Sabtu, 22 Agustus 2015

## Ebook Free What in the Word? Wordplay, Word Lore, and Answers to Your Peskiest Questions about Language (Harvest Original), by Charles Harrington Els

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What in the Word? Wordplay, Word Lore, and Answers to Your Peskiest Questions about Language (Harvest Original), by Charles Harrington Els

Are you so sure about "assure," "ensure," and "insure" ? Can you determine whether a knob of butter is equivalent to a lump or a pat or a scosh? Can you say which word in the English language has the most definitions, or who put the H in Jesus H. Christ?

If you can't, be assured that Charles Harrington Elster, author of several well-loved works on language, can-and does in his latest book, a delightfully designed compendium of the most common, interesting, and entertaining conundrums in our language. Drawing upon esoteric sources and his own inimitable expertise, Elster uses a lively question-and-answer format to cover a variety of topics-word and phrase origins, slang, style, usage, punctuation, and pronunciation. Every chapter features original brainteasers, challenging puzzles, and a trove of literary trivia.

  • Sales Rank: #651105 in Books
  • Published on: 2005-11-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .77" w x 6.00" l, .67 pounds
  • Binding: Paperback
  • 304 pages
Features
  • ISBN13: 9780156031974
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

From School Library Journal
Adult/High School–Each chapter of this enjoyable book features original brainteasers, challenging puzzles, and a trove of literary trivia. Readers will glean the meaning behind pushing the envelope and be informed that the phrase happy as a clam is an abbreviation of the simile happy as a clam at high tide. Those looking for that perfect word to describe something unique will find it here. Elster uses a lively question-and-answer format to cover a variety of topics–word and phrase origins, slang, style, usage, punctuation, and pronunciation. Without an index, this volume is not an ideal reference work, but it makes for good casual reading.–Erin Dennington, Fairfax County Public Library, Chantilly, VA
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
Elster is a contributor to the "On Language" column of the New York Times Magazine and the author of several books on language, including The Big Book of Beastly Mispronunciations (1999). Here he uses a question-and-answer format to tackle common language issues and makes the whole enterprise entertaining as well as informative. The book is divided into seven chapters, beginning with "Once upon a Word," in which he explains the origins of colorful expressions, and ending with "The Wonder of Words," in which he fields fun questions about wordplay and word lore. In between, Elster offers chapters on errors, missing words ("What's the word to describe when inanimate objects conspire against you?" Resistenialism), how to polish language, pronunciation advice, and American slang. He also sprinkles his chapters with word quizzes he calls "Bodacious Brainteasers," includes marginal notations containing interesting language facts, and provides sidebars on swearing, cockney slang, and literary quips, jibes, and jabs, among other topics. Fun reading for verbo-maniacs. Joanne Wilkinson
Copyright © American Library Association. All rights reserved

Review
PRAISE FOR THE BIG BOOK OF BEASTLY MISPRONUNCIATIONS

"Ek-STROR-di-ner-ee. The best survey of the spoken field in years."--William Safire, The New York Times Magazine

Most helpful customer reviews

10 of 10 people found the following review helpful.
A fun read!
By Armchair Interviews
A man who does not read good books has no advantage over the man who cannot read them."

-- Mark Twain

Just when I thought I was kind of savvy about word usage, What in the Word proved me wrong on almost every page.

Did you know that "manuscript" means "written by hand"?

If I only read the quotes, Bodacious Brainteasers, Fascinating Facts and great sidebars, this book would have been worth my time. But I read more.

This is an excellent book if you are simply interested in the English language, are a teacher or a writer, or like me, also edit. Boy, the author didn't miss a thing.

Have you wondered about the difference between and correct usage of:

-- lectern and podium

-- celibate and chast

-- bi-monthly and bi-weekly

-- lay and lie (I hate this one)

-- people and person

-- may and might

He details those and ton more in the 262 pages.

Here's some clarity the author wants to share:

1. Whether or not: Or not can be used but it is redundant.

2. You can begin a sentence with and or but. Whew, good to know.

3. J.D. (stands for Jurius Doctor) is the only correct initial to refer to a lawyer. (Don't even go there!)

4. To remember to use fewer or less, he explains that fewer is something you can count whereas less is...well, my training partner Kären and I use this well-worn beer commercial to explain: "Fewer calories, less filling." You can count the fewer calories (number), and it's always plural, but the less is a degree or amount and is singular.

