Hi, Girls! This was my FAVORITE book when I was a kid. I am now 34, and I recently found my old copy of it. I started reading, and couldn't put it down, even though I read it several times when I was younger and still remembered every detail.

If you've ever had a best friend move away, or had a friend that your parents didn't like, you'll be able to relate to the "Blood-Sister" heroines, Lieslotte and Inge. If you're curious about the life of ordinary girls during the Nazi era, this book will fascinate you.

The book is MUCH better than the movie adaptation, "A Friendship In Vienna," which left out the most interesting part of the story: Lieslotte's experiences after she moved to Germany. Imagine going to a school where you have FIVE hours of Gym, every day!

Until now, I, along with most of the people I know, thought that WWII only affected the Jewish population, it affected the
Germans as well. For me, the beginning of the book was a bit slow going, but once I got into it a little farther, I found out that it
was a great book with a wonderful moral. These two little girls, one a Jew, one Nazi-German, managed to retain a beautiful
friendship despite hundreds of miles and social bounderies between them. I would recommend it to anyone, especially kids!

This is a very awesome book.In the beginning,I was very bored.Then,I wished that I could tear my eyes away from this book and read another one.But when I came to the middle of the book,it was so enthralling,I couldn't put the book down.What a beautiful friendship! How I wish I could have somebody my kindred spirit.Then,I could share all my secrets with her.These two friends befriend each other even though their religion is different.It was difficult to meet each other as each other's parents wouldn't give their consent to them.Inge was a Jewish and Lieselotte was a German.And Germans were killing Jews! This story tells you about how these two friends stick together during the World War 2.I feel so attached to these two girls.

Alma Rose was born to musical royalty in Vienna (the daughter of famed violinist Arnold Rose and niece of Gustav Mahler). She studied with distinction at the Vienna Conservatory and the Vienna State Academy, and consequently enjoyed a very respectable and successful musical career. In 1932 Alma formed a women's orchestra (Vienna Waltzing Girls) and toured throughout Europe. But like so many others of her class and background, she was totally caught off guard by the Nazi onslaught. Courageously assisting her family's flight from the Nazi's antisemitic pogroms, she was nonetheless caught and sent to the Auschwitz-Birkenau death camp. There she took a group of terrified and untrained women and transformed them into an orchestra whose music saved them from being summarily gassed by their Nazi captors. Forty women were to survive that horrific place because of their participation in Alma's prisoner orchestra. But Alma herself was to die of illness in the camps before they were able to be liberated by the Allies. A welcome contribution to Holocaust studies, as well as a brilliantly presented biography of a gifted musician, Alma Rose: Vienna To Auschwitz is a memorial to a gifted musician and a testament to Alma's personal struggle to help as many women survive as she could. It is also a damning indictment of the Nazi horror and an effective counter to the pernicious attempts of historical revisionists to suppress both the atrocities and the courage of those dark times.

Richard Newman has spent many years working on this book and it paid off, there can't be a biography on hardly anyone that is better researched. And he has written it in a way that doesn't judge the person, he relates the facts but doesn't try any psychological insight. He leaves this up to the reader. A beautiful, compelling book on a woman that used a difficult position to save as many lives as possible. If ever anyone deserved a monument, it is Alma Rosé. Richard Newman`s book lays the foundation. I will publish the German version in Fall 2002.

My review is best expressed in a letter to the authors. While the letter speaks little of the content of the story, it does the reflections of the reader:

I have just finished your book, Alma Rosé, Vienna to Auschwitz and felt compelled to write a word of thanks for such an excellent book. I have lived in Vienna for 23 years and in our early years I walked by the Rosé house in the Pyrkergasse each day, taking our oldest to the Volkschule. Of course, at that time, I had no idea the importance of number 23. Through your book and others of Viennese history I have gained a profound sense of history that a midwest American, growing up in the suburbs, rarely has a chance to learn.

We have since moved from the 19th district, but each time I am in the city the enormity of life that has gone on before me deeply tugs at my soul. The stones I walk on have carried the lives of so many, each woven into a history of joy and often of utter loss and evil.

I believe your book was one of those that has allowed me to enter into a life past. Through it I have gained new perspective that the joy and beauty I now enjoy is not without the marring of tragedy and sorrow of many who were innocent. I was also able with my family to visit Auschwitz this summer. The visit has left a lasting impact on our minds and it certainly allowed me to have even deeper sense of personal presence as I read your book. The immensity of the tragedy leaves one lost for thoughts and words. The life of Alma Rosé puts a reality to that part of history that seems unbelievable, yet was played out in the very places I have lived and walked.

