Titus Andronicus, with line numbers

The Complete Works of John Greenleaf Whittier

A Book of Operas

Songs from Books

Piano Tuning

The Alchemist

The Sot-Weed Factor

Haydn

Chapters of Opera

Mein Kampf ist eine politisch-ideologische Programmschrift Adolf Hitlers. Sie erschien in zwei Teilen. Hitler stellte darin seinen Werdegang zum Politiker und seine Weltanschauung dar. Das Buch enthalt Hitlers Autobiografie, ist in der Hauptsache aber eine zweckgerichtete Kampf- und Propagandaschrift, die zum Neuaufbau der NSDAP als zentral gelenkter Partei unter Hitlers Fuhrung dienen sollte.??Der erste Band entstand in Hitlers Haftzeit 1924 und wurde erstmals am 18. Juli 1925, der zweite am 11. Dezember 1926 veroffentlicht. Vor allem der erste Band wurde bis 1932 in der Weimarer Republik zu einem viel diskutierten Bestseller.??Hitler schrieb 1924 den ersten Teil von Mein Kampf wahrend seiner Festungshaft in der Haftanstalt Landsberg in Landsberg am Lech. Er soll den Text seinem spateren Stellvertreter Rudolf HeB diktiert haben. Neuere Erkenntnisse weisen darauf hin, dass Hitler den Text selbst auf einer Reiseschreibmaschine tippte. Winifred Wagner berichtete, Hitler "massenhaft Schreibpapier" nach Landsberg geschickt zu haben.??Ursprunglich sollte das Buch Viereinhalb Jahre [des Kampfes] gegen Luge, Dummheit und Feigheit heiBen. Nach der vorzeitigen Haftentlassung im Dezember 1924 diktierte Hitler den starker programmatisch ausgelegten zweiten Teil von Mein Kampf seinem Gefolgsmann Max Amann, Direktor des Franz-Eher-Verlags. Amann und Hitler zogen sich im Sommer 1925 in das (daher spater so genannte) Kampfhausl des Pensionswirts Bruno Buchner auf dem Obersalzberg (nahe dem spateren Berghof) zuruck, um das Manuskript zu tippen.??Im Juli 1925 erschien der erste Band, im Dezember 1926 der zweite. Bis 1930 vertrieb der Verlag Mein Kampf in zwei groBformatigen Banden zum Preis von zunachst je 12, ab 1928 14 Reichsmark.??Der Originaltext erlebte in seiner zwanzigjahrigen Editionsgeschichte von 1925 bis 1945 zahlreiche Anderungen und Erweiterungen. Der Text der spaten Ausgaben aus den 1940er Jahren ist nur bedingt in direkten Bezug zu setzen mit Hitlers publizistischer und politischer Positionierung Mitte der 1920er. ??Im Herbst 2006 tauchten in Munchen funf Manuskript- und achtzehn Entwurfsseiten zu Hitlers Buch auf, die er vor dessen Veroffentlichung im Fruhjahr und im Sommer 1924 wahrend seiner Festungshaft in Landsberg verfasst hatte. Der Vergleich mit der spateren Endfassung ermoglichte der Hitlerforschung Ruckschlusse zur Entwicklung von Hitlers Weltbild und Agitationsweise.??Der erste und der zweite Band erschienen in einer Erstauflage von je 10.000 Exemplaren. Die NSDAP finanzierte sich ganz wesentlich uber den eigenen Parteiverlag, an dem auch Hitler personlich beteiligt war. Von der einbandigen Volksausgabe wurden bis Januar 1933 287.000 Exemplare zum Preis von je 12 RM durch den Zentralverlag der NSDAP (Franz Eher Nachfolger) verkauft. ??Hitler erhielt pro verkauftem Buch 10 Prozent Tantiemen. Die folgende einbandige Ausgabe kostete 8 RM ("Volksausgabe", ab 1930)...