5. I could care less/I couldn't care less. The first version is sarcastic; the second correct.

The author answers questions about words I never knew I didn't know, but it was very interesting. Lot of it is "what's a word for....?" That includes all kinds of weird things you'll likely never use, but it was fun nonetheless.

Armchair Interviews says: What in the Word is fun to read while you learn new things and clear up some old word myths.

4 of 4 people found the following review helpful.
Finally! A wordplay book that transcends the standard trivia genre
By Jessica Lux
Elster has delivered an eloquent, fun to read, and informational book about the English language. The format of the book is what makes it really stand out. The basic element is a Q&A format, broken into chapters on specific subjects. Sidebars include Fascinating Facts, Bodacious Brainteasers (quizzes), Quotes, and Sound Bites (details on pronunciation), and other information such as synonyms for drunkards, unfortunate eponyms, and cockney rhyming slang. The book has a comprehensive index and list of works cited.

This is a must-have for any language lover or grammar fiend. It's a book that can be devoured in one sitting or savored piece by piece in a fact-of-the-day format. Enjoy!

6 of 7 people found the following review helpful.
Great bathroom reading. And I mean it in a nice way!
By Esther Schindler
Each essay in this book discusses one minor point of vocabulary or word usage. Most of them are only about a page long. They're entertaining and educational, though you don't get the sense of the deep scholarship in etymology behind, say, Michael Quinion's "weird words" or "turns of phrase."

If I was REALLY serious about the usage of the word "skosh" I'm sure I'd look elsewhere, but this book serves my word-a-day entertainment need. It also gives me a few fun facts, such as a three-page list of unfortunate eponyms (such as "martinet," which is the legacy of General Jean Martinet -- whose harsh discipline led him to be "accidentally" killed by his troops during a battle).

Fun book. You'll like it.

See all 14 customer reviews...

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Kamis, 20 Agustus 2015

? Fee Download Let Me Finish, by Roger Angell

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Let Me Finish, by Roger Angell

Widely known as an original and graceful writer, Roger Angell has developed a devoted following through his essays in the New Yorker. Now, in Let Me Finish, a deeply personal, fresh form of autobiography, he takes an unsentimental look at his early days as a boy growing up in Prohibition-era New York with a remarkable father; a mother, Katharine White, who was a founding editor of the New Yorker; and a famous stepfather, the writer E. B. White.

Intimate, funny, and moving portraits form the book’s centerpiece as Angell remembers his surprising relatives, his early attraction to baseball in the time of Ruth and Gehrig and DiMaggio, and his vivid colleagues during a long career as a New Yorker writer and editor. Infused with pleasure and sadness, Angell’s disarming memoir also evokes an attachment to life’s better moments.

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Rabu, 19 Agustus 2015

** Ebook Download Convergences: Essays on Art and Literature, by Octavio Paz

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Convergences: Essays on Art and Literature, by Octavio Paz

Engrossing essays that reflect the author’s vast and subtle knowledge of the world. Topics range from the religious rites of the Aztecs to modern american painting, from Eastern art and religion to love and eroticism. Translated by Helen Lane.

  • Sales Rank: #1760269 in Books
  • Published on: 1991-06-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x .80" w x 5.50" l, .92 pounds
  • Binding: Paperback
  • 320 pages
Features
  • ISBN13: 9780156225861
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

From Publishers Weekly
This collection of essays by a 1990 Nobelist explores how cultures collide or converge. According to PW, the U.S. ``ethic of hygiene,'' Marxism-as-religion in Latin America and the influence of Japanese culture on Hispano-American writing are among the myriad of subjects examined here.

Copyright 1991 Cahners Business Information, Inc.