I visited the Rosé grave in Grinzing last week and noted that Alma's name is inscribed on the headstone (unfortunately, the date is 4/4/44 and not 5/4/44). In honor of her courage and for the lives she most certainly helped spare, I left a memorial candle on her grave. I did not seem fitting to leave the grave without some acknowledgement and sign of respect of her family's life.

Again, thank you for the fine research and excellent presentation of her life. The book must also be considered a memorial not just to one life, but to many who's stories will never be told.

Eyewitness travel guides are invaluable when traveling to a city for the first time. Eyewitness VIENNA is no exception. I collect travel books and nothing compares to being able to visualize what your reading about. This book offers cultural and historical background along with all the all the pictures. It's virtually impossible to get lost in Vienna with this book. The maps throughout and the city map at the back are the best I've seen.

I can't stress enough how valuable this book was on our family trip. The maps were detailed and easy to read. Vienna is filled with little alleys and cobblestone streets, it would've been easy to get lost, were it not for this book. Aside from the streetmaps, I referred to the subway map often.

The book also outlined a few self-guided walking tours, detailing history of landmarks and statues that you might otherwise miss if you were just walking by.

Most helpful were interior 3D maps of places like Schonbrunn, Hofsburg, and the Kunsthistoriches museum. At these venues, they often charge you for sketchy, uninformative maps in English. This book was really all we needed.

It's no wonder you see so many people with this guide, in all it's different language versions.

I can only second everything the other reviewer said about this book. It is so easy to use and so thoroughly cross referenced that we simply could not put it away while we were in Vienna. We finally gave up and just carried it around for instant referral at all times. My wife had lived in Vienna for a year as a college student, but she was amazed at the wealth of interesting and important information that we gleaned from this book. Its format is extremely visual rather than verbal, which really works for me. We are going back to Vienna next year and we will have our copy of the Eyewitness book close at hand at all times.

There are two standard evaluations of Popper's importance. The first sees Popper as an important figure in the philosophy of science, one whose work is now passe, but whose influence cannot be denied. The other sees Popper as one of the great geniuses of the twentieth century, a polymath who gave us new paradigms of scientific and political thinking. This second view, while still the view of the minority, is gaining support in a new millennium where Popper is enjoying something of a renaissance. This is the view that has inspired both Bryan Magee and Antony Flew to pen histories of philosophy subtitled (surely not just for the sake of alliteration) "From Plato to Popper." And this is the view that inspires Malachi Haim Hacohen to give Popper a central place in what, despite its title, is an intellectual history of inter-war Vienna.

If Popper's importance has not been properly appreciated, suggests Hacohen, that is because we try to situate him in the Anglo-American tradition that appropriated him after the Second World War and in which he became famous. Instead, Hacohen traces the genealogy of Popper's philosophy through the currents of thought in inter-war Vienna, showing how they shaped Popper and how Popper responded to them within this context. We see how his principle of falsification evolved as a response to the logical positivism of the Vienna Circle, and how his critique of historicism and promulgation of the Open Society--though published in and appropriated by a Cold War West--were in fact inspired responses to the socio-political debates of 1930's Vienna.

Hacohen's primary aim is to give us a greater understanding, and hence a greater appreciation, of Popper's achievement. But in tracing inter-war Viennese culture more broadly, he also shows the extent to which that culture's set of concerns has shaped our own intellectual outlook thanks to the diaspora of Viennese intellectuals--many of them Jewish--in the face of the Nazi threat. The Vienna Circle influenced a generation of philosophers, Hayek has become a champion for libertarians, and Gombrich has changed the way we look at art. In all of these cases, but none more so than in philosophy, these thinkers have found success in England and America by adapting ideas born out of uniquely Viennese debates to contexts that these debates never reached.

