1974-ben az Emmanuelle meghódította a francia mozikat, és r?vid id?n belül az egész világon hatalmas sikert aratott. A korabeli plakátokról egy húsz év k?rüli, r?vid hajú, félmeztelen szépség nézett kihívóan egy fonott karosszékéb?l. Ekkor még senki sem sejtette, hogy SYLVIA KRISTEL, ez az akkor még ismeretlen holland lány hamarosan a szexuális forradalom egyik emblematikus alakjává válik. A hírnévt?l és a sikert?l megrészegült színészn? egy csapásra a nemzetk?zi filmvilág ünnepelt sztárja lett, azonban nem kapott elég id?t, hogy feldolgozza a hirtelen j?tt népszer?séget, sem pedig a gyermekkorában ?t ért sérelmeket. A sztárok fény?z? és gondtalan életét élte, udvarlók seregei hevertek a lába el?tt, bejáratos volt a legcsillogóbb hollywoodi fogadásokra. Magánéletében azonban már k?zel sem volt ilyen szerencsés. Házasságai zátonyra futottak, a sorozatos sorscsapások és a múlt démonai el?l az alkoholba és drogokba menekült. Kicsapongásainak végül egy súlyos betegség vetett véget. Visszaemlékezéseiben ?szintén tárja elénk egy olyan asszony felemel? és megrendít? t?rténetét, akinek nem csak meztelen teste érdemel figyelmet.

A rock and roll nem csupán egy zenei m?faj, ?nem egy tánc”: maga az ?r?k fiatalság. Alkotás és feloldódás, amit nem magányos farkasoknak találtak ki. Csapatmunka, melyben zenész és hallgatósága egyaránt részt vesz. ?Mindenki itt van?” – kiáltja a sztár a színpadról, a t?meg pedig harsogva feleli: ?Mindenki!” Mert ahhoz, hogy egy dal megszülessen, hogy ezernyi torok visszhangozza az énekes mágikus szavait, valóban mindenkire szükség van. Az Azok a régi csibészek a hazai pop és rock legendáinak arcképcsarnoka. Csatári Bence t?rténész és Poós Zoltán író faggatja a popkultúra olyan ikonikus alakjait és nagyágyúit, mint Bródy János, Nagy Feró, Sz?rényi Levente, T?r?k ?dám, Pataky Attila, Zalatnay Sarolta és még sokan mások. Az interjúkból kirajzolódik a magyarországi rock and roll els? negyedszázadának íve Nógrádver?cét?l Londonig. A megszólalók mesélnek és mesélnek – a legvidámabb barakk k?nny?zenei szcénájáról, ?rületes bulikról, rend?rpofonokról és persze a rock and roll iránti olthatatlan szerelemr?l...

Brilliant adaptation of Charles Dickens biting novel H ard Times . Dominated by Gradgrind and Bounderby, Coketown’s prosperity is built on the cotton mills where thousands of men and women slave away for long hours and little pay. Gradgrind’s obsession with material progress damages his children Louisa and Tom, leading to scandal and disaster. ‘Hard Times’ celebrates the importance of the human heart in an age obsessed with materialism. Circus, music, and dark comedy all go into the rich mix of this truly Dickensian theatrical tale. Charles Way has written over 50 plays, specializing in writing for children, young people and family audiences. His plays are performed worldwide. He has won several major awards - A Spell of Cold Weather won the Writers Guild best children's play award in 2001 and in 2004 his play Red Red Shoes won the English Arts Council best children's play award. In Germany, his play Missing won the Children's Theatre prize and in the USA? he was nominated for a Helen Hayes Award. He was commissioned by the National Theatre to write Alice In The News , which children all over Britain have performed. He has also written many plays for radio, and a TV poem for BBC 2, No Borders , set in the Welsh borders, where he lives and has spent most of his creative life. ? " A stellar adaptation by Charles Way, moving, thoughtful and wonderfully drawn’.??????????????????????? What’s on Stage ***** ‘Way gives real depth to characters, replaces Dickens’ sentimentality with warmth and his censoriousness with moral indignation’. ?????????????????????????? The Independent ***** ‘daringly restructures Dickens’ plot, yet sticks to the motto of his lisping ringmaster Mr Sleary: “People mutht be amuthed.”’ ????????????????????????????????????????????The Observer ?