“THE TEMPEST” is Shakespeare's last book. The story Prospero relates is that he is the rightful Duke of Milan and that his younger brother, Antonio, betrayed him, seizing his title and property. Twelve years earlier, Prospero and Miranda were put out to sea in little more than a raft. Miraculously, they both survived and arrived safely on this island, where Prospero learned to control the magic that he now uses to manipulate everyone on the island. Upon his arrival, Prospero rescued a sprite, Ariel, who had been imprisoned by the witch Sycorax. Ariel wishes to be free and his freedom has been promised within two days.??The last inhabitant of the island is the child of Sycorax and the devil: Caliban, whom Prospero has enslaved. Caliban is a natural man, uncivilized and wishing only to have his island returned to him to that he can live alone in peace.??Soon the royal party from the ship is cast ashore and separated into three groups. The king's son, Ferdinand, is brought to Prospero, where he sees Miranda, and the two fall instantly in love. Meanwhile, Alonso, the king of Naples, and the rest of his party have come ashore on another part of the island. Alonso fears that Ferdinand is dead and grieves for the loss of his son. Antonio, Prospero's younger brother, has also been washed ashore with the king's younger brother, Sebastian. ??Antonio easily convinces Sebastian that Sebastian should murder his brother and seize the throne for himself. This plot to murder Alonso is similar to Antonio's plot against his own brother, Prospero, 12 years earlier.??Another part of the royal party — the court jester and the butler — has also come ashore. Trinculo and Stefano each stumble upon Caliban, and each immediately sees a way to make money by exhibiting Caliban as a monster recovered from this uninhabited island. Stefano has come ashore in a wine cask, and soon Caliban, Trinculo, and Stefano are drunk. While drinking, Caliban hatches a plot to murder Prospero and enrolls his two new acquaintances as accomplices. Ariel is listening, however, and reports the plot to Prospero.??Next, Prospero stages a masque to celebrate the young couple's betrothal, with goddesses and nymphs entertaining the couple with singing and dancing. While Ferdinand and Miranda have been celebrating their love, Alonso and the rest of the royal party have been searching for the king's son. Exhausted from the search and with the king despairing of ever seeing his son alive, Prospero has ghosts and an imaginary banquet brought before the king's party. A god-like voice accuses Antonio, Alonso, and Sebastian of their sins, and the banquet vanishes. The men are all frightened, and Alonso, Antonio, and Sebastian run away.??Prospero punishes Caliban, Trinculo, and Stefano with a run through a briar patch and swim in a scummy pond. Having accomplished what he set out to do, Prospero has the king's party brought in. Prospero is clothed as the rightful Duke of Milan, and when the spell has been removed, Alonso rejects all claims to Prospero's dukedom and apologizes for his mistakes. Within moments, Prospero reunites the king with his son, Ferdinand. Alonso is especially pleased to learn of Miranda's existence and that Ferdinand will marry her.?Prospero then turns to his brother, Antonio, who offers no regrets or apology for his perfidy. ??Nevertheless, Prospero promises not to punish Antonio as a traitor. When Caliban is brought in, Caliban tells Prospero that he has learned his lesson. His two co-conspirators, Trinculo and Stefano, will be punished by the king. Soon, the entire party retires to Prospero's cell to celebrate and await their departure home. Only Prospero is left on stage.??In a final speech, Prospero tells the audience that only with their applause will he be able to leave the island with the rest of the party. Prospero leaves the stage to the audience's applause.

La fel ca ?i precedentele romane ale lui Emil Ra?iu – reactualiz?ri ale marilor noastre mituri – romanul Turnul col?ei... are o tem? major?, anume existen?a problematic? a omului ca fiin?? situat? ?ntre timp ?i eternitate, ?ntre clip? ?i ve?nicie. Dilema major? a vie?ii este ?ndoita fa?? a realit??ii, perceput? prin sim?uri ca etern? trecere ?i fragmentare ?n lucruri, ?n timp ce prin cuget – prin filosofia eleat? a lui Parmenide, Pitagora, Platon ?i a altora – ea este unitate ve?nic? a Fiin?ei, trecerea fiind doar o iluzie a sim?urilor noastre. Omul este prins la mijloc, ?ntre vreme ?i ve?nicie, o soart? pu?in de invidiat...Aceast? existen?? a omului ?ntre clip? ?i ve?nicie, ?n permanent? confruntare cu eternitatea, este nodul central al ontologiei, reflectat? ?n romanul de fa?? prin eroii acestuia, ?ncep?nd cu dasc?lul de la Academia de la Sf?ntul Sava, Mihai Ciubo?el, cu ipostazele sale, adev?rate avataruri, care sintetizeaz? contrariile, ajung?nd p?n? ?n timpurile noastre (secolul XXI), definite ale neo-fanariotismului ?i ale supu?eniei servile la noi centre de putere.Romanul str?bate prin eroii s?i trei sute de ani de istorie, de la Sf?ntul Martir Constantin Br?ncoveanu la Eminescu p?n? ?n vremurile noastre, ?ncheindu-se cu optimism ?i m?rturisind, ?n ciuda tuturor greut??ilor, credin?a ?n victoria final? a luminii ?i adev?rului neamului rom?nesc.

