TRAVELERS who go into Scotland take a great interest in visiting, among other places, a certain room in the ruins of an old palace, where Queen Mary was born. Queen Mary was very beautiful, but she was very unfortunate and unhappy. Every body takes a strong interest in her story, and this interest attaches, in some degree, to the room where her sad and sorrowful life was begun.??The palace is near a little village called Linlithgow. The village has but one long street, which consists of ancient stone houses. North of it is a little lake, or rather pond: they call it, in Scotland, a loch. The palace is between the village and the loch; it is upon a beautiful swell of land which projects out into the water. There is a very small island in the middle of the loch and the shores are bordered with fertile fields. The palace, when entire, was square, with an open space or court in the center. There was a beautiful stone fountain in the center of this court, and an arched gateway through which horsemen and carriages could ride in. The doors of entrance into the palace were on the inside of the court.??The palace is now in ruins. A troop of soldiers came to it one day in time of war, after Mary and her mother had left it, and spent the night there: they spread straw over the floors to sleep upon. In the morning, when they went away, they wantonly set the straw on fire, and left it burning, and thus the palace was destroyed. Some of the lower floors were of stone; but all the upper floors and the roof were burned, and all the wood-work of the rooms, and the doors and window-frames. Since then the palace has never been repaired, but remains a melancholy pile of ruins.??The room where Mary was born had a stone floor. The rubbish which has fallen from above has covered it with a sort of soil, and grass and weeds grow up all over it. It is a very melancholy sight to see.

SOME men are renowned in history on account of the extraordinary powers and capacities which they exhibited in the course of their career, or the intrinsic greatness of the deeds which they performed. Others, without having really achieved any thing in itself very great or wonderful, have become widely known to mankind by reason of the vast consequences which, in the subsequent course of events, resulted from their doings. Men of this latter class are conspicuous rather than great. From among thousands of other men equally exalted in character with themselves, they are brought out prominently to the notice of mankind only in consequence of the strong light reflected, by great events subsequently occurring, back upon the position where they happened to stand.??The celebrity of Romulus seems to be of this latter kind. He founded a city. A thousand other men have founded cities; and in doing their work have evinced perhaps as much courage, sagacity, and mental power as Romulus displayed. ?The city of Romulus, however, became in the end the queen and mistress of the world. It rose to so exalted a position of influence and power, and retained its ascendency so long, that now for twenty centuries every civilized nation in the western world have felt a strong interest in every thing pertaining to its history, and have been accustomed to look back with special curiosity to the circumstances of its origin. ??In consequence of this it has happened that though Romulus, in his actual day, performed no very great exploits, and enjoyed no pre-eminence above the thousand other half-savage chieftains of his class, whose names have been long forgotten, and very probably while he lived never dreamed of any extended fame, yet so brilliant is the illumination which the subsequent events of history have shed upon his position and his doings, that his name and the incidents of his life have been brought out very conspicuously to view, and attract very strongly the attention of mankind.??The history of Rome is usually made to begin with the story of ?neas. In order that the reader may understand in what light that romantic tale is to be re-garded, it is necessary to premise some statements in respect to the general condition of society in ancient days, and to the nature of the strange narrations, circulated in those early periods among mankind, out of which in later ages, when the art of writing came to be introduced, learned men compiled and recorded what they termed history.

AS you open this book you will probably ask, "What is a golden deed?"?Let me tell you. It is the doing of something for somebody else doing it without thought of self, without thought of reward, fearlessly, heroically, and because it is a duty.??Such a deed is possible to you, to me, to everybody. It is frequently performed without forethought or definite intention. It is the spontaneous manifestation of nobility, somewhere, of mind or heart. It may consist merely in the doing of some kind and helpful service at home or at school. It may be an unexpected test of heroism a warning of danger, a saving of somebody's life. It may be an act of benevolence, or a series of such acts, world-wide in application and results.??This little volume is only a book of samples. Here are specimens of golden deeds of various kinds and of different degrees of merit, ranging from the unpremeditated saving of a railroad train to the great humanitarian movement which carries blessings to all mankind. To attempt to tell of every such deed, or of every one that is eminently worthy, would fill a multitude of books. ??The, examples which I have chosen are such only as have occurred on American soil, or have been performed by Americans, thus distinguishing the volume from Miss Charlotte Yonge's "Book of Golden Deeds," published for English readers fifty years ago. While some of these narratives may have the appearance of romance, yet they are all believed to be true, and in most cases the real name of the hero, or of the lover of humanity, is given.??Instances of doing and daring have always a fascination for young people, and when to these is added the idea of a noble underlying motive the lessons taught by them cannot fail to be beneficial. ?

