triumph over each other. But even if self triumphs, by the very nature of that triumph it is exterminated. Because the community is devoted to survival of the group and self is devoted to its expression, not survival. Self chooses to express itself even at the cost of extinction. In the Bride character, self-expression triumphs over the instinct for survival. Passion leads the Bride to self-extinction in Blood Wedding.



Form and Structure for Blood Wedding


 


    Form and Structure for Blood Wedding Blood Wedding is written by Federico Garcia Lorca. It is similar to a classical tragic Greek tragedy. The play is split into three acts in act one, two scenes in act two and two scenes in the third and final act. There is a cyclic structure used in the play with the lonely mother inside talking at the start and the finish. All throughout the play we (the audience) know what is going to happen, with the deep romance between two actors all ending in tears, also the deaths happen off stage and choral speech is used, this is the typical Greek way as all the events are determined. The woodcutters, moon, girls and the beggar woman, determine the events throughout the play. These are like narrators that when they are talking, are telling the audience what is going to happen, and what is happenening in the play. The Beggar woman is symbolic of death, she has bird imagery in lifting her rags symbolic of the female sexuality

The Symbolism of Blood blood is referred to as whether a person is good or bad.



In Lorca Blood Wedding, In some examples, blood is explained in different metaphors. Blood has many significant symbolisms structured throughout the play. For example, hat kind of a blood do you have??A person of a good blood experiences honor and love throughout his and or her life and also gets respect from the environment and society. On the other hand, bad blood represents the behavior of a person and that usually comes from the teachings of a family. Blood is repeatedly referred to as having magic powers and as the only food for supernatural beings. In this essay, I will examine the elements of blood, which shows one reactions in various situations, and how blood refers to as one feelings psychologically. Blood represents itself psychologically in the play where Leonardo says ?I hot-blooded and I don want to shout so all these hills will hear me?(Lorca, 59). This behavior shows that Leonardo gets angry easily and cannot keep his anger within himself. By shouting outloud, everybody would hear him and it to be a secret meeting. Leonardo sees bride secretly and she becomes unhappy about it and she gets afraid of being seen by the others. In addition to the last statement above, blood is associated with a variety of notions, including how it affects one emotions as well as affecting him or her psychologically. Once again, Leonardo describes this concept in act two, scene 1, in a dialog with the bride. He states that he is hot-blooded and he does not want to shout so all these hills will hear him. In act three, scene 1 another conversation takes place between Leonardo and the bride and Leonardo describes how his red blood turns black when he thinks of her wedding. In every conversation, blood has a different meaning. Again the blood shows Leonardo emotions toward a particular event. Although there is no rational evidence to prove that the blood directly affects emotions, Leonardo uses terms that allude to the unproven fact. Moreover, blood represents genetic and heritage information. By saying genetic information, it appears that blood shows the person way of behavior as if they come from the same blood. Leonardo demonstrates this by running away with the bride. In this case, the bride runs away with him intentionally. For example, in different cultures this running away represents a pressure on the bride and the family of the bride eventually accepts the marriage of whom she wants to marry. In that particular event, the father states Leonardo lacks good blood, which basically shows a wrong behavior of a person. A good blood therefore, goes away from that person and people recognize him with a bad blood. A person with a bad blood can steal stuff, harm people and become a dangerous identity in the society once his name goes around the people. When the father thinks Leonardo lacks good blood, the mother reaction comes out sturdy. The mother responds with, hat blood would you expect him to have? His whole family blood. It comes down from his great grandfather, who started killing, and it goes on down through the whole evil breed of knife wielding and false smiling men?(Lorca, 68). The mother, in one way explains the kind of blood he possesses. Each symbol has a particular meaning with the blood as one understands on a deeper level. Through generations, ways of thinking have evolved into a process in which leads them to the truths of life. In many cultures, ways of thinking is different and the symbol of having a good or bad blood has a different meaning. Truth of life becomes the physiological truths of nature over the time.



The Bride is a victim of her owm passion in Blood Wedding


In  Blood Wedding, Lorca's dramas deal with people who are caught by passions which conflict with custom, reason, and restrains.  The bride's passion is an expression of her self, Self is actually a set of charactistic, which make the Bride a unique person in her own rightHer passion contains her desires, her wishes and her fears. When the Bride tries to satisfy her passion, she ends up destorying her self. 


Her passion can be divided into two kinds of contacts, one is inwards, another is outwards.

Inward contact means the Bride's inner emotion for love- nature of passion


Outward contact means in contact with the external circumstances which means Society is a system devoted to the survival of the group.  If a person does not dare to go against the criterion of the society, then the survival will be difficult. .


In Blood Wedding, the Bride struggles against her inner passion but it is a loosing battle.


We can see some examples:


When the Bridegroom mother comes to ask the bride if she knows what marriage means and told her that merriage is about A man, some children and a wall two yards thick for everything else.(act1 sciii)
The mother makes it clear that marriage is about the survival of the community and not for the individual desires.  Marriage does not allow self-expression.


