Dr Arden analyses the sottie, a short comical play, which flourished in France from about 1440 to 1560.

Leon Tolchinsky is ecstatic. He’s landed a terrific teaching job in an idyllic Russian hamlet. When he arrives, he finds people sweeping dust from the stoops back into their houses and people milking upside down to get more cream. The town has been cursed with Chronic Stupidity for two hundred years, and Leon’s job is to break the curse. No one tells him that if he stays over twenty-four hours and fails to break the curse, he too becomes stupid. But he has fallen in love with a girl so stupid, she has only recently learned how to sit down.

Nominated for the Carnegie Medal 2011 Shakespeare in Love meets Twelfth Night - A gripping and evocative historical novel by bestselling Celia Rees

The role of the fool is to provoke the powerful to question their convictions, preferably while avoiding a beating. Fools accomplish this not by hectoring their audience, but by broaching sensitive topics indirectly, often disguising their message in a joke or a tale. Writers and thinkers throughout history have adopted the fool’s approach, and here Ralph Lerner turns to six of them—Thomas More, Francis Bacon, Robert Burton, Pierre Bayle, Benjamin Franklin, and Edward Gibbon—to elucidate the strategies these men employed to persuade the heedless, the zealous, and the overly confident to pause and reconsider. As Playing the Fool makes plain, all these men lived through periods marked by fanaticism, particularly with regard to religion and its relation to the state. In such a troubled context, advocating on behalf of skepticism and against tyranny could easily lead to censure, or even, as in More’s case, execution. And so, Lerner reveals, these serious thinkers relied on humor to move their readers toward a more reasoned understanding of the world and our place in it. At once erudite and entertaining, Playing the Fool is an eloquently thought-provoking look at the lives and writings of these masterly authors.

No sooner has handsome, partially disabled Ned Savage moved into the apartment next door to Hugo Miller than he is apparently murdered with a heavy candlestick to his head while he is collapsing into anaphylactic shock in his living room, due to a fungus that is commonly found on marijuana plants. The action happens in and around several productions of “Twelfth Night” in NYC and at a nearby Shakespeare festival. Hugo, Gabriele and Ruth travel to California to see a high-tech cannabis operation, to London to visit Ned’s pregnant wife (a secret marriage), and to Istanbul to meet a famous author who has invested in Ned’s career. Ned’s sexuality and his pregnant wife’s preferences aren’t clear, and Gabriele Cortese is part of a love triangle involving both of them. But the keys to the solution are found on a stormy night filled with lightning and fools in New York City.

Dan Burdette decides he will not play the fool for Stracht. After double-crossing Stracht in Panama, Dan flees to Geneva only to be imprisoned. Barbara Burdette gathers their friend, assisant US Attorney Mike Buckland and the game of cat and mouse begins. Yet, as Stracht plays his game, his boss plays Stracht -- and while Dan and Mike use the system to get Dan's freedom, Barbara decides the deal is not good enough and she plays her own game with the dangerous Stracht, using the tools that God had granted her. In the end, some have played the fools, some have been the fools, and not everyone comes out alive.

This title, by John Saward, explores foolishness and fools in Catholic and Orthodox spirituality.

1893. After a harrowing journey, recent college graduate Leon Tolinchinsky arrives in Kulyenchikov, Ukraine, to tutor Sophia Zubritsky, nineteen. Her parents, Nickolai and Leyna, inform him the village is cursed, rendering every resident as dumb as a bag of rocks. Leon must educate Sofia in twenty-four hours or fall victim to the curse himself, though teaching her, her parents, or anyone else about anything is just about impossible. To complicate matters, Leon and Sofia fall in love, infuriating Count Gregor, her long-time suitor. Leon risks everything to break the curse and rescue the village. A musical based on the Neil Simon play, Fools.

A newly identified medieval play for the Feast of Fools, with a new English translation and musical edition ready for performance.Scholars and non-scholars alike have long been fascinated by the medieval "Feast of Fools", the annual celebration on or around the New Year that came to be known for its inversion of established hierarchies, its boisterousness, and its scurrilous, even sacrilegious, clerical behaviour. However, we now know that many of the most obscene and subversive practices associated with the feast were, in fact, the misunderstandings, exaggerations, or even fabrications of overzealous ecclesiastical reformers.Our most reliable information about the Feast comes from the scant extant liturgical items that clerical communities actually used during their celebrations. This book shows that the twelfth-century Ordo Joseph from Laon, in France - a play long-known to scholars, telling the story of Joseph the patriarch and his brothers -- is in fact a drama for the Feast of Fools, long hidden in plain sight, intended for performance at Epiphany. It situates the play within the context of the cathedral community's history of biblical exegesis under its school-master Anselm of Laon, proposing "performative gloss" as an important new tool for understanding how medieval liturgical dramas generated meaning. It Includes a new Latin edition of the text, accompanied by an English translation, as well as a musical reconstruction that harnesses the music of Laon's liturgy and finally makes possible a performance of this spectacular, newly identified Feast of Fools drama.n sight, intended for performance at Epiphany. It situates the play within the context of the cathedral community's history of biblical exegesis under its school-master Anselm of Laon, proposing "performative gloss" as an important new tool for understanding how medieval liturgical dramas generated meaning. It Includes a new Latin edition of the text, accompanied by an English translation, as well as a musical reconstruction that harnesses the music of Laon's liturgy and finally makes possible a performance of this spectacular, newly identified Feast of Fools drama.n sight, intended for performance at Epiphany. It situates the play within the context of the cathedral community's history of biblical exegesis under its school-master Anselm of Laon, proposing "performative gloss" as an important new tool for understanding how medieval liturgical dramas generated meaning. It Includes a new Latin edition of the text, accompanied by an English translation, as well as a musical reconstruction that harnesses the music of Laon's liturgy and finally makes possible a performance of this spectacular, newly identified Feast of Fools drama.n sight, intended for performance at Epiphany. It situates the play within the context of the cathedral community's history of biblical exegesis under its school-master Anselm of Laon, proposing "performative gloss" as an important new tool for understanding how medieval liturgical dramas generated meaning. It Includes a new Latin edition of the text, accompanied by an English translation, as well as a musical reconstruction that harnesses the music of Laon's liturgy and finally makes possible a performance of this spectacular, newly identified Feast of Fools drama.c of Laon's liturgy and finally makes possible a performance of this spectacular, newly identified Feast of Fools drama.