This eBook features the unabridged text of ‘The Royal Book of Oz by Ruth Plumly Thompson by L. Frank Baum - Delphi Classics (Illustrated)’ from the bestselling edition of ‘The Complete Works of L. Frank Baum’. Having established their name as the leading publisher of classic literature and art, Delphi Classics produce publications that are individually crafted with superior formatting, while introducing many rare texts for the first time in digital print. The Delphi Classics edition of Baum includes original annotations and illustrations relating to the life and works of the author, as well as individual tables of contents, allowing you to navigate eBooks quickly and easily. eBook features: * The complete unabridged text of ‘The Royal Book of Oz by Ruth Plumly Thompson by L. Frank Baum - Delphi Classics (Illustrated)’ * Beautifully illustrated with images related to Baum’s works * Individual contents table, allowing easy navigation around the eBook * Excellent formatting of the text Please visit www.delphiclassics.com to learn more about our wide range of titles

Play. According to Wikipedia: "Oscar Fingal O'Flahertie Wills Wilde (1854 - 1900) was an Irish playwright, novelist, poet, and author of short stories. Known for his barbed wit, he was one of the most successful playwrights of late Victorian London, and one of the greatest celebrities of his day. As the result of a famous trial, he suffered a dramatic downfall and was imprisoned for two years of hard labour after being convicted of the offence of 'gross indecency.'"

Κ?ποτε ζο?σε μια γουρο?να που βρ?θηκε με την παρ?α τη? στο χοιροτρ?φειο. Στο χοιροτροφε?ο συζητ?γε με τα αλλ? ζω?κια για το προκαθορισμ?νο μελλ?ν τη?. ?Ηρθε η μ?ρα που ηταν η σειρ? τη? για το σφαγε?ο. Σφαγ?α? και γιο? τη μεταφ?ρουν στο σπ?τι ζωντ?νη. Τη δ?νουν στο κ?πο και η οικογ?νεια πα?ι στο σουπερμαρκετ για να ψων?σει τα υλικ? που χρει?ζονται για να τη μαγειρ?ψουν, Η γουρο?να κ?νει ?κκληση βοηθε?α? σε δι?φορα περαστικ? ?ντομα που συναντ?ει μπροστ? τη? Η πασχαλ?τσα, η ακρ?δα τη? θ?τουν ?ρου? για να τη βοηθ?σουν, τα μυρμ?γκια δεν σηκ?νουν κουβ?ντα για βο?θεια. Η πεταλο?δα ε?ναι βιαστικι? γιατ? την απειλο?ν τα παιδι? με απ?χη και το λυκ?σκυλο λιγουρ?υεται τα κοκκ?λα τη?. Κανε?? φα?νεται δεν μπορε? να σ?σει την ατ?θαση γουρο?να. Μια μ?λισσα γεμ?τη αισθημ?τα ε?ναι η τελευτα?α περαστικι? στο κ?πο. Η γουρο?να Φλο?φλα προειδοποιε? τη μ?λισσα οτ? πρ?κειται να γ?νει ?να λαχταριστ? οικογενειακ? γε?μα. Η μ?λισσ? ταρ?χτηκε και βλ?ποντα? το μελλ?ν τη? γουρο?να? Φλο?φλα?, τρ?χει στην κυψ?λ? τη? να ενημερ?σει τη βασ?λισσα για το συμβ?ν. Η βασ?λισσα διακοπτει τη λειτουργε?α τη? κυψ?λη? και συγκαλε? ?κτακτο συμβο?λιο. Στο συμβο?λιο αποφασ?ζεται εργ?τριε? και κηφ?νε? να βοηθ?σουν τη γουρο?να Φλο?φλα υπ? τι? οδηγ?ε? τη? βασ?λισσα?. Οι εργατρι?? μ?λισσε? πειθαρχημ?νε? και υπ?κουε? τσιμπ?νε με το κεντρ? του? , του? ανθρ?που? και θυσι?ζονται για χ?ρη τη? γουρο?να? Φλο?φλα?. Οι ?νθρωποι χοροπηδ?νε απ? τα ενοχλητικ? τσιμπ?ματα και πασαλε?βονται με αμμωνι?? και αλοιφ??. Η γουρο?να Φλ?υφλα καταλ?γει για βοσκ? στο λιβ?δι και η βασ?λισσα την συμβουλε?ει να παρατηρε? του? γυρ? τη? και να σ?βεται τη διαφορετικ?τητα του?.