The Bride declared that she knows what marriage is. but it does not mean that she will follow it as well. 


In her talk with Leonardo in the first scene of the second act, she tells him that she will lock herself with her husband in a room and then she will have to love him. The Bride is trying her best to forget Leonardo and love her husband, even if it means forcing herself to do so.


So, This conflict is quite clear , and it forces the Bride to ask the bridegroom to hurry up to marry. .(act 2 scii)


BRIDE to Bridegroom: Yes, I want to be your wife right now so that I can be with you alone, not hearing any voice but yours. even though my dead mother should call me, I wouldn't be able to draw away from you 


The Bride is afraid that the passion is going to control her and destroy her. the Bridegroom becomes a symbol of social security and survival within the group. She uses him against her passion for Leonardo,


However, the Bride knows that there is a lot of difference between her feelings for the Bridegroom and for Leonardo. we can see her strong feeling for Leonard, when  


BRIDE talk to Leonardo:  I can listen to your voice.  as though I drunk a bottle of anise ( herb) and fallen asleep in a quilt of roses. It pulls me along, and I know I drowning.(act 2 sc i)




This speech shows the nature of the passion, which the Bride feels for Leonardo. It is a drug to her senses. the Bride realizes that this passion is drugging her.


When the Bride runs away with Leonardo in forest, some woodcutters are talk about how to deal with passion. (Act 3 sc I)


FIRST WOODCUTTER: You have to follow the path of your blood. (Here blood becomes a metaphor for passion. )



SECOND WOODCUTTER: But blood that sees the light of day is drunk up by the earth. ( One has to follow the path of fulfilling one passion but the risk of death is always there.).( These dialogues imply that only hidden passions are safe from being ravaged, If passion is not hidden, then the earth will drink it up)


FIRST WOODCUTTER: What of it? Better dead with the blood drained away then alive with it rotting. ( even though the passion leads to death, but it is better when you live without passion)


( Lorca chooses woodcutter to express the bride's life will be destroyed, as we know woodcutter is the symbol of a professional killer to the nature and the seed of life)


In the end of script, when Bridegroom & Leonardo all are dead, The bride said to the mother :


Your son was my destiny and I have not betrayed him, but the other one dragged me along like the pull of the sea, Her passion for Leonardo has been like the power of a river in flood which sweeps away everything that comes in its path. It revealed that It is the conflict between the individual self and society. Passion leads the Bride to self-extinction; so the Bride is a victim of her own passion.



=========================================================================================================


A Comparison of Plays




Everyone pretends to be a model of propriety. So, Sin is concealed in secret; InBlood Wedding” and “Miss Julie” both focus on reflecting the hypocrisies. In both of the plays, these pretenses of virtue are easily to see by forbidden love affairs.

In “Blood Wedding”, the bride is hypocritical to agree to marry the bridegroom regardless of her strong love for Leonardo. The bride shows that she is aware of her hypocrisy by saying, “...[marriage] is a huge step to take” when asked if she was happy. Her response shows that she is fully aware of her passion for Leonardo.

Leonardo also reflects his own hypocrisies in “Blood Wedding” when he refers to the bride as “a slippery little thing.” He is mischievously deluding his wife.

In " Miss Julie" -  Julie begs her servant-Jean for advice and comfort. Jean becomes hypocritical because earlier in the drama, he acts as a noble, respectable man not interested in destroying Julie’s reputation. However, when Jean asks her to run away with him and bring money for the hotel, Julie admits, “I can’t. However, this action we can see his hypocrisy was performed.


In both plays, hypocrisy becomes the center of a universe of betrayal and desire.

 



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The Convergence Of The Twain


受希腊悲劇

人是神的plaything,人怎麼做都無法resist神。

 

Poem lyrics of The Convergence Of The Twain by Thomas Hardy.

(27:30)

 

 

1-5描寫海底下的景色,主詞 she,安靜地躺靠在孤絕的海底 ( like titatic- 沉在海底下的titatic 的出於人的驕傲,遠離人的
。 利用contrast,反諷的作用)

I
In a solitude of the sea
Deep from human vanity, 遠離
And the Pride of Life that planned her, stilly couches she. 遠離今生的驕傲

II
Steel chambers, late the pyres
Of her salamandrine fires, (神話中的神,可以抵抗火)
Cold currents thrid, and turn to rhythmic tidal lyres.
燃料艙,是有cold的水流流過,把火葬用的柴堆已變成豎琴,發出顫律)



III
Over the mirrors meant
To glass the opulent
The sea-worm crawls-grotesque, slimed, dumb, indifferent.
客房部的鏡子,也是設計給有錢人照的,現在是海蟲,海蛇,黏答答的在上面,對他們來說一點也沒有意義。