L'art pour tous was written in the year 1862 by Stéphane Mallarmé. This book is one of the most popular novels of Stéphane Mallarmé, and has been translated into several other languages around the world.This book is published by Booklassic which brings young readers closer to classic literature globally.

With grime music and Guyanese folk stories, Joseph Barnes-Phillip's semi-autobiographical story is a comic, tragic and honest portrayal of becoming a man. The story follows Rayleigh as he negotiates the tensions of growing up and taking responsibility – to his pregnant girlfriend, to his sick mother, to his church, to the multi-cultural community he grew up in and somewhere in the mix to himself. When the euphoric highs of teenage life in south London collide with his mum's terminal illness, all Rayleigh wants to do it watch anime in his pants and eat indomie. Love, life and masculinity meet head-on as Rayleigh tries to find his feet, torn between the new girl in his life and being there for his mum, while trying not to make the same mistakes as his dad.

Iwo Jima, Okinawa, and Tarawa are legendary names on the US Marines’ roll of honour, a testament to the bravery and sacrifice of Marines who answered the call to arms following the Japanese surprise attack on Pearl Harbor in December 1941. Growing to a peak of almost half a million men in 1945, at the beginning of the war the Marine Corps was a small expeditionary force with outdated equipment and an unproven new mission – amphibious assault. The Marines in World War II charts the combat history of the Marines from Wake Island to Okinawa, covering every major battle in between: Guadalcanal, Kwajalein Atoll, Bougainville, Saipan, Guam, and Peleliu, to name just a few. In addition to chronicling these hard-fought battles, the book also examines the important role played by Navajo code talkers, the development of Marine Corps aviation, the little-known role of Marines in the European theatre, and the story behind the iconic “Raising the Flag on Iwo Jima” photograph. Today, the Marines are best remembered as the gritty, determined combat force that matured rapidly, learned hard lessons, took on the committed defenders of the Empire of Japan, crossed the Pacific Ocean island by island, and fought, bled, died – and won.

In any military operation throughout history, few 24-hour periods have been as crucial as that of 6th June 1944. With the aid of specially commissioned maps, D-Day: The First 24 Hours series gives the dramatic history of the first 24 hours of the Normandy landings, and explains in detail the events that occurred in each landing zone. In this first volume of the series, the book describes the build-up to the landings themselves, the German preparations for defending the French coastline, and the reasons behind the final Allied decision to attack in Normandy on 6 June 1944. With colour and black & white photographs, the book is a guide to key events in the first 24 hours of the D-Day landings that saw the Allies successfully achieve a foothold in Northern Europe.