After almost two decades the first guide dedicated solely to the making of a found-footage film has arrived. In this book, you will be offered clear advice on how to write, direct and produce a quality found footage film. Advice coming from over half a dozen young filmmakers who are in post-production of their films as this book is being published. On Making a Found Footage Film is more than a how-to guide it is a call to refocus and redesign a genre of filmmaking. To take if from a sub-genre of horror films into comedy, action, suspense and straight drama. There is no limit to what the found-footage film can become in the hands of inventive new film-makers. Back in the 1970's the first true experiment in the genre of Found Footage, Cannibal Holocaust, shocked the world, but it would be the arrive of The Blair Witch Project in the year 1999 that would change the world of filmmaking forever. Since then this subgenre has grown in popularity if not quality. Films such as Paranormal Activity, Rec, Rec 2 and The Visit show that if done right these films can be both profitable and effective. This book features an interview with the film-makers behind Found Footage 3D a film that may again allow the genre to reach an entirely new audience. If you want a understand the basics of what goes into producing a Found Footage film this is the book to start with. I also invite you to take this genre to the next level by filming Comedies and Dramas along with Horror films. Anything is possible. Filmmaking is the art of recording dreams. If you can dream it then you can film it.

Dodo Collections brings you another classic from Cale Young Rice, ‘Sea Poems. Cale Young Rice writes in the foreword of the book: “The poems of this volume, gathered here after many requests, are, with a few exceptions, from my previous lyrical publications. They are also in a real sense an intimate record. For the sea has often enough seemed to me almost as a vast external sub consciousness in which the forces of my being—as well as the world's—were at play.” Cale Young Rice (December 7, 1872 – January 24, 1943) was an American poet and dramatist. He was born in Dixon, Kentucky, to Laban Marchbanks Rice, a Confederate veteran and tobacco merchant, and his wife Martha Lacy. He was a younger brother of Laban Lacy Rice, a noted educator. Cale Rice grew up in Evansville, Indiana, and Louisville, Kentucky. He was educated at Cumberland University and at Harvard (A.B., 1895; A.M., 1896). He was married to the popular author Alice Hegan Rice; they worked together on several books. The marriage was childless, and Cale committed suicide by gunshot during the night of January 23–24 at his home in Louisville a year after her death due to his sorrow at losing her. Cale Rice's poems were collected and published in a single volume by his brother, Laban Lacy Rice. His birthplace in Dixon is designated by Kentucky State Historical Marker 1508, which reads: "Birthplace of Rice brothers, Cale Young, 1872-1943, noted poet and author; Laban Lacy, 1870-1973, well-known educator and author. Lacy published The Best Poetic Works of Cale Young Rice after Cale's death. Included in famous collection is poem, "The Mystic." Cale married Alice Hegan, also a distinguished Kentucky writer. Home overlooks Memorial Garden."

Poème de livre classique, publié à l'origine en 1859. Le poème est en fran?ais; la préface est en anglais. Selon Wikipédia: ?La Légende des siècles est un recueil de poèmes de Victor Hugo, con?u comme une immense représentation de l'histoire et de l'évolution de l'humanité, écrite par intermittence entre 1855 et 1876, tandis que Victor Hugo exilé travaillait sur de nombreux autres projets. Des poèmes ont été publiés en trois séries en 1859, 1877 et 1883. Témoin d'un talent poétique inégalé dans lequel tout l'art de Hugo est évident, la Légende des Siècles est souvent considérée comme la seule véritable épopée fran?aise et, selon la formulation de Baudelaire, la seule ?popée moderne possible Le poète rêveur contemple le ?mur des siècles?, indistinct et terrible, sur lequel sont dessinées des scènes du passé, du présent et du futur, et où l'on peut voir toute la longue procession de l'humanité. de ces scènes, fugitivement per?u et entrecoupé de visions terrifiantes.Hugo ne cherchait ni l'exactitude historique ni l'exhaustivité, il se concentrait plut?t sur des figures obscures, habituelles ses propres inventions, qui incarnaient et symbolisaient leurs époques. En se proclamant dans la préface de la première série, ?c'est de l'histoire, espionnée à la porte de la légende?. Les poèmes, tour à tour lyriques, épiques et satiriques, forment une vision de l'expérience humaine, cherchant moins à résumer qu'à illustrer l'histoire de l'humanité, et à témoigner de son long voyage des ténèbres à la lumière. Wikipedia: "Victor-Marie Hugo (26 février 1802 - 22 mai 1885) était un poète, dramaturge, romancier, essayiste, artiste visuel, homme d'?tat, activiste des droits de l'homme et représentant du mouvement romantique en France. En France, la renommée littéraire de Hugo vient d'abord de sa poésie, mais repose aussi sur ses romans et ses réalisations dramatiques. "

