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organic chemistry student solutions manual books a la carte edition 7th editionThis book sets out to provide a straightforward account of Mozart's last opera, exposing the half-truths and legends that have proliferated since its first production in 1791. In the first chapter a hitherto unsuspected source for the opening scene is presented and Branscombe reveals the complex relationship between the stories, essays and stage-works on which the plot is based. The second chapter studies the intellectual background, with special attention to Freemasonry. A detailed synopsis follows, then the history of the composition, based on documentary evidence and, in the case of the autograph score, the paper-types used. Chapter 5 examines the identity of the librettist and the qualities of his work, and chapter 6 is a detailed study (by Erik Smith) of Mozart's music and more generally of his late style. Chapter 7 covers the first performance, the cast, early reception, and then the rapid growth in the opera's fame; an outline history of productions concludes the chapter. The book contains illustrations, a synopsis, bibliography and discography and will be of interest to music students, scholars and opera-goers. Look Inside Marketing Sample (194 KB) Author Peter Branscombe Contributors Erik Smith, Anthony Besch Create an account now. If you are having problems accessing these resources please emailYour eBook purchase and download will be. Our payment security system encrypts your information during transmission. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. Please try again.Please try again.Please try again. Please try your request again later. The sources for the opera are discussed, and there are chapters devoted to composition of the work, the authorship and qualities of the libretto, the music (analyzed by Erik Smith), early productions and performance history, and the practical problems of directing a production (examined by Anthony Besch).http://adepotcustom.com/UploadFiles/20200912201057163.xml

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The book contains illustrations, a synopsis, bibliography, and discography and will be of interest to music students, scholars and operagoers. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. Register a free business account Full content visible, double tap to read brief content. Videos Help others learn more about this product by uploading a video. Upload video To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzes reviews to verify trustworthiness. Anthony Besch discusses the nature of the challenge to the director presented by Die Zauberflote and suggests how the problems can be overcome. The book contains illustrations, a synopsis, bibliography and discography and will be of interest to music students, scholars and opera-goers. The sources for the opera are discussed, and there are chapters devoted to the composition of the work, the authorship and qualities of the libretto, the music, early productions and performance history, and the practical problems of directing a production. Condition: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.For all enquiries, please contact Herb Tandree Philosophy Books directly - customer service is our primary goal.Established seller since 2000.All Rights Reserved. Author Peter Branscombe. The book contains illustrations, a synopsis, bibliography and discography and will be of interest to music students, scholars and opera-goers. Verisign. This book sets out to provide a straightforward account of Mozart's most beloved opera, exposing the half-truths and legends that have proliferated since its first production in 1791.https://gotrucktravelingbillboardadvertising.com/userfiles/crest-cc-2800-service-manual.xml The sources for the opera are discussed, and there are chapters devoted to composition of the work, the authorship and qualities of the libretto, the music (analyzed by Erik Smith), early productions and performance history, and the practical problems of directing a production (examined by Anthony Besch). The book contains illustrations, a synopsis, bibliography, and discography and will be of interest to music students, scholars and operagoers. All Rights Reserved. The book contains illustrations, a synopsis, bibliography, and discography and will be of interest to music students, scholars and operagoers. Satisfaction Guaranteed. Book is in NEW condition.Condition: new. Illustrated. Book is in NEW condition. Satisfaction Guaranteed.Established seller since 2000.This book sets out to provide a straightforward account of Mozart's last opera, exposing the half-truths and legends that have proliferated since its first production in 1791. Anthony Besch discusses the nature of the challenge to the director presented