Indezirabilii, publicat sub egida Institutului de Istorie ?George Bari?iu“ al Academiei Rom?ne, scoate la lumin? informa?ii pu?in cunoscute despre exodul etnicilor evrei, rom?ni, ru?i ?i ucraineni din URSS ?n Rom?nia.Cauzele, mijloacele emigr?rii, reac?ia autorit??ilor, a popula?iei autohtone ?i a organiza?iilor interna?ionale, fenomenele conexe sunt relevate ?n contextul profundelor transform?ri sociale ?i politice din perioada 1919-1939. Prezentarea unor texte scrise de ?i despre emigran?i ofer? detalii asupra atrocit??ilor comise de regimul sovietic, a modului ?n care au fost percepu?i ?i a celui ?n care au perceput indezirabilii statul na?ional unitar rom?n.Fragment din subsec?iunea ?Trecerea Nistrului ?n ambele sensuri: motive ?i consecin?e“Unul din efectele masacrelor de la Nistru din lunile februarie-martie 1932 ?i ale noului val de refugia?i din RASS Moldoveneasc? asupra opiniei publice din Rom?nia a constat ?n exprimarea pozi?iei fa?? de evenimentele tragice ?n publica?ii. Jurnali?tii ?i cercet?torii nu s-au limitat la analiza evenimentelor, ci au publicat o serie ?ntreag? de materiale despre istoria regiunii transnistrene ?i a rom?nilor de acolo. De exemplu, potrivit lui Pamfil ?eicaru, amplificarea represiunilor din URSS reprezenta unul din aspectele luptei ?mpotriva tradi?iei (familia, p?m?ntul, religia), iar rom?nii transnistreni – un bastion de ?nd?r?tnic? rezisten?? a tradi?iei. ?n fapt, purificarea regiunii transnistrene, echivala cu desfiin?area pseudo-autonomiei moldovene?ti, iar dispari?ia entit??ii intra ?n linia necesit??ilor de via?? ale centraliz?rii Moscovei, trec?nd peste particularit??ile provinciale. Motivele extermin?rii sunt rezumate ?n finalul analizei: ?Moldovenii n-au fost buni, n-au slujit scopurilor pentru care li se d?duse chiar ?i titlul de Republic? Moldoveneasc?, dispari?ia lor a ap?rut ca o porunc? nivelatoare a standardului na?ional conceput de Stalin. ?i de pe p?m?nturile unde tr?iesc de veacuri, de pe malurile Nistrului, sunt porni?i ?n dep?rt?rile pustii ?i ?nghe?ate ale Siberiei. Drumul lung ?i greu, foamea, bolile, le va tot ?mpu?ina num?rul, p?n? ce nu va mai r?m?ne niciunul din neamul blestemat al moldovenilor, ace?ti ?nd?r?tnici adversari ai uniformiz?rii staliniste. De-a lungul Rusiei ro?ii (tot at?t de milostiv? ca ?i Rusia ?arist?) mormintele lor vor ?nsemna drumul crucific?rii moldave. ?i ieri ?i azi Pohod na Sibir! Numai imbecilii ??i ?nchipuie c? esen?a na?iilor se schimb? prin revolu?ii“. La 23 martie 1932, sub impresia cazurilor, individuale sau de grup, aproape zilnice, de ?mpu?care a ??ranilor rom?ni care ?ncercau s? p?trund? din Transnistria ?n Rom?nia, Pamfil ?eicaru dezvolta ideea de standardizare spiritual? prin represiune masiv?, exterminatorie, ?ntr-un articol cu accente directe antiminoritare ?i indirecte antiguvernamentale. Raportat la incapacitatea sau imposibilitatea opririi crimelor de la frontiera sovieto-rom?n?, directorul Curentului propunea efectuarea unui schimb de popula?ie cu URSS, mediat de Societatea Na?iunilor: ?[…] exact ?n propor?ia numeric? a moldovenilor de peste Nistru ce ni s-ar trimite, am expedia comuni?ti ruteni, oameni converti?i ce nu ar mai necesita at?ta trud? uciga?? c?te sunt constr?nse autorit??ile sovietice s? fac?“. O critic? explicit? viza rolul activ pe care ar fi trebuit s?-l joace Societatea Na?iunilor: ?Un mijloc foarte simplu de a curma un asasinat, un semn de prezen?? uman? a institu?iei de asisten?? a popoarelor, de activ? prezen?? a Societ??ii Na?iunilor“. Trebuie men?ionat ?ns? faptul c?, ?ntr-un articol ulterior, se consemna sprijinul acordat de A. ?ulghin, reprezentantul ucrainean la Geneva, delega?iei Rom?niei, care a cerut condamnarea masacrelor de la Nistru ?n format multilateral. Mai mult dec?t at?t, putem observa c? ucrainenii sunt men?iona?i pe l?ng? etnicii rom?ni ca victime ale atrocit??ilor: ?Masacrele s-au repetat, ??ranii au fost ?mpu?ca?i f?r? mil?, rom?ni ?i ucraineni laolalt?“.

