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Up the ante on your FirePOWER with Advanced FireSIGHT Administration exam prep Securing Cisco Networks with Sourcefire IPS Study Guide, Exam 500-285, provides 100% coverage of the FirePOWER with Advanced FireSIGHT Administration exam objectives. With clear and concise information regarding crucial next-generation network security topics, this comprehensive guide includes practical examples and insights drawn from real-world experience, exam highlights, and end of chapter reviews. Learn key exam topics and powerful features of the Cisco FirePOWER Services, including FireSIGHT Management Center, in-depth event analysis, IPS tuning and configuration, and snort rules language. Gain access to Sybex's superior online learning environment that includes practice questions, flashcards, and interactive glossary of terms. * Use and configure next-generation Cisco FirePOWER services, including application control, firewall, and routing and switching capabilities * Understand how to accurately tune your systems to improve performance and network intelligence while leveraging powerful tools for more efficient event analysis * Complete hands-on labs to reinforce key concepts and prepare you for the practical applications portion of the examination * Access Sybex's online interactive learning environment and test bank, which includes an assessment test, chapter tests, bonus practice exam questions, electronic flashcards, and a searchable glossary Securing Cisco Networks with Sourcefire IPS Study Guide, Exam 500-285 provides you with the information you need to prepare for the FirePOWER with Advanced FireSIGHT Administration examination.
'Gamesters and Highwaymen are generally very good to their Whores, but they are very Devils to their Wives.' With The Beggar's Opera (1728), John Gay created one of the most enduringly popular works in English theatre history, and invented a new dramatic form, the ballad opera. Gay's daring mixture of caustic political satire, well-loved popular tunes, and a story of crime and betrayal set in the urban underworld of prostitutes and thieves was an overnight sensation. Captain Macheath and Polly Peachum have become famous well beyond the confines of Gay's original play, and in its sequel, Polly, banned in Gay's lifetime, their adventures continue in the West Indies. With a cross-dressing heroine and a cast of female adventurers, pirates, Indian princes, rebel slaves, and rapacious landowners, Polly lays bare a culture in which all human relationships are reduced to commercial transactions. Raucous, lyrical, witty, ironic and tragic by turns, The Beggar's Opera and Polly - published together here for the first time - offer a scathing and ebullient portrait of a society in which statesmen and outlaws, colonialists and pirates, are impossible to tell apart. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
BEGGAR. If Poverty be a Title to Poetry, I am sure no-body can dispute mine. I own myself of the Company of Beggars; and I make one at their Weekly Festivals at St. Giles's. I have a small Yearly Salary for my Catches, and am welcome to a Dinner there whenever I please, which is more than most Poets can say. PLAYER. As we live by the Muses, it is but Gratitude in us to encourage Poetical Merit wherever we find it. The Muses, contrary to all other Ladies, pay no Distinction to Dress, and never partially mistake the Pertness of Embroidery for Wit, nor the Modesty of Want for Dulness. Be the Author who he will, we push his Play as far as it will go. So (though you are in Want) I wish you success heartily.
Richard Jordan and Anthony Perkins star in this made-for-TV adaptation of Victor Hugo's classic novel. Jean Valjean (Jordan) is imprisoned for stealing a loaf of bread for his sister's starving family. Soon afterwards he escapes and is presumed dead by all except police inspector Javert (Perkins), who pursues him relentlessly throughout his lifetime. In later years, when Valjean becomes involved in the French Revolution through his adopted daughter Cosette (Caroline Langrise)'s love for insurrectionist leader Marius (Christopher Guard), his quest for redemption comes to a heady climax.
John Gay (1685-1732) was part of the "association of wits" that included Alexander Pope and Jonathan Swift. But though Gay's exposure of weakness and folly is no less acute than theirs, his wit is characterised by a benign and ironic sense of the fallibility of humankind. Gay is a great master of parody and pastiche, and the quality of Gay's poetry, as Marcus Walsh points out in his introduction, lies in its "sense of verbal play". The ironic appreciation of "life as it is" that makes his "Beggar's Opera" enduringly popular is present in his poetry. "Trivia", which Gay's biographer called "the greatest poem on London in English literature", teems with the chaotic energy of the 18th-century city, while "The Shepherd's Week" is a pastoral of comic realism. This selection enables Gay's poetry to take its place alongside his drama as one of the most distinctive reflections of his age.
‘Whore and rogue they call husband and wife:
The tale of Peachum, thief-taker and informer, conspiring to send the dashing and promiscuous highwayman Macheath to the gallows, became the theatrical sensation of the eighteenth century. In The Beggar’s Opera, John Gay turned conventions of Italian opera riotously upside-down, instead using traditional popular ballads and street tunes, while also indulging in political satire at the expense of the Prime Minister, Sir Robert Walpole. Gay’s highly original depiction of the thieves, informers, prostitutes and highwaymen thronging the slums and prisons of the corrupt London underworld proved brilliantly successful in exposing the dark side of a corrupt and jaded society.
Bryan Loughrey and T. O. Treadwell’s introduction examines the eighteenth-century background of musical theatre and opera, the changing cityscape of London and the corruption of the legal system. This edition also includes a note on the music in The Beggar’s Opera and suggestions for further reading.
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