Guy Wetmore Carryl: Fables for the Frivolous

Описание к видео Guy Wetmore Carryl: Fables for the Frivolous

Come and experience this delightfully humorous collection of satirical fables that playfully subvert traditional moral lessons, entitled "Fables for the Frivolous" by Guy Wetmore Carryl. Each fable presents a witty and whimsical tale featuring talking animals, mythical creatures, and foolish humans, all navigating absurd situations with clever wordplay and unexpected twists. If you or your child (but especially you) need a collection of stories that poke fun at human foibles and societal conventions while offering a lighthearted perspective on life's absurdities, then this is the book for you!

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This Season's Album Art by Breanna Rose

Guy Wetmore Carryl was born in New York City, the first-born of writer Charles Edward Carryl and Mary R. Wetmore.

He had his first article published in The New York Times when he was 20 years old. In 1895, at the age of 22, Carryl graduated from Columbia University. During his college years he had written plays for amateur performances, including the very first Varsity Show. One of his professors was Harry Thurston Peck, who was scandalized by Carryl's famous statement, "It takes two bodies to make one seduction", which was somewhat risqué for those times.

Some of Carryl's better-known works were his humorous poems that were parodies of Aesop's Fables, such as "The Sycophantic Fox and the Gullible Raven" and of Mother Goose nursery rhymes, such as "The Embarrassing Episode of Little Miss Muffet", poems which are still popular today. He also wrote a number of humorous parodies of Grimm's Fairy Tales, such as "How Little Red Riding Hood Came To Be Eaten" and "How Fair Cinderella Disposed of Her Shoe". His humorous poems usually ended with a pun on the words used in the moral of the story.

Guy Carryl died in 1904 at age 31 at Roosevelt Hospital in New York City. His death was thought to be a result of illness contracted from exposure while fighting a fire at his house a month earlier.

Any views/ideas expressed in these plays are not my own, and I do not believe in the censoring of anything controversial or problematic that the playwright/poet/author has written which will impact the way in which the story is told. The integrity of these works is much more important to me than any triggering content, and therefore I would ask that you have the same maturity and mental framework to listen to these pieces and appreciate them in their proper historical context.

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