Doamna Marusia CIRSTEA, doctor in stiinte istorice, a investigat, in baza cercetarii unei extrem de bogate bibliografii si a unor studii intense in arhivele diplomatice si militare interne (Arhiva Ministerului de Externe al Romaniei - Bucuresti, Arhivele Militare Nationale – Bucuresti si Pitesti, Arhivele Nationale ale Romaniei - Bucuresti, Biblioteca Nationala si Biblioteca Academiei Romane, ambele din Bucuresti), o problema de mare interes, abordata pana acum de numerosi istorici romani si straini (Paul D. Quinlan, Elisabeth Barker, V. F. Dobrinescu, Gh. Pascalau, Ion Patroiu s.a.). Tocmai de aceea, meritul autoarei este cu totul deosebit, intrucat, bazandu-se pe rezultatele cercetarilor anterioare, dar, aprofundandu-le si completandu-le substantial cu documente inedite, este in masura sa realizeze o contributie stiintifica de reala valoare pe marginea evolutiei raporturilor politico-diplomatice intre Romania si Marea Britanie intr-una din perioadele cele mai captivante si mai dificile ale epocii contemporane – ajunul conflagratiei mondiale din 1939-1945. Asa dupa cum se subliniaza in ampla Introducere, problema cercetata ?constituie o tema de studiu si de reflectie importanta, interesanta si plina de invataminte, nu numai pentru istoricul de astazi, dar si pentru omul simplu, pasionat de istorie si, indeosebi, pentru politicianul si diplomatul care trebuie sa gaseasca solutii practice unor aspecte interesand raporturile internationale“ (p. 3). Astfel, dupa o pertinenta si documentata Introducere, care elucideaza si aspectele istoriografice ale cercetarii, autoarea realizeaza o consistenta monografie privind relatiile dintre Bucuresti si Londra intre 1936 si 1939, in cuprinsul a patru capitole judicios repartizate pentru a se asigura tratarea globala si unitara a materiei. De un mare interes si cu o importanta pondere in economia lucrarii se dovedesc, nu mai putin, Concluziile (pp. 200-213), Bibliografia (pp. 214-232) si cele 25 de Anexe (pp. 233-350).Ultimele luni de pace si inceputul celui de-al doilea razboi mondial, evolutia raporturilor anglo-romane in context fac obiectul celui de-al IV-lea capitol. Principalele evenimente tratate sunt, in ordine cronologica, faimosul caz Tilea; garantiile franceze si britanice acordate Poloniei, Greciei si Romaniei; rostul pactului sovieto-german din 23 august 1939 in politica europeana; declansarea razboiului si atitudinea Romaniei si, in sfarsit, proclamarea neutralitatii Romaniei in razboi vizavi de implicarea Marii Britanii in ostilitati. Temeinicia cercetarii este atestata de o bogata si sistematica Bibliografíe, care, fara indoiala, intregeste, in chip fericit, textul lucrarii. In acelasi timp, Anexele ingaduie specialistului si cititorului interesat sa aprecieze amploarea si seriozitatea investigatiilor arhivistice.

Un fascinant discurs despre unul dintre cei mai celebri ?i cei mai disputa?i actori ?i regizori, cu istorii scandaloase al c?ror personaj atipic a fost, cu via?? – nu totdeauna lipsit? de r?sp?ntii ?i suspans – de culise a acestui filosof al scenei ?i bufon metafizic al existen?ei. Autoarei i s-a decernat pentru aceast? carte Premiul Uniunii Cinea?tilor din Rom?nia.

Specialist ?n domeniul avangardei, scriitorul – extrem de incomod uneori! – Ovidiu Morar, scrie despre scriitorii evrei din Rom?nia ?ntr-un stil incomod, m?nat de un zeu al drept??ii, impar?ial ?i feroce. Cine sunt scriitorii evrei? ?n ce m?sura ei se deosebesc de rom?ni, unguri, francezi, ?i ?n ce m?sur? se aseam?n?? Aceste ?i multe alte ?ntreb?ri mai mult sau mai pu?in comode revin aidoma unui laitmotiv pe parcursul c?r?ii, scrise ?ntr-un stil alert, incitant, cu note v?dit incomode, iar pe aclouri de-a dreptul provocatoare.