Chopin and Other Musical Essays

Life of Chopin

** Pamella Singh – Miss India 1982… spioan? de pat la NATO ** Frumoasele Miss, prad? u?oar? pentru trafican?ii de stupefiante ** Angela Nichitin – Miss Johannesburg, victim? a traficului de carne vie ** O Miss pentru solda?ii americani din Irak ** Miss Diaspora… uneori important poten?ial pentru spionaj ?i contraspionaj? ** Momeal? pentru pedofili ** Tita Cristescu, fost? Miss Rom?nia, ucis? cu cianur? de potasiu ** Concursurile Miss ?i reginele alese, motiv de scandal ?i crim?? ** Heather Whitestone – Miss America 1994, sub teroarea unui obsedat ** Evreica Lise Goldarbeiter – Miss Univers 1929 a supravie?uit nazismului ** C?teva regine… surpriz? **** Zsa Zsa Gabor – Miss Ungaria 1936. Nou? c?s?torii ?i scandaluri cu duiumul ** Rosemarie Frankland – Miss Univers 1961, ucis? de singur?tate? ** Imelda Marcos – Miss Leyte ?i ?Muza Manilei“ al?turi de un dictator ** Bess Myerson – Miss America 1945, de la politicieni, la mafio?i ** Plou? cu Miss-uri: Nud, Fund Mare, Jumbo ?i mai tr?snite ** Miss Penitenciar sau… Miss Pu?c?rie? ** Zig-zag ?n lumea concursurilor de frumuse?e ?i a concurentelor. Pilule dulciFiecare om, evident, are destinul s?u. Reginele au avut ?i au, ?i ele, firesc, destinul lor. Cele ?ncoronate ?i declarate ca atare datorit? frumuse?ii lor fizice ?i intelectuale sunt, de multe ori, superioare celor n?scute cu s?nge albastru, dar totodat? ele sunt expuse ?i mai mult unor pericole ce le dau t?rcoale. Tenta?iile ce apar des ?i capcanele ce li se ?ntind fostelor Miss sunt de multe ori ?irezistibile“. Din nefericire, unele tinere nu le-au sesizat la timp ?i, treptat, uneori f?r? voia lor, au c?zut ?n plasa unor servicii de spionaj sau a unor re?ele mafiote interna?ionale, implicate ?n traficul cu droguri, armament ?i fiin?e umane. Altele, ?ns?, au avut un destin ?i mai tragic, ajung?nd dup? gratii sau devenind ?inta unor asasinate care au f?cut v?lv? ?n pres?.Au fost ?ns? ?i ?Regine“ fericite. Din p?cate, pu?ine ?i pentru o perioad? scurt? de timp. Nici ?n lumea Miss-urilor n-au fost ?i nu vor fi dou? destine la fel.O carte ce cuprinde un soi de miniromane poli?iste, axate pe soarta, uneori-adeseori, dramatic? a reginelor frumuse?ii.

