" (Young, 1792; as cited in Readings of European History, 1906)
Young states that he has even see a 'poor' child run over and killed by the young rich nobility who ride at fast speeds and carelessly in the streets of Paris. Young however, speaks of the countryside as an ordered and lovely place as he states: "A succession of many well-built, tight, and comfortable farming cottages, built of stone and covered with tiles; each having its little garden, enclosed by clipped thorn hedges, with plenty of peach and other fruit trees, some fine oaks scattered in the hedges, and young trees nursed up with so much care that nothing but the fostering attention of the owner could effect anything like it. To every house belongs a farm, perfectly well enclosed, with grass borders mown and neatly kept around the cornfields, with gates to pass from one enclosure." (Young, 1792; as cited in Readings of European History, 1906)
Young speaks of how the towns have within them the residences of the rich, the kings with poor ragged people all in the city and to the injustice of this he states: "What have kings, and ministers, and parliaments, and states to answer for their prejudices, seeing millions of...
Dis-missal of the great French fairy tale writers from the palace of King Louis XIV help revolutionize the literary French fairy tales? French fairytales and literature are indeed a topic that is worth discussing. This is because the work compiled by the French writers, back in the 17th and 18th century is still part of the English as well as French literature. Nowadays, the term fairy tale is used by many
Schikaneder was both an actor and a producer in Vienna for a playhouse that traditionally catered to "lowbrow" audiences (Loomis 2). Mozart's brand of comedy was just the thing for Schikaneder's theater. But "lowbrow" was merely one aspect of Mozart's comedic ventures: they could be equally stunning, poised, high-minded, honest, and full of common sense at the same time. Like the man, they resembled a mystery that could not
As mentioned earlier on, the new political dispensation that took off is 1994 opened the "gates of creative possibility" (Roos,2010) for the opera producers since they were therefore able to juxtapose the Western and African art scenes. This was fueled by the sense of renewed intellectual and artistic access that way created by the new political dispensation. According to Roos (2010), theoretically, the new political dispensation culminated into an
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