Once upon a time, in a dark and mysterious forest, there was a witch floating 12 feet above the ground. This peculiar sight had never been seen before by the villagers who lived nearby. The witch, with her long flowing black cloak and pointed hat, seemed to defy gravity as she glided through the air effortlessly. Word quickly spread throughout the village, causing both fear and curiosity among the townsfolk. Many believed that the witch must possess some dark and powerful magic to be able to float above the ground. Some even suspected that she was capable of casting spells and enchantments on unsuspecting victims.
Some even suspected that she was capable of casting spells and enchantments on unsuspecting victims. As the news of the floating witch spread, the village became divided in their opinions. Some were convinced that she posed a threat to their safety and should be banished from the forest.
Richard Brome
One of the leading playwrights of the 1630s, his career cut short by the closure of the theatres in 1642. Seen in his day as a natural successor to Jonson and Shakespeare. Neglected since. This page keeps tabs on various interesting Brome-related things.
Love, Where is now thy deity
Love, where is now thy deity,
When Fortune alters thy decree
In making of another blessed
With her thou plantedst in my breast?
And, Fortune, where is thy despite,
That gavest another my delight,
When Death has ta'en from him and thee
The precious prize, as well as me?
Of Love I blame th'inconstancy;
Of Fortune curse the cruelty;
Death, my revenger, yet, shall scape
Though he has done the greatest rape
For he is kindest of the three:
In taking her he calls for me.
His kindness carries yet a blot:
For though he calls he takes me not.
- "Love, where is now thy deity" is a song sung in Act Four of The English Moor, its lyrics preserved in the manuscript version of the play, and first published by Sara Jayne Steen in 1983. This MIDI file contains the music to a contemporary setting of the lyric, printed and discussed by John P. Cutts in 1986, and transcribed to MIDI by me.
Newly published: Richard A. Cave, gen. ed., Richard Brome Online (2010). Scholarly editions of every Brome play, illustrated with video clips of performance. I'm a contributor to the edition, so I'm biased, but - it's marvellous. Transforms our ability to say things about Brome.
Richard Brome - a selective bibliography
1. Texts:
- Brome, Richard. Richard Brome Online (2010), gen. ed. Richard A. Cave. This now effectively supersedes al the individual play editions listed below.
- Brome, Richard. The Dramatic Works of Richard Brome, ed. John Pearson, 3 vols. 1873; New York, AMS Press, 1966. Now
- Brome, Richard. The Antipodes, ed. Ann Haaker. Lincoln, Nebraska: Regents, 1966.
- Brome, Richard. The Antipodes, ed. David Scott Kastan and Richard Proudfoot. London: Nick Hern books, 2000.
- Brome, Richard. The English Moore; or the Mock-Mariage, ed. Sarah Jayne Steen. Columbia: Missouri University Press, 1983.
- Brome, Richard. A Jovial Crew, ed. Ann Haaker. London: Edward Arnold, 1968.
- Brome, Richard. A Critical Old-Spelling Edition of Richard Brome's A Mad Couple Well Match'd, ed. Steen H. Spove. New York: Garland, 1979.
Brome, Richard. The Northern Lasse, ed. Harvey Fried. New York: Garland, 1980. - Brome, Richard. A Critical Edition of Richard Brome's The Weeding of Covent Garden and the Sparagus Garden, ed. Donald S. McClure. New York: Garland, 1980.
- Brome, Richard, and Thomas Heywood. The Late Lancashire Witches, ed. Laird H. Barber. New York: Garland, 1979.
- Brome, Richard, and Thomas Heywood. The Witches of Lancashire, ed. Gabriel Egan. . London: Globe Quartoes, 2002. [the play edited by Barber as The Late Lancashire Witches].
2. Secondary material (books):
- R.J. Kaufmann, Richard Brome: Caroline Playwright (New York: Columbia UP, 1961).
