Richard Barnham Middleton's "The Ghost Ship" is one of the best-loved ghost stories in English literature, about which Arthur Machen wrote, "I declare I would not exchange this short, crazy, enchanting fantasy for a whole wilderness of seemly novels." Middleton himself (1882-1911) was a tragic figure, a young man impatient for success, who managed to live the archetypal life of the Romantic Bohemian poet, complete with poverty, unrequited love for an impossible woman (a prostitute), despair, and an early suicide. While he published many pieces in the best magazines of the day, volumes of his work were published in his lifetime, as soon as he was dead, he was "discovered." Four volumes of his collected works were in print within eighteen months. Three more followed in the next two decades. His poetry was acclaimed in the press as a new Keats, both for the brilliance of his work and the brevity of his life. He is remembered today for a handful of superbly crafted, eerie fantasies, such as "The Coffin Merchant," "On the Brighton Road," and "The Conjurer," which only hint at the richness of the larger body of his work, and suggest what kind of a literary artist he would have become if he had lived. The Pantomime Man presents an unexpected treasure-trove of Middleton's writings. It was originally published a generation after the author's death, when it had been thought that the store of Middleton material had been exhausted.

Of all the theatrical genres most prized by the Victorians, pantomime is the only one to have survived continuously into the twenty-first century. It remains as true today as it was in the 1830s, that a visit to the pantomime constitutes the first theatrical experience of most children and now, as then, a successful pantomime season is the key to the financial health of most theatres. Everyone went to the pantomime, from Queen Victoria and the royal family to the humblest of her subjects. It appealed equally to West End and East End, to London and the provinces, to both sexes and all ages. Many Victorian luminaries were devotees of the pantomime, notably among them John Ruskin, Charles Dickens, Lewis Carroll and W.E. Gladstone. In this vivid and evocative account of the Victorian pantomime, Jeffrey Richards examines the potent combination of slapstick, spectacle and subversion that ensured the enduring popularity of the form. The secret of its success, he argues, was its continual evolution. It acted as an accurate cultural barometer of its times, directly reflecting current attitudes, beliefs and preoccupations, and it kept up a flow of instantly recognisable topical allusions to political rows, fashion fads, technological triumphs, wars and revolutions, and society scandals. Richards assesses throughout the contribution of writers, producers, designers and stars to the success of the pantomime in its golden age. This book is a treat as rich and appetizing as turkey, mince pies and plum pudding.

This book offers perhaps the most comprehensive history of pantomime ever written. No other book so thoroughly examines the varieties of pantomimic performance from the early Roman Empire, when the term “pantomime” came into use, until the present. After thoroughly examining the complexities and startlingly imaginative performance strategies of Roman pantomime, the author identifies the peculiar political circumstances that revived and shaped pantomime in France and Austria in the eighteenth century, leading to the Pierrot obsession in the nineteenth century. Modernist aesthetics awakened a huge, highly diverse fascination with pantomime. The book explores an extraordinary variety of modernist and postmodern approaches to pantomime in Germany, Austria, France, numerous countries of Eastern Europe, Russia, Scandinavia, Spain, Belgium, The Netherlands, Chile, England, and The United States. Making use of many performance and historical documents never before included in pantomime histories, the book also discusses pantomime’s messy relation to dance, its peculiar uses of music, its “modernization” through silent film aesthetics, and the extent to which writers, performers, or directors are “authors” of pantomimes. Just as importantly, the book explains why, more than any other performance medium, pantomime allows the spectator to see the body as the agent of narrative action.

The Red Rover: Dick Fid, free black sailor Scipio Africanus and Royal Navy officer James Wilder as they encounter the famous pirate, "The Red Rover." Afloat and Ashore: A Sea Tale – Miles Wallingford Jr is the son of wealthy New York landowners who chooses to go to sea after the death of his parents. Homeward Bound; Or, the Chase: A Tale of the Sea – A wayward ship causes some unforeseen adventures for its passengers. James Fenimore Cooper was a prolific and popular American writer of the early 19th century. His historical romances of frontier and Indian life in the early American days created a unique form of American literature. Before embarking on his career as a writer, Cooper served in the U.S. Navy, which greatly influenced many of his novels.

These lessons help children learn to trust God, obey and follow Jesus, help and share with others, and be thankful and kind. A 52-Week Bible Journey–Just for Kids!Route 52™ is a Bible-based journey that will take kids through the Bible every year from age 4-6. Every lesson features: Scripturally sound themes Culturally relevant, hands-on activities Age-appropriate Bible-learning challenges Reproducible life-application activity pages Route 52™ Bible lessons will help kids learn the Bible and how to apply it to their lives at their own level of spiritual development. These reproducible Bible lessons are appropriate for Bible school, children's church, youth group, kids club, and midweek Bible study programs.

The volume offers an up-to-date and nuanced study of a multi-thematic topic, expressions of which can be found abundantly in ancient Greek and Latin literature: nonverbal behaviour, i.e., vocalics, kinesics, proxemics, haptics, and chronemics. The individual chapters explore texts from Homer to the 4th century AD to discuss aspects of nonverbal behaviour and how these are linked to, reflect upon, and are informed by general cultural frameworks in ancient Greece and Rome. Material sources are also examined to enhance our knowledge and understanding of the texts.