You Can Grow Your Own Orchids, Yes You Can! You're probably already thinking to yourself If I have to read a book to grow a flower in a pot, why should I bother?! Yeah, I know –but to be honest, there are a lot of excellent things that come with being able to master at least growing one successful pot of orchids. For one thing, they're gorgeous! Who wouldn't want to say, "Yeah, I grew those…"? Damn right you would! Being a badass indoor gardener is one thing, but tackling tropical plants like orchids is a feat unto itself. It's an artform. Think about it for a second. Most of us do not live in the climate conducive to these beauties just thriving on their own in the wild. Anyone who already actively grows and nurtures any species of orchid knows that you've got to climate control that environment like you wouldn't believe. It's not just about that, but you also must watch other factors too. It's an extremely rewarding yet very challenging experience. In addition, there are so many different species of orchid out there that you can safely assume that each plant you grow is going to be unique to itself. You can get some that you know will definitely be the same color, size or general shape, but we all know that there are so many things unique to each plant. How many flower spikes you end up with after the first blooms dissipate, how many leaves you have, how tall it grows and so many other things are all going to be different. The cool thing is that with the right know-how, you can nurture one potted orchid for years before you have to kiss it goodbye. In fact, you might keep them growing for almost a decade without even realizing it if you can take care them properly. It will also bolster your confidence when it comes to indoor gardening. You might have never planted anything outside, but you can throw these puppies in a pot and watch them go for forever if you follow a few key pointers and stay on top of their care. You just need to lovingly embrace the hobby and be patient with the process. Heck, you could have a whole atrium or sunroom full of tropical flowers by the time you're finished fooling around with different kinds –and there are a lot of them! Just imagine the possibilities… In this book, you're going to learn all about how to start off on the right foot with one of the cantankerous ones: orchids. So get out your gloves, grