"of Snowdown"" (1811); ""Education"" (1813); ""The Slave"" (1816); ""Methinks I See My Father"" (1818); ""A Roland for an Oliver"" (1819); ""Henri Quatre"" (1820); ""School for Grown Children"" (1826); and ""The Invincibles"" (1828). The name of one of the characters in ""Speed the Plough"", Mrs Grundy, has entered the English language as a synonym for ""prude"". Thomas Morton (playwright) Thomas Morton (1764 – 28 March 1838) was an English playwright. Morton was born in the city of Durham. He was the youngest son of John and Grace Morton of Whickham, County Durham. After the death of his father he was educated"
"courage in aid of others; his ability to be generous, on the rare occasions when he has food or cash; and above all his very real love and concern for his mother. All these, combined with Bunter's cheery optimism, his comically transparent untruthfulness and inept attempts to conceal his antics from his schoolmasters and schoolfellows, combine to make a character that succeeds in being highly entertaining but which rarely attracts the reader's lasting sympathy. Charles Hamilton invented the character for an unpublished story in the late 1890s. He claimed Bunter was derived from three persons: a corpulent editor, a short-sighted"
"a traditional villain, who doesn't care for such notions. The two are not presented as old friends, but simply as acquaintances. Thurio was also rewritten as a harmless, but lovable fool, not unlike Launce and Speed. Although not a major success (the play initially ran for only six performances), it was still being staged as late as 1895. In 1790, John Philip Kemble staged his own production of the play at Drury Lane, maintaining many of Victor's alterations whilst also adding many of his own. The production starred Richard Wroughton as Proteus and Elizabeth Satchell as Silvia. The play was"
"Quorum in Charles Coffey's ""The Beggar's Wedding"" (1729) or the Justice of the Peace in Coffey's ""The Female Parson"" (1730). Other works use the same character type, including Butler's ""Hudibras"", Thomas Baker's ""The Humour of the Age"" (1701), Swift's ""Project for the Advancement of Religion, and the Reformation of Manners"" (1709), and Christopher Bullock's ""The Per-Juror"" (1717). Of course, Fielding's own works, including ""The Author's Farce"", ""The Old Debauchees"", and ""The Covent-Garden Tragedy"" includes the character type. However, as Thomas Lockwood points out, ""These earlier stage justices are precedents more than sources, as the scope and development of the Squeezum"
"have appeared elsewhere, such as in newspapers with a ""thought for the day"" or ""humorous quotes"" feature, possibly because the contributors admired Dexter's conceit, or simply because they accepted the attributions at face value. Diogenes Small Diogenes Small (1797–1805) is a fictional character created by the English crime writer Colin Dexter in his Inspector Morse series of novels. The character, the supposed author of numerous historical and other works, does not appear in the novels although Dexter has used his quotations. One of the distinctive features of Dexter's Inspector Morse novels is the use of quotations as chapter headings, which"
"attractive. Though not a tactile person, Common was not a stern parent and never struck his children. He had small, feminine hands, badly stained with nicotine, and left domestic work to his wife. He was not a joiner or an activist, nor did he encourage his children to be so. He did, however, blossom in the right setting, often in pubs (a favourite was ""The Bull"" in Newport Pagnell), where he enjoyed political arguments with self-taught thinkers like himself. Another favourite haunt was the nearby working men's club on Silver Street, where he took his slippered ease at the bar."