by Die Zauberfloete and suggests how the problems can be overcome. The book contains illustrations, a synopsis, bibliography and discography and will be of interest to music students, scholars and opera-goers.All Rights Reserved. Cambridge University Press;Cambridge University Press, 1991-05-31. Hardcover. Good.University of Cambridge ESOL Examinations. Used - Good. Ships from the UK. Former Library book. Shows some signs of wear, and may have some markings on the inside.Cambridge University Press, 1991. With usual stamps and markings, In fair condition, suitable as a study copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,500grams, ISBN:9780521264914Cambridge University Press, 1991.INTERNATIONAL WORLDWIDE Shipping available. May not contain Access Codes or Supplements. Buy with confidence, excellent customer service!https://www.becompta.be/emploi/bose-wave-radio-owners-manualMillions of books are added to our site everyday and when we find one that matches your search, we'll send you an e-mail. Best of all, it's free. Read the rules here. You may have to register before you can post: click the register link above to proceed. To start viewing messages, select the forum that you want to visit from the selection below. Allegory and symbolism function somewhat differently in opera at this time and no eighteenth - century singspiel is known to have communicated its meaning so indirectly, leaving essential and ubiquitous content to be deciphered by a small group possessing the code. The historical context for the opera, fairy-tale singspiel or M?rchenoper, has been ex plored only superficially; not a single scholarly study in the twentieth century has been devoted to this operatic tradition. Some modern writers have even derisively dismissed this aspect as unworthy of consideration. A review of fairy-tale opera will reveal that most musical and dramatic elements in Die Zauberfl?te are present in previous operas with no demonstrable Masonic content. These works situate Die Zauberfl?te in an ac curate theatrical context and provide much needed perspective on the question of Masonic symbolism. While the notion of a complex, coherent Masonic allegory does not withstand scrutiny, a few passages in the libretto appear to have been drawn from Masonic sources. Here I will suggest a plausible explanation for the presence of this material and review the reasons that one should not assume a more prevalent use of symbolic reference to Freemasonry. It might seem odd that some 210 years after the premiere of Die Zauberfl?te scholars continue to debate the most basic level of the opera's content. These authors base their arguments on the assumption that the decoration and imagery in Die Zauberfl?te dire almost entirely Masonic. The lack of documentation about the commission and genesis of the opera was (and remains) problematic.https://cohemployeenews.com/images/canon-vixia-hf-s100-camcorder-manual.pdf The composer's deification in the pantheon of German 'masters' following his death, and his subsequent association with burgeon ing German national identity, led to hagiography. When the holes in Mozart's biography needed plugging, rumor and imagination filled the gaps. High-minded commentators in the late eighteenth-century generally disapproved of the popularly styled Die Zauber fl?te.2 By the nineteenth century the prevailing idea of a 'genius's work of art' required serious and coherent 'masterpieces'. Thus many read into the libretto a sophistication and profundity to match their regard for Mozart's music, and allegorical interpretations of the libretto served this aim. Ignorance of concurrent repertory allowed for a myth of singularity and autonomy, both for the opera and for its composer. A variety of inter pretations still thrives in this vacuum, unhampered by the contradictions that would be raised by an examination of the theatrical context Masonic Opera Paul Nettl, the first modern scholar to advance a detailed scheme of the symbolic content of the libretto and score of Die Zauberfl?te, asserted that the opera contains a pervasive allegorical subtext depicting various Masonic rituals and symbols.3 Jacques Chailley expanded this view, finding indications of Masonic symbolism in almost every scene and musical number, and suggesting that these form a coherent whole.4 Yet neither Nettl nor Chailley demonstrated a narrative allegory; rather they suggested a symbolic complex of language, image, and music without a discernable linear plot. A number of scholars appear to have accepted the general thrust of the Masonic read ing. Herbert Weinstock, 1972.In another article in the same dictionary, Cecil Hill describes Die Zauberfl?te as representing but one example of Masonic opera, suggesting that others existed in the eighteenth century.6 But the author provides no