The Standard Operas

"Romeo and Juliet" is a tragic play written early in the career of William Shakespeare about two teenage "star-cross'd lovers" whose untimely deaths ultimately unite their feuding households. It was among Shakespeare's most popular plays during his lifetime and, along with Hamlet, is one of his most frequently performed plays. Today, the title characters are regarded as archetypal "young lovers"??PROLOGUE:?Two households, both alike in dignity,?In fair Verona, where we lay our scene,?From ancient grudge break to new mutiny,?Where civil blood makes civil hands unclean.?From forth the fatal loins of these two foes?A pair of star-cross'd lovers take their life;?Whole misadventured piteous overthrows?Do with their death bury their parents' strife.?The fearful passage of their death-mark'd love,?And the continuance of their parents' rage,?Which, but their children's end, nought could remove,?Is now the two hours' traffic of our stage;?The which if you with patient ears attend,?What here shall miss, our toil shall strive to mend.

Societatea deschis? contra societ??ii deschise. Societatea rom?neasc? ?ntre utopie ?i realitate este o carte de analiz? profund? ?i complex?, ce ?i-a ales ca obiect de studiu cea mai important? paradigm? sociopolitic? a postmodernit??ii, ?mpreun? cu realit??ile concrete ce se configureaz? ?n jurul acesteia. O paradigm? care ?i-a propus s? schimbe fa?a lumii, sens ?n care, de mai bine de 25 de ani o putem observa manifest?ndu-se pe multiple coordonate ?i ?n planul realit??ilor sociale ?i politice autohtone, pe care, de altfel, autorul le radiografiaz? extrem de atent, cu ochiul, mintea ?i bagajul de cuno?tin?e proprii specialistului, dar ?i cu sufletul ?i con?tiin?a celui care apar?ine societ??ii rom?ne?ti. Cartea de fa?? este, ?n acela?i timp, ?i despre societatea deschis?, dar ?i despre trecutul, prezentul ?i viitorul prefigurat lumii ?n aceast? paradigm?, c?t ?i despre evolu?ia societ??ii rom?ne?ti ca parte integrant? a acestei lumi. Ea surprinde ?i problematizeaz? o multitudine de aspecte ?in?nd at?t de natura intrinsec? a conceptului de societate deschis?, c?t ?i de schimb?rile pe care implementarea acestui concept ca realitate social? le presupune ?i le antreneaz? ?n societ??ile contemporane. Prin aceasta, ea se recomand? ca o lectur? util?, provocatoare ?i, totodat?, revelatoare tuturor celor preocupa?i de c?mpul ?tiin?elor sociale ?i politice, dar ?i celor interesa?i s? ?n?eleag? ceva ?n plus din sistemul cauzalit??ilor profunde care influen?eaz? mersul lumii, ?n general, ?i al societ??ii rom?ne?ti, ?n particular. (Maria Voinea)

Musical Memories

Hard Times – For These Times (commonly known as "Hard Times") is the tenth novel by Charles Dickens, first published in 1854. The book appraises English society and highlights the social and economic pressures of the times. Hard Times is unusual in several respects. It is by far the shortest of Dickens' novels, barely a quarter of the length of those written immediately before and after it. Also, unlike all but one of his other novels, Hard Times has neither a preface nor illustrations. Moreover, it is his only novel not to have scenes set in London. Instead the story is set in the fictitious Victorian industrial Coketown, a generic Northern English mill-town, in some ways similar to Manchester, though smaller. Coketown may be partially based on 19th-century Preston. One of Dickens's reasons for writing Hard Times was that sales of his weekly periodical, Household Words, were low, and it was hoped the novel's publication in instalments would boost circulation – as indeed proved to be the case. Since publication it has received a mixed response from critics. Critics such as George Bernard Shaw and Thomas Macaulay have mainly focused on Dickens's treatment of trade unions and his post–Industrial Revolution pessimism regarding the divide between capitalist mill owners and undervalued workers during the Victorian era. F. R. Leavis, a great admirer of the book, included it—but not Dickens' work as a whole—as part of his Great Tradition of English novels. ***‘Now, what I want is, Facts. Teach these boys and girls nothing but Facts. Facts alone are wanted in life. Plant nothing else, and root out everything else. You can only form the minds of reasoning animals upon Facts: nothing else will ever be of any service to them. This is the principle on which I bring up my own children, and this is the principle on which I bring up these children. Stick to Facts, sir!’ ? ?The scene was a plain, bare, monotonous vault of a school-room, and the speaker’s square forefinger emphasized his observations by underscoring every sentence with a line on the schoolmaster’s sleeve. The emphasis was helped by the speaker’s square wall of a forehead, which had his eyebrows for its base, while his eyes found commodious cellarage in two dark caves, overshadowed by the wall. The emphasis was helped by the speaker’s mouth, which was wide, thin, and hard set. The emphasis was helped by the speaker’s voice, which was inflexible, dry, and dictatorial. The emphasis was helped by the speaker’s hair, which bristled on the skirts of his bald head, a plantation of firs to keep the wind from its shining surface, all covered with knobs, like the crust of a plum pie, as if the head had scarcely warehouse-room for the hard facts stored inside. The speaker’s obstinate carriage, square coat, square legs, square shoulders,—nay, his very neckcloth, trained to take him by the throat with an unaccommodating grasp, like a stubborn fact, as it was,—all helped the emphasis. ‘In this life, we want nothing but Facts, sir; nothing but Facts!’The speaker, and the schoolmaster, and the third grown person present, all backed a little, and swept with their eyes the inclined plane of little vessels then and there arranged in order, ready to have imperial gallons of facts poured into them until they were full to the brim.