"his ""unhealthy affection"" for his daughter Margaret had disappeared. Pinfold's adopted defensive persona, ""a combination of eccentric don and testy colonel"", was the same that Waugh cultivated to keep the world at bay. Pinfold adheres to an outmoded form of Toryism, does not vote, and expresses outrageous views, part-facetiously. Pinfold was ""absurd to many but to some rather formidable"". After Waugh's death, Nancy Mitford confirmed the essentially mocking nature of Waugh's persona: ""What nobody remembers about Evelyn is that everything with him was jokes. Everything"". While Waugh's biographer Selena Hastings describes ""Pinfold"" as ""an accurate and revealing self-portrait"", Stannard suggests"
"the Strand. In 1825 he was associated with a provincial company acting at Norwich, and elsewhere in England, and he played low comedy. His aspirations at the start were for the tragic, and it is known that late in life he still at times entertained the fancy that nature had intended him to be a tragedian. Burton was one of the funniest creatures that ever lived, but his interior nature was thoughtful and saturnine. He thought, felt, and understood tragedy, but when he came to act, he was all comedian. At the outset of his career he led the usual"
"peers of the realm. Traditional Education Squires did not receive much of any traditional education in the years that they were squires. The later form of squire as a gentleman appears in much of English literature, for example in the form of Squire Trelawney in Robert Louis Stevenson's ""Treasure Island"". William Makepeace Thackeray depicted a squire in ""Vanity Fair"" as a lecherous, ill-educated, badly mannered relic of an earlier age. However, he clearly shows their control of the life of the parish. Others include Squire Hamley in Elizabeth Gaskell's ""Wives and Daughters"" and Squire Allworthy (based on Ralph Allen) in"
"novel he is helped by the hapless Detective Constable William Crosby, a fast-driving but slow-thinking young man avoided by his colleagues. Only Sloan's wife Margaret has ever been known to say a good word about him. In each novel Sloan is put under pressure by his immediate superior, the choleric Superintendent Leeyes. The laboured conversations between the two men summarise the plot at regular intervals. The only other three characters who appear regularly are: Dr Dabbe, the lugubrious pathologist; Dyson, the caption-loving police photographer; and traffic division head Inspector ""Happy"" Harpe, so named because he claims he has never had"
"brought a succession of unconsciously-comic characters from different social backgrounds, who hold different professions and different beliefs, but whose lowest common denominator – gullibility – grants them equal victim-status in the end. Dapper, the aspirant gambler, loses his stake; Sir Epicure Mammon loses his money and his dignity; Drugger, the would-be businessman, parts with his cash, but ends up no nearer to the success he craves; the Puritan duo, Tribulation and Ananias, never realise their scheme to counterfeit Dutch money. Jonson reserves his harshest satire for these Puritan characters—perhaps because the Puritans, in real life, wished to close down the"
"trifling ambition""; on the other, it ""brings many things to notice that would be neglected, and, by fixing the thoughts upon intellectual pleasures, resists the natural encroachments of sensuality."" Published: Saturday, 19 May 1759 Johnson describes his companion Sophron (""wisdom""), who exemplifies prudence. He is frugal, never gossips, never takes sides in a dispute or gives advice. Yet while this approach to life has kept him safe from disadvantages, it has brought him no advantages either. Published: Saturday, 26 May 1759 Johnson observes that ""pleasure is very seldom found where it is sought"". Gatherings of humourists are always disappointing because"
"of the blood. Back in the 1850s, Dickens believed in ""genuine"" wealth, which critic Trotter compares to fresh banknotes, crisp to the touch, pure and odorless. With ""Great Expectations"", Dickens's views about wealth have changed. However, though some sharp satire exists, no character in the novel has the role of the moralist that condemn Pip and his society. In fact, even Joe and Biddy themselves, paragons of good sense, are complicit, through their exaggerated innate humility, in Pip's social deviancy. Dickens' moral judgement is first made through the way that he contrasts characters: only a few characters keep to the"
"Garden 11 January 1798, though a better play than the preceding, was less popular. ""Speed the Plough,"" a five-act comedy, 8vo, 1798, Covent Garden, 8 Feb. 1798, was acted forty-one times, and often revived. ""The Blind Girl, or a Receipt for Beauty,"" a comic opera in three acts (songs only printed), Covent Garden, 22 April 1801, was played eight times. ""Beggar my Neighbour, or a Rogue's a Fool,"" a comedy in three acts (unprinted), Haymarket, 10 July 1802, was assigned to Morton but unclaimed by him, being damned the first night. It was afterwards converted into ""How to tease and"
"John Maddison Morton John Maddison Morton (3 January 1811 – 19 December 1891) was an English playwright who specialised in one-act farces. His most famous farce was ""Box and Cox"" (1847). He also wrote comic dramas, pantomimes and other theatrical pieces. Morton was born in Pangbourne. His father, Thomas Morton, was also a well-known dramatist. Morton's first farce, ""My First Fit of the Gout"", was produced in London in 1835. He was the author of several other one-act farces, including ""My Husband's Ghost"" (1836), ""Chaos Is Come Again"" (1838), ""A Thumping Legacy"" (1843), ""Lend Me Five Shillings"" (1846), ""The Irish"