evidence to support this assertion. All these claims are presented as facts rather than as speculation. Both Nettl and Chailley base their theory on the wording of a few dialogues in the libretto and the presence of Egyptian and Masonic images on the frontispiece of the opera's original libretto. Sarasto (nach einer Pause). Ihr, in dem Weisheitstempel eingeweihten Diener der gro?en G?ttin Osiris und Isis. Mit reiner Seele erkl?r ich euch, da? unsere heutige Versammlung eine der wichtigsten unserer Zeit ist. Macpherson argues that Masonic allegories are inconsistent with the contemporary context. Again, these are given in Branscombe, 20-25. Erster Priester (steht auf). Er besitzt Tugend? Sarasto. Tugend! Zweiter Priester. Auch Verschwiegenheit? Sarasto. Verschwiegenheit! Dritter Priester. Ist wohlt?tig? Sarasto. Wohlt?tig! - Haltet ihr ihn f?r w?rdig, so folgt meinem Beispiele. (Sie blasen dreimal in die H?rner.) Ger?hrt ?ber die Einigkeit eurer Herzen, dankt Sarastro euch im Namen der Menschheit. Mag immer das Vorurteil seinen Tadel ?ber uns Eingeweihte auslassen. Weisheit und Vernunft zerst?ckt es gleich dem Spinnengewebe. Unsere S?ulen ersch?ttern sie nie. Jedoch das b?se Vorurteil soll schwinden und es wird schwinden, sobald Tamino selbst die Gr??e unserer schweren Kunst besitzen wird. - Pamina, das sanfte, tugendhafte M?dchen, haben die G?tter dem holden J?ngling bestimmt; dies ?st der Grundstein, warum ich sie der stolzen Mutter entri?. Das Weib d?nkt sich gro? zu sein, hofft durch Blendwerk und Aberglauben das Volk zu ber?cken und unsern festen Tempelbau zu zerst?ren. Allein, das soll sie nicht. Tamino, der holde J?ngling selbst, soll ihn mit uns befestigen und als Eingeweihter der Tugend Lohn, dem Laster aber Strafe sein. (Der dreimalige Akkord mit den H?rnern wird von allen wiederholt.) Sprecher (steht auf). O Isis und Osiris, schenket Der Weisheit Geist dem neuen Paar.In the middle of Book III: O Isis, grosse G?ttin der Egypter, gieb deinen Geist dem neuen Diener, der so viel Gefahren und Beschwerlichkeit ?berstanden hat, um vor dir zu erscheinen. Mache ihn auch sieghaft in den Proben seiner Seele, und lehre sein Herz deine Gesetze, damit er w?rdig werde, zu deinen Genheimnissen zugelassen zu werden. Schikaneder seems to have loosely paraphrased Terrasson's text for his scene. There are differences: Sarastro addresses Isis and Osiris, while the first hymn is directed to Horus, who is never even mentioned in Die Zauberfl?te. Nor is Osiris mentioned in the hymns. Words like Isis, Weisheit, Verschwiegenheit, Prinz, and G?ttin der Egypter do occur in both texts, but these do not demonstrate that Schikaneder intended any allegorical meaning in using them. At the most one can safely say that Schikaneder likely drew upon Sethos in creating his own text. The second example of a text derived from Terrasson is from the finale of act 2, scene 28, the scene for the two men in black armor. Here the wording is perhaps less similar than that in the previous example, but the meaning seems closer: Die schwarzgeharnischten M?nner Der, welcher wandert diese Stra?e voll Beschwerden, Wird rein durch Feuer, Wasser, Luft und Erden; Wenn er des Todes Schrecken ?berwinden kann, Schwingt er sich aus der Erde Himmel an. Erleuchtet wird er dann im st?nde sein, Sich den Mysterien der Isis ganz zu weihn. Terrasson's text (translated by Claudius) is as follows: Wer diesen Weg allein geht, und ohne hinter sich zu sehen, der wird gereinigt werden durch das Feuer, das Wasser und durch die Luft; und wenn er das Schrecken des Todes ?berwinden kann, wird er aus dem Schooss der Erde wieder herausgehen, und das Licht wieder sehen, und er wird das Recht haben, seine Seele zu der Offenbarung der Geheimnisse der grossen G?ttin Isis gefasst zu machen. Both texts concern wandering through the elements (fire, water, air, and earth) to be purified, overcoming the fear of death in the process. While it is plausible that this was Schikaneder's source for the duet, there is no justification to interpret it in a broader allegorical context. Moreover, this was not the only time Schikaneder referred to the elements. At least two other librettos, with no known allegorical content, use similar The final chorus praises wisdom, beauty and strength. Here the similarities are so vague that they need not be connected to Born's text at all. The wording in the libretto seems more like an invocation of popular cant and the platitudes praised in Masonic and other liberal ideologies rather than a specific citation with an allegorical meaning. The other textual similarity is even more tenuous. Ignaz von Born briefly cites Plutarch's story of Prince Horus being saved from a serpent that his evil uncle's mistress set against him. While this may have inspired Schikaneder to write the opening scene where Tamino is