Elizabethan play, sometimes attributed in part to Shakespeare. According to Wikipedia: "William Shakespeare (baptised 26 April 1564 – died 23 April 1616) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright."

Four-act play, first published in 1902. According to Wikipedia: "Sir James Matthew Barrie, 1st Baronet, (9 May 1860 – 19 June 1937) was a Scottish author and dramatist, best remembered today as the creator of Peter Pan. The child of a family of small-town weavers, he was educated in Scotland. He moved to London, where he developed a career as a novelist and playwright. There he met the Llewelyn Davies boys who inspired him in writing about a baby boy who has magical adventures in Kensington Gardens (included in The Little White Bird), then to write Peter Pan, or The Boy Who Wouldn't Grow Up, a "fairy play" about this ageless boy and an ordinary girl named Wendy who have adventures in the fantasy setting of Neverland. This play quickly overshadowed his previous work and although he continued to write successfully, it became his best-known work, credited with popularising the name Wendy, which was very uncommon previously.[1] Barrie unofficially adopted the Davies boys following the deaths of their parents. Before his death, he gave the rights to the Peter Pan works to Great Ormond Street Hospital, which continues to benefit from them."

Classic Roman plays. Amphitryon, The Comedy of Asses, Teh Pot of Gold, The Two Bacchises, and The Captives. According to Wikipedia, "Titus Maccius Plautus (c. 254–184 BC), commonly known as Plautus, was a Roman playwright of the Old Latin period. His comedies are among the earliest surviving intact works in Latin literature. Plautus wrote around 52 plays, which were released between c. 205 and 184 BCE, of which 20 have survived, making him the most prolific ancient dramatist in terms of surviving work. He attained such a popularity that his name alone became a hallmark of theatrical success. Plautus' comedies are mostly adapted from Greek models for a Roman audience, and are often based directly on the works of the Greek playwrights. He reworked the Greek texts to give them a flavour that would appeal to the local Roman audiences...Shakespeare borrowed from Plautus as Plautus borrowed from his Greek models...The Plautine and Shakespearean plays that most parallel each other are, respectively, The Menaechmi and The Comedy of Errors."

Absalom and Achitophel is a landmark poetic political satire by John Dryden. The poem exists in two parts. The first part, of 1681, is undoubtedly by Dryden. The second part, of 1682, was written by another hand, most likely Nahum Tate, except for a few passages—including attacks on Thomas Shadwell and Elkanah Settle, expressed as Og and Doeg—that Dryden wrote himself. The poem is an allegory that uses the story of the rebellion of Absalom against King David as the basis for discussion of the background to the Monmouth Rebellion (1685), the Popish Plot (1678) and the Exclusion Crisis.

According to Wikipedia: "The Pharsalia (also known as De Bello Civili "On the Civil War" or also simply Bellum Civile "The Civil War") is a Roman epic poem by the poet Lucan, telling of the civil war between Julius Caesar and the forces of the Roman Senate led by Pompey the Great. The poem's title is a reference to the Battle of Pharsalus, which occurred in 48 BC, near Pharsalus, Thessaly, in northern Greece. Caesar decisively defeated Pompey in this battle, which occupies all of the epic's seventh book. Though probably incomplete, the poem is widely considered the best epic poem of the Silver Age of Latin literature."