"for so famous a character, Mrs Grundy never actually appears in the play which introduced her, but is the continual object of the boastful Dame Ashfield's envious watchfulness, as is shown in the very first scene: Although later usage positions her chiefly as a feared dispenser of disapproval, the Mrs Grundy of the play is, in Dame Ashfield's daydreams, not so much a figure of dread as a cowed audience to the accomplishments of the Ashfield family. As the play progresses, Dame Ashfield and her comical musings soon drop from sight to make way for melodrama. With the Victorian era,"
"in the first principles of morality to decide whether he may, or must, do something of as little importance as drinking a glass of beer. On the whole, one may, perhaps, say that all his different characteristics come from the combination, in varying proportions, of three things—the desire to do his duty, the belief that he knows better than other people, and blindness to the difference in value between different things. The character of the prig was encapsulated in Charles Dickens' portrait of the day-nurse Betsy Prig—capable of a ""rapid change from banter to ferocity"" but always referred to by"
"of male homosocial bonds, and the fact that sex never occurs reinforces ideals of the masculine chivalric code. Gawain features frequently in modern literature and media. Modern English depictions of him are heavily influenced by Malory, though characterizations are inconsistent. Alfred Tennyson adapts episodes from Malory to present Gawain as a worldly and faithless knight in his ""Idylls of the King"". Similarly, T. H. White's novel ""The Once and Future King"" follows Malory, but presents Gawain as more churlish than Malory's torn and tragic portrayal. In contrast, Thomas Berger's ""Arthur Rex"" portrays Gawaine as open-minded and introspective about his flaws,"
"Lieutenant"" (c. 1619) and James Shirley in ""The Humorous Courtier"" (1631). In the prevailing theory, the physically and emotionally healthy human being has his or her ""humors"" in a general balance; Chapman's comic characters illustrate various extremes of imbalance of humors. Dowsecer is melancholic and misanthropic; Dariotto is a fashion-obsessed courtier; Florilla is a Puritan wife whose Puritanism quickly fails the test; Cornelius is an upstart gentleman jealous of his wife. These and other characters show their vulnerability to folly by the end of the play. Chapman's protagonist Lemot acts as something like a circus ringmaster, presiding over the fun."
"praising Bell's productions. John Maddison Morton John Maddison Morton (3 January 1811 – 19 December 1891) was an English playwright who specialised in one-act farces. His most famous farce was ""Box and Cox"" (1847). He also wrote comic dramas, pantomimes and other theatrical pieces. Morton was born in Pangbourne. His father, Thomas Morton, was also a well-known dramatist. Morton's first farce, ""My First Fit of the Gout"", was produced in London in 1835. He was the author of several other one-act farces, including ""My Husband's Ghost"" (1836), ""Chaos Is Come Again"" (1838), ""A Thumping Legacy"" (1843), ""Lend Me Five Shillings"""
"until the 1940s. Christie never wrote a novel or short story featuring both Poirot and Miss Marple. In a recording discovered and released in 2008, Christie revealed the reason for this: ""Hercule Poirot, a complete egoist, would not like being taught his business or having suggestions made to him by an elderly spinster lady. Hercule Poirot - a professional sleuth - would not be at home at all in Miss Marple's world."". Poirot is the only fictional character to date to be given an obituary in ""The New York Times"", following the publication of ""Curtain"". It appeared on the front"
"evidence yielded the following division of shares of authorship: The overall division is one typical of Middleton/Rowley collaborations, in which Middleton took primary responsibility for the main plot, and Rowley for the comic subplot. References in the text indicate that the clown character Pompey Doodle is a fat clown, a kind of part that Rowley repeatedly wrote for himself to play. No data on the drama's stage premier or pre-1642 productions has survived. The play is thought to have influenced Sir William Davenant when he wrote his ""The Wits"" (published 1636), and John Dryden borrowed from it for his first"
"no more stand in my way to ""fame"" than Tom Thumb could stand in my way in the street. I consider him a public nuisance and shall deal with him accordingly."" The poem had a second and third edition published in 1815. A fourth edition was published in 1816. The printed poem also included a series of notes, a common feature to his long poems, which drew complaints from reviewers. Southey's story of Roderick originally described Pelayo as the hero of the story and his enemy, Roderick, last Visigoth king, as the villain. However, Roderick was portrayed a more sympathetic"
"their society a ""happiness dragon"", Chorlton, who appears in Wheelie World at the very beginning of the series, hatching out of an egg. Chorlton is perpetually good-natured and perpetually clueless. For example, he fails to perceive Fenella as a villain, and affectionately refers to her as a ""little old lady"". Nevertheless, his presence negates the unhappiness magic, so the wheelies treat him as a hero. Despite being ""Made in Chorlton-cum-Hardy"" (Greater Manchester) he has a strong Yorkshire accent, although this is probably due to the voice talents of Joe Lynch more than any planning by Cosgrove Hall. Plots are extremely"
