The complete writings of Alfred de Musset.

"One thousand copies have been printed on large paper." This is copy no. 947.

Twelfth night; or, What you will;

Mode of access: Internet.

The works of Francis Beaumont and John Fletcher.

The plays are printed in the order found in the second folio "Fifty comedies and tragedies," 1679, with facsimile reproductions of early title-pages.

The merchant of Venice,

Mode of access: Internet.

The histories and poems of Shakespeare: the text of the Oxford edition /

Uniform with the Oxford edition of the Comedies and Tragedies of Shakespeare, and forming vol. II of the Complete works.

Shakespeare's Twelfth night; or, What you will.

Mode of access: Internet.

The country girl. A comedy; altered from Wycherley.

An alteration of the Country wife.

Dos á dos : comedia en un acto y en verso /

Premiered Sept. 12, 1850 at the Teatro Nuevo de Variedades.

Arzat Lubnān [microform] /

Comedies, poems and fragments, ed. with introduction and biography of the author by Niqūlā Naqqāsh.

Boston Theatre. ... Farewell benefit of Miss Agnes Robertson ... This, Friday evening March 27, 1857, will be performed the beautiful comedy, in 2 acts, by A. Harris, entitled The little treasure! ... After which, 1st time at this theatre, a new Protean burletta, written expressly for Miss Agnes Robertson, by Dion Boucicault, called The chameleon ...

Playbill for the production of A little treasure by A. Harris and The chameleon by Dion Boucicault, at Boston Theatre, March 27th, 1857.

Ancien théâtre françois; ou, Collection des ouvrages dramatiques les plus remarquables depuis les mystères jusqu'à Corneille.

v. 1-3, "Farces.--Moralites.--Sotties Sermons Joyeux.--Mysteres du XVI siecle." v. 4. L'Eugene; Cleopatre; Didon, par Estienne Jodelle.-- Les Esbahis par Jacques Grevin.--La Reconnue, par Remy Belleau.--v. 5. Le Laquais; Les Esprits; La Veive; Le Morfondu par Pierre de Larivey.-- v. 6. Les Jaloux; Les Escolliers; La Constance; Le Fidelle, par Pierre de Larivey.--v. 7. Les Tromperies, par Pierre de Larivey.--Les Contens, par Odet de Tournebu.--Les Neapolitaines, par Francois d'Amboise.--Les Desguisez, par Jean Godard.--La Nouvelle, par Le Capitaine Lasphrise.-- v. 8. Tyr et sidon, par Jean de Schelandre.--Les Corrivaux, par Pierre Troterel.--L'Impuissance, par Sieur de Veronneau.--Alizon, par L. C. Discret.--v. 9. Des Proverbes, par Adrien de Montlue.--La Comedie de Chansons.--La Comedie des Comedies, tr. par Rene Barry.--La Comedie des Comediens, par Sieur de Gougenot.--Le Galimatias, par Andre de Rosiers.--v. 10. Glossaire.

La comédie humaine of Honoré de Balzac;

"Ed. grand format. Limited to five hundred numbered sets of which this is no. 133."

Œuvres complètes de Eugène Scribe.

Complete in 76 vol.

The younger generation; a comedy for parents, in three acts,

Printed in Great Britain.

Revaloracion de la comedia de Pedro Munoz Seca: Un teatro menospreciado

The comedies of Pedro Muñoz Seca (1879-1936) received extraordinary public acclaim for over thirty years, yet critics rejected them. Although several experts have recently begun to study his plays in an objective manner, this author has generally either been underrated or omitted from theater histories. This study identifies the merit, contributions and relevance of Muñoz Seca's works so that the unwarranted void that now exists in Spanish theater annals is justly filled. Historical and biographical backgrounds and a brief sketch of the development of comedy in Spain serve to introduce the literary, political and social contexts in which the author develops the subgenre known as "astracán" and introduces the "fresco" character type. ^ This analysis illustrates Muñoz Seca's verbal comic techniques---the use of regional dialects and individuals' speech peculiarities, double entendres, incongruence, periphrasis, and ingenious plays on words. It also explores the author's profound theatrical sense manifested in inter-textual references and self-reflexivity within the content of his plays. In addition, it identifies the scenic creativity he displays through the use of cinematography, the removal of color from stage decor (or the elimination of scenery altogether), and the original application of music to create comic effect. Furthermore, this study comments the satirical tone projected in Muñoz Seca's characters' idiolect and barbarisms as socio-political conditions worsen. Finally, it brings forth the author's use of parody to criticize his society and to deride other theatrical genres in vogue during his time. ^ While the polarization between Muñoz Seca's popular success and the critics' rejection can be explained by esthetic and ideological prejudices, this dissertation ascertains that the true nature of the author's plays has not been properly identified. The "astracán" is a double parody; however, since it caricaturizes a comic subgenre that is already burlesque, its defining parodic features have been consistently misinterpreted as mere exaggerations and defects. What is more, as its critical content is not recognized, its renewing function goes unnoticed. Muñoz Seca's "astracán" illustrates an era of the Spanish comic stage and paves the way for the theater of the absurd. Its merit and relevance must be recognized. ^