saved by the three ladies from a deadly serpent, it is not a parallel situation: there is no indication that the evil Queen in Die Zauberfl?te sent the serpent to kill Tamino. Thus if Born's passage was the inspiration for the introduzione of the opera, it is not a part of any allegory found in '?ber die Mysterien der ?gyptier'. Schikaneder's use of Egyptian lore and platitudes in these passages does not prove that he intended a broad allegory, and the few references in the libretto do not prove a Ma sonic subtext. The frontispiece of the opera's libretto, in which the printer Ignaz Alberti, a Freemason, presents Egyptian iconography, certainly brings Freemasonry to mind. But this imagery is also consistent with the Egyptian setting of the fairytale. Many of the same Egyptian symbols are found in engravings of opera scenes from Schikaneder's singspiel Babilons Piramiden (Wiednertheater, 1797),12 an opera that evokes Assyrian and Babylonian io. Der H?llenberg. I Eine I heroisch-komische Oper I in zween Aufz?gen I von I Emanuel Schikaneder. Die Musik von Herrn J. W?lfl, I Kapellmeister.Alberti's engravings prove neither an intentional Masonic subtext in the opera nor Mozart's participation in creating an allegory. But here the Queen, her three ladies, and Monostatos are furtively attempting to usurp the leadership of the temple by force. Revenge is just one of many themes and images in the scene. Landon's assertions are based less on original scholarship than on a re-interpretation of secondary literature, especially Chailley. A critical examination of Landon's account reveals a number of fallacies: the half truth, circular reasoning, illicit process, faulty generalization, faulty analogy, etc. Oper I von Emanuel Schikaneder I in Musik gesezt I der Erste Aufzug I von Hr.This variability reveals an essential aspect in the nature of the evidence?that the presence of material that recalls aspects of Masonry cannot lead to any conclusion about the intent of the composer or the librettist. It can only lead to speculation. Historical perspective sheds light on the Masonic allegory theory. Emil Karl Bl?mml has shown that the earliest interpretations of the libretto were political.16 The two Masonic accounts that surfaced in the first decade after the opera's premiere were anecdotal, and had no connection to Mozart, Schikaneder, or even Vienna. Both asserted a politi cal context for the Masonic content. The purely 'Masonic allegory' theory only gained precedence in the twentieth century, when it emerged from a number of varied inter pretations that the opera had accrued. The first specific Masonic reading of the libretto seems to be unknown in the second ary literature. It is an anonymous account found in the Hamburgischer Brieftr?ger 15 November, 1794 (1795 issue): M?ssen doch auch einmal ein Wort von der Geschichte der Zauberfl?te sagen. Es ist bekannt: das von jeher das Freymaurer-Wesen den neugierigen Frauenzimmern ein Stachel im Auge gewesen ist, die bis jetzt alle M?he angewandt haben das Geheimni.Wie th?richt ihre Begriffe davon sind zeigt die K?nigen der Nacht. In einem nicht freydenkenden Lande schienen nemlich einer gewissen F?rstinn die Maurer gef?hrliche Leute zu seyn, und sie bewirkte, weil sie nicht in die Weisheit der Loge eindringen konnte, da.It is well known that Freemasonry always has been a thorn in the side of curious women, who until now have spared no effort to find out its secrets. The Queen of the Night shows just how foolish their notions of it are. You see a certain princess of a land where freethinking was not allowed saw the Masons as a danger. Because she could not penetrate the wise teaching of the Lodge, she tried to abolish it.The Masonic interpretation seems to have been restricted to northern German com mentators. The east Prussian Ludwig von Batzko wrote an Allegorie aus der Zauber fl?te' in 1794,18 interpreting the opera as a political allegory of light versus darkness and superstition versus enlightenment. Without naming Freemasonry he wrote that some 'scenes obliquely allude to the ceremonies of certain orders; even the uninitiated will know this, provided they are acquainted with mysteries of the ancient culture'.19 Like the Hamburg account, this commentary is a personal, subjective view from an individual with no connection to the opera or its creators. But unlike the Hamburg interpretation, it contains nothing that is clearly false, and it offers insight both into how individuals un derstood theatrical allegory at the time and a more plausible view of possible symbolic content (see below). The first Viennese assertion of a 'glorification of the Masonic element' came from Leopold von Sonnleithner in 1857, 66 years after the premiere of the opera; it was actually printed in 1919.20 Sonnleithner, who knew contemporaries of Mozart, does