Comédie de Shakespeare, traduite en fran?ais par Fran?ois Pierre Guillaume Guizot (1787 - 1874), historien fran?ais et homme d'?tat. Publié en 1862. Selon Wikipedia: "Love's Labor's Lost est l'une des premières comédies de William Shakespeare, qui aurait été écrite au milieu des années 1590 et publiée pour la première fois en 1598".

Bilingual, English and German. Shakespeare comedy in English with line numbers and translated to German. According to Wikipedia: "The Merchant of Venice is a tragic comedy by William Shakespeare, believed to have been written between 1596 and 1598. Though classified as a comedy in the First Folio and sharing certain aspects with Shakespeare's other romantic comedies, the play is perhaps most remembered for its dramatic scenes, and is best known for Shylock and the famous 'Hath not a Jew eyes' speech. Also notable is Portia's speech about the 'quality of mercy'" Zweisprachig, Englisch und Deutsch. Shakespeare-Kom?die in Englisch mit Zeilennummern und ins Deutsche übersetzt. Laut Wikipedia: "The Merchant of Venice" ist eine tragische Kom?die von William Shakespeare, die vermutlich zwischen 1596 und 1598 entstanden ist. Obwohl sie im First Folio als Kom?die klassifiziert wurde und gewisse Aspekte mit Shakespeares anderen romantischen Kom?dien teilt, ist das Stück vielleicht Die meisten werden für ihre dramatischen Szenen in Erinnerung bleiben und sind am besten für Shylock und die berühmte 'Hath not a Jewy eyes' Rede bekannt. Bemerkenswert ist auch Portias Rede über die 'Qualit?t der Barmherzigkeit'. "

Pièce d'histoire de Shakespeare, Henry IV, Deuxième partie, en traduction fran?aise. Selon Wikipédia: "Henry IV, Part 2 est une pièce d'histoire de William Shakespeare, crue écrite entre 1596 et 1599. C'est la troisième partie d'une tétralogie, précédée par Richard II et Henri IV, partie 1 et succédée par Henry V. "

DRAWING is the expression of an idea: “Art must come from within, and not from without. This fact has led some to assert that the study of nature is not essential to the student, and that careful training in the study of the representation of the actual appearance is mechanical and harmful. Such persons forget that all art ideas and sentiments must be based upon natural objects, and that a person who cannot represent truly what he sees will be entirely unable to express the simplest ideal conceptions so that others may appreciate them. Study of nature is, then, of the first and greatest importance to the art student.A drawing may be made in outline, in light and shade, or in color. The value of the drawing artistically does not depend upon the medium used, but upon the individuality of the draughtsman making it. The simplest pencil sketch may have much more merit than an elaborate colored drawing made by one who is unable to represent truly the facts of nature, or who sees, instead of the beauty and poetry, the ugliness and the imperfections of the subject. OBJECTS FOR STUDY:We hear a great deal now about the cultivation of the sense of beauty by the choice of drawing models. Many go so far as to say that nothing but the most beautiful forms should be given from the start, and, asserting that the cube, cylinder,and other type forms are not beautiful, they say that they should not be used, but that beautiful variations of these type forms should be provided. More definite information than this is rarely given. We are not told what natural objects are beautiful, and cheap enough to be provided, or how these objects of beauty are to be obtained, if they are not provided by the city. Such advice as to the use of beautiful models must be very pleasant and valuable to the drawing teacher, who so often fails to secure the money necessary to provide the cheap wooden models costing a few cents each ; and we do not wonder that special and regular teachers often regard this subject as one having no standards and no authorities. Much of all this commotion about beautiful objects of study is raised by those who, suffering from criticism, have in the desire to escape it plunged headlong from one set of mechanical rules for a series of lessons for the public schools, to another set less arbitrary in certain directions, but still mechanical, and if possible, more harmful than before, because attempting more.The average teacher can readily learn to discover at a glance whether or not the drawing of a cube represents the object as it might appear. She can do this even without seeing the model from the pupil's position; and the student can compare his drawing with the object and discover its errors more easily than he can in the drawing of a cast, a leaf, a figure,or any other object of beauty, in which the beauty depends upon lines which are subtile and which require a trained eye to see at all truly.