Inevitably, our reception of these ideas on foreign shores distorted their intent. For instance, we tend to understand the Vienna Circle as Ayer understood it without appreciating how the tools and methods these philosophers developed were meant to settle the debates on the nature of science that had divided an earlier generation of Viennese thinkers, the likes of Boltzmann and Mach. Like the Vienna Circle, Popper is too often read as his English-speaking contemporaries interpreted him, and Hacohen's book gives us a rich sense of the problems and debates that shaped Popper's distinctive outlook. Hacohen has labored tirelessly in the archives, and while his preference for completeness and transparency of research over readability makes it a laborious slog, both the depth, breadth, and originality of Hacohen's scholarship is exceptional. He is more at home discussing the social sciences than the natural sciences, but he is more at home in both of these fields than most of us can ever expect to be.

The problem, then, is whether Popper is the central figure of the intellectual history of inter-war Vienna, which is how Hacohen portrays him, or if he is only one of a number of bright minds to emerge from that context, and neither the brightest nor the most influential. He was a marginal figure at that time, and his contemporaries in the Vienna Circle, though respectful, seemed not as convinced as he was that he had delivered the deathblow to logical positivism. The philosophical world more generally tends to give the role of death-dealer to Quine for his 1951 paper, "Two Dogmas of Empiricism." Hacohen might reply that we inflate Quine's importance to Popper's detriment because we come to logical positivism from an Anglo-American perspective, and that in failing to appreciate its original context, we fail to appreciate that Popper had buried logical positivism by 1934. There is some merit in this argument, and perhaps if Popper had arrived in London before 1946 and if the Logic of Scientific Discovery had been published in English before 1956, things would be different. But whether a result of historical mischance or of Popper's work not being as decisive as he thought, he has failed to have an impact on English-speaking philosophy that rivals the Vienna Circle. Or Quine, for that matter.

Hacohen makes an excellent case for the tremendous, and too-often unnoticed, influence of inter-war Vienna on post-war scholarship in the English-speaking world, but he is less convincing in situating Popper as the central figure of this influence. Popper certainly developed interesting and fertile responses to the problems of his intellectual milieu, but it seems a bit of an exaggeration to claim that he solved these problems, or even that his solutions are more compelling than those of any of his contemporaries. Hacohen does not simply state his allegiance to Popper baldly; he provides arguments, but these arguments are not likely to convince those of us who are not already Popperians.

Popper has never been fully embraced by the mainstream of Anglo-American philosophy, and this may be connected with his having been shaped by a different set of concerns than his English-speaking contemporaries. With these concerns in clearer focus, he still doesn't emerge as one of the great thinkers of the twentieth century, but Hacohen's effort to give him his due does shed valuable light on an interesting period. Though his emphasis on Popper's importance may be misplaced, Hacohen's book nonetheless makes for engaging intellectual history.

Malachi Hacohen as written a great biography that both covers the personal has well as the philosphical development of one of the 20th century's greatest minds. This is a big book in every sense of the word, big in ideas, big in scope. One of the by products of reading this book was to discover the immense impact that intellectuals from 1920's Austria and non germanic Central Europe had upon, not just philosphy, but also economic and political developments in the Anglo Saxon world. People such as Hayek, Drucker, Polyani, Tarski, Neurath, Mises and many more have had a profound effect upon the thinking of both the Right and the Left in the US and Britain. One of those books which one can honestly say the reader will be much wiser after finishing it.

The book has several different aspects, all of absorbing interest, including the detailed reconstruction of Popper's intellectual career and the depiction of the social and political milieu of Vienna between the wars.

Popper was the archetypal workaholic. Hacohen reports that he worked for 360 days of the year, all day, without the distraction of newspapers, radio or TV. Several times a month, even in old age, he worked all night and friends such as Bryan Magee would get an early morning call from Popper, bubbling with excitement to report on his latest ideas. Popper lived well out of London near High Wycombe and when Magee gained Popper's confidence he was invited to visit, taking the train to "Havercombe" (in Popper's heavily accented English). When I made the trip to Havercombe, Popper arranged to meet me at the station, carrying a copy of the BBC Listener, presumably to pick him out from all the other elderly gentlemen of middle-European extraction who might be thronging the platform at 2.00 on a Wednesday afternoon. In the event, he left the magazine at home and the kiosk had sold out so he had to buy The Times and fold it to the size of the Listener. Of course he was the only person in sight apart from the Station Master. Popper, then aged 70, had what his research assistant tactfully described as a "very positive" attitude to driving. Fortunately it was not far to his home and there were few other cars on the road. Safely home, our conversation laboured, and he frequently pushed a tray of choc-chip cookies towards me. Later he lamented to his assistant that I had eaten a whole weeks supply of his favorite cookies in one afternoon. These aspects of Popper are the other face of the man who some described as "the totalitarian liberal".

