By Roger Zelazny, Robert Sheckley
On a devilish sabbatical in Europe, Azzie discovers that morality performs are the entire rage. He comes to a decision to strike again via generating an "immorality play", within which seven nondescript human pilgrims may be allowed through magic to achieve their hearts' wants. however the forces of excellent are made up our minds to shut the play sooner than it opens. New characters unexpectedly commence roaming the level, resembling a thankful Dead-listening Cyclops, and Azzie's personal protagonists start altering their hearts' wishes at the slightest whim. this can be one theatrical creation that may do with out an angel - and there's even worse information ready within the wings...
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Extra info for A Farce to Be Reckoned With
Dunlop uses Burns as his main example of the dangers of such customs, even as Burns reinforced those customs with his poems: Indeed, although it would be dishonest to extenuate personal guilt, yet in one sense it may be affirmed, that it was the land he lived in that made Burns a drunkard; and no evil consequent has reacted upon its antecedent with more unlimited and pernicious sway, than has the intemperance of Burns upon his own people. The great frequency in this author's work of an obsequious and laudatory allusion to inebriation exhibits in no small degree the extraordinary and fatal good will that this national sin experiences in the general from the inhabitants of North Britain.
His first published poem, 'Inebriety' (1775), laments the ubiquity of sots: See Inebreity! her wand she waves, And lo! her pale, and lo! her purple slaves; Sots in embroidery, and sots in crape, Of every order, station, rank, and shape; The King who nods upon his rattle-throne, The staggering Peer, to midnight revel prone; The slow-tongu'd Bishop, and the Deacon sly, The humble Pensioner, and Gownsman dry; The proud, the mean, the selfish, and the great, Swell the dull throng, and stagger into state.
II, 2, 516-17)when he concludes his elegy: Sweet Mercy! to the gates of heaven This Minstrel lead, his sins forgiven; The rueful conflict, the heart riven With vain endeavour, And memory of Earth's bitter leaven, Effaced forever. The best of what we do and are, Just God, forgive! (PWW, 1, 592, ll. 55-66) Even this sense of shared human suffering does not chase away the dark thoughts and vapours exhaled from Burns's grave. Worry about Burns's children (sparked by the fresh grave of Burns's 'safe' son beside him) persists over the next three years and emerges in the poem 'To the Sons of Burns, after Visiting the Grave of their Father', composed between early September 1805 and 21 February 1806.