IV
Jewels in joy designed
To ravish the sensuous mind
Lie lightless, all their sparkles bleared and black and blind.
帶著喜悅被設計出來的珠寶去擄獲重視愛慕 榮的人


lightless- 現在暗淡 ( 反諷)


1- 4  對照人的 虛華驕傲



V


Dim moon-eyed fishes near
Gaze at the gilded gear
And query: "What does this vaingloriousness down here?"...
用人的 personalification

VI
Well: while was fashioning
This creature of cleaving wing,( 指船 titatic)
The Immanent Will(內在的意志力) that stirs and urges everything(在攪動著,在促使所有事運作)
轉折( 有run-on)



VII
Prepared a sinister mate ( 一個看不見的力量,預備一個邪惡的伴侶)
For her - so gaily great - 如此美好的伴侶
A Shape of Ice, for the time far and dissociate. 冰山,為著未來一個遙遠看不見的未來


fatalism- titatic (時間,空間 都看不見)

VIII
And as the smart ship grew 當船越來越美,讓冰山有生命,慢慢地長大,冰山默默地。
In stature, grace, and hue,
In shadowy silent distance grew the Iceberg too.
(美vs邪惡)




IX
Alien they seemed to be:
No mortal eye could see
The intimate welding of their later history,
他們似乎是無關的,世上沒有一個凡人,可以預知的道在未來的歷史上會有親密的結合



X
Or sign that they were bent
by paths coincident ( 交叉路)
On being anon(很快)  twin halves of one august event,
同時走向交叉路會路,促成一個重大事件 合起來是一個圓- 完整 )


twin- iceberg & ship



XI
Till the Spinner of the Years 命運女神- Immanent Will
Said "Now!" And each one hears,
And consummation comes, and jars two hemispheres.
(他自各自在各自的道路上,圓滿大結局,震驚全世界)



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Well-Made Play



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The Well-Made Play is a genre of theatre from the 19th century, codified by Eugène Scribe. It has a strong neo-classical flavor, involving a very tight plot and a climax that takes place very close to the end of the story, with most of the story taking place before the action of the play; much of the information regarding such previous action would be revealed through thinly veiled exposition. Following that would be a series of causally related plot complications. One of the hallmarks of the Well-Made Play is the use of letters or papers falling into unintended hands in order to bring about plot twists and climaxes. Following the recommendations found in Aristotle's POETICS, the letters must bring about an unexpected reversal of fortune, in which it is often revealed that someone is not who he/she pretends to be. The reversal will allow for a quick denouement, and a return to order, at which point the curtain falls.


Oscar Wilde's The Importance of Being Earnest exaggerates many of the conventions of the well-made play, such as the missing papers conceit (the hero, as an infant, was confused with the manuscript of a novel) and a final revelation (which, in this play, occurs about thirty seconds before the final curtain).


Henrik Ibsen's A Doll's House follows most of the conceits of the well-made play, but transcends the genre when, after incriminating papers are recovered, Nora (rather shockingly) rejects the expected return to normality. Several of Ibsen's subsequent plays seem to build on the general construction principles of the Well-Made Play. The Wild Duck (1884) can be seen as a deliberate, metatheatrical deconstruction of the Scribean formula.


Although George Bernard Shaw scorned the "well-made play" and actively attempted to create works which defied its conventions, his use of the General's coat and the hidden photograph in "Arms and the Man" generate the classic plot twist of a "well-made play".


Also, J. B. Priestley's 1946 'An Inspector Calls' may in some ways be considered a "well-made play" in that its action happens before the play starts, and in the case of the older Birlings no moral change takes place. The similarity between Priestley's play and this rather conservative genre might strike some readers/audiences as surprising because Priestley was a socialist. However, his play, like Ibsen's 'A Doll's House' transcends this genre by providing another plunge into chaos after the return to normality.



 

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想到應付考試時,還得準備三個版本同一個故事的兒童文學。雖然文章內容簡單易懂,但要分析不同版本的差異性,還真得花上時間仔細推敲呢!!現在看文學作品純欣賞,大部份只去感受故事性所帶來的情感衝擊,不太能去分析其理性面。


Jack and the Beanstalk


B (An English Tale by Andrew Lang)


Andrew Lang's version of Jack and the Beanstalk is based on the first literary, or recorded, version of the tale published in 1807 by Benjamin Tabart.


More detail and description on the reason why Jack need to back to castle when his father was killed by giant, and fairy wants to help him because he is courage.B








Joseph Jacobs
(1854-1916)B Jacobs' versionB : oral, simple version











Jack and the Beanstalk


B As told by Joseph Jacobs


There was once upon a time a poor widow who had an only son named Jack, and a cow named Milky-White. And all they had to live on was the milk the cow gave every morning, which they carried to the market and sold. But one morning Milky-White gave no milk, and they didn't know what to do.


"What shall we do, what shall we do?" said the widow, wringing her hands.


"Cheer up, mother, I'll go and get work somewhere," said Jack.


