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19772110502150304310Kokudosha 1977. Soft Cover. Fine. Volume: 1 Kokudosha paperback
19742111902160101555Not Available 1974. Soft Cover. Fine. The book is in fine condition. Not Available paperback
20132081502111900285Chinese social sciences 2013. Soft Cover. Fine. The book is in fine condition. Chinese social sciences paperback
19912083002117300103Kashiwashobo 1991. Soft Cover. Fine. The book is in fine condition. Kashiwashobo paperback
19862110502150908865Peace Map Co. Ltd. 1986. Soft Cover. Fine. Volume: 1 Peace Map Co., Ltd. paperback
196118678<p>Text in Chinese and English. Good softcover. Glossy thin card covers. Covers scuffed with light soiling; crease on spine; 1.25 inch of spine paper lacking at spine head 1 inch lacking at spine tail; tightly bound; 120 color plates present and intact with tissue-guards; some plates with faint pencil erasures near top edge; some tissue-guards with small tears. See OCLC #79599908.</p> Taipei, Taiwan: National Taiwan Arts Center paperback
196188961(Taiwan, National Taiwan Arts Center, 1961). 120 S. Mit sehr zahlreichen farb. Kostüm-Illustr. 26,5 cm. OBrosch.
In 16° leg. edit. pp. 83, ben tenuto
1950AUB-3140Gap, éd. Orphys 1950. Bel exemplaire br., couverture ornée d'éd., no 46 /1000 ex. num. sur Alfa, 86 p. avec illustrations.
1908505043Verlag von Fr. Wilh. Ruhfus, Dortmund 1908. 20,5 x 13,5 cm. Neuerer Halbleinenband mit maschinengeschriebenem Rückentitel sowie beigegemustertem Deckelbezugspapier. VII, 456 Seiten. Gutes Exemplar.
147p. Hardcover Very good condition; red remainder mark on top edge very good d.j. good
22906TRANSMISSION: BBC HOME SERVICE SCHOOLS Bush House London Monday 29th June 1953: 9.40 - 10.00 a.m. Contemporary duplicated typescript from the Christopher Fry papers. 14pp 8vo. Each page on a separate leaf. In fair condition lightly aged. Fry's introductory talk is present in its entirety on pp.1-5 this is followed by an unpaginated page then pp.8-15 with p.10 also unpaginated. Hence p.6 or p.7 beginning the extracts from the play would appear to be absent. On the front page between the heading and transmission details is: 'Rehearsal: Thursday 4th June 1953: 10.00 onwards Recording: Thursday 4th June 1953: 12.15 - 1.00 p.m. 3A Recording of Insert: BLANK'. Fry's talk - apparently unpublished astute and all the more revealing because addressed to a younger audience - is preceded by 'ANNOUNCER: This is the BBC Home Service for Schools. Religion and Philosophy. Today Christopher Fry speaks about his play "A Sleep of Prisoners". Mr. Fry.' Fry begins his talk: 'It's interesting - at least it's interesting to me - what apparently accidental things go to the making of a play. I always begin by feeling it's very improbable that I shall ever write anything. My mind is a vacuum: and then nature abhorring they tell me a vacuum starts to fill it up: very slowly usually; one little thing at a time; memories I had forgotten I possessed: a chance remark from somebody: all sorts of quite trivial things in my life gather together fal into line as though they had always meant to and gradually something which might be said to resemble a play shapes itself in my head. Which shows perhaps that nothing that ever happens to you is unimportant.' He proceeds to describe the 'things' that happened to allow him to publish 'A Sleep of Prisoners' with reference to: the 1951 Festival of Britain; Michael MacOwan; Oliver Cromwell; Fry's move during the war to a cottage in Oxfordshire. He describes his sudden suggestion to 'Mr. MacOwen': 'I should like the action of the play to be the dreams of the prisoners. Each man would dream in turn and would dream of himself and the other men. Naturally each man's opinion of himself and of the others would be different: no two people have exactly the same opinion of you or of me; and so in this way if we had four prisoners each actor would have four versions of himself to act each character would be seen from four different points of view. Tea-time came to an end Mr. MacOwen had to leave and that was as far as we had got.' He