Satire audiobooks

If you've never heard the term “Mathematical Fiction” before, Edwin Abbott Abbott's 1884 novella, Flatland can certainly enlighten you!

Flatland: A Romance of Many Dimensions was published in 1884 and since then, it has been discovered and re-discovered by succeeding generations who have been delighted by its unique view of society and people.

The plot opens with a description of the fictional Flatland. The narrator calls himself “Square” and asks readers to “Imagine a vast sheet of paper on which straight Lines, Squares, Triangles, Pentagons, Hexagons and other figures, instead of remaining fixed in their places, move freely about... but without the ...

Woe from Wit (Russian: Горе от ума, also translated as "The Woes of Wit", "Wit Works Woe" and so forth) is Alexander Griboyedov's comedy in verse, satirizing the society of post-Napoleonic Moscow, or, as a high official in the play styled it, "a pasquinade on Moscow."

The play, written in 1823 in the countryside and in Tiflis, was not passed by the censorship for the stage, and only portions of it were allowed to appear in an almanac for 1825. But it was read out by the author to "all Moscow" and to "all Petersburg" and circulated in innumerable copies, so it was as good as published in 1825; it was not, however, actually published until 1833, after the author's death, with sig...

Rameau's Nephew, or the Second Satire (French: Le Neveu de Rameau ou La Satire seconde) is an imaginary philosophical conversation written by Denis Diderot, probably between 1761 and 1772. It was first published in 1805 in German translation by Goethe, but the French manuscript used has subsequently disappeared. The German version was translated back into French by de Saur and Saint-Genies and published in 1821. The first published version based on French manuscript appeared in 1823 in the Brière edition of Diderot's works. Modern editions are based on the complete manuscript in Diderot’s own hand found by Georges Monval, the librarian at the Comedie-Francaise, in 1890 while buying music ...

"Pompey, the son of Julio and Phyllis, was born A.D. 1735, at Bologna in Italy, a place famous for lap-dogs and sausages." At an early age he was carried away from the boudoir of his Italian mistress by Hillario, an English gentleman illustrious for his gallantries, who brought him to London.

The rest of the history is really a chain of social episodes, each closed by the incident that Pompey becomes the property of some fresh person. In this way we find ourselves in a dozen successive scenes, each strongly contrasted with the others. It is the art of the author that he knows exactly how much to tell us without wearying our attention, and is able to make the transition to the nex...

John Dryden published Absalom and Achitophel: A Poem in 1681. It is an elaborate historical allegory using the political situation faced by Kind David (2 Samuel 14-18) to mirror that faced by Charles II. Each monarch had a son whom a high-ranking minister attempted to use against him. James Scott, first Duke of Monmouth, Charles II's illegitimate son, was detected planning a rebellion late in 1681, supposedly instigated by the Earl of Shaftesbury, who was tried for high treason, and it is believed that Dryden wrote the poem in an effort to sway the jury in his trial. The fates of both Absalom (Monmouth) and Achitophel (Shaftesbury) are left unspecified at the end of the poem (Monmouth did...

Throughout history there have been many creative artists whose fame depends largely on their association with a much greater artist. Such the case of Thomas Shadwell, poet and prolific writer of low brow comedies, who is today most famous as the butt of satire by one of greatest and most influential English poets, John Dryden. Shadwell and Dryden were at first colleagues and collaborators, but later fell out over some sharp divergences of opinion. In particular, Dryden disagreed with Shadwell's high estimation of Ben Jonson, and even more of the latter's claim to be be Jonson's artistic heir. The most celebrated product of this controversy was Dryden's satirical poem, Mac Flecknoe, in whi...

The Rape of the Lock is a mock-heroic narrative poem written by Alexander Pope, first published anonymously in Lintot's Miscellany in May 1712 in two cantos (334 lines), but then revised, expanded and reissued under Pope's name on March 2, 1714, in a much-expanded 5-canto version (794 lines). The final form was available in 1717 with the addition of Clarissa's speech on good humour. The poem satirizes a petty squabble by comparing it to the epic world of the gods. It was based on an incident recounted by Pope's friend, John Caryll. Arabella Fermor and her suitor, Lord Petre, were both from aristocratic recusant Catholic families at a period in England when under such laws as the Test Act,...

Eine Geschichte über menschliche Schwächen und welch schweres Leben diejenigen wenigen Personen erdulden, die davon frei sind. 1774-1780 erschienen, zeitlos gültig.

Satiren (Sermones) von Horaz, Veröffentlichung dieser Ausgabe 1893.

Horaz, eigentlich Quintus Horatius Flaccus, ist neben Vergil einer der bedeutendsten römischen Dichter der „Augusteischen Zeit“, das heißt der Zeit zwischen 43 v. Chr. und 14 n. Chr., also vom Tod Ciceros bis zum Tod des Augustus.

Die zwei Bücher der Satiren bestehen aus zehn beziehungsweise acht teilweise recht umfangreichen Einzelgedichten in Hexametern. Horaz selbst nannte sie Sermones („Gespräche“). Er spricht darin mit Maecenas, mit dem Leser, mit sich selbst, und führt die Personen im Dialog vor. Ziel dieser nicht unbedingt harmlosen Plaudereien ist, dem Leser mit Humor die unangenehme Wahrheit aufzu...

This "Afterpiece" - a short play to follow a main production - was first produced in 1746. It was based on Regnard's five-act comedy le Legetaire Universel (1707), which is itself a composite of Italian comedy with echoes of Molière, moving from scene to scene with little effort at logical consistency or structure but treating each scene autonomously for its own comic value. The rather long Prologue to A WILL AND NO WILL (11 pages of manuscript) makes fun of the convention of the eighteenth century prologues by the familiar dodge of having actors chatting as though they were in the Pit waiting for the actors in the preceding main play to dress for the afterpiece.