Hacohen has provided sufficient background to explain why Popper's ideas were so exciting for some people, and so threatening for others, though it was left to Bill Bartley in the 1960s to articulate the way that Popper had challenged the unstated and uncriticised assumption of "justificationism" which is the glue that holds together the ideas of the positivists and other "true belief" philosophers. Popper's lack of progress in the community of professional philosophers needs to be understood against the persisting background of justificationism, subjectivism and determinism which he has criticised in favour of critical rationalism, conjectural objective knowledge and non-determinism.

Hacohen has assembled a massive amount of material and a lesser talent in organization would have lost the plot among the details. Helped by a liberal quantity of headings sub-headings and his very clear exposition, he has kept his material under control and kept several balls in the air with superb aplomb. The several balls are Popper's diverse interests and the chaotic events that were going on around him in Vienna, not only among the intellectuals but also in Austrian politics.

These events forced Popper to flee to the other side of the world, to New Zealand, surely the antithesis of Vienna in most cultural, intellectual and political respects. There, his campaign for critical rationalism, objectivism and non-determinism was waged in political philosophy. His achievement in writing the two large volumes of "The Open Society and its Enemies" can be compared with the Battle of Britain, where young pilots held Hitler at bay in the skies over the English Channel. Popper daily patrolled the intellectual stratosphere, challenging Hitler's intellectual henchmen from Plato to modern times. This work would have been an amazing achievement under any circumstances, as it was it had to be done in the face of dreadful news from home (fourteen relatives died in the Holocaust), under the threat of Japanese invasion and against the resistance of his Professor who regarded his research and writing as theft to teaching time.

To conclude, this book is a wonderful piece of scholarship and its deserves to be read with close attention by anyone with a shred of interest in the ideas that have shaped the world today. With any luck Popper's ideas will help to shape the world tomorrow. I dissent from Hocohen's reading of Popper's ideas as a prop for social democracy, but anyone imbued with the spirit of critical rationalism can make up their own mind on that.

This book is actually worth six stars, so buy two copies, one for your local library.

This book is captivating on many levels. Give it time to get there. There is the man/woman issue. Will they? Won't they? I found myself rooting for him, then her. Then him,not her,chapter by chapter. Their story is but one of many surprising and horrifying mess-with-your-mind dynamics of the book. Surprises inside surprises when you least expect it. This guy (Peretz) twists and turns your mind with each page. There is a touch of Casablanca in the beginning. These two can't possibly get together. Too many issues, villians, heros, constraints. But it is not merely a love story by a long shot.The story moves forward into totally unpredictable predicaments. World history. Today's headlines. Conflicting psychological currents. Bad people from way back when. Really bad people right now. Justice. Injustice. Cops and reprehensible robbers. Love. Hatred (personal and racial). Blood 'n guts. Family lies. NYPD. Nazis. Intelligently written.Satisfyingly sexy. Murderously raw. I can't imagine how he crammed all this into one novel,his first,and credibly tied up every loose thread.It is a great read.

During the usual Sunday dinner at the Cortese residence in Brooklyn, "Red" Cortese - highly decorated, recently widowed, unjustly suspended NYPD detective - becomes convinced "Pop" has a dark secret about a certain piece of family furniture. Following his investigative instincts to an improbable yet racy sexual encounter, and then to Vienna, he uncovers and ever expanding web of dangerous problems and personal crisis.

Certain members of the Viennese establishment are uncomfortable with this brash American, and its not because they don't like his style. They have a lot to hide. Street tough and savvy, he is prepared to deal with what they plan for him. But, can he handle what the investigation may reveal about himself, his father, his new love, Willi Hanfnagle, and her Austrian family?

As one might expect, Red wraps things up neatly in unforeseen but very pleasing ways, with only one or two loose ends, a shaky prosecution outlook and a runaway Russian spy. Perhaps, Peretz is leaving the door open for a sequel. May I suggest: suspect holdings in the Hermitage with modern communists covering for Stalin et al.

I say "Bravo" and "Encore". Peretz handles the story of self-revelation, as it should be, with care and compassion. I was very moved by the Epilogue. It reminded me of the times I have read obituaries or wedding announcements, wondering about the story behind the lines. Read and you shall know! Peretz very skillfully makes the reader and intimate companion of the people he writes about.