describes how a few weeks later on a single day he developed 'the whole story of the play'. He gives his assessments of the four characters and describes the a section of the plot before announcing in the final paragraph: 'The actors are going to play part of this dream for you. The character of Absolom remember is David's dream picture of Peter Peter with all his infuriating qualities uppermost.' He continues his explanation at one point stating: 'I have tried in this dream to mix the waking and sleeping world together. . So to us the audience Meadows is awake and to David he is a figure in a dream. Now let us go into the dream. Absalom has been mocking his father from down in the shadows and now David begins to speak.' The nine-page reading from 'the dream' follows and by reference to Fry's introduction together with the text of the whole poem it should be possible to establish what if any part is lacking. TRANSMISSION: BBC HOME SERVICE (SCHOOLS) [Bush House, London] | Monday 29th June 1953: 9.40 - 10.00 a.m. unknown
22903No place or date. Book published in New York by Macmillan in 1965. 9pp 8vo. Complete carbon typescript. On nine leaves stapled together. Title at head of first page: 'THE BOAT THAT MOOED.' Fry's signature in blue ink at top left of first page: 'Christopher Fry:'. Fry has cut down the story by deleting and removing a passage. The lower part of the leaf carrying the sixth page of the story has been cut away and the original seventh page has been removed hence the typescript pagination 1-6 8-10 has been amended in manuscript to 1-9. A lighthearted faux-naive story replete with symbolism. Begins: 'Tom Crunch lived on a boat. All round the boat was water. There was water to the right water to the left water in front and water behind. And also water underneath. Up above there was the sky. Tom Crunch lived with his Uncle Jack. Uncle Jack was fat and sleepy. All day long he sat and fished in the water. Sometimes he was awake and sometimes he was asleep. It was hard to tell which he was because he looked just the same when he was awake and when he was asleep. He kept his eyes shut all the time unless he was eating fish. Then he kept his eyes open because of the bones.' There does not appear to have been an English edition of the book which was published in New York by Macmillan in 1965 with pictures by Leonard Weisgard. No place or date. [Book published in New York by Macmillan in 1965.] unknown
22904No place or date but some time after Hassall's death in 1963 and probably written from Fry's house The Toft. 3pp 4to each page on a separate leaf. In fair condition lightly aged and worn. Folded once. There is no indication that either item was published nor even that the poem is connected to the 'programme'. If unpublished the poem may have found its way into Fry's papers from Hassall's. The 'programme' - with no title or heading - is two pages long with slight damage from a small staple to corners of both leaves and complete being divided into six numbered sections. Section 1 as first typed begins: After the first two pieces on the programme we are taking the poems more or less chronologically so that we can follow the way that Christopher Hassall went in the search which every poet must take for the voice which would say what he wanted to say.' Fry has cut this in autograph to: 'After the first two pieces on the programme the poems follow more or less chronologically.' He praises the 'furious innocence of concentration' of Hassall's early poem 'The Arrow' 'like a child staring: and with it never very far away the ironic comment of humour.' He describes how Hassall's takes time 'to master his individual voice but when it came it was unmistakable'. Recurring themes in Hassall's work are his Christian faith and love of music. He quotes 'some lines in a poem remembering his boyhood days at a choir school in Tenbury Wells'. He turns to Hassall's love of the theatre his career as an actor on leaving Oxford and writing of 'popular lyrics for Ivor Novello's musicals at Drury Lane'. At this point he adds in autograph: 'And later the libretti for