The complete playtext for use in schools and youth theatres. Imagine swapping places with a monster for the day. Ben has a BIG problem. His mum is acting grumpy, his best friend Vince has stolen his precious binoculars and his Dad is far, far away… Oh, and there’s a monster under his bed. But when Ben swaps places with the underbed monster, Ben’s life – and his school – is turned inside out and upside down. A funny and thrilling play for children about friendship and facing up to your fears. Suitable for young performers. WINNER OF THE WRITERS’ GUILD BEST CHILDREN’S PLAY AWARD

The Glock series of handguns represents one of the greatest steps forward in pistol design since the introduction of the Colt M1911. Inspired by the Austrian Army’s 1980 request for a new sidearm, the Glock Ges.m.b.H. company set to work designing and developing a revolutionary new weapon that combined reliability, firepower, and the latest in material technology. Within two years it had been adopted by the Austrian Army, but such were its qualities that within a decade the handgun was a dominant presence in the global military, law enforcement, and civilian markets. More than 2.5 million Glocks have been sold to date, to more than 50 nations. Glock: The World’s Handgun follows the evolution of the Glock handgun from concept to market leader, and explains each of the many variants and calibers, starting with the original Glock 17 and working through to the latest fourth generation models, including the 9mm Model 19, .40 caliber Model 22., and subcompact Model 26. Illustrated with more than 200 artworks and photographs, Glock: The World’s Handgun is an expertly written account of one of the most influential handguns in the world today.

In modern-day Tehran, you can never predict how life will turn out. Part thriller, part cookery lesson, this is the story of a family struggling to deal with the challenges of a regime where secrecy and surveillance are an everyday part of life. Abbas calls together his wife and daughter and their friends and nighbours for an impromptu feast. Going in the pot are fresh herbs, spices, sweet vegetables and Eli’s mother’s secret ingredient…

The world spins and the cycle of seasons turns as the Guardians of the Year gather to tell each other stories. As a new Winter begins it is time to tell another tale… A kingdom is in peril, its people driven to flee their homes as a dark forest covers the land. The King and Queen are missing and Prince Roland, only heir to the kingdom, lies sleeping, cursed never to awaken… All seems lost, and it falls to one young woman with a strong heart, aided by strange companions, to find her way to the castle at the heart of the enchanted forest. Once there, it will take a genuine act of love to break the curse and free the kingdom. A story about friendship, drawing on myth and folklore, Sleeping Beauty is an exciting and enchanting new adaptation of the well-loved story.

This book, in affectionate tribute to the gallant courage, rugged indepen-dence and wonderful endurance of those adventurous souls who formed the vanguard of civilization in the early history of the Territory of Arizona and the remainder of the Great West, is DEDICATED TO JOHN H. CADY and?BASIL D. WOON ?/ ?PATAGONIA, ARIZONA, NINETEEN-FIFTEEN. When I first broached the matter of writing his autobiography to John H. Cady, two things had struck me particularly. One was that of all the literature about Arizona there was little that attempted to give a straight, chronological and intimate description of events that occurred during the early life of the Territory, and, second, that of all the men I knew, Cady was best fitted, by reason of his extraordinary experiences, remarkable memory for names and dates, and seniority in pioneership, to supply the work that I felt lacking. Some years ago, when I first came West, I happened to be sitting on the observation platform of a train bound for the orange groves of Southern California. A lady with whom I had held some slight conversation on the journey turned to me after we had left Tucson and had started on the long and somewhat dreary journey across the desert that stretches from the "Old Pueblo" to "San Berdoo," and said: "Do you know, I actually used to believe all those stories about the 'wildness of the West.' I see how badly I was mistaken." She had taken a half-hour stroll about Tucson while the train changed crews and had been impressed by the—to the casual observer—sleepiness of the ancient town. She told me that never again would she look on a "wild West" moving picture without wanting to laugh. She would not believe that there had ever been a "wild West"—at least, not in Arizona. And yet it is history that the old Territory of Arizona in days gone by was the "wildest and woolliest" of all the West, as any old settler will testify.