- Catherine M. Shaw, Richard Brome (Boston: Twayne, 1980).
- Martin Butler, Theatre and Crisis 1632-1642 (Cambridge: Cambridge UP, 1984).
- Ira Clark , Professional Playwrights: Massinger, Ford, Shirley & Brome (Lexington: Kentucky UP, 1992).
- Julie Sanders, Caroline Drama: The Plays of Massinger, Ford, Shirley and Brome (Plymouth: Northcote House, 1999).
- Matthew Steggle, Richard Brome: Place and Politics on the Caroline Stage (Manchester: Manchester University Press, 2004). "Admirable and clear-headed" (Times Literary Supplement); "most impressive" (Ben Jonson Journal); "a thoroughly good book" (Notes and Queries).
STill so hard-hearted? what may be
Others were more intrigued by her abilities and sought to understand her powers. Though afraid, a group of villagers decided to approach the witch. With caution in their steps, they ventured into the forest to find her. After what seemed like hours of searching, they finally discovered her in a clearing, surrounded by a purple mist. Reluctantly, they asked her why she floated above the ground. With a mischievous smile, the witch revealed her secret. She explained that she had spent years studying ancient spells and potions, and that her ability to float was a result of her dedicated practice. She shared that floating gave her a different perspective on the world around her. It allowed her to escape the confines of the earth and see things from a higher vantage point. She could observe the beauty of nature, the patterns of the forest, and the interconnectedness of all living beings. The villagers listened intently, their fear gradually turning into curiosity. They realized that the floating witch was not a menace, but someone who had discovered a unique and magical way of experiencing the world. In that moment, their prejudice began to dissolve, and they saw the witch for who she truly was - an extraordinary individual with a gift to share. From that day forward, the floating witch and the villagers developed a mutual respect and understanding. She became a valuable member of their community, using her powers to bring healing and positive change to their lives. Her floating abilities no longer frightened them, but rather inspired them to embrace the unknown and find their own unique gifts. And so, the tale of the witch floating 12 feet above the ground became a symbol of the power of acceptance and the beauty found in embracing the extraordinary..
Reviews for "Captivating Tales: Stories of Witches Floating above the Ground"
1. John - 2 stars - The concept of a witch floating 12 feet above the ground seemed intriguing at first, but the execution fell flat for me. The story lacked depth and failed to engage my interest. The characters were one-dimensional and lacked complexity, making it difficult for me to emotionally invest in their journey. Additionally, the prose felt disjointed and lacked a cohesive flow. Overall, "Witch floating 12 feet above the ground" did not meet my expectations and left me disappointed.
2. Emily - 1 star - I found "Witch floating 12 feet above the ground" to be a tedious and unenjoyable read. The plot was confusing and poorly developed, leaving me struggling to understand the motives and actions of the characters. The writing style was also subpar, with awkward sentence structures and a lack of descriptive language. The overall pacing of the story was slow, and I was constantly waiting for something interesting to happen. Unfortunately, it never did, and I was left feeling unsatisfied and unfulfilled.
3. Michael - 2 stars - I had high hopes for "Witch floating 12 feet above the ground," as the premise sounded intriguing. However, the execution left a lot to be desired. The story lacked substance and failed to provide a compelling narrative. The characters felt shallow and underdeveloped, making it difficult to empathize or connect with them. Furthermore, the writing style was lackluster, with repetitive phrases and a lack of originality. Overall, I did not enjoy "Witch floating 12 feet above the ground" as much as I hoped and would not recommend it to others.
4. Sarah - 2 stars - I struggled to get through "Witch floating 12 feet above the ground." The story felt disjointed and lacked a clear direction. The plot meandered without purpose, making it difficult to follow and stay engaged. The characters were forgettable, and their actions often felt forced or contrived. The writing style was also subpar, with excessive exposition and minimal dialogue. Overall, I found "Witch floating 12 feet above the ground" to be a disappointing read that failed to captivate my interest.