"We've tried that before, and nobody would take you," said his mother. "We must sell Milky-White and with the money start a shop, or something."


"All right, mother," says Jack. "It's market day today, and I'll soon sell Milky-White, and then we'll see what we can do."


So he took the cow's halter in his hand, and off he started. He hadn't gone far when he met a funny-looking old man, who said to him, "Good morning, Jack."


"Good morning to you," said Jack, and wondered how he knew his name.


"Well, Jack, and where are you off to?" said the man.


"I'm going to market to sell our cow there."


"Oh, you look the proper sort of chap to sell cows," said the man. "I wonder if you know how many beans make five."


"Two in each hand and one in your mouth," says Jack, as sharp as a needle.


"Right you are," says the man, "and here they are, the very beans themselves," he went on, pulling out of his pocket a number of strange-looking beans. "As you are so sharp," says he, "I don't mind doing a swap with you -- your cow for these beans."


"Go along," says Jack. "Wouldn't you like it?"


"Ah! You don't know what these beans are," said the man. "If you plant them overnight, by morning they grow right up to the sky."


"Really?" said Jack. "You don't say so."


"Yes, that is so. And if it doesn't turn out to be true you can have your cow back."


"Right," says Jack, and hands him over Milky-White's halter and pockets the beans.


Back goes Jack home, and as he hadn't gone very far it wasn't dusk by the time he got to his door.


"Back already, Jack?" said his mother. "I see you haven't got Milky-White, so you've sold her. How much did you get for her?"


"You'll never guess, mother," says Jack.


"No, you don't say so. Good boy! Five pounds? Ten? Fifteen? No, it can't be twenty."


"I told you you couldn't guess. What do you say to these beans? They're magical. Plant them overnight and -- "


"What!" says Jack's mother. "Have you been such a fool, such a dolt, such an idiot, as to give away my Milky-White, the best milker in the parish, and prime beef to boot, for a set of paltry beans? Take that! Take that! Take that! And as for your precious beans here they go out of the window. And now off with you to bed. Not a sup shall you drink, and not a bit shall you swallow this very night."


So Jack went upstairs to his little room in the attic, and sad and sorry he was, to be sure, as much for his mother's sake as for the loss of his supper.


At last he dropped off to sleep.


When he woke up, the room looked so funny. The sun was shining into part of it, and yet all the rest was quite dark and shady. So Jack jumped up and dressed himself and went to the window. And what do you think he saw? Why, the beans his mother had thrown out of the window into the garden had sprung up into a big beanstalk which went up and up and up till it reached the sky. So the man spoke truth after all.


The beanstalk grew up quite close past Jack's window, so all he had to do was to open it and give a jump onto the beanstalk which ran up just like a big ladder. So Jack climbed, and he climbed, and he climbed, and he climbed, and he climbed, and he climbed, and he climbed till at last he reached the sky. And when he got there he found a long broad road going as straight as a dart. So he walked along, and he walked along, and he walked along till he came to a great big tall house, and on the doorstep there was a great big tall woman.


"Good morning, mum," says Jack, quite polite-like. "Could you be so kind as to give me some breakfast?" For he hadn't had anything to eat, you know, the night before, and was as hungry as a hunter.


"It's breakfast you want, is it?" says the great big tall woman. "It's breakfast you'll be if you don't move off from here. My man is an ogre and there's nothing he likes better than boys broiled on toast. You'd better be moving on or he'll be coming."


"Oh! please, mum, do give me something to eat, mum. I've had nothing to eat since yesterday morning, really and truly, mum," says Jack. "I may as well be broiled as die of hunger."


Well, the ogre's wife was not half so bad after all. So she took Jack into the kitchen, and gave him a hunk of bread and cheese and a jug of milk. But Jack hadn't half finished these when thump! thump! thump! the whole house began to tremble with the noise of someone coming.


"Goodness gracious me! It's my old man," said the ogre's wife. "What on earth shall I do? Come along quick and jump in here." And she bundled Jack into the oven just as the ogre came in.


He was a big one, to be sure. At his belt he had three calves strung up by the heels, and he unhooked them and threw them down on the table and said, "Here, wife, broil me a couple of these for breakfast. Ah! what's this I smell?


Fee-fi-fo-fum,

I smell the blood of an Englishman,

Be he alive, or be he dead,

I'll have his bones to grind my bread."

"Nonsense, dear," said his wife. "You' re dreaming. Or perhaps you smell the scraps of that little boy you liked so much for yesterday's dinner. Here, you go and have a wash and tidy up, and by the time you come back your breakfast'll be ready for you."


So off the ogre went, and Jack was just going to jump out of the oven and run away when the woman told him not. "Wait till he's asleep," says she; "he always has a doze after breakfast."


Well, the ogre had his breakfast, and after that he goes to a big chest and takes out a couple of bags of gold, and down he sits and counts till at last his head began to nod and he began to snore till the whole house shook again.


