More than a dozen years ago musical scholars and critics began to illuminate the musical darkness of New York with lecture-recitals explanatory of the more abstruse German operas. Previous to this era no one had ever thought, for instance, of unfolding the story, or the "_Leit__motive_" (if there happened to be any!), in "The Bohemian Girl,""Maritana," or "Martha." These and many other delightful but thoroughly third-class works unfolded themselves as they went along, to the entire satisfaction of a public so unbelievably care-free, happy, thoughtless, childlike, uninstructed, that it hardly seems as if they could have been our ancestors.
Wagner changed all this at a single blow. One could no longer leave one's brains with one's hat in the coat-room when the "Nibelungen Ring"appeared!
Learned critics, pitifully comprehending the fathomless ignorance of the people, began to give lectures on the "Ring" to large audiences, mostly of ladies, through whom in course of time a certain amount of information percolated and reached the husbands--the somewhat circuitous, but only possible method by which aesthetic knowledge can be conveyed to the American male. Women are hopeless idealists! It is not enough for them that their brothers or husbands should pay for the seats at the opera and accompany them there, clad in irreproachable evening dress. Not at all!
They wish them to sit erect, keep awake, and look intelligent, and it is but just to say that many of them succeed in doing so. The art-form known as the lecture-recital, then, has succeeded in forcibly educating so large a section of the public that immense audiences gather at the Metropolitan Opera House, one-half of them at least, in a state of such chastened susceptibility and erudition that the Tetralogy of Wagner has no terrors for them.
The next move was in behalf of the more cryptic, symbolic, hectic, toxic works of the ultra-modern French school, which have been so brilliantly illuminated by their protagonists that thousands of women in the larger cities recognize a master's voice whenever one of his themes is played upon the Victrola.
I shall offer my practically priceless manuscript of "Bluebeard" for production in French at the Metropolitan, and in English at the Century Opera House; meantime Mr. Hammerstein is so impressed with its originality, audacity, and tragic power that he is laying the corner-stone for a magnificent new building and will open and close it with "Bluebeard" in German, if no unforeseen legal complications should prevent.
It is in preparation for all this activity that I issue this brief but epoch-making little work.
KATE DOUGLAS WIGGIN. NEW YORK, February, 1914.
龍族Ⅰ：火之晨曦（修訂版）
《龍族第2季》7月18日起每周五10點，騰訊視頻熱播中！人類歷史中，總是隱藏著驚人的秘密。在多數人所不知道的地方，人類與龍族的戰(zhàn)爭已經進行了幾千年。路明非的十八歲，在他最衰的那一刻，一扇通往未知國度的門轟然洞開。直升機如巨鳥般掠過南方小城的天空，在少年路明非的頭頂懸停。隱藏在歷史中的那場戰(zhàn)爭，就要重開大幕。歡迎來到……龍的國度！
麻衣神算子
爺爺教了我一身算命的本事，卻在我?guī)腿怂懔巳蚊螅x開了我。從此之后，我不光給活人看命，還要給死人看，更要給……
明朝那些事兒（全集）
《明朝那些事兒》主要講述的是從1344年到1644年這三百年間關于明朝的一些故事。以史料為基礎，以年代和具體人物為主線，并加入了小說的筆法，語言幽默風趣。對明朝十七帝和其他王公權貴和小人物的命運進行全景展示，尤其對官場政治、戰(zhàn)爭、帝王心術著墨最多，并加入對當時政治經濟制度、人倫道德的演義。它以一種網絡語言向讀者娓娓道出明朝三百多年的歷史故事、人物。其中原本在歷史中陌生、模糊的歷史人物在書中一個個變得鮮活起來。《明朝那些事兒》為我們解讀歷史中的另一面，讓歷史變成一部活生生的生活故事。
奪嫡
【古風群像+輕松搞笑+高甜寵妻】【有仇必報小驕女X腹黑病嬌九皇子】《與君歡》作者古言甜寵新作！又名《山河美人謀》。磕CP的皇帝、吃瓜的朝臣、大事小事都要彈劾一下的言官……古風爆笑群像，笑到停不下來！翻開本書，看悍婦和病嬌如何聯手撬動整個天下！未婚夫又渣又壞，還打算殺人滅口。葉嬌準備先下手為強，順便找個背鍋俠。本以為這個背鍋俠是個透明病弱的“活死人”，沒想到傳言害人，他明明是一個表里不一、心機深沉的九皇子。在葉嬌借九皇子之名懲治渣男后。李·真九皇子·策：“請小姐給個封口費吧。”葉嬌心虛：“你要多少？”李策：“一百兩。”葉嬌震驚，你怎么不去搶！！！
三體全集（全三冊）
【榮獲世界科幻大獎“雨果獎”長篇小說獎，約翰·坎貝爾紀念獎，銀河獎特別獎】套裝共三冊，包含：《三體I》《三體II：黑暗森林》《三體III：死神永生》對科幻愛好者而言，“三體”系列是繞不開的經典之作。這三部曲的閱讀體驗和文字背后的深刻思想配得上它所受的任何贊譽。