"he wrote that was never made into a film.) The novel's style is also influenced by ""Ulysses"", ""The Waste Land"", ""Mrs Dalloway"" and, as Greene admitted, Joseph Conrad. He alludes to Conrad by naming Drover's brother after him. A few months after publication, a grisly murder occurred in London strikingly similar to a fictional murder described in (but only tangential to the main plot of) the novel, and Greene feared the police would arrest him. Other similarities with real life were less accidental. The somewhat sleazy character named Surrogate was modelled after John Middleton Murry. Lady Caroline Bury was inspired"
"realism of Richardson's earlier work gives way to the expression of exemplars. In essence, Grandison promises ""spiritual health and happiness to all who follow the good man's exemplary pattern"". This can be taken as a sort of ""political model of the wise ruler"", especially with Charles's somewhat pacifist methods of achieving his goals. Although Flynn believes that Grandison represents a moral character, she finds Grandison's ""goodness"" ""repellent"". Richardson's other characters, like Clarissa, also exhibit high moral characters, but they are capable of changing over time. However, Grandison is never challenged in the way that Clarissa is, and he is a"
"played yet another clueless, posh student"". The characters are mostly archetypes of British comedy—such as ""the rude German traveller"" and ""the British snob""—and the norms of these archetypes are used for both humour and to advance the plot. The archetypes are gradually unspun; for instance, the apparently well-meaning Les is revealed as somewhat xenophobic. The discovery of the body reveals the humanity of the various characters. For instance, Jorg is revealed to be more ill than vulgar, and Hugo is shown to be poor. Maxwell's character, by contrast, is not subverted. Maxwell, as a character, ""controls the action"". He is"
"achieved prominence as an oxymoronic rhetorical device after 1851, when used sarcastically as the title for a satirical essay by English novelist Charles Dickens, who some believe may have wished to disassociate himself from what he viewed as the ""feminine"" sentimentality of 18th and early 19th-century romantic primitivism. The idea that humans are essentially good is often attributed to the 3rd Earl of Shaftesbury, a Whig supporter of constitutional monarchy. In his ""Inquiry Concerning Virtue"" (1699), Shaftesbury had postulated that the moral sense in humans is natural and innate and based on feelings, rather than resulting from the indoctrination of"
"of their folly or vice. He was fond of the country and of books; and from these tastes had arisen his principal enjoyments""""). Her notion of stylish behavior is summarized in what she told Sir William: ""He has always something to say to everybody. – That is my idea of good breeding"". She behaves with embarrassing vulgarity and lack of tact, especially at Netherfield, where her pretentiousness, foolishness and ""total lack of correction"" are particularly evident. She is completely devoid of empathy, save for herself and Lydia, and, having the mentality of a peahen, she is only sensitive to the"
"for the Parliamentarians. He had earlier achieved fame and notoriety by his refusal to pay the Ship Money tax, introduced by the near bankrupt Charles I. Hampden was prosecuted for refusing to pay the tax on his lands in Buckinghamshire and Oxfordshire. He was tried and found guilty, and consequently became a public hero, known as 'The Patriot'. The spot where he refused to pay is marked by a monument in the grand avenue at Hampden House, although the exact location of the actual site is in dispute. Like many old and aristocratic families the Hampdens, for generations closely associated"
"from a spoiled six-year-old boy into a virtuous gentleman (Day defines virtue as the appreciation of the value of labour). Tommy, having been pampered and indulged by his mother and their slaves in the West Indies, is a proud and ignorant aristocrat; he lacks the sterling qualities of ""plain, honest"" Henry (Harry) Sandford, the yeoman farmer's son, who becomes his model and mentor in the book. Both are guided by a mentor, Mr. Barlow. Day wanted to emphasize the series of stories he had collected, which ranged from moral tales to scientific lessons to fables, but the book became famous"
"law and royalism. Something of Hampden's fame no doubt is owing to the position which he took up as the opponent of ship money. But it is hardly possible that even resistance to ship money would have so distinguished him but for the mingled massiveness and modesty of his character, his dislike of all pretences in himself or others, his brave contempt of danger, and his charitable readiness to shield others as far as possible from the evil consequences of their actions. Nor was he wanting in that skill which enabled him to influence men towards the ends at which"
"sense of humour. This idea matches the contents of the letter to the Lord Mayor, which accused a group of young aristocrats as the culprits, after an irresponsible wager. A popular rumour circulating as early as 1840 pointed to an Irish nobleman, the Marquess of Waterford, as the main suspect. Haining suggested this may have been due to him having previously had bad experiences with women and police officers. The Marquess was frequently in the news in the late 1830s for drunken brawling, brutal jokes and vandalism, and was said to do anything for a bet; his irregular behaviour and"