Scary how this book almost predicts, politically, what is happening in Austria today! Maybe it can happen again! I just couldn't wait to get to the end to find out what happens.

For those who never wanted "Berlin Stories" to end, "Prater Violet" will be a welcomed treat. Isherwood's fictions were, for the most part, only thinly veiled memoirs - indeed he plays a part in most without even the contrivance of altering his name. However, whether they be fact or fictions, these stories are original and delightful. Isherwood's adventures in the film colony of London prove irresistible. Each of the characters, Chatsworth, Ashmeade and the great director Friedrich Bergmann, are drawn with wit and clarity. What is most remarkable is how fresh this material is considering it was published in 1945. A very fine and rewarding short novel.

Isherwood's short novel is autobiographical fiction about being hired to write a screenplay for a movie called "Prater Violet" during early World War 2. There's lots of world politics, of course, as well as the politics of the worldwide movie industry (Hollywood included). Isherwood's writing is superb, and fills this brief space with a lush garden of a story. Here's a quote: "This business about the box office is just a sentimental democratic fiction. If you stuck together and refused to make anything but, say, abstract films, the public would have to go and see them, and like them..."

one of the best fictional portraits of a movie director, right up there with "white hunter, black heart." and isherwood's quiet, unforced, amused style is a joy.

Bob Gore loaned this book to us in response to our plea for information about Austria and Switzerland. I was unsure of its interest for me at first, fearing that it might be little more than a condensed version of the scholarly work that kept popping up on all my book searches called The History of the Hapsburgs from way too long ago until 1918 (I paraphrase from memory). On the other hand, I had to admire an historian who limited himself not only to one city, but to a nine month time period. That's like having a jazz musician limit herself to a ten-second solo.

The limitations paid off, however, mainly because Morton's selection of those few months enable him to cover a highly significant moment of Austrian history, but also to bring in a cast of characters that would normally have been only peripheral to the usual story of history. The reader, thus, gets a sense of not only the political tenor of the times, but also an insight into the medical (through the description of a young Sigmund Freud), the literary (Theodor Herzl and Arthur Schnitzler), the musical (Johannes Brahams and Anton Bruckner), the artistry (Gustav Klimt), and the everyday (a street-player known as the King of Birds). History is not a novel, so these lives do not intertwine as they would in a fiction, but each does bring an expanded understanding of what Vienna was like.

The central "story" to the book is Crown Prince Rudolf and his frustration with being heir to the Austrian empire with nothing to do except ceremonial duties. Morton depicts Rudolf as a freethinker who might have changed the course of history had it not been for Emperor Franz Joseph's wonderful health. Instead, Rudolf, in the course of nine months, goes from being a revolutionary who must have his writing published under someone else's name to a drug-addled conspirator, who, with his nubile, fashion-setting mistress, decides to commit double-suicide. The tragedy is heir-apparent (pause for groans to subside), as Rudolf would have likely been much more palatable to the subjects of Sarajevo than Franz Ferdinand.

I must admit to being fairly ignorant of European history (okay, I was schooled in America--I'm pretty ignorant of history, per se), so when Morton drops the fact halfway through A Nervous Splendor that Rudolf commits suicide, I was surprised. But such is the difference between history and fiction. Morton expects the reader to already be aware of the high points in his narrative, and seeks to illustrate the base of those icebergs (this is also why I don't feel guilty for discussing the suicide myself). He succeeds, and I now am quite interested in his follow-up to this book, a volume called Thunder at Twilight which depicts Austria right before World War I.

With the use of a wide range of source materials, including newspapers, periodicals, memoirs, and unpublished diaries, Frederic Morton presents an intriguing account of a short, yet important, period in Vienna's history. Morton chooses July 1888 through April 1889 as a watershed period because these years marked the time when "the western dream started to go wrong." Morton paints the Austrian Empire of the late 1880s as backward (many still used gas lanterns) and stagnant, still obsessed with protocol, tradition, and keeping up appearances. The Habsburgs still hung on to their monarchy and modern classes like the industrialists had little to no access to the court. Morton looks at the elite of society in a number of areas like science (Freud), music (Brahams, Strauss, Buckner), and theatre (Herzl, Schnitzler). As another reviewer noted, it is a very "gossipy" history written with a novelists' flair. Through private diary entries, Morton is able to keep a running total of how many times Author Schnitzler (who inspired the Kubrik film Eyes Wide Shut) and his girlfriend "commit acts of love." The rise in prophylactic sales during carnival season is described as is the pursuit of the Crown Prince's affections by the girls of the fashion crowd.

