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Chapter
Scene 2. IX.
Scene 2. IX. of Cyrano de Bergerac vividly portrays themes of pride, honor, and the consequences of challenging societal norms through the intense conversations between the characters. Cyrano makes it clear that he prefers to have enemies rather than friends, a stance that confounds his friend, Le Bret. Cyrano finds satisfaction in defying expectations and ridiculing superficial friendships, which he sees as shallow and without integrity. To him, true honor is found in resisting ease and comfort; he…-
169.8 K • Ongoing
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Chapter
Scene 2. IV.
Scene 2. IV. begins in Ragueneau's lively bakery, a hub of activity where the arrival of various characters fills the setting with energy. Ragueneau, the baker with a passion for poetry, is introduced alongside his wife, Lise, who contrasts with his idealistic nature. While Ragueneau generously supports the artistic community, Lise seems less enthusiastic about their lifestyle. Amidst this dynamic, Cyrano is seen lost in thought, wrestling with his emotions and the desire to express his love through a…-
169.8 K • Ongoing
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Chapter
Scene 2. III.
Scene 2. III. in Cyrano de Bergerac brings a delightful yet emotional moment as it takes place in Ragueneau's bakery, filled with both warmth and literary passion. Ragueneau, a baker by trade, is deeply invested in literature, and this is revealed when two children come into the shop asking for three pies. As he prepares the order, his distress over using his precious poetry bags as packaging highlights his deep attachment to his written works. Each bag, containing poems that reflect his love for the art,…-
169.8 K • Ongoing
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Chapter
Scene 1. VII.
Scene 1. VII. of Cyrano de Bergerac begins with Cyrano being approached by a duenna, who brings with her a mysterious invitation from a lady. The invitation, full of secrecy and anticipation, stirs deep emotions within Cyrano, who is initially caught off guard by the unexpected gesture. The lady, who is none other than his valiant cousin, has asked to meet Cyrano secretly at dawn at St. Roch, followed by a private conversation at Ragueneau's pastry shop on Rue St. Honore. Despite his initial disbelief and…-
169.8 K • Ongoing
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Chapter
Scene 1. V.
Scene 1. V. of Cyrano de Bergerac opens with a powerful illustration of Cyrano’s impulsive nature, as he spends his entire inheritance in a single day. This reckless act, which Le Bret criticizes as foolishness, is defended by Cyrano as an expression of grace and honor. Even though he is now left without any wealth, Cyrano’s pride and dignity remain unscathed, a testament to his unshakable sense of self-worth. He values his honor above all else, and even in the face of material loss, he chooses to…-
169.8 K • Ongoing
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Chapter
Scene 1. IV.
Scene 1. IV. unfolds with a dramatic and electrifying confrontation in the theater, where Cyrano, known for his unparalleled wit and commanding presence, takes control of the situation with authority. The chaos begins when Montfleury, the lead actor, attempts to perform but is immediately interrupted by Cyrano’s booming voice from the audience, demanding that he leave the stage. Despite Montfleury’s nervous attempts to continue, Cyrano escalates his threats, making it clear that he will resort to…-
169.8 K • Ongoing
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Chapter
Scene 1. III.
Scene 1. III. in Cyrano de Bergerac opens in a bustling theater filled with the vibrant energy of the French nobility, setting the stage for a mixture of intrigue, wit, and spectacle. De Guiche, a prominent and powerful figure, makes his dramatic entrance from Roxane’s box, flanked by a group of fawning noblemen, including the Viscount de Valvert. The nobles engage in light-hearted banter, poking fun at De Guiche’s ribbons, which they call “Sick Spaniard.” This humorous remark references Spain’s…-
169.8 K • Ongoing
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Chapter
Scene 1. II.
Scene 1. II. in Cyrano de Bergerac immerses the audience in the bustling energy of a Parisian theater, filled with the social elite. The theater is alive with a mixture of the city’s finest nobility, poets, and curious onlookers, each person contributing to the collective buzz of anticipation. Christian de Neuvillette, newly introduced to this world, finds himself distracted by the spectacle around him, but his attention is firmly focused on one individual—Roxane. His admiration for her runs deep,…-
169.8 K • Ongoing
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Chapter
Scene 1. I.
Scene 1. I. introduces the setting of the Hotel de Bourgogne in 1640, where the theater comes alive with anticipation for the evening's performance. The venue, resembling a tennis court adapted for dramatic presentations, creates a unique, almost improvised ambiance. The space itself is dimly lit, with an oblong shape that hints at the artistic and chaotic energy within, while royal emblems adorn the stage, providing a hint of grandeur to the humble setting. The pit area, notably lacking chairs, adds to…-
169.8 K • Ongoing
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Chapter
Notes
In this notes "THE BLENDING"--of alternate prose and verse--"is not unknown in various countries." Thus in Dr. Steere's Swahili Tales (London, 1870), p. vii. we read: "It is a constant characteristic of popular native tales to have a sort of burden, which all join in singing. Frequently the skeleton of the story seems to be contained in these snatches of singing, which the story-teller connects by an extemporized account of the intervening history . . . Almost all these stories had sung parts, and of some…-
12.1 K • Ongoing
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