Review
This collection of essays by a 1990 Nobelist explores how cultures collide or converge. According to PW, the U.S. ``ethic of hygiene,'' Marxism-as-religion in Latin America and the influence of Japanese culture on Hispano-American writing are among the myriad of subjects examined here. (Publishers Weekly)

Language Notes
Text: English (translation)
Original Language: Spanish

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Minggu, 16 Agustus 2015

@ Get Free Ebook The Vanishing Act of Esme Lennox, by Maggie O'Farrell

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The Vanishing Act of Esme Lennox, by Maggie O'Farrell

Maggie O'Farrell's captivating and critically acclaimed gothic tale of family secrets and the irrepressible freedom that truth brings

 

Chic and independent, Iris Lockhart is tending to her vintage-clothing shop in Edinburgh (and evading her married boyfriend) when she receives a stunning phone call: her great-aunt Esme—whom she never knew existed—is being released from Cauldstone Hospital, where she has been locked away for more than sixty years. Iris’s grandmother Kitty always claimed to be an only child. But Esme’s papers prove she is Kitty’s sister, and Iris can see the shadow of her father in Esme’s face. Esme has been labeled harmless—sane enough to coexist with the rest of the world—but she's still basically a stranger, a family member hidden away who will surely bring secrets with her when she leaves the ward. Moving expertly among the voices of Iris, Kitty, and Esme herself, Maggie O'Farrell reveals the story of Esme's tragic and haunting absence.

  • Sales Rank: #112636 in Books
  • Brand: Mariner Books/Harcourt
  • Published on: 2008-06-02
  • Released on: 2008-06-02
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .63" w x 5.31" l,
  • Binding: Paperback
  • 245 pages
Features
  • Great product!

From Publishers Weekly
Starred Review. O'Farrell (After You'd Gone) delivers an intricate, eloquent novel of family malice, longings and betrayal. Slim, stylish Iris Lockhart runs a dress shop in contemporary Edinburgh when she's not flirting with her stepbrother Alex or rendezvousing with her married attorney lover, Luke. Esme Lennox, meanwhile, is ready to be discharged from the soon-to-be-closed psychiatric hospital where she's been a patient (read: virtual prisoner) for 61 years. Iris becomes aware of Esme's existence when she's informed, to her disbelief, that she has been granted power of attorney over Esme by Kitty Lockhart, Iris's Alzheimer's-afflicted grandmother. It turns out Kitty and Esme are sisters, but Kitty kept quiet about Esme after she was hospitalized at age 16. Layer upon layer of Lockhart family secrets are laid bare—the truth behind Esme's institutionalization, why her existence was kept a secret, and a twist involving Iris's parents—as Iris mulls over what to do with her new charge, and Esme and Kitty reconnect. O'Farrell maintains a high level of tension throughout, and the conclusion is devastating. (Oct.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
Flosnik’s light British tones enhance O’Farrell’s fourth novel, which spans generations and continents. The tale takes listeners back in time to India as well as to contemporary Scotland. Thirtysomething Iris Lockhart learns that she has power of attorney for Esme Lennox, an elderly relative who is soon to be released from a mental institution where she has been a resident for more than 60 years. Prior to the notice, Lockhart never knew of the existence of Lennox, who is the sister of Lockhart’s grandmother, now afflicted with Alzheimer’s. Flosnik reads flashbacks, flash-forwards, and shifting narrative viewpoints with ease. Her intonations darken delicately around the edges when Lockhart learns of the shameful treatment Lennox received, and her voice nimbly brightens when recounting Lennox’s happier teenage years. She is also particularly effective in her portrayal of the grandmother, whose Alzheimer’s-impaired memories shimmer like heat lightning and then disappear. --Whitney Scott

Review
PRAISE FOR THE VANISHING ACT OF ESME LENNOX "I found this actually unputdownable, written with charge and energy and a kind of compelling drive, a clarity and a gripping dramatic insidiousness reminiscent of classic writers like Rebecca West and Daphne du Maurier." --Ali Smith

"Almost ridiculously pleasurable . . . shocking, heartbreaking, and fascinating." --The Times (London)

Most helpful customer reviews

77 of 78 people found the following review helpful.
Intricate and moving story
By Julia Flyte
Esme Lennox is a spirited girl who does not conform to 1930's society norms and so is locked up by her family in a mental asylum. "Insists on keeping her hair long", reads her record of admission. "Dances before a mirror dressed in her mother's clothes". Like The Memory Keeper's Daughter, the book begins with an act that would be unthinkable today but which was considered perfectly appropriate at the time. Sixty years later, her great niece, Iris, receives a phone call to tell her that the asylum is closing and she needs to take responsibility for her grandmother's sister - which is the first time that she has ever heard of Esme. Of Esme's family, only her sister Kitty (Iris's grandmother) is still alive, and she has Alzheimer's.

