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By: Ben Jonson (1573-1637) | |
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By: W. W. Jacobs (1863-1943) | |
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By: William Butler Yeats (1865-1939) | |
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By: Susan Glaspell (1876-1948) | |
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![]() On the surface, this short play is a slice-of-life story about a murder investigation in the rural United States. However, it is also a story about the relationships between men and women, husbands and wives, and the often-overlooked "trifles" which can say so much about a person's life. |
By: Aleksandr Sergeevich Pushkin (1799-1837) | |
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By: Gil Vicente (1470?-1536?) | |
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By: Edward John Moreton Drax Plunkett Dunsany (1878-1957) | |
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By: Edmond Rostand (1868-1918) | |
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![]() One of the most beloved French plays of all time, Cyrano de Bergerac is a clever and tragic tale of truth concealed and love denied. Its titular character is a proud, daring swordsman and genius poet who has one terrible flaw: an abnormally large nose. Too afraid of rejection to confess his love for the beautiful Roxane, Cyrano helps her brainless but handsome suitor Christian to woo her, providing him with love letters while resolutely keeping his own passion a secret. |
By: Edmond Rostand (1868-1918) | |
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By: Sara Ware Bassett (1872-1968) | |
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By: Richard Brinsley Sheridan (1751-1816) | |
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![]() The play is set in Bath in the 18th century, a town legendary for conspicuous consumption and fashion at the time. Wealthy, fashionable people went there to "take the waters", which were believed to have healing properties. The plot centres on the two young lovers, Lydia and Jack. Lydia, who reads a lot of popular novels of the time, wants a purely romantic love affair. To court her, Jack pretends to be "Ensign Beverley", a poor officer. Lydia is enthralled with the idea of eloping with a poor soldier in spite of her guardian, Mrs... | |
![]() Richard Brinsley Sheridan's comedy was first performed in 1777 and focuses on the intrigues and scandals of the British upper classes. Lady Sneerwell wants to marry Charles Surface, while Joseph Surface wants to marry Maria, an heiress and ward of Sir Peter Teazle. Maria, however, prefers Charles over Joseph. In order to detach her from Charles, Lady Sneerwell and Joseph spread rumors about an affair between Charles and Lady Teazle, Sir Peter's new young wife. Meanwhile, Sir Oliver Surface, newly returned from the East Indies, assumes various disguises to test his nephews' characters. Misunderstandings, mistaken identities, gossip, and bad behavior abound in this uproarious comedy. |
By: A. A. Milne (1882-1956) | |
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By: Andrew C. Bradley (1851-1935) | |
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By: Aristophanes (446BC - 385BC) | |
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![]() Lysistrata read by the Classics Drama Company at DePaul. The Classics Drama Company at DePaul is a new gathering of Thespians and Classicists dedicated to performing and understanding ancient literature. If you live in Chicago and attend DePaul University, we welcome new additions to our group. Contact Dr. Kirk Shellko (kshellko@depaul.edu), if interested.First performed in classical Athens c. 411 B.C.E., Aristophanes’ Lysistrata is the original battle of the sexes. One woman, Lysistrata, brings together the women of all Greece, exhorting them to withhold sexual contact from all men in order that they negotiate a treaty... |
By: Charles Goddard (1879-1951) | |
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By: Gilbert Parker (1862-1932) | |
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By: Benjamin Disraeli (1804-1881) | |
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By: Kalidasa | |
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By: Langdon Mitchell (1862-1935) | |
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![]() I find it very hard to classify "The New York Idea" under any of the established rubrics. It is rather too extravagant to rank as a comedy; it is much too serious in its purport, too searching in its character-delineation and too thoughtful in its wit, to be treated as a mere farce. Its title—not, perhaps, a very happy one—is explained in this saying of one of the characters: "Marry for whim and leave the rest to the divorce court—that's the New York idea of marriage." Like all the plays,... |
By: Pierre Corneille (1606-1684) | |
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By: Jean Racine (1639-1699) | |
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![]() In the court of Louis XIV, adaptations of Greek tragedies were very popular. This play, heavily influenced by Euripides' Hippolytus, deals with love that violates social taboos. Note: In Racine's work, a new "scene" begins whenever a character enters or exits. Therefore, there are no stage directions, only a list of the characters on stage for each scene. The action is continuous for the entire act. |
By: John M. Synge (1871-1909) | |
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