Then Jack crept out on tiptoe from his oven, and as he was passing the ogre, he took one of the bags of gold under his arm, and off he pelters till he came to the beanstalk, and then he threw down the bag of gold, which, of course, fell into his mother's garden, and then he climbed down and climbed down till at last he got home and told his mother and showed her the gold and said, "Well, mother, wasn't I right about the beans? They are really magical, you see."


So they lived on the bag of gold for some time, but at last they came to the end of it, and Jack made up his mind to try his luck once more at the top of the beanstalk. So one fine morning he rose up early, and got onto the beanstalk, and he climbed, and he climbed, and he climbed, and he climbed, and he climbed, and he climbed till at last he came out onto the road again and up to the great tall house he had been to before. There, sure enough, was the great tall woman a-standing on the doorstep.


"Good morning, mum," says Jack, as bold as brass, "could you be so good as to give me something to eat?"


"Go away, my boy," said the big tall woman, "or else my man will eat you up for breakfast. But aren't you the youngster who came here once before? Do you know, that very day my man missed one of his bags of gold."


"That's strange, mum," said Jack, "I dare say I could tell you something about that, but I'm so hungry I can't speak till I've had something to eat."


Well, the big tall woman was so curious that she took him in and gave him something to eat. But he had scarcely begun munching it as slowly as he could when thump! thump! they heard the giant's footstep, and his wife hid Jack away in the oven.


All happened as it did before. In came the ogre as he did before, said, "Fee-fi-fo-fum," and had his breakfast off three broiled oxen.


Then he said, "Wife, bring me the hen that lays the golden eggs." So she brought it, and the ogre said, "Lay," and it laid an egg all of gold. And then the ogre began to nod his head, and to snore till the house shook.


Then Jack crept out of the oven on tiptoe and caught hold of the golden hen, and was off before you could say "Jack Robinson." But this time the hen gave a cackle which woke the ogre, and just as Jack got out of the house he heard him calling, "Wife, wife, what have you done with my golden hen?"


And the wife said, "Why, my dear?"


But that was all Jack heard, for he rushed off to the beanstalk and climbed down like a house on fire. And when he got home he showed his mother the wonderful hen, and said "Lay" to it; and it laid a golden egg every time he said "Lay."


Well, Jack was not content, and it wasn't long before he determined to have another try at his luck up there at the top of the beanstalk. So one fine morning he rose up early and got to the beanstalk, and he climbed, and he climbed, and he climbed, and he climbed till he got to the top.


But this time he knew better than to go straight to the ogre's house. And when he got near it, he waited behind a bush till he saw the ogre's wife come out with a pail to get some water, and then he crept into the house and got into the copper. He hadn't been there long when he heard thump! thump! thump! as before, and in came the ogre and his wife.


"Fee-fi-fo-fum, I smell the blood of an Englishman," cried out the ogre. "I smell him, wife, I smell him."


"Do you, my dearie?" says the ogre's wife. "Then, if it's that little rogue that stole your gold and the hen that laid the golden eggs he's sure to have got into the oven." And they both rushed to the oven.


But Jack wasn't there, luckily, and the ogre' s wife said, "There you are again with your fee-fi-fo-fum. Why, of course, it's the boy you caught last night that I've just broiled for your breakfast. How forgetful I am, and how careless you are not to know the difference between live and dead after all these years."


So the ogre sat down to the breakfast and ate it, but every now and then he would mutter, "Well, I could have sworn --" and he'd get up and search the larder and the cupboards and everything, only, luckily, he didn't think of the copper.


After breakfast was over, the ogre called out, "Wife, wife, bring me my golden harp."


So she brought it and put it on the table before him. Then he said, "Sing!" and the golden harp sang most beautifully. on singinAnd it went g till the ogre fell asleep, and commenced to snore like thunder.


Then Jack lifted up the copper lid very quietly and got down like a mouse and crept on hands and knees till he came to the table, when up he crawled, caught hold of the golden harp and dashed with it towards the door.


But the harp called out quite loud, "Master! Master!" and the ogre woke up just in time to see Jack running off with his harp.


Jack ran as fast as he could, and the ogre came rushing after, and would soon have caught him, only Jack had a start and dodged him a bit and knew where he was going. When he got to the beanstalk the ogre was not more than twenty yards away when suddenly he saw Jack disappear like, and when he came to the end of the road he saw Jack underneath climbing down for dear life. Well, the ogre didn't like trusting himself to such a ladder, and he stood and waited, so Jack got another start.


But just then the harp cried out, "Master! Master!" and the ogre swung himself down onto the beanstalk, which shook with his weight. Down climbs Jack, and after him climbed the ogre.


By this time Jack had climbed down and climbed down and climbed down till he was very nearly home. So he called out, "Mother! Mother! bring me an ax, bring me an ax." And his mother came rushing out with the ax in her hand, but when she came to the beanstalk she stood stock still with fright, for there she saw the ogre with his legs just through the clouds.