This is an interesting and moving story. Esme is a wonderful character and I felt sad and angry by the way that she had been cheated out of her life. I also liked Iris (though would have preferred less emphasis on her relationships with the men in her life and more on her relationship with Esme). The narrative jumps between Iris, Esme in the present day, Esme and Kitty as children and Kitty in the present day. It took me a while to get my head round the various strands. Kitty has Alzheimer's so her sections are written in a rambling stream of consciousness, which take a little getting used to but which is quite effective.

The ending is somewhat rushed and vaguely written. But it still packs a punch. It's one that you want to discuss with others. Overall this is a very good read that stays with you for some time.

If you enjoyed this book, I recommend The Secret Scripture which is also about a woman locked away in a mental asylum many years ago for spurious reasons.

42 of 44 people found the following review helpful.
Indelicate Acts
By Debbie Lee Wesselmann
Maggie O'Farrell's novel is a delicately told tale of indelicate acts. Young and single Iris has a love life fraught with taboos and an ordinary routine that preserves both her independence and her anonymity. When she receives a call from a local mental institution that she is the sole surviving heir of a great-aunt she has never heard of and who has been removed from society for sixty years, her life begins its slow unraveling. The institution is closing, and the mystery woman, Euphemia Lennox, has no place to go. Iris and Euphemia (who calls herself Esme) begin a fragile relationship as Iris struggles to juggle both her need for personal space and her guilt. Meanwhile, Esme has her own goals.

In fine, exact language, this slim novel unfolds through the fractured point-of-views of Iris, Esme, and Iris's grandmother Kitty, who suffers from Alzheimer's. The narrative is structured like a jigsaw puzzle, with bits of information judiciously offered until the whole picture is assembled. Unfortunately, the "secret" behind Esme's confinement and Kitty's guilt is a little too predictable, and the final act of the novel seems somewhat over-the-top and therefore not as satisfying as one might like. Still, O'Farrell's handling of the story and its issues is both evocative and authoritative.

Readers interested in the changing expectations of women may be intrigued by the author's premise that, while gender expectations may change over generations, women who rebel against society's rules still do so at personal cost. Because this book is not told in a straightforward narrative, casual readers may be frustrated trying to figure out what is happening, but readers of more serious fiction will find it both accessible and a quick read. The Vanishing Act of Esme Lennox is a good, but not great, book - the perfect book for an evening or two by the fire.

41 of 45 people found the following review helpful.
Flawed but devastating
By Violetta1485
SPOILERS ALERT: This book tracks, out of chronological order, the destructive effect an intolerant, narrow-minded family has not only on their scapegoated daughter, who may have some sort of learning disability (perhaps ADHD) but is hardly psychotic--at first--but also on their favored daughter. As others have pointed out, you can guess most of the "secrets" well ahead of the end if the book, but I don't think that's its point. I think it's more that the evil parents do lives after them, and Kitty's compounded failures towards Esme seem may be initiated by romantic rivalry, but that's just the trigger after years of accumulated frustration of being unable to protect her from either parents or bullying schoolmates--eventually Kitty just identifies with the aggressors and accepts the conventional view of all things, including Esme. The consequences for Esme are horrific, particularly when we can guess that if she entered art school or drama school she'd probably fit right in, but Kitty's marriage and future happiness are also doomed by her inability to rebel, just as Esme is doomed by her inability to comply. The book explores how when one family member is scapegoated, other members are also permanently damaged by being forced to witness or participate in the scapegoating: nobody wins. The readers who view the ending as someone who "got away with it" for years finally getting just deserts have missed the point that this tragedy was set in motion years ago by parents and doctors who got young girls to say what they wanted to hear, and then left them to bear the consequences. And as tempting as it is to stop there, one need only refer to Larkins' "This Be the Verse" to see that the damage affects more than one generation.
If anything, the book reminds me of _Wuthering Heights_: it also flashes back and forth in time, we don't know who is who at the beginning or how the situation came to be as it is when we begin, and we see how several generations are marred by poisonous family relations and bullying. WH at least offers the possiblity that some things are resolved or transcended by death, but in _Vanishing_ we are not even offered that frail hope.

