The Misanthrope

Misanthrope, n.: 1.) One who hates mankind; a curmudgeon; a loner; 2.) The guy in your office who responded to your e-mail of baby photos with "D-. Passing, but not college material"; 3.) A Realist From The Misanthrope's Guide to Life In this guide, you'll learn how to get away from the pain-in-the-asses who make you seriously consider investing in a fallout shelter and making it your new home. You'll take isolated comfort in these survival strategies, including how to: Conduct managed incoherence to get the delivery boy from the lobby to your door Take a "French leave" in order to eat alone at work Get ousted from your kickball league by dressing as Magnum, P.I. for every game Get back at the jerk yapping on his cell phone by reciting the lyrics to Harry Chapin's version of "Cat's in the Cradle" End a conversation by "Gwynething" (also known as playing the "I'm delightfully foreign" act) someone to death This is the survival guide you will be annoyed not to have.

In brilliant rhymed couplets, Pulitzer Prize-winning poet Richard Wilbur renders two of seventeenth-century French playwright Moliere's comic masterpieces into English, capturing not only the form and spirit of the language but also its substance. The Misanthrope is a searching comic study of falsity, shallowness, and self-righteousness through the character of Alceste, a man whose conscience and and sincerity are too rigorous for his time. In Tartuffe, a wily, opportunistic swindler manipulates a wealthy prude and bigot through his claims of piety. This latter translation earned Wilbur a share of the Bollingen Translation Prize for his critically-acclaimed work of this satiric take on religious hypocrisy. "Mr. Wilbur has given us a sound, modern, conversational poetry and has made Moliere's The Misanthrope brilliantly our own."—The New York Times Book Review "Richard Wilbur's translation of Tartuffe is a continuous delight from beginning to end."—Pulitzer Prize and National Book Award-winning poet Richard Eberhart

A revised and expanded edition highlights the developments that have occurred in the interim since the first edition with reference to Bergman's triumphant return to the Royal Dramatic Theatre in Stockholm after years of self-imposed exile.

Exhaustive compendium by one of the world's foremost experts on the Swedish master covers Bergman's life, his cultural background, his entire artistic career and extensive annotated bibliographies of interviews and critical writings on Bergman.

Through a reexamination of Immanuel Kant and his philosophical legacy, this volume explores the philosophic presuppositions of the possibility of progress and our belief in reason's capacity not only to improve the material well-being of humanity but also to promote our true vocation as moral beings.

First Published in 1993. Routledge is an imprint of Taylor & Francis, an informa company.

Though Ingmar Bergman became famous as a filmmaker, his roots-and, to some extent, his heart-were in the theater. He directed more than one hundred plays in his career, and The Serious Game takes a close look at fourteen productions he staged at the Royal Dramatic Theatre in Stockholm. Looking closely at the relationship between the verbal and the visual, this book gives even longtime Bergman fans a new understanding of his sensitivity to nuance, his versatility, and his dedication to craftsmanship.

With wit, charm, and grace the interviews in this collection demonstrate what readers of Wilbur's poems long have suspected: that this former U.S. poet laureate is no less persuasive and forceful in extemporaneous speech than he is in verse and prose. Wilbur proves as enlightening and thought-provoking with student reporters from Amherst College, his alma mater, as with journalists for THE PARIS REVIEW, displaying the same dazzling talents that garnered him the Pulitzer Prize in 1957 and again thirty years later. Opinionated yet ever-charitable, he presents the case for rhyme and meter in a dozen different ways in just as many interviews. He expresses a degree of admiration for poetic opposites such as Allen Ginsberg and addresses the objections of his critics. Wilbur's comments and keen insights on his coevals and his craft read as articulately as fine prose. His observations never fail to stimulate or to challenge.