The dominant motives in Calderon's dramas are characteristically national: fervid loyalty to Church and King, and a sense of honor heightened almost to the point of the fantastic. Though his plays are laid in a great variety of scenes and ages, the sentiment and the characters remain essentially Spanish; and this intensely local quality has probably lessened the vogue of Calderon in other countries. In the construction and conduct of his plots he showed great skill, yet the ingenuity expended in the management of the story did not restrain the fiery emotion and opulent imagination which mark his finest speeches and give them a lyric quality which some critics regard as his greatest distinction. Of all Calderon's works, "Life is a Dream" may be regarded as the most universal in its theme. It seeks to teach a lesson that may be learned from the philosophers and religious thinkers of many ages—that the world of our senses is a mere shadow, and that the only reality is to be found in the invisible and eternal. The story which forms its basis is Oriental in origin, and in the form of the legend of "Barlaam and Josaphat" was familiar in all the literatures of the Middle Ages. Combined with this in the plot is the tale of Abou Hassan from the "Arabian Nights," the main situations in which are turned to farcical purposes in the Induction to the Shakespearean "Taming of the Shrew." But with Calderon the theme is lifted altogether out of the atmosphere of comedy, and is worked up with poetic sentiment and a touch of mysticism into a symbolic drama of profound and universal philosophical significance. LIFE IS A DREAM DRAMATIS PERSONAE Basilio King of Poland.Segismund his Son.Astolfo his Nephew.Estrella his Niece.Clotaldo a General in Basilio's Service.Rosaura a Muscovite Lady.Fife her Attendant. Chamberlain, Lords in Waiting, Officers,Soldiers, etc., in Basilio's Service. The Scene of the first and third Acts lies on the Polish frontier: of the second Act, in Warsaw. As this version of Calderon's drama is not for acting, a higher and wider mountain-scene than practicable may be imagined for Rosaura's descent in the first Act and the soldiers' ascent in the last. The bad watch kept by the sentinels who guarded their state-prisoner, together with much else (not all!) that defies sober sense in this wild drama, I must leave Calderon to answer for; whose audience were not critical of detail and probability, so long as a good story, with strong, rapid, and picturesque action and situation, was set before them. about author: Pedro Calderon de la Barca was born in Madrid, January 17, 1600, of good family. He was educated at the Jesuit College in Madrid and at the University of Salamanca; and a doubtful tradition says that he began to write plays at the age of thirteen. His literary activity was interrupted for ten years, 1625-1635, by military service in Italy and the Low Countries, and again for a year or more in Catalonia. In 1637 he became a Knight of the Order of Santiago, and in 1651 he entered the priesthood, rising to the dignity of Superior of the Brotherhood of San Pedro in Madrid. He held various offices in the court of Philip IV, who rewarded his services with pensions, and had his plays produced with great splendor. He died May 5, 1681. At the time when Calderon began to compose for the stage, the Spanish drama was at its height. Lope de Vega, the most prolific and, with Calderon, the greatest, of Spanish dramatists, was still alive; and by his applause gave encouragement to the beginner whose fame was to rival his own. The national type of drama which Lope had established was maintained in its essential characteristics by Calderon, and he produced abundant specimens of all its varieties. Of regular plays he has left a hundred and twenty; of "Autos Sacramentales," the peculiar Spanish allegorical development of the medieval mystery, we have seventy-three; besides a considerable number of farces.