not assert that his evidence comes from any source contemporary with the opera. Rather it is his own theory that suggests that Schikaneder introduced the Masonic element at the end of act 1 in order to differentiate his opera from Joachim Perinet's contemporary Singspiel, Kaspar der Fagottist oder Die Zauberzither. New interpretations have proliferated in the twentieth century, including Rosicrucian mysticism,21 alchemy,22 numerology,23 Gnosticism,24 or even a fully worked-out numerical code of hidden messages based on Cabalistic gematria.25 Explaining the hidden meanings of Die Zauberfl?te became a dominant theme in Mozart studies. Each of these modern writers cites peripheral conditions and conjunctions of similar events to posit a central cause for the writing of the opera. Association is causation in all of these interpretations, whose authors assert a 'true' interpretation of the opera's supposed secrets that often i8.While the most diplomatic manner of dealing with these differ ent readings is to say that they 'coexist simultaneously', one can hardly concede equal weight to contradictory interpretations. If this were so then Mozart and his librettist were superhuman mystic-scientists, intent upon offering their audience the most arcane and complex operatic riddle ever created in a mere matter of a few months. Allegory in the late Eighteenth Century The rule of the commonplace states that unless there is some compelling reason to believe otherwise, an event or person adheres to the normative conditions of the time in question. Applying the rule of the commonplace, one should find examples of con temporary Singspiels with similar cryptic programs in Vienna. Yet none of Schikaneder's other operas have complicated hidden subtexts. Nor do fairy-tale Singspiels by other librettists. Eighteenth-century Singspiels were not vehicles for concealing recondite phi losophies and secret rituals. Like other Viennese fairy-tale Singspiels, Die Zauberfl?te was a product of the popular theatre. Mozart and Schikaneder never mentioned Freemasonry in regard to Die Zauberfl?te in any surviving source; Mozart called it a deutsche Oper' and Schikaneder called it a 'gro?e Oper'.26 Of course eighteenth-century comedies and court operas sometimes contained sym bolic content and allegory. But the nature of these subtexts and their evidentiary basis differ fundamentally from the Masonic reading of Die Zauberfl?te, whose elaborate and coded representation seems highly unusual for late eighteenth century Vienna. The creators of theatrical allegories at the time intended the symbolic content to be easily recognized and not remain hidden. The allegory would be a coherent narrative, not a complex of discontinuous abstract symbols. Additionally, the symbolic material either had a direct connection to royal patronage or evoked a theme with broadly popular interest to the audience. For example, Carlo Gozzi's fiabe teatrali included polemics on the pretensions of the literary reform of Carlo Goldoni, criticizing the Venetian Enlight enment and its theatrical paper war. Symbolic content is also found in French fair plays and related Italian-style comedies; but the purpose in this case was satire, ridiculing a familiar target that the audience would easily recognize.Pietro Metastasio's Alcide al Bivio (Vienna 1760), a festa teatrale for the wedding of Joseph II to Isabella of Bourbon-Parma (with music by Johann Adolf Hasse), contains such an allegory, directed at the young Joseph. Once again, Metastasio intended the allegory to be recognized, and this genre has a long and demonstrable tradition that is entirely different than the sui generis Masonic interpretation posited for Die Zauberfl?te. Not only is there no compelling evidence for a hidden Masonic subtext, but one con temporary witness speaks against it. In the biography by Georg Nissen (written with Mozart's widow Constanze), we find a clear statement that Mozart did not intend a hidden allegory: Was war denn die Absicht des Dichters gewesen. Eine Parodie, eine Apotheose des Freymaurer Ordens. Mozart hat es zuversichtlich nicht anders gemeint. These operas do not fit into any mixture of the heroic, comic, and pastoral categories.29 Something essential is missing in these generic formula 27. La Gazzetta v?neta 103, 27 January 1761. For further details, see Carlo Gozzi, Five Tales for the Theatre, ed. A parody, an apotheosis of the Masonic order, a symbolic struggle of wisdom and folly, virtue and vice, light with darkness. Truly there is little advantage in fathoming how and why the fable arises in child hood. Only a fairy tale itself and the belief in it will justify the story. So be a believer for two hours or renounce the pleasure of charming illusion. Mozart certainly intended nothing else. Mixed genres were discussed in