Classic Shakespearean romance. According to Wikipedia: "The Tempest is a play written by William Shakespeare. Many scholars believe that it was written in 1610–11,[1] although some researchers have argued for an earlier dating.[2] While listed as a comedy when it was initially published in the First Folio of 1623, many modern editors have since re-labeled the play a romance. It did not attract a significant amount of attention before the closing of the theatres in 1642 and after the Restoration it attained popularity only in adapted versions.[3] Theatre productions began to reinstate the original Shakespearean text in the mid-19th century,[4] and in the 20th century, critics and scholars undertook a significant re-appraisal of the play's value, to the extent that it is now considered to be one of Shakespeare's greatest works."

This file includes: "Green Helmet and Other Poems" (first published in 1911) and In the Seven Woods: being poems chiefly of the Irish heroic age" (first published in 1903). The active table of contents has links to each poem. The verse plays "The Green Helmet, a Heroic Farce" and "On Baile's Strand" are included in those collections. According to Wikipedia: "William Butler Yeats (13 June 1865 - 28 January 1939) was an Irish poet, dramatist, and one of the foremost figures of 20th century literature. A pillar of both the Irish and British literary establishments, in his later years Yeats served as an Irish Senator for two terms. He was a driving force behind the Irish Literary Revival, and along with Lady Gregory and Edward Martyn founded the Abbey Theatre, serving as its chief during its early years. In 1923, he was awarded a Nobel Prize in Literature for what the Nobel Committee described as "inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation." He was the first Irishman so honored. Yeats is generally considered one of the few writers whose greatest works were completed after being awarded the Nobel Prize; such works include The Tower (1928) and The Winding Stair and Other Poems (1929). Yeats was born and educated in Dublin, but spent his childhood in County Sligo. He studied poetry in his youth, and from an early age was fascinated by both Irish legends and the occult. Those topics feature in the first phase of his work, which lasted roughly until the turn of the century. His earliest volume of verse was published in 1889, and those slowly paced and lyrical poems display debts to Edmund Spenser and Percy Bysshe Shelley, as well as to the lyricism of the Pre-Raphaelite poets. From 1900, Yeats' poetry grew more physical and realistic. He largely renounced the transcendental beliefs of his youth, though he remained preoccupied with physical and spiritual masks, as well as with cyclical theories of life."

This file includes: AGAMEMNON, THE LIBATION-BEARERS, THE FURIES, THE SUPPLIANT MAIDENS, THE PERSIANS, THE SEVEN AGAINST THEBES, and THE PROMETHEUS BOUND; all translated by E.D.A. MORSHEAD. According to Wikipedia: "Aeschylus ( c. 525 BC/524 BC – c. 456 BC/455 BC) was an ancient Greek playwright. He is often recognized as the father of tragedy, and is the earliest of the three Greek tragedians whose plays survive, the others being Sophocles and Euripides. According to Aristotle, he expanded the number of characters in plays to allow for conflict among them; previously, characters interacted only with the chorus. Only seven of an estimated seventy to ninety plays by Aeschylus have survived into modern times; one of these plays, Prometheus Bound, is widely thought to be the work of a later author. At least one of Aeschylus' works was influenced by the Persian invasion of Greece, which took place during his lifetime. His play The Persians remains a good primary source of information about this period in Greek history. The war was so important to the Greeks and to Aeschylus himself that, upon his death around 456 BC, his epitaph commemorated his participation in the Greek victory at Marathon rather than to his success as a playwright."

First published in 1903. Biographical chapters cover Liszt, Mozart, Bach, Haydn, Beethoven, Chopin, Purcell, Gluck, Wagner, Tschaikovski, Schumann, and others.

