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Chapter
PROLOGUE
In David Garrick's prologue to "She Stoops to Conquer," we are introduced to a scene filled with melancholy and a sense of impending loss within the theatrical world, articulated through the character of Mr. Woodward. Dressed in somber black, Mr. Woodward embodies the mourning and despair prevalent among actors at the time, signifying not just a personal state of sorrow but a communal crisis within the realm of comedy. Mr. Woodward's lamentation begins with a poignant revelation that his tears are not for…-
13.5 K • Ongoing
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Chapter
INTRODUCTION
"Riders to the Sea" emerges from John Millington Synge's fascination with the Aran Islands' culture and tales during his visits, particularly Inishmaan. Synge's masterpiece was inspired by two real incidents: the recovery of a man's body that had floated to Donegal from Inishmaan, recognized by peculiar clothing just as depicted in the play, and tales of second sight, a common phenomenon among the Celtic races giving the play its title. These elements are interwoven into a narrative embodying the primal…-
4.1 K • Ongoing
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Chapter
ACT THE THIRD.
In Act III of "She Stoops to Conquer," the confusion and disguise continue to unfold with entertaining complexity. Hardcastle is utterly bewildered by the behavior of young Marlow, whom he deems impudent, contrary to Sir Charles's description of his son as modest. In contrast, Miss Hardcastle has a completely different experience with Marlow, seeing him as timid and respectful—a view that bewilders her father. Their amusing debate over Marlow's character reveals the amusing situation: Marlow behaves…-
13.5 K • Ongoing
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Chapter
ACT THE SECOND.
In Act II of "She Stoops to Conquer," Hardcastle tutors his awkward servants on etiquette to impress his guests. Amidst clumsy attempts at elegance and numerous faux pas, Marlow and Hastings, mistaking the house for an inn, arrive and are baffled by Hardcastle's hospitality which they perceive as overly familiar for an innkeeper. Hardcastle, unaware of their misunderstanding, is puzzled by their expectations. Marlow struggles with his bashfulness around women of high social standing, a theme he discusses…-
13.5 K • Ongoing
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Chapter
ACT THE FOURTH.
Act IV of "She Stoops to Conquer" escalates the confusion and chaos that have underpinned the play's humor and social commentary. Hastings, aware that Sir Charles Marlow is expected soon, plans an elopement with Miss Neville, fearing that his presence and intentions will be discovered. Meanwhile, Marlow, befuddled by the mistaken identity of the Hardcastle's house as an inn, entrusts a casket of jewels meant for Miss Neville to the landlady for safekeeping, a decision that both he and Hastings believe…-
13.5 K • Ongoing
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Chapter
ACT THE FIRST.
In the first act of "She Stoops to Conquer," the scene opens in a chamber of an old-fashioned house, where Mrs. Hardcastle laments their dull, rural life and lack of fashionable society, unlike their neighbors who venture to London for "polishing." Mr. Hardcastle, on the other hand, cherishes the old ways, including his old wife. Their conversation shifts to their son, Tony Lumpkin, whom Mrs. Hardcastle dotes on despite his lack of scholarly ambition and penchant for mischief. Mr. Hardcastle criticizes…-
13.5 K • Ongoing
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Chapter
ACT THE FIFTH.
In the final act of "She Stoops to Conquer," various emotional and comic twists lead to the resolution of misunderstandings and the successful pairing of couples. Hastings, initially disheartened by the departure of Miss Neville and the old lady, learns that old Sir Charles has arrived and finds humor in Marlow's mistake of perceiving Mr. Hardcastle's house as an inn. The conversation between Sir Charles and Hardcastle highlights their amusement and the impending union of Marlow with Hardcastle's daughter,…-
13.5 K • Ongoing
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ACT IV -Uncle Vanya
In Act IV of "Uncle Vanya," Voitski's bedroom, doubling as his office, is detailed with both practical and personal items, signaling its use as a place of work and solitude. As the scene opens, we witness a quiet, anticipatory moment between Telegin and Marina, suggesting a change is afoot with the departure of the professor's family to Kharkoff in search of a different life. This departure sparks relief in Marina and Telegin, hinting at the discomfort and disruption caused by the family's presence. The…-
6.7 K • Ongoing
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ACT III. -chastelard
Act III of Algernon Charles Swinburne’s tragedy “Chastelard” unfolds in the Queen's chamber, where the atmosphere is tense and charged with forbidden love and the anticipation of tragedy. Chastelard has surreptitiously entered the Queen's private space, signifying his willingness to risk everything for a moment with her. Mary Beaton, aware of the danger, attempts to dissuade him, highlighting the fatal consequences of his actions. Yet, Chastelard, driven by an overwhelming passion, likens his love to…-
20.7 K • Ongoing
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Chapter
ACT II -Uncle Vanya
Act II of "Uncle Vanya" unfolds in the dining room of Serebrakoff's house at night, with Serebrakoff and Helena half asleep. The scene primarily captures a tense and introspective dialogue between the characters, revealing Serebrakoff's deep dissatisfaction with aging and his fear of being a burden. Helena, although trying to offer comfort, eventually distances herself as Serebrakoff expresses his self-loathing and fear of death. This conversation lays bare the emotional and generational gap between the…-
6.7 K • Ongoing
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