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Sabtu, 15 Agustus 2015

> Ebook Tartuffe, by Moliere, by Jean Baptiste Poquelin de Moliere

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Tartuffe, by Moliere, by Jean Baptiste Poquelin de Moliere

The translation into English verse of one of Molière’s most masterful and most popular plays. “A continuous delight from beginning to end” (Richard Eberhart). Introduction by Richard Wilbur.

  • Sales Rank: #9412 in Books
  • Brand: Houghton Mifflin Harcourt
  • Published on: 1992-01-10
  • Released on: 1968-01-10
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .43" w x 5.31" l, .38 pounds
  • Binding: Paperback
  • 164 pages
Features
  • Great product!

Review
Constance Congdon slips into Moliere's tricky shoes and the fit is Cinderella-perfect. Congdon's quicksilver wit and breathless urgency coax the dark heart of Tartuffe into glowing with a twenty-first-century heat. --John Guare

Language Notes
Text: English (translation)
Original Language: French

From the Inside Flap
Initially banned in France by King Louis, Moli re's celebrated social satire Tartuffe exposes false piety and hypocrisy in the Catholic Church. When a pious fraud worms his way into a wealthy family and manipulates the patriarch into giving up his fortune, it's up to his family to expose the truth before they end up in the poor house!

An L.A. Theatre Works full-cast performance starring:

Brian Bedford as Tartuffe

JB Blanc as M. Loyal and Officer

Daniel Blinkoff as Damis

Gia Carides as Dorine

Jane Carr as Mme. Pernelle

John de Lancie as Cleante

Martin Jarvis as Orgon

Matthew Rhys as Valere

Sarah Zimmerman as Mariane

Translated by Richard Wilbur. Directed by Dakin Matthews. Recorded at The Invisible Studios, West Hollywood in June, 2010.

Most helpful customer reviews

43 of 47 people found the following review helpful.
Moliere's paradigmatic neoclassical comedy, "Tartuffe"
By Lawrance Bernabo
I often taught Moliere's "Tartuffe" as an example of the neoclassical form of comedy in contrast to the romantic comedy represented by Shakespeare. We would read "Twelfth Night," a play set in a faraway exotic land where the point was simply romance, and then turn to "Tartuffe," where the contemporary society becomes one of the primary concerns of the comic dramatist. During the neoclassical period society was concerned with norms of behavior, and in a Moliere play you usually find a eccentric individual, out of step with the rest of society, who is laughed back to the right position. Moliere was concerned with social problems, which was while this particular play, dealing with the issue of hypocrisy, was banned for years. Keep in mind that originally hypocrisy was specific to religion, although today it can be used with regards to politics, sex, or even uncontroversial subjects.
The central character in "Tartuffe" is not the title character, but Orgon, a reasonably well to do man of Paris who is married to his second wife, Elmire, and has a song, Damis, and a daughter, Mariane, from his first marriage. He also has the misfortune of living with his mother, Madame Pernelle. Tartuffe is a religious hypocrite who worms his way into Orgon's confidence in order to take him for everything he is worth. Orgon is completely duped, and disinherits his son when Damis tries to prove Tartuffe is fraud. The other key character in the play is Dorine, who is Mariane's maid and the smartest person in the house, which allows her to both manipulate the action and comment on the play.
There are three crucial scenes in the play that readers should appreciate, even if it will not be covered on a future exam. The first is the opening scene (in Moliere's comedies the scene changes every time a character enters or exits) where we are introduced to Madame Pernelle, who promptly proceeds to criticize everybody in Orgon's household while praising Tartuffe. The result is that because she is so obnoxious, we have a low opinion of Tartuffe before he ever appears on stage. So, in addition to being a funny scene, it serves an important function in terms of the play. The second key scene comes when Orgon realizes he has been duped, and instead of continuing to ridicule his central character, Moliere turns him into a sympathetic figure. We laugh at Orgon while he does not have a clue as to his culpability in his coming demise, but once he starts to lose everything we stop laughing.
The final scene of interest, for mostly reasons external to the story, is the conclusion, where Moliere pulls what could only be called a "roi ex machina." This is because instead of dropping a god out of the sky in the manner of Euripides, Moliere has a representatative of the King arrive to set everything to rights. Tartuffe might pull the wool over the eyes of ordinary folk, but the King--in this case, King Louis XIV--is not fooled. The play "Tartuffe" was banned by the clergy after its first performance because it was seen as a thinly veiled attack against the Jansenists (a rather puritanical Catholic sect), and Moliere literally spent years rewriting it before the King gave his approval. It is not surprising that the playwright makes his patron the hero at the end of the play.
If you are only going to read (or teach) one Moliere play, then my choice would be "Tartuffe," even over "The Misanthrope," "The Imaginary Invalid," or "The Bourgeois Gentleman." I would argue that "Tartuffe" is the paradigmatic Moliere play, which best represents his comic techniques while also having a historical context that speaks to the tenor of the times in which he wrote. I also think it is the funniest of his plays.