But Jack jumped down and got hold of the ax and gave a chop at the beanstalk which cut it half in two. The ogre felt the beanstalk shake and quiver, so he stopped to see what was the matter. Then Jack gave another chop with the ax, and the beanstalk was cut in two and began to topple over. Then the ogre fell down and broke his crown, and the beanstalk came toppling after.


Then Jack showed his mother his golden harp, and what with showing that and selling the golden eggs, Jack and his mother became very rich, and he married a great princess, and they lived happy ever after.





  • Source: Joseph Jacobs, English Fairy Tales (New York and London: G. P. Putnam's Sons and David Nutt, 1898), no. 13, pp. 59-67.
  • Jacobs' source: "I tell this as it was told me in Australia, somewhere about the year 1860."
  • Return to the table of contents.





Jack and the Beanstalk


As told by Andrew Lang


Jack Sells the Cow


Once upon a time there was a poor widow who lived in a little cottage with her only son Jack. Jack was a giddy, thoughtless boy, but very kind hearted and affectionate. There had been a hard winter, and after it the poor woman had suffered from fever and ague. Jack did no work as yet, and by degrees they grew dreadfully poor.


The widow saw that there was no means of keeping Jack and herself from starvation but by selling her cow; so one morning she said to her son, "I am too weak to go myself, Jack, so you must take the cow to market for me, and sell her."


Jack liked going to market to sell the cow very much; but as he was on the way, he met a butcher who had some beautiful beans in his hand. Jack stopped to look at them, and the butcher told the boy that they were of great value and persuaded the silly lad to sell the cow for these beans.


When he brought them home to his mother instead of the money she expected for her nice cow, she was very vexed and shed many tears, scolding Jack for his folly. He was very sorry, and mother and son went to bed very sadly that night; their last hope seemed gone.


At daybreak Jack rose and went out into the garden. "At least," he thought, "I will sow the wonderful beans. Mother says that they are just common scarlet runners, and nothing else; but I may as well sow them." So he took a piece of stick, and made some holes in the ground, and put in the beans.


That day they had very little dinner, and went sadly to bed, knowing that for the next day there would be none, and Jack, unable to sleep from grief and vexation, got up at day-dawn and went out into the garden.


What was his amazement to find that the beans had grown up in the night, and climbed up and up until they covered the high cliff that sheltered the cottage and disappeared above it! The stalks had twined and twisted themselves together until they formed quite a ladder.


"It would be easy to climb it," thought Jack. And, having thought of the experiment, he at once resolved to carry it out, for Jack was a good climber. However, after his late mistake about the cow, he thought he had better consult his mother first.


Wonderful Growth of the Beanstalk


So Jack called his mother, and they both gazed in silent wonder at the beanstalk, which was not only of great height, but was thick enough to bear Jack's weight. "I wonder where it ends," said Jack to his mother. "I think I will climb up and see."


His mother wished him not to venture up this strange ladder, but Jack coaxed her to give her consent to the attempt, for he was certain there must be something wonderful in the beanstalk; so at last she yielded to his wishes.


Jack instantly began to climb, and went up and up on the ladder-like beanstalk until everything he had left behind him -- the cottage, the village, and even the tall church tower -- looked quite little, and still he could not see the top of the beanstalk.


Jack felt a little tired, and thought for a moment that he would go back again; but he was a very persevering boy, and he knew that the way to succeed in anything is not to give up. So after resting for a moment he went on. After climbing higher and higher, until he grew afraid to look down for fear he should be giddy, Jack at last reached the top of the beanstalk, and found himself in a beautiful country, finely wooded, with beautiful meadows covered with sheep. A crystal stream ran through the pastures; not far from the place where he had got off the beanstalk stood a fine, strong castle.


Jack wondered very much that he had never heard of or seen this castle before; but when he reflected on the subject, he saw that it was as much separated from the village by the perpendicular rock on which it stood as if it were in another land.


While Jack was standing looking at the castle, a very strange looking woman came out of the wood, and advanced towards him. She wore a pointed cap of quilted red satin turned up with ermine. Her hair streamed loose over her shoulders, and she walked with a staff. Jack took off his cap and made her a bow.


"If you please, ma'am," said he, "is this your house?"


"No," said the old lady. "Listen, and I will tell you the story of that castle:"


Once upon a time there was a noble knight, who lived in this castle, which is on the borders of fairyland. He had a fair and beloved wife and several lovely children; and as his neighbors, the little people, were very friendly towards him, they bestowed on him many excellent and precious gifts.

Rumor whispered of these treasures; and a monstrous giant, who lived at no great distance, and who was a very wicked being, resolved to obtain possession of them.

So he bribed a false servant to let him inside the castle, when the knight was in bed and asleep, and he killed him as he lay. Then he went to the part of the castle which was the nursery, and also killed all the poor little ones he found there.