RUINS OF ANCIENT CITIES, WITH GENERAL AND PARTICULAR ACCOUNTS OF THEIR RISE, FALL, AND PRESENT CONDITION. - BY CHARLES BUCKE This Volume contain these cities; Abydos, Abydus, ?gesta, ?ina, Agrigentum, Alba Longa, Alcantara, Alexandria, Amisus, Antioch, Argos, Ariammene, Arsinoe, Artaxata, Artemita, Athens, Babylon, Balbec, Byzantium, Cairo (Old), Cann?, Capua, Carthage, Catanea, Chalcedon, Ch?ronea, Corduba, Corcyra (Corfu), Corinth, Ctesiphon, Delphos, Ecbatana, Eleusis, Elis, Ephesus, Gerasa (Djerash), Granada, Gnidos, Heliopolis, Herculaneum, Hierapolis, Isfahan, Italica, Jerusalem, Laced?mon, Or Sparta, Laodicea, Leuctra, Magnesia, Mantinea, Marathon, Megalopolis, Megara, Memphis. Of chance or change, oh! let not man complain;Else shall he never, never, cease to wail;For from the imperial dome, to where the swainRears his lone cottage in the silent dale,All feel the assault of fortune's fickle gale.Art, empire, earth itself, to change are doom'd;Earthquakes have raised to heaven the humble vale;And gulfs the mountains' mighty mass entomb'd;And where the Atlantic rolls wide continents have bloom'd. {BEATTIE.} The reader is requested to observe, that, though the plan of this work is entirely his own, the compiler of it does not put it forth as in any way original in respect to language or description. It is, in fact, a much better book, than if it had been what is strictly called original, (which, indeed, must have involved an utter impossibility:) for it is a selection of some of the best materials the British Museum could furnish; sometimes worked up in his own language; and sometimes—and, indeed, very frequently—in that of others: the compiler having, at an humble distance and with unequal steps, followed the plan which M. Rollin proposed to himself, when he composed his celebrated history of ancient times.—"To adorn and enrich my own," says that celebrated writer, "I will be so ingenuous as to confess, that I do not scruple, nor am ashamed, to rifle whereever I come; and that I often do not cite the authors from whom I transcribe, because of the liberty I take to make some slight alterations. I have made the best use in my power of the solid reflections that occur in the Bishop of Meaux's Universal History, which is one of the most beautiful and most useful books in our language. I have also received great assistance from the learned Dean Prideaux's 'Connexion of the Old and New Testament,' in which he has traced and cleared up, in an admirable manner, the particulars relating to ancient history. I shall take the same liberty with whatever comes in my way, that may suit my design, and contribute to its perfection. I am very sensible, that it is not so much for a person's reputation to make use of other men's labours, and that it is in a manner renouncing the name and quality of author. But I am not over-fond of that title, and shall be extremely well pleased, and think myself very happy, if I can but deserve the name of a good compiler; and supply my readers with a tolerable history, who will not be over-solicitous to inquire what hand it comes from, provided they are but pleased with it."

The Aeneid is widely considered Virgil's finest work and one of the most important poems in the history of western literature. Virgil worked on the Aeneid during the last eleven years of his life (29–19 BC), commissioned, according to Propertius, by Augustus. The epic poem consists of 12 books in dactylic hexameter verse which describe the journey of Aeneas, a warrior fleeing the sack of Troy, to Italy, his battle with the Italian prince Turnus, and the foundation of a city from which Rome would emerge. The Aeneid's first six books describe the journey of Aeneas from Troy to Rome. Virgil made use of several models in the composition of his epic; Homer the preeminent classical epicist is everywhere present, but Virgil also makes especial use of the Latin poet Ennius and the Hellenistic poet Apollonius of Rhodes among the various other writers to which he alludes. Although the Aeneid casts itself firmly into the epic mode, it often seeks to expand the genre by including elements of other genres such as tragedy and aetiological poetry. Ancient commentators noted that Virgil seems to divide the Aeneid into two sections based on the poetry of Homer; the first six books were viewed as employing the Odyssey as a model while the last six were connected to the Iliad. Book 1 (at the head of the Odyssean section) opens with a storm which Juno, Aeneas' enemy throughout the poem, stirs up against the fleet. The storm drives the hero to the coast of Carthage, which historically was Rome's deadliest foe. The queen, Dido, welcomes the ancestor of the Romans, and under the influence of the gods falls deeply in love with him. At a banquet in Book 2, Aeneas tells the story of the sack of Troy, the death of his wife, and his escape, to the enthralled Carthaginians, while in Book 3 he recounts to them his wanderings over the Mediterranean in search of a suitable new home. Jupiter in Book 4 recalls the lingering Aeneas to his duty to found a new city, and he slips away from Carthage, leaving Dido to commit suicide, cursing Aeneas and calling down revenge in a symbolic anticipation of the fierce wars between Carthage and Rome. In Book 5, Aeneas' father Anchises dies and funeral games are celebrated for him. On reaching Cumae, in Italy in Book 6, Aeneas consults the Cumaean Sibyl, who conducts him through theUnderworld where Aeneas meets the dead Anchises who reveals Rome's destiny to his son. Book 7 (beginning the Iliadic half) opens with an address to the muse and recounts Aeneas' arrival in Italy and betrothal to Lavinia, daughter of King Latinus. Lavinia had already been promised to Turnus, the king of the Rutulians, who is roused to war by the Fury Allecto, and Amata Lavinia's mother. In Book 8, Aeneas allies with King Evander, who occupies the future site of Rome, and is given new armor and a shield depicting Roman history. Book 9 records an assault by Nisus and Euryalus on the Rutulians, Book 10, the death of Evander's young son Pallas, and 11 the death of the Volscian warrior princess Camilla and the decision to settle the war with a duel between Aeneas and Turnus. The Aeneid ends in Book 12 with the taking of Latinus' city, the death of Amata, and Aeneas' defeat and killing of Turnus, whose pleas for mercy are spurned. The final book ends with the image of Turnus' soul lamenting as it flees to the underworld.