What I found to be the most interesting is the chapters on the Crown Prince Rudolf-the liberal-minded heir to the Austrian throne. The progressive Crown Prince was stifled by the traditions of the court. He was forced to entertain guests he did not like (such as Kaiser Wilhelm II) and was only able to voice his ideas through unsigned articles in a newspaper. His choice of the Mayerling incident to solve his problems still seems odd for an intelligent, 30 year-old prince. His choice of taking Mary Vetsera with him seems more for convenience than for some love tragedy as she was willing to go along with his plan whereas his regular mistress laughed it off. Morton's account of the aftermath of Mayerling was very interesting (the rise in the stock market and the foreign gossip pages lent out by cab drivers). The real impact of Mayerling may not have had as much impact on history as one might expect, especially since Franz Joseph lived until the midpoint of World War I. Considering the years and the nation covered, the ending is very predictable (I guessed it before I started reading the book).

Morton finds the earliest cultural roots of twentieth century "angst" in early Fin-de-Siecle Vienna. He transects a single 9 month period which offers a cross sectional view of the nascent stems of an organism which will grow into liberalism & communism and which will leaf out as the artistic "revolutions" of german expressionim, atonal music (the "second" Vienesse school), the architectural theories of Loos and the Bauhaus, the theater of Beckett & Brecht, and the philosophy of Wittgenstein and Mach.

Morton focuses his analysis around the death by suicide pact of Kronprinz Rudolph, heir to the Hapsburg empire. The event is intrinsically intriging; Rudolph's suicide and it's aftermath cover an emotional landscape that ranges from the tragic to the bizarre and goulish.

Vignettes in the life of important cultural figures, including Freud, Herzl, Klimt, Brahms, Bruckner, Schnitzler and Mahler, dramatize the trend toward the dissolution of conservatism and the collapse of upper classs domination.

A NERVOUS SPLENDOR is entertaining, informative and well written. Morton's style of writting is sophisticated, elegant and, yet, in a sense that is hard to define, unusual and piquant.

Captions are sometimes nonexistent for the photos and graphics, and often too smarmy and cute to be anything but misleading. Discussion of Vienna's museum of criminology included a shockingly gory photo of a dismembered corpse that took up 1/3 of a page: nothing I'd want to encounter again.

I threw this book away and bought the Eyewitness Travel Guide to Vienna instead: a very elegant, richly graphical, dependably tasteful series. I will never buy Time Out again!

The Time Out Vienna guide made my trip much more enjoyable with it's insider tips and witty humor, even through it was published over 2 years ago.
The information in the guide was even informative to my travel partner who has been to Vienna hundred's of times over 50 years.
I will ALWAYS travel with a Time Out guide in the future.

If you only purchase on guide book to Vienna get this one.

It's very detailed and very honest. It's fun to read even if you're not going to Vienna

Highly recommended!!

Ive read Countess Below Stairs a hundred times and it's one of my favourite books ever, so when I bought this one I thought it would be as good as that one. But it wasnt. It was kind of boring. I enjoyed, it was good to spend the time, but it was not so great.

I am an avid fan of Eva Ibbotson's children's books, whose descriptions are in between JK Rowlings's and Edith Nesbitt's. This book was slightly less enchanting as her children's fantasies, but there was still that wonderful rich description. I do have to argue against the reviewer who said that few could match her warm, lyrical style; Jane Austen's and Charlotte Bronte's comes close. The plot is a fairly straightforward tale of a young woman who goes to work at a boarding school, so it isn't the most gripping tale, but it's still a wonderful beautiful story. Read it if you love Anne of Green Gables, Jane Eyre, or Ms. Ibbotson's fantasy books, or if you love the English language, or just spend a sophisticated, enjoyable few hours with a great book. Email me if you want more info or have a specific question.