Happily for her, the lady was not to be found. She had gone with her infant son, who was only two or three months old, to visit her old nurse, who lived in the valley; and she had been detained all night there by a storm.

The next morning, as soon as it was light, one of the servants at the castle, who had managed to escape, came to tell the poor lady of the sad fate of her husband and her pretty babes. She could scarcely believe him at first, and was eager at once to go back and share the fate of her dear ones. But the old nurse, with many tears, besought her to remember that she had still a child, and that it was her duty to preserve her life for the sake of the poor innocent.

The lady yielded to this reasoning, and consented to remain at her nurse's house as the best place of concealment; for the servant told her that the giant had vowed, if he could find her, he would kill both her and her baby.

Years rolled on. The old nurse died, leaving her cottage and the few articles of furniture it contained to her poor lady, who dwelt in it, working as a peasant for her daily bread. Her spinning wheel and the milk of a cow, which she had purchased with the little money she had with her, sufficed for the scanty subsistence of herself and her little son. There was a nice little garden attached to the cottage, in which they cultivated peas, beans, and cabbages, and the lady was not ashamed to go out at harvest time, and glean in the fields to supply her little son's wants.

Jack, that poor lady is your mother. This castle was once your father's, and must again be yours.

Jack uttered a cry of surprise. "My mother! Oh, madam, what ought I to do? My poor father! My dear mother!"


"Your duty requires you to win it back for your mother. But the task is a very difficult one, and full of peril, Jack. Have you courage to undertake it?"


"I fear nothing when I am doing right," said Jack.


"Then," said the lady in the red cap, "you are one of those who slay giants. You must get into the castle, and if possible possess yourself of a hen that lays golden eggs, and a harp that talks. Remember, all the giant possesses is really yours." As she ceased speaking, the lady of the red hat suddenly disappeared, and of course Jack knew she was a fairy.


Jack determined at once to attempt the adventure; so he advanced, and blew the horn which hung at the castle portal. The door was opened in a minute or two by a frightful giantess, with one great eye in the middle of her forehead. As soon as Jack saw her he turned to run away, but she caught him, and dragged him into the castle.


"Ho, ho!" she laughed terribly. "You didn't expect to see me here, that is clear! No, I shan't let you go again. I am weary of my life. I am so overworked, and I don't see why I should not have a page as well as other ladies. And you shall be my boy. You shall clean the knives, and black the boots, and make the fires, and help me generally when the giant is out. When he is at home I must hide you, for he has eaten up all my pages hitherto, and you would be a dainty morsel, my little lad."


While she spoke she dragged Jack right into the castle. The poor boy was very much frightened, as I am sure you and I would have been in his place. But he remembered that fear disgraces a man, so he struggled to be brave and make the best of things.


"I am quite ready to help you, and do all I can to serve you, madam," he said, "only I beg you will be good enough to hide me from your husband, for I should not like to be eaten at all."


"That's a good boy," said the giantess, nodding her head; "it is lucky for you that you did not scream out when you saw me, as the other boys who have been here did, for if you had done so my husband would have awakened and have eaten you, as he did them, for breakfast. Come here, child; go into my wardrobe. He never ventures to open that. You will be safe there."


And she opened a huge wardrobe which stood in the great hall, and shut him into it. But the keyhole was so large that it admitted plenty of air, and he could see everything that took place through it. By and by he heard a heavy tramp on the stairs, like the lumbering along of a great cannon, and then a voice like thunder cried out.


Fe, fa, fi-fo-fum,B

I smell the breath of an Englishman.B

Let him be alive or let him be dead,B

I'll grind his bones to make my bread.

"Wife," cried the giant, "there is a man in the castle. Let me have him for breakfast."


"You are grown old and stupid," cried the lady in her loud tones. "It is only a nice fresh steak off an elephant that I have cooked for you which you smell. There, sit down and make a good breakfast."


And she placed a huge dish before him of savory steaming meat, which greatly pleased him and made him forget his idea of an Englishman being in the castle. When he had breakfasted he went out for a walk; and then the giantess opened the door, and made Jack come out to help her. He helped her all day. She fed him well, and when evening came put him back in the wardrobe.


The Hen That Lays Golden Eggs


The giant came in to supper. Jack watched him through the keyhole, and was amazed to see him pick a wolf's bone and put half a fowl at a time into his capacious mouth.


When the supper was ended he bade his wife bring him his hen that laid the golden eggs.


"It lays as well as it did when it belonged to that paltry knight," he said. "Indeed, I think the eggs are heavier than ever."


The giantess went away, and soon returned with a little brown hen, which she placed on the table before her husband. "And now, my dear," she said, "I am going for a walk, if you don't want me any longer."


"Go," said the giant. "I shall be glad to have a nap by and by."


Then he took up the brown hen and said to her, "Lay!" And she instantly laid a golden egg.