ESCAPECOME, shall we go, my comrade, from this denWhere falsehood reigns and we have dallied long?Exchange the curious vanities of menFor roads of freedom and for ships of song? We came as strangers, came to learn and look,To hear their music, drink the wine they gave.Now let us hence again; the happy brookShall quench our thirst, our music be the wave. Come! they are feasting, let us steal away.Beyond the doors the night awaits us, sweet.To-morrow we shall see the break of day,And goat-herds’ pipes shall lead our roaming feet. TO EVE IN TEARSYOU laughed, and all the fountains of the EastLeapt up to Heaven with their diamond rainTo hang in light, and when your laughter ceasedDropped shivered arrows to the ground again. You laughed, and from the belfries of the earthThe music rippled like a shaken pool;And listless banners at the breeze of mirthWere stirred in harbours suddenly made cool. You wept, and all the music of the air—As when a hand is laid upon a bell—Was stilled, and Dryads of the tossing hairCrept back abashed within the secret dell. MARIANA IN THE NORTHALL her youth is gone, her beautiful youth outworn,Daughter of tarn and tor, the moors that were once her homeNo longer know her step on the upland tracks forlornWhere she was wont to roam. All her hounds are dead, her beautiful hounds are dead,That paced beside the hoofs of her high and nimble horse,Or streaked in lean pursuit of the tawny hare that fledOut of the yellow gorse. All her lovers have passed, her beautiful lovers have passed,The young and eager men that fought for her arrogant hand,And the only voice which endures to mourn for her at the lastIs the voice of the lonely land. SORROW OF DEPARTURE. For D.HE sat among the shadows lost,And heard the careless voice speak onOf life when he was gone from home,Of days that he had made his own,Familiar schemes that he had known,And dates that he had cherished mostAs star-points in the year to come,And he was suddenly alone,Thinking (not bitterly,But with a grave regret) that heWas in that room a ghost. He sat among the shades apart,The careless voice he scarcely heard.In that arrested hour there stirredShy birds of beauty in his heart. The clouds of March he would not seeAcross the sky race royally,Nor yet the drift of daffodilHe planted with so glad a hand,Nor yet the loveliness he plannedFor summer’s sequence to fulfil,Nor trace upon the hillThe annual waking of the land,Nor meditative standTo watch the turning of the mill. He would not pause above the WealdWith twilight falling dim,And mark the chequer-board of field,The water gleaming like a shield,The oast-house in the elms concealed,Nor see, from heaven’s chalice-rim,The vintaged sunset brim,Nor yet the high, suspended starHanging eternally afar. These things would be, but not for him. At summer noon he would not lieOne with his cutter’s rise and dip,Free with the wind and sea and sky,And watch the dappled waves go by,The sea-gulls scream and slip;White sails, white birds, white clouds, white foam,White cliffs that curled the love of homeAround him like a whip....He would not see that summer noonFade into dusk from light,While he on shifting waters brightSailed idly on, beneath the moonClimbing the dome of night. This was his dream of happy thingsThat he had loved through many springs, And never more might know.But man must pass the shrouded gateCompanioned by his secret fate,And he must lonely go,And none can help or understand,For other men may touch his hand,But none the soul below.

AT the east end of the choir aisle of the Cathedral there is a portion of the wall which is possibly the oldest piece of masonry in Oxford, for it is thought to be a part of the original Church of St. Frideswyde, on whose site the Cathedral Church of Christ (to give its full title) now stands. Even so it is not possible to speak with historical certainty of the saint or of the date of her Church, which was built for her by her father, so the legend says, when she took the veil; though the year 740 may be provisionally accepted as the last year of her life. St. Frideswyde's was a conventual Church, with a Priory attached, and both were burnt down in 1002, but rebuilt by Ethelred. How much of his handiwork survives in the present structure it is not easy to de-termine; but the Norman builders of the twelfth century effected, at any rate, such a transformation that no suggestion of Saxon architecture is obtruded. Their work went on for some twenty years, under the supervision of the then Prior, Robert of Cricklade, and the Church was consecrated anew in 1180. The main features of the interior—the massive pillars and arches—are substantially the same to-day as the builders left them then. THIS BOOK, is not intended to compete with any existing guides to Oxford: it is not a guide-book in any formal or exhaustive sense. Its purpose is to shew forth the chief beauties of the University and City, as they have ap-peared to several artists; with such a running commentary as may explain the pictures, and may indicate whatever is most interesting in connection with the scenes which they represent. Slight as the notes are, there has been no sacrifice, it is believed, of accuracy. The principal facts have been derived from Alexander Chalmers' History of the Colleges, Halls, and Public Buildings of the University of Oxford, from Mr. Lang's Oxford, and from the Oxford and its Colleges of Mr. J. Wells. The illustrations, with the exception of six only, which are derived from Ackermann's Oxford, are reproduced from the paintings of living artists, mostly by Mr. W. Matthison, the others by Mrs. C. R. Walton, Walter S. S. Tyrwhitt, Mr. Bayzant, and Miss E. S. Cheesewright.