15 of 15 people found the following review helpful.
The Facades and Scandals of the Seventeenth Century and Today
By Gary Buehner
Intriguing and entertaining, the play Tartuffe is a satire displaying the scandalous truths and facades of the seventeenth century. Although initially written for the people of King Louis the XIV, the book can be read by an every day high school student or adult. Through reading the play the audience is able to see the deception of people and that we can not always judge by what we see. Moliere brings about this concept through his witty play, and in such a manner that you can't put it down. In Tartuffe, Moliere uses the characterization, rhyme scheme, setting, and irony to effectively inform an every day audience about the distinction between appearances versus reality.

Characterization of Tartuffe

The perfect example of a hypocritical facade is displayed in the characterization of Tartuffe; in fact the name can be defined as one resembling false piety of religion. Tartuffe's character doesn't appear until nearly the middle of the play and the first image the audience receives is of him demanding his servant to, "hang up my hair-shirt, put my scourge in place, and pray Laurent for Heaven's perpetual grace. I'm going to prison now, to share my last few coins with the poor wretches there." (Tartuffe 3.2). The scourge and hair-shirt are used as a means of penance and chastisement. Religious ascetics will operate these items in private, showing their true devotion to God and to no one else. Tartuffe, however, made it obvious to the entire household what he was doing. Cleante, the character of reason, expounds upon Tartuffe's character, "those whose hearts are truly pure and lowly, don't make a flashy show of being holy. There is a vast difference it seems to me, between true piety and hypocrisy." (Tartuffe 1.5). If Tartuffe was truly pious, he wouldn't need ratification from others for his good deeds, self-satisfaction would suffice. Although Tartuffe appears holy and raves about his goodness, in reality it is just for show.

Another example of Tartuffe's hypocrisy occurs with Dorine. He tells Dorine to "cover that bosom, girl. The flesh is weak; such sights as that can undermine the soul." (Tartuffe 3.2). Tartuffe might appear offended by the act of seeing a women's chest, however, he doesn't have a problem with sleeping with another man's wife. In the next scene Tartuffe's counterfeit façade is dissolved with Elmire and he offers her "love without scandal, and pleasure without fear" if she will commit adultery with him. To Tartuffe "it is no sin to sin in confidence" and though "some joys are wrong in heaven's eyes, heaven is not averse to compromise." (Tartuffe 4.5). In the scriptures, committing adultery is the third worst sin to commit in God's eyes. Moliere uses this example of Tartuffe's character to expose the many scandals occurring in the seventeenth century with the priests and their inability to remain celibate. Despite the fact priests and those who act pious [such as Tartuffe] appear holy, in reality they sometimes use young girls, committed adultery, and partake in many other scandals.