eighteenth-century commentary, and fairy-tale Singspiels like Schikaneder's Der Stein der Weisen (1790) sometimes bore the generic appellation 'heroisch-komische Oper'. The explanation resides in fairytales and the supernatural operas of the period. Fairy Tales In allegorical interpretations of Die Zauberfl?te the fairy-tale element is posited merely as a superficial pretext for the symbolic representation of a Viennese secret society and its rituals. In Mozart The Dramatist, Brigid Brophy refers to the 'neutral or nonsensical (the 'fairy-tale') fa?ade presented to outsiders?to cloak an utterance in code'.30 This dismissive attitude toward fairy tales is apparent from the seventeenth century through the first half of the twentieth century.31 French classicists derided the marvelous and the supernatural as vulgar and childish, associating them with low genres. Critiques during the Enlightenment savaged genres with supernatural content, including serious and comic opera. The values of these 'progressive' critics in the eighteenth century have often been adopted uncritically by modern scholars. The notion that the Enlightenment banished superstition and the supernatural from the stage in favor of more natural and rational representations32 results from accepting the ideological polemics of Enlightenment thinkers like Diderot, Grimm, and Rousseau.33 In fact the supernatural enjoyed continued popularity on the stage as the challenge to reli gion and aristocratic authority increased. Writers like Jean-Fran?ois Marmontel, Louis de Cahusac, and Carlo Gozzi pressed popular fantastic narratives into service, sometimes for their own ideological aims. As the fantastic was being challenged in the religious and political life of the period, it came to be reconstructed in the theatre where it fulfills a number of diverse functions. The new 'marvelous' of the eighteenth century treats cer tain 'exotic' cultures, derived from 'oriental' tales, as well as the indistinct agrarian past of 30. A similar disdain is apparent in Claude Palisca, Baroque Music, 3rd ed., New York, 1991,141-2. Here the author judges the marvelous in Roman and Venetian opera as 'bauble', dismissing it from discussion or analysis.Here magic, superstition, and spirit rule once again, after being banished from the real world, that is to say, a reality verified only through natural science. This is one of the important roles of Freemasonry, which tells us much about the context of Die Zauberfl?te and the libretto's apparent contradiction between fairy-tale fantasy and enlightened reason. Rather than a recondite subtext, Schikaneder probably intended the occasional Masonic reference in the text to evoke popular sentiment (see conclusions). This tension between reason and fantasy is one of the characteristic forces in the marvelous of the eighteenth century, and it informs most theoretical discussions of the topic. It lurks in the theatrical works themselves, where critiques of reason, of magi cal thinking, and proposed reconciliation of these two seemingly opposing spheres are frequently present in some form. All theatrical productions require the suspension of disbelief to some degree. Audiences willingly participate in illusion and sacrifice the reality principle because fantasy allows for a safe distance from which to broach topics that would be disturbing if presented in a more explicit manner. In the repressive society of the eighteenth century the more controversial the topic, the greater need to distance it from everyday life when present ing it on the stage. Fairy tales too often have been classified as children's literature, women's narratives, and folk material, products not of artistic genius but expressions of less sophisticated or even 'primitive' writers. This has been unfortunate. It is also true of oriental literature, which has been viewed as exotic and primitive, with consequences for reception comparable to that of the European fairy tale. Fairy-tale Opera Fairy-tale operas and plays have a long history, both in Viennese and other European theatres. Exotic oriental fairytales, probably taken from the collections of Straparola and Basile, were used in seventeenth-century commedia dell'arte plays. Beginning c. 1697, the rage for contes de f?es by Charles Perrault and his contemporaries, along with the French translations of contes orientaux in the early eighteenth century, inspired numerous musical comedies at the 'petit' theatres of Paris, and even large-scale operas and bal lets at L'Acad?mie royale. German operas and comedies also used this material, usually in adaptations from French sources. English and Italian writers did much the same, for example, Carlo Gozzi's fiabe teatrali. Vienna's comic theatre repertory had a remarkable penchant for the marvelous, staging supernatural Maschinenkom?