"Lay!" said the giant again. And she laid another.


"Lay!" he repeated the third time. And again a golden egg lay on the table.


Now Jack was sure this hen was that of which the fairy had spoken.


By and by the giant put the hen down on the floor, and soon after went fast asleep, snoring so loud that it sounded like thunder.


Directly Jack perceived that the giant was fast asleep, he pushed open the door of the wardrobe and crept out. Very softly he stole across the room, and, picking up the hen, made haste to quit the apartment. He knew the way to the kitchen, the door of which he found was left ajar. He opened it, shut and locked it after him, and flew back to the beanstalk, which he descended as fast as his feet would move.


When his mother saw him enter the house she wept for joy, for she had feared that the fairies had carried him away, or that the giant had found him. But Jack put the brown hen down before her, and told her how he had been in the giant's castle, and all his adventures. She was very glad to see the hen, which would make them rich once more.


The Money Bags


Jack made another journey up the beanstalk to the giant's castle one day while his mother had gone to market. But first he dyed his hair and disguised himself. The old woman did not know him again and dragged him in as she had done before to help her to do the work; but she heard her husband coming, and hid him in the wardrobe, not thinking that it was the same boy who had stolen the hen. She bade him stay quite still there, or the giant would eat him.


Then the giant came in saying:


Fe, fa, fi-fo-fum,B

I smell the breath of an Englishman.B

Let him be alive or let him be dead,B

I'll grind his bones to make my bread.

"Nonsense!" said the wife, "it is only a roasted bullock that I thought would be a tit-bit for your supper; sit down and I will bring it up at once."


The giant sat down, and soon his wife brought up a roasted bullock on a large dish, and they began their supper. Jack was amazed to see them pick the bones of the bullock as if it had been a lark.


As soon as they had finished their meal, the giantess rose and said:, "Now, my dear, with your leave I am going up to my room to finish the story I am reading. If you want me call for me."


"First," answered the giant, "bring me my money bags, that I may count my golden pieces before I sleep."


The giantess obeyed. She went and soon returned with two large bags over her shoulders, which she put down by her husband.


"There," she said; "that is all that is left of the knight's money. When you have spent it you must go and take another baron's castle."


"That he shan't, if I can help it," thought Jack.


The giant, when his wife was gone, took out heaps and heaps of golden pieces, and counted them, and put them in piles, until he was tired of the amusement. Then he swept them all back into their bags, and leaning back in his chair fell fast asleep, snoring so loud that no other sound was audible.


Jack stole softly out of the wardrobe, and taking up the bags of money (which were his very own, because the giant had stolen them from his father), he ran off, and with great difficulty descending the beanstalk, laid the bags of gold on his mother's table. She had just returned from town, and was crying at not finding Jack.


"There, mother, I have brought you the gold that my father lost."


"Oh, Jack! You are a very good boy, but I wish you would not risk your precious life in the giant's castle. Tell me how you came to go there again." And Jack told her all about it.


Jack's mother was very glad to get the money, but she did not like him to run any risk for her. But after a time Jack made up his mind to go again to the giant's castle.


So he climbed the beanstalk once more, and blew the horn at the giant's gate. The giantess soon opened the door. She was very stupid, and did not know him again, but she stopped a minute before she took him in. She feared another robbery; but Jack's fresh face looked so innocent that she could not resist him, and so she bade him come in, and again hid him away in the wardrobe.


By and by the giant came home, and as soon as he had crossed the threshold he roared out:


Fe, fa, fi-fo-fum,

I smell the breath of an Englishman.

Let him be alive or let him be dead,

I'll grind his bones to make my bread.

"You stupid old giant," said his wife, "you only smell a nice sheep, which I have grilled for your dinner."


And the giant sat down, and his wife brought up a whole sheep for his dinner. When he had eaten it all up, he said, "Now bring me my harp, and I will have a little music while you take your walk."


The giantess obeyed, and returned with a beautiful harp. The framework was all sparkling with diamonds and rubies, and the strings were all of gold.


"This is one of the nicest things I took from the knight," said the giant. "I am very fond of music, and my harp is a faithful servant."


So he drew the harp towards him, and said, "Play!" And the harp played a very soft, sad air.


"Play something merrier!" said the giant. And the harp played a merry tune.


"Now play me a lullaby," roared the giant, and the harp played a sweet lullaby, to the sound of which its master fell asleep.


Then Jack stole softly out of the wardrobe, and went into the huge kitchen to see if the giantess had gone out. He found no one there, so he went to the door and opened it softly, for he thought he could not do so with the harp in his hand.


Then he entered the giant's room and seized the harp and ran away with it; but as he jumped over the threshold the harp called out, "Master! Master!" And the giant woke up. With a tremendous roar he sprang from his seat, and in two strides had reached the door.


But Jack was very nimble. He fled like lightning with the harp, talking to it as he went (for he saw it was a fai


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