Not only does Tartuffe aspire to sleep with another man's wife, but also he indulges in the seven deadly sins. While Orgon is away from the house, Tartuffe ate "a leg of mutton and a brace of pheasants," "snored away until the break of day," and "drank four beakers full of port." (Tartuffe 1.4) Tartuffe is supposed to be a devout follower of the son of God. Nonetheless he overstuffs himself, eats too much meat, drinks and oversleeps. Orgon tries defend Tartuffe by saying he "gave him gifts, but in his humbleness he'd beg me every time to give me less." What Orgon doesn't understand is that a Christ-like figure would not accept gifts, and Tartuffe still takes them in, along with wishing to overtake Orgon's household. Tartuffe's sanctimonious display allows the audience to effectively see that he is a hypocrite. Moliere makes it a point to the audience that just because someone appears holy, it does not always hold true and in reality they could be hypocrites.

Characterization of Orgon

Moliere uses the characterization of Orgon to portray a father attempting to control his household when in reality Orgon is gullible and Tartuffe is running the household. Orgon enforces his "fatherly role" upon Mariane telling her Tartuffe is "to be your husband, is that clear" because "it's a father's privilege." (Tartuffe 2.1). He also repeatedly orders the other members in the family around, announcing he is the one giving the orders in the household. (Tartuffe 3.6). Although Orgon attempts to be the one giving the orders in the house, Tartuffe depicts Orgon as growing "more gullible by the day" and that he "could lead him by the nose." (Tartuffe 4.5) Tartuffe is able to get Orgon to sign papers to make him Orgon's only son and heir and eventually Tartuffe takes over Orgon's household. Moliere uses this example to effectively inform his audience that even though we appear to be in control of situations, giving someone too much power and being gullible can lead to a reversal of fortune.

Rhyme Scheme

Another tool Moliere uses to show the difference between appearance and reality is through the rhyme scheme. Moliere employs rhymed couplets to amplify the reading tempo. A rhymed couplet is two lines where the ending syllable of each line rhymes. For example: "there is nothing that I more cherish and admire than honest zeal and true religious fire." (Tartuffe 1.5). The prompt reading symbolizes the frantic disorder of Orgon's household. Although the family tries to put on a façade that they are a perfect aristocratic family of the time, in reality turmoil and conflict subsist throughout the household. This example was true of many families of the time and is also true today.

Setting

The setting also portrays the turmoil of the home and augments the pace of the play. The whole play takes place in the same room in Orgon's home and the characters are constantly entering and exiting the room. This causes chaos and confusion resembling the situation of the family. Moliere efficiently informs the audience that although households [in the 1600s or today] may appear to be perfect on the outside, if you dig a little deeper into the reality, they can be muddled.

Dramatic Irony

Moliere also utilizes irony to expose the difference between demeanor and veracity to the audience. On two occasions the play uses the dramatic irony of Damis or Orgon hiding in a closet or under the table while a conversation between Elmire and Tartuffe is occurring. The first instance has Damis hidden in a closet and the audience gets a whim of Tatuffe's true character. Although Tartuffe "may be pious, he is human too." (Tartuffe 3.3). Tartuffe starts touching Elmire and proclaiming his lusts for her and his pious mask becomes undone. It is not until the second occurrence of dramatic irony that Tartuffe's façade is completely gone and the reality of his lasciviousness is unveiled. Tartuffe tells Elmire "to be his pupil" and he will show her "how to conquer scruple." (Tartuffe 4.5). Once again the audience can see the hypocrisy of Tartuffe. Moliere uses this tool of dramatic irony to show the audience that we can not always believe what we see because, once we truly get to know someone they can be a completely different person than they appeared.

I would highly recommend this book to all people fifteen and over because not only does Moliere give you insights on life, but also he is very entertaining and satirical. Due to the rhymed couplets, the book is a very quick read and it is enjoyable because of the irony and witty diction used throughout. Tartuffe is guaranteed to make you laugh and it will institute deep thinking for those wanting to read an academic work.