Vasari says, and rightly, in his Life of Leonardo, "that he laboured much more by his word than in fact or by deed", and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved to this day. To us, now, it seems almost inexplicable that these valuable and interesting original texts should have remained so long unpublished, and indeed forgotten. It is certain that during the XVIth and XVIIth centuries their exceptional value was highly appreciated. This is proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript. That, notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery, can only be accounted for by the many and great difficulties attending the task of deciphering them. The handwriting is so peculiar that it requires considerable practice to read even a few detached phrases, much more to solve with any certainty the numerous difficulties of alternative readings, and to master the sense as a connected whole. Vasari observes with reference to Leonardos writing: "he wrote backwards, in rude characters, and with the left hand, so that any one who is not practised in reading them, cannot understand them". The aid of a mirror in reading reversed handwriting appears to me available only for a first experimental reading. Speaking from my own experience, the persistent use of it is too fatiguing and inconvenient to be practically advisable, considering the enormous mass of Manuscripts to be deciphered. And as, after all, Leonardo's handwriting runs backwards just as all Oriental character runs backwards—that is to say from right to left—the difficulty of reading direct from the writing is not insuperable. This obvious peculiarity in the writing is not, however, by any means the only obstacle in the way of mastering the text. Leonardo made use of an orthography peculiar to himself; he had a fashion of amalgamating several short words into one long one, or, again, he would quite arbitrarily divide a long word into two separate halves; added to this there is no punctuation whatever to regulate the division and construction of the sentences, nor are there any accents—and the reader may imagine that such difficulties were almost sufficient to make the task seem a desperate one to a beginner. It is therefore not surprising that the good intentions of some of Leonardo s most reverent admirers should have failed. Leonardo's literary labours in various departments both of Art and of Science were those essentially of an enquirer, hence the analytical method is that which he employs in arguing out his investigations and dissertations. The vast structure of his scientific theories is consequently built up of numerous separate researches, and it is much to be lamented that he should never have collated and arranged them. His love for detailed research—as it seems to me—was the reason that in almost all the Manuscripts, the different paragraphs appear to us to be in utter confusion; on one and the same page, observations on the most dissimilar subjects follow each other without any connection. A page, for instance, will begin with some principles of astronomy, or the motion of the earth; then come the laws of sound, and finally some precepts as to colour. Another page will begin with his investigations on the structure of the intestines, and end with philosophical remarks as to the relations of poetry to painting; and so forth. Leonardo himself lamented this confusion, and for that reason I do not think that the publication of the texts in the order in which they occur in the originals would at all fulfil his intentions. No reader could find his way through such a labyrinth; Leonardo himself could not have done it. ABOUT AUTHOR: Leonardo Da Vinci, Born on April 15, 1452, in Vinci, Italy, Leonardo da Vinci was concerned with the laws of science and nature, which greatly informed his work as a painter, sculptor, inventor and draftsmen. His ideas and body of work—which includes "Virgin of the Rocks," "The Last Supper," "Leda and the Swan" and "Mona Lisa"—have influenced countless artists and made da Vinci a leading light of the Italian Renaissance.Quotes"Iron rusts from disuse, stagnant water loses its purity and in cold weather becomes frozen; even so does inaction sap the vigor of the mind."? ? ? ? ? – Leonardo da Vinci Humble Beginnings:Leonardo da Vinci was born on April 15, 1452, in Vinci, Italy. Born out of wedlock, the love child of a respected notary and a young peasant woman, he was raised by his father, and his stepmothers. 'The Last Supper'In 1482, Lorenzo de' Medici, a man from a prominent Italian family, commissioned da Vinci to create a silver lyre and bring it to Ludovico il Moro, the Duke of Milan, as a gesture of peace. Da Vinci did so and then wrote Ludovico a letter describing how his engineering and artistic tal

Читанка для учн?в старших клас?в середньо? школи в ус?х ?вропейських кра?нах. Книжку створено в рамках сп?льного проекту орган?зац?й та установ, що працюють разом у Платформ? ?вропейсько? пам'ят? та сумл?ння. Зб?рка м?стить 30 дивовижних ?стор?й людей з 16 ?вропейських кра?н, що зазнали тотал?таризму. Це розпов?д? про см?ливц?в, як? протистояли тотал?таризмов? та загинули, а також про тих, кому пощастило вижити. Ц? розпов?д? сповнен? надзвичайного суму через незм?рн? страждання, що ?х завдали фанатичн? орудар?, поборники та п?дсобники тотал?таризму таким же людям, як ? вони. Але водночас вони осп?вують любов до свободи, людську г?дн?сть, несхитн?сть, см?лив?сть, в?ру та в?ддан?сть головним людським ц?нностям.