The Masquerade, a treasured four-act play by Mikhail Yurievich Lermontov, is a classic work of Russian romanticism. In 1830s St. Petersburg, aristocrat Arbenin and Nina, his wife, attend a masked ball. In a tragic case of mistaken identity, Arbenin convinces himself that his wife is romantically involved with Prince Zvezdich. Arbenin is tragically blinded by jealousy and pride, and then a disaster happens... A celebration and examination of a classic work from the Golden Age of Russian culture, the first poetic translation by Russian American professor Alfred E. Karpovich brings The Masquerade to a new, English-speaking audience. A work of great importance, this drama examines the collision between true love and the societal prejudice of honor and dignity. In translation, it casts an inquisitive eye at the state of human dignity in the twenty-first century. Praise for The Masquerade translation The following is in reference to Dr. Alfred E. Karpovich's translation of the great Russian writer and poet Mikhail Lermontov's play : Masquerade . Thoroughly versed in classical Russian, I am a great admirer of Lermontov's works. I approached the translation with a feeling of skepticism, but was literally knocked over by the translation. Mr. Karpovich's understanding of Lermontov and fine-tuning of the English version are truly amazing. It is my pleasure to give this work the highest possible recommendation (and I hope to see it on stage). Sincerely yours, Nicholas Bobrinskoy GDOOSJ (formerly of Marymount Manhattan College Faculty, NYS; St Peter's College, author of The Golden Age of Russian Literature; Pronounce Russian Correctly and of many articles & Interviews in USA & Russia)

Since her mother's tragic death, Beka Madison's "good girl" image has been crumbling around her. She can't let her family discover she's not really a Christian, but her ragged emotions threaten to expose her. The Masquerade is an absorbing story of a teenage girl's struggle with self-discovery and the revelation that truth brings freedom.

Myra is a sophisticated and ambitious young girl, Rishabh is any girl’s weak nerve. He is a chain smoker, She likes it. She is strong and independent girl, He likes it. He is a good debater, She loves it. She is uncensored and He loves it. Perhaps for both of them, it’s a scary match. They saw it all from the nasty relations, vicious misunderstandings, devious prejudices, parental pressure, mental disparities, hurt pride, conventional insecurities. Their relationships survived none. Yet nothing separated them like the Masquerade hour. His love began where her ended. They were chasing each other in the endless loop of ego. The story begins from the grave chasing life ever after. Because ever after are not always happily!!

They say its a game... Some say its a shame... That what we are,we do not show ... As deep down we know... There is something that is not for all... There is nothing that which one could stall... As when love beckons... ...and the plot thickens... The true colours are indeed shown... But in a situations unknown... Be it life or just a charade... You bet...Life is but- A Masquerade.

Do you suffer in silence battling anxiety, depression, or possibly both? Do you feel ashamed because you struggle with such things? Cindy Hebert did too! The Masquerade of the Ball is her personal testimony of being debilitated by it all for thirteen years. She was heavily medicated during that time but now experiences freedom from it all. She hid her struggles from everyone and especially those within the Christian community and church setting. This book will give hope to the hurting and shed light on the darkness that many struggle with on a daily basis. She hopes to help unmask those hiding behind the smile while biblically encouraging about the love and grace God has for those suffering in silence.

New York Times and USA Today bestselling authors Heidi McLaughlin and L.P. Dover come together for a sexy new series that delivers romance for every season! When everyone is hidden behind a mask, anything can happen. Party planner Ensley Anderson is making a name for herself as Charlotte’s number one event coordinator, her specialty being masquerade balls. Now she’s been given the honor of orchestrating the annual 95.1 The EDGE Halloween party. Little does she know, Owen Jameson is behind her hiring. At the last ball she hosted he met a ravishing beauty and spent a glorious night tangled in silky sheets with her. While her mask stayed on, nothing else did. Now, he’s determined to find his mysterious lover. Ensley thought she could put the one night she got swept up in the spellbinding intrigue of her own event behind her.... until he walked in. She would know those eyes anywhere. Both want more than cloaked love, but how do they bring reality into their alluringly enigmatic fantasy? Hide who you are, and discover what you want.

Lillian often finds herself asking the question: Why me? I was Lillian booth kincaid. I was the daughter of Ramon Luzon-Kincaid and Stella booth. Two people who never really could love each other. But got together long enough to make me. My masquerade dance is over. I had to take it off my mask to revile my sadness, my grief, my shame, my pain, my lost hope, and dreams. I had to watch as my last bit of happiness got sucked down the drain.This story takes a close look at Lillian's most awkward years. It reads more like a group of snapshots then the story of Lillian's life. It explores her complex and often combative home life with her mother Stella and her equally abusive relationship with her boyfriend Xavier how it pushes her to the edge.

Dr. Sameer and Dr. Manvika met each other at a party. They both fell in love and then got married. They were blessed with a baby boy after marriage. Their son, Manveer grew up and became renowned scientist. He read a science fiction writer's book that had science imaginary invention ideas into reality after reading the book. He was just about to receive award from the govt. for his inventions. This news was a proud moment for his parents. But alas! Dr. Manvika faced a mishap just 1 month before the award function. What might have happened to her? Will she be able to attend the event of her son's award ceremony or not?Read to know why doctors are like God on earth, in this romance-cum-science fiction book, "The Masquerade party Incident". Happy Reading!

Terry Castle's recent study of masquerade follows Bakhtin's analysis of the carnivalesque to conclude that, for women, masquerade offered exciting possibilities for social and sexual freedom. Castle's interpretation conforms to the fears expressed by male writers during the period&—Addison, Steele, and Fielding all insisted that masquerade allowed women to usurp the privileges of men. Female authors, however, often mistrusted these claims, perceiving that masquerade's apparent freedoms were frequently nothing more than sophisticated forms of oppression. Catherine Craft-Fairchild's work provides a useful corrective to Castle's treatment of masquerade. She argues that, in fictions by Aphra Behn, Mary Davys, Eliza Haywood, Elizabeth Inchbald, and Frances Burney, masquerade is double-sided. It is represented in some cases as a disempowering capitulation to patriarchal strictures that posit female subordination. Often within the same text, however, masquerade is also depicted as an empowering defiance of the dominant norms for female behavior. Heroines who attempt to separate themselves from the image of womanhood they consciously construct escape victimization. In both cases, masquerade is the condition of femininity: gender in the woman's novel is constructed rather than essential. Craft-Fairchild examines the guises in which womanhood appears, analyzing the ways in which women writers both construct and deconstruct eighteenth-century cultural conceptions of femininity. She offers a careful and engaging textual analysis of both canonical and noncanonical eighteenth-century texts, thereby setting lesser-read fictions into a critical dialogue with more widely known novels. Detailed readings are informed throughout by the ideas of current feminist theorists, including Luce Irigaray, Julia Kristeva, Mary Ann Doane, and Kaja Silverman. Instead of assuming that fictions about women were based on biological fact, Craft-Fairchild stresses the opposite: the domestic novel itself constructs the domestic woman.