18 of 19 people found the following review helpful.
Tartuffe-what a spoof!
By Humphrey Chimpden Earwicker
Fast-paced and oft hilarious; Moliere's "Tartuffe" was one of the most controversial plays of its day. However, I myself do not believe it to be so much a satire on religion (contrary to what was believed at the time) as a satire on religious hypocrisy. Not once in the play is a specific religion or religious belief eluded to, and Cleante (who serves as the play's voice of reason) praises piety (so long as it is honest) in the beginning of the fifth act. What the play is satirizing is how easily people follow and accept what they are told by their leaders, whether religious, political, or otherwise.
In the play Orgon places so much faith in the mischevious Tartuffe that he nearly gives away everything (including his own daughter) to him. Both the strong-willed, weak-minded Orgon and the devious Tartuffe (of whom one could say "thinks with the wrong head") as well as the quick-tempered Damis, the clear-minded Cleante, and the wise-cracking maid Dorine are memorable characters all of whom are wonderfully developed despite the brevity of the play. The rhyme scheme makes for a quick and enjoyable read as well. A classic!

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Síle is a stylish citizen of the new Dublin, a veteran flight attendant who’s traveled the world. Jude is a twenty-five-year-old archivist, stubbornly attached to the tiny town of Ireland, Ontario, in which she was born and raised. On her first plane trip, Jude’s and Síle’s worlds touch and snag at Heathrow Airport. In the course of the next year, their lives, and those of their friends and families, will be drawn into a new, shaky orbit.

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The Diary Of Anais Nin, Volume 7 (1966-1974), by Anaïs Nin

The final volume ends as the author wished-not with her last two years of pain but at a joyous, reflective moment on a trip to Bali. "One of the most remarkable diaries in the history of letters" (Robert Kirsch, Los Angeles Times). Edited and with a Preface by Gunther Stuhlmann; Index; photographs.

  • Sales Rank: #588480 in Books
  • Color: Black
  • Published on: 1981-10-14
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x .96" w x 5.50" l, 1.11 pounds
  • Binding: Paperback
  • 384 pages
Features
  • ISBN13: 9780156260350
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Review
One of the most remarkable diaries in the history of letters....with this initial publication, Miss Nin, already assured of a place in contemporary literature, makes this doubly secure. (Los Angeles Times - Robert R. Kirsch)

About the Author
Ana-s Nin (1903-1977) was born in Paris and aspired at an early age to be a writer. An influential artist and thinker, she was the author of several novels, short stories, critical studies, a collection of essays, two volumes of erotica, and nine published volumes of her Diary.

Most helpful customer reviews

102 of 110 people found the following review helpful.
BREATHTAKING PORTRAIT OF A WOMAN!
By Marion
I first read the diaries in the 1970's and have reread them several times since. Anais shows the world the mind, psyche, soul and intellect of a woman seeking to squeeze every little drop out of life that she can. And she does. Her writing is pure poetry and never fails to inspire me. I highly recommend all of her diaries and her fiction. Never before in history has a woman so completely documented her inner life and dreams. Some of the most beautiful writing I've ever read.

118 of 133 people found the following review helpful.
A bubble punctured
By Scribe53
It took me a long time, but I finally tracked down and read all the volumes of Nin's autobiography. The first time was in the days before Amazon, so it was not easy. At first I loved them. I had already read her novels and short stories. But gradually I got the sense of a person who rewrote her history to make herself look better. That was a disappointment. Then I discovered that she had omitted so much, lied about so much. If she had admitted that this was a reworking of her life I'd have accepted it. But her great claim was that, like Henry Miller, she wrote unadorned truth. I remember Miller and Durrell once describing her as a pathological liar. Then, later, even her sympathetic biographers discovered the same. We did not accept the hoax of J T Leroy (I saw through that one straight away) or James Frey. I now wonder why we should be any kinder to Nin. They are still an interesting read. But they require not a pinch, but a barrel of salt. Sometimes her fiction was more truthful than her journals.

Yes, I know this will be marked down as unhelpful. I do that to less than positive reviews too. But I am a disappointed fan.

0 of 0 people found the following review helpful.
I've only recently begun to read Anais Nin. Her ...
By J. Milazzo
I've only recently begun to read Anais Nin. Her writing is simply arresting.
She displays a character that one doesn't encounter these days. I wish I'd known her.
Her work is descriptive, entertaining and thought provoking.

See all 55 customer reviews...

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