operas: the first of all was perhaps the Troilus and Cressida for William Walton.' At the end of the first section Fry announces two readings from Hassall showing his 'great flair for writing pieces for special occasions'. In the second section he discusses Hassall's 1939 Canterbury Festival play 'Christ's Comet' 'which was performed in the Cathedral chapter-house'. Part 3 announces the beginning of 'this second part of the programme' with Fry adding an autograph note about 'a cyle of 7 lyrics': 'They are all about ways of getting about and with them we are in the atmosphere of the delightful poems for children which were to come later.' The fourth section points out 'a change in manner in some of the poems we are going to read now from the Red Leaf - a change partly brought about perhaps by Hassall's admiration for the poetry of D. H. Lawrence'. The fifth section names humorous and children's poems to be recited. The last section announces the eight sonnets from his posthumous collection 'Bell Harry' which end of the programme with Fry explaining the Canterbury context with reference to the 'old Manor House near Canterbury' in which Hassall ended his days. Accompanying the 'programme' on a leaf of thicker paper is the typescript of an unattributed poem titled 'Pilgrim's Way' 'Pilgrims to the golden shrine Under Canterbury towers Blessed by your wayfaring Through the early English flowers.' divided into two eight-line stanzas each with the refrain: 'Every day a Holy day Riding over Pilgrim's Way.' The poem is presumably by Hassall from the window of whose manor house could be seen the celebrated road to Canterbury. A pencil note at the head of the page states that the three leaves were found in Hassall's collection 'The Red Leaf'. No place or date, but some time after Hassall's death in 1963, and probably written from Fry's house, The Toft. unknown
190117367Wien, Adolph W. Künast, 1902, Konstanz, Selbstverlag, 1901. gr. 8°, 80 & 74 S., Rotschnitt, Bezahlung per PayPal möglich, we accept PayPal, Einband stark beschabt und bestoßen, Fehlstellen im Leder, altersbedingte Bräunungen, sonst min. Gebr.sp., Halbleder
1846B67442Gand, Hosté s.d. [1846-1847] pp.257-304 + 1-104, 16cm., br.orig., non-coupé, [contient e.a.: HYMANS Louis, Robert-le -Frison, drame historique, pp.49-104]
pp.257-304 + 1-104, 16cm., br.orig., non-coupé, [contient e.a.: HYMANS Louis, Robert-le -Frison, drame historique, pp.49-104]
184779749Hamburg, B. S. Berendsohn, 1847. VIII, 328 S. Mit zwei Stahlstichen. Gr.-8vo. 21 cm. Rotes Ldr. m. Ganzgoldschnitt u. goldgepunzten Innenkanten.
20062111902158406150Japan Theater Association 2006. Soft Cover. Fine. Number of pages: 339p Size: 21cm Japan Theater Association paperback
1390580822.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
2001100143947Presses Universitaires de Caen 2001 2001. Broché. Le roman suit la saga de la famille Scorta une famille du sud de l'Italie marquée par les secrets et les trahisons dont les conséquences résonnent à travers les générations. L'histoire explore leur lutte pour l'acceptation sociale leur développement économique à travers divers commerces et les liens familiaux complexes notamment à travers des figures comme Rocco Scorta-Mascalzone et Carmela
Light shelfwear to book. 1 lightly bumped corner. Foxing/dustsoiling to top of textblock. Scholar's bookplate to inner cover (G. P. Goold). DJ has edgewear with a bit of edgewear. ; Classical Life & Letters; 290 pages
13778CINE MIROIR Publication Bi mensuelle illustrée. 16 pages. Tête de collection. Première année : n°1 du 1er mai 1922 au n°16 du 15 décembre 1922.Deuxième année 1923 : n° 17 du 1er janvier au n°40 du 25 décembre 1923. Troisième année 1924 n°1 du 1er janvier au n°50 du 15 mai 1924. Un volume relié. (Reliure modeste intérieur en bon état).
1885228881Librairie de la Bibliothèque Nationale Paris 1885. Hardcover mit Leinenrücken und -ecken Kleinformat Zustand: keine Beschädigungen keine Eintragungen. Rücken Ecken Kanten leicht berieben. Librairie de la Bibliothèque Nationale, Paris, hardcover
196227359Chateau-Gontier Groupe Iéna 1962 In-8 314 pp