This is the first Ibbotson book I had read and it ties with A Countess Below Stairs as my favorite. The author creates such memorable characters that you can't help wanting the story to go on forever. I loaned this book to a friend and we laugh over the characters like Andromeda, the self regulating baby. I could not put it down. I love to tell my friends about Ibbotson, but it seems like all her books are out of print so you have to get them at libraries. I heartily recommend this book to anyone who likes a good story mixed with a little romance.

this is a comedy only in the sense that the play ends well - ie, noone dies, most everyone is happy. else, there's little humor in this comedy, save for the knave, lucio. like others here have pointed out, this is actually a pretty serious play that takes a pretty hard look at human weakness, particularly lust. there are some fine, impassioned speeches by claudio and his sister, who pleads for his life. worth a read. but don't expect any laughs.

One of Shakespeare's lesser read and lesser performed plays, Measure for Measure profoundly explores the themes of justice and mercy. This exploration compensates for the defects of the play: the unbelievable resolution, the Duke's refusal to interfere early on (which causes pain to the characters), the inconsistency in the application of morality (Isabella considers it wrong for the betrothed Claudio and Juliet to have sex but justifies--and even helps to arrange--it between Angelo and Mariana), and the unexpected suddenness of the Duke's proposal to Isabella. The play seriously weighs the concerns of justice and mercy, and although it ultimately favors mercy, it recognizes the complexity of the issue. How can one practice mercy and yet restrain vice? How can one "hate the sin" yet "love the sinner?" Mercy seems to be the necessary choice over justice because man is too fallen to bear the brunt of justice. "Judge not lest ye be judged. For with what measure you mete," said Christ, "it shall be measured unto you." If you hold a high standard for others (as does Angelo for Claudio) and yet fall short of it yourself, you will be judged by the same standard. Since we seem destined to fall short of righteousness, it is best to practice forgiveness, so that we too may be judged lightly. And yet there is a concern that such practice of forgiveness will lead to a laxity that permits vice to flourish (which is the reason the Duke leaves Angelo in charge in the first place). Though mercy and forgiveness are favored, the arguments in favor of justice are not simply dismissed.

Quote: "Condemn the fault, and not the actor of it?
Why, every fault's condemned ere it be done.
Mine were the very cipher of a function,
To fine the faults whose fine stands in record,
And let go by the actor." (II.ii.38-42)

Measure for Measure is seldom read, and not often performed in the United States. Why? Although many of Shakespeare's plays deal bluntly with sexual issues, Measure for Measure does so in an unusually ugly and disgusting way for Shakespeare. This play is probably best suited for adults, as a result.

I see Measure for Measure as closest to The Merchant of Venice in its themes. Of the two plays, I prefer Measure for Measure for its unremitting look at the arbitrariness of laws, public hypocrisy and private venality, support for virtue, and encouragement of tempering public justice with common sense and mercy.

The play opens with Duke Vincentio turning over his authority to his deputy, Angelo. But while the duke says he is leaving for Poland, he in fact remains in Vienna posing as a friar. Angelo begins meting out justice according to the letter of the law. His first act is to condemn Claudio to death for impregnating Juliet. The two are willing to marry, but Angelo is not interested in finding a solution. In despair, Claudio gets word to his sister, the beautiful Isabella, that he is to be executed and prays that she will beg for mercy. Despite knowing that Isabella is a virgin novice who is about to take her vows, Angelo cruelly offers to release Claudio of Isabella will make herself sexually available to Angelo. The Duke works his influence behind the scenes to help create justice.

Although this play is a "comedy" in Shakespearean terms, the tension throughout is much more like a tragedy. In fact, there are powerful scenes where Shakespeare draws on foolish servants of the law to make his points clear. These serve a similar role of lessening the darkness to that of the gravediggers in Hamlet.

One of the things I like best about Measure for Measure is that the resolution is kept hidden better than in most of the comedies. As a result, the heavy and rising tension is only relieved right at the end. The relief you will feel at the end of act five will be very great, if you are like me.

After you read this play, I suggest that you compare Isabella and Portia. Why did Shakespeare choose two such strong women to be placed at the center of establishing justice? Could it have anything to do with wanting to establish the rightness of the heart? If you think so, reflect that both Isabella and Portia are tough in demanding that what is right be done. After you finish thinking about those two characters, you may also enjoy comparing King Lear and Claudio. What was their fault? What was their salvation? Why? What point is Shakespeare making? Finally, think about Angelo. Is he the norm or the exception in society? What makes someone act like Angelo does here? What is a person naturally going to do in his situation?

Look for fairness in all that you say and do!