Йшов четвертий р?к св?тово? в?йни. Втомлений под?ями генерал-лейтенант рос?йсько? ?мператорсько? арм?? Павло Петрович Скоропадський, нащадок старовинно? старшинсько? фам?л??, ще не знав, що стане гетьманом незалежно? Укра?нсько? Держави.??Епоха зм?н, яку самовбивчо наближали революц?онери вс?х мастей, перетворилася на апокал?псис, в?йну вс?х проти вс?х, але Скоропадському стало духу взяти на себе невдячну ношу державного буд?вництва. Спроба зак?нчилася ц?лковитим ? оч?куваним провалом, але окрем? починання гетьмана дотривали до наших дн?в: саме йому Укра?на завдячу?, наприклад, Академ??ю наук.

MODERN scientific publications, although they may in some or even many cases equal in their scientific quality the memoirs of earlier workers, do not, on the average, reach a high standard as regards illustration. For instance, in Great Britain botany is pre-eminent in its morphological aspects; it should therefore follow that the illustrations, which form so important a part of such papers, should be beyond reproach. This is not always so, a fact which must be patent to anyone with the slightest critical knowledge who looks through a typical journal. This is a fact much to be regretted, since many of the earlier scientists were accomplished draughtsmen and, indeed, often artists; in this connection the Hookers and Pro-fessor Daniel Oliver may be mentioned. The implication is not intended that there are no good amateur draughtsmen nowadays; there are, and in some cases pos-sessed of great ability. The beautiful work of Church in his Floral Mechanisms may be cited as an example. It may, of course, be argued that any picture which serves to illustrate the particu-lar feature is good enough; this is the contention of one who takes an insufficient pride in his work. A feature worthy of an illustration deserves the best the author can produce, more especially as a literary form is still, fortunately, preserved or, at any rate, aimed at.The reason for indifferent illustrations is primarily due to bad or mediocre draw-ings, or to their unsuitability for the kind of reproduction in view. With regard to the first point: this lack of draughtsmanship often obtains; when education entirely replaces mere instruction, it is to be hoped that all students of science will be trained in the rudiments of drawing. Meanwhile the difficulty can be partly overcome, as will be seen later on, by the simple means of drawing on an enlarged scale, in order that in reproduction reduction can be made. The second reason, the onus of which also falls on the authors, is a lack of knowledge regarding the kind of drawing suitable for the different modes of re-production; this is a very important point, for "technical conditions govern even genius itself."Authors, however, are not always to blame; it would appear that even editors sometimes are wanting in the requisite knowledge, for we have known straight-forward line drawings reproduced by half-tone; in other cases the paper used is unsuitable for the reproduction and, at other times, the printers are at fault. With a view to remedying, at any rate in part, these deficiencies, a course of lec-tures, arranged by the Board of Studies in Botany of the University of London, was delivered in the Lent term of 1913 in the Department of Botany of University College, London. In gratifying the wish expressed by some that these lectures should be given a more permanent dress, the author feels that some apology is necessary, for he can lay no claim to authoritative knowledge of much of the subject-matter; questions relating to the graphic arts and to illustrations, however, have always been of in-terest to him, so that he has tried various experiments, often with disastrous re-sults, and thus has gained some experience. In these matters the author has benefited much through his association with Pro-fessor F. W. Oliver, who, characteristically, has been ever ready to discuss these problems with, and to place his knowledge and experience at the disposal of the author.