To present at a single glance a comprehensive view of the History of English Church Architecture from the Heptarchy to the Reformation, and to do this in a manner, which, without taxing too seriously the memory of the student, may enable him to fix in his mind the limits, and the general outline of the inquiry he is about to enter upon, is the object of the present treatise.? Instead therefore of entering, as is usual in elementary works of this nature, into a detailed account of all the parts of an Ecclesiastical structure, a certain portion only of such a building has for this purpose been selected, and so exhibited in the garb in which it appeared at successive intervals of time, as to present to the reader a means of comparison that will enable him readily to apprehend the gradual change of form through which it passed from the Eleventh to the Sixteenth Centuries, and at once to recognise the leading characteristics of the several Periods into which it is here proposed to divide the History of our National Architecture. Having thus fixed these leading characteristics in his mind, he will then be in a condition to follow us hereafter, if he pleases, into the detail of the whole subject, and to become familiar with those niceties of distinction, the detection of which—escaping, as they do, the eye of the general observer—contributes so materially to the enjoyment of the study, and a perfect acquaintance with which is so absolutely essential to a correct understanding of the true History of the Art.?That this mode of approaching the study of this subject is a convenient one, will probably be admitted by those who may remember the difficulties they encoun-tered, in their early attempts to acquire a general conception of the scheme of the History of Church Architecture, as given in most of the manuals now in use; and the complexity of detail in which they found themselves immediately involved on the very threshold of their inquiry.? It has been the practice in most elementary works on Church Architecture to derive the illustrations of the subject, indifferently from the smaller and the larger buildings of the Kingdom; and by implication to assign an equal authority to both. It will be readily admitted, however, that the History of an Art is to be gathered from its principal Monuments, and not from those the design or execution of which may have been entrusted to other than the ablest masters of the Period: in the choice, therefore, of the examples which have been selected to illustrate the series of changes which are described in the following pages, reference has been made principally to the great Cathedral, Abbey, and Collegiate Churches of the Kingdom, and occasionally only to some of the larger Parish Churches whose size or importance would seem to bring them under the above denomination.??Church Architecture in England, from its earliest existence down to the Sixteenth Century, was in a state of constant progress, or transition, and this progress appears to have been carried on, with certain exceptions in different parts of the country, very nearly simultaneously. It follows from this circumstance, first, That it is impossible to divide our National Architecture correctly into any number of distinct Orders or Styles; and secondly, That any Division of its History into a given number of Periods, must necessarily be an arbitrary one. It is nevertheless absolutely essential for the purpose of conveniently describing the long series of noble monuments which remain to us, that we should adopt some system of chronological arrangement, which may enable us to group, and to classify them in a distinct and intelligible manner: and although no broad lines of demarcation in this connected series are discernible—so gradual was the change—yet so rapid and so complete was it also, that a period of fifty years did not elapse without a material alteration in the form and fashion of every detail of a building. ?