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 obra encadeia associa??es entre os valores técnicos da língua e os valores estéticos da literatura. Realiza, ent?o, duas abordagens complementares, defi nida a unidade língua/literatura como uma díade com polos inseparáveis – a língua sustentando um código limitativo e prescritivo; a literatura alimentando a reprodu??o artística do sistema linguístico –, da fus?o de ambas resultando um efeito de sentido.

In The Beginner's American History, D. H. Montgomery provides a wide-ranging and authoritative history of America, capturing in a compact space the full story of our nation. The Beginner's American History offers an illuminating account of politics, diplomacy, and war as well as the full spectrum of social, cultural, and scientific developments that shaped our country.?Illustrated, Maps, Full-Page Illustrations. Contents start with Columbus, last chapter is Since the Civil War. Some of the other contents: Captian Sutter, General Sam Houston, General Andrew Jackson, General George Rogers Clark and lots more.

Aganetha Smart, a 104 éves egykori olimpikon futón? elfeledve él egy nyugdíjasotthonban. Gy?zelmével annak idején mindenkit leny?g?z?tt: a kanadai versenyz? abban az évben nyert aranyat, amikor el?sz?r szerepelhettek n?i atléták az olimpián. Sorsát azonban legalább ennyire meghatározták az els? világháború komor évei, valamint vágya, hogy szembeszálljon korának konvencióival. Egy napon két idegen keresi fel, akik dokumentumfilmet készítenek a régi id?k n?i sportolóiról. A múlt eseményeit megismerve lassan megértjük, miként segített az aranyérem Aganethának megszabadulni a titkokkal terhelt családi ház béklyóitól. ?m a hajdani bajnokn?nek még egy kihívással szembe kell néznie: a filmesek talán nem is azok, mint akiknek mutatják magukat… Carrie Snydert valós t?rténelmi helyzetek inspirálták, hogy megírja fordulatokban gazdag regényét, a becsvágy és a n?i emancipáció t?rténetét, amelyb?l kiderül, hogyan képes határait átlépve a saját életét élni egy n?.

Cartea de fa?? vrea s? relateze succint, dar temeinic, evenimentele petrecute în cei dou?zeci de ani de insecuritate ?i criz? ce au urmat Marelui R?zboi. Indiferent cât de puternice sau de durat? au fost for?ele ce au dus la izbucnirea celui de-al Doilea R?zboi Mondial, a existat un moment când principalii actori pe scena istoriei s-au v?zut nevoi?i s? se confrunte cu aceste for?e ?i s? ia anumite decizii. Marile evenimente ale istoriei î?i genereaz? o dinamic? ?i o desf??urare proprii. Din perspectiva noastr?, a celor de acum, al Doilea R?zboi Mondial pare s? fi izbucnit din cauza crizei interna?ionale provocate de Germania lui Hitler. Îns? nimic din ce se întâmpl? în istorie nu este inevitabil, dup? cum va încerca s? demonstreze acest volum. Dialogul straniu între sistem ?i actorii lui se afl? la baza relat?rii istorice. Evenimentele înse?i pot fi, în acela?i timp, cauz? ?i efect – la fel cum s-a întâmplat ?

Junimea ?i revista Convorbiri literare, pentru o ?ar? ca a noastr?, a tuturor nea?ez?rilor, au fost un suflu de temeinicie care s-a mai repetat ?n perioada interbelic?, f?r? a reu?i s? se coaguleze ca urmare a r?zboiului ?i dictaturilor ce l-au ?nso?it ?i urmat; suflu care pare ?nc? departe, ca s? nu spunem imposibil s? revin? ?n cultura rom?n? sub presiunea globalismului ?i multiculturalismului, a deconstruc?iei cu program ?n toate manifest?rile social-culturale, materiale ?i spirituale. E un model care, dup? o sut? cincizeci de ani, ?nc? ??i trimite razele f?r? a primi o reflectare pe m?sur?.Ceea ce deosebe?te criticismul junimist de criticile epocii ?i, ?n parte, ?i de al ?nainta?ilor este atitudinea comun?, afirmat? de Maiorescu, respectul adev?rului.Importan?a ?i influen?a junimismului ?n sfera politic? sunt de acela?i nivel cu cele afirmate ?n plan cultural ?i literar, e drept, nu cu aceea?i durabilitate, politicul este mult mai efemer, dar nu mai pu?in implicat ?i cu efecte imediate ?i adesea pe termen mediu ?i lung ?n via?a social? a ??rii. (Cassian Maria Spiridon)

Aceast? carte este un demers pe care l-am g?ndit ca pe o lucrare de sintez? care s? surprind?, ?n m?sura posibilit??ilor, puncte de referin?? ?ntre texte ?i autori din perioade diferite, din Evul Mediu european ?i Rena?tere, con?tient? fiind c? epoca medieval? nu trebuie considerat? cu nimic mai prejos dec?t grandorile Greciei vechi sau ale Rena?terii. Problematica acestui concept al Alegoriei ?n receptarea sa de c?tre literatura Evului Mediu, dar ?i de c?tre epocile ulterioare, este complex? ?i bogata bibliografie ce i s-a consacrat ?n ultimele decenii nu face dec?t s? provoace la noi discu?ii ?i interpret?ri a?a cum este ?i aceast? lucrare.

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.

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.

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?“.

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.

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.

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.

ROMANCE and the HISTORY of walled cities are inseparable. Who has not felt this to be so at the sight of hoary ruins lichen-clad and ivy-mantled, that proudly rear their battered crests despite the ravages of time and man’s destructive instincts. It is within walled cities that the life of civilized man began: the walls guarded him against barbarian foes, behind their shelter he found the security necessary to his cultural development, in their defence he showed his finest qualities. And such a city—and such a history is that of Ancient Byzantium, the City of Constantine, the Castle of C?sar. What wonder then that man should endeavour to express by pen and pencil his sense of the greatness and beauty, the Romance of a Walled City such as Constantinople. The more so that a movement is on foot to remove these ancient landmarks of the history of Europe and Asia. True there are other works on this same subject, works by men deeply learned in the history of this fair city, works that bid fair to outlive the city walls if the fell intent of destroying them is carried into execution, and from these men and their works I derived inspiration and information, and so wish to chronicle my gratitude to them—Sir Edwin Pears and Professor van Millingen of Robert College, Constantinople. There are many others too in Constantinople to whom my thanks are due—His Majesty’s Vice-Consul, my host, his colleagues, now my friends, and many others too numerous to mention. They all have helped me in this work, and I am grateful for the opportunity offered me of here recording my thankfulness for their kind offices.B. Granville Baker.

Descent Into Hell is a novel written by Charles Williams, first published in 1937. Williams is less well known than his fellow Inklings, such as C. S. Lewis and J. R. R. Tolkien. Like some of them, however, he wrote a series of novels which combine elements of fantasy fiction and Christian symbolism. Forgoing the detective fiction style of most of his earlier supernatural novels, most of the story's action is spiritual or psychological in nature. It fits the "theological thriller" description sometimes given to his works. For this reason Descent was initially rejected by publishers, though T. S. Eliot's publishing house Faber and Faberwould eventually pick up the novel, as Eliot admired Williams's work, and, though he did not like Descent Into Hell as well as the earlier novels, desired to see it printed.SHORT SUMMARY: The action takes place in Battle Hill, outside London, amidst the townspeople's staging of a new play by Peter Stanhope. The hill seems to reside at the crux of time, as characters from the past appear, and perhaps at a doorway to the beyond, as characters are alternately summoned heavenwards or descend into hell. Pauline Anstruther, the heroine of the novel, lives in fear of meeting her own doppelganger, which has appeared to her throughout her life. But Stanhope, in an action central to the author's own theology, takes the burden of her fears upon himself—Williams called this The Doctrine of Substituted Love—and enables Pauline, at long last, to face her true self. Williams drew this idea from the biblical verse, "Ye shall bear one another's burdens" And so Stanhope does take the weight, with no surreptitious motive, in the most affecting scene in the novel. And Pauline, liberated, is able to accept truth.On the other hand, Lawrence Wentworth, a local historian, finding his desire for Adela Hunt to be unrequited, falls in love instead with a spirit form of Adela, which seems to represent a kind of extreme self-love on his part. As he isolates himself more and more with this insubstantial figure, and dreams of descending a silver rope into a dark pit, Wentworth begins the descent into Hell.HARROWING of HELL: "Christ in Limbo" and "Descent into Hell" redirect here. For the novel by Charles Williams, see Descent into Hell (novel). For the 8th-century Anglo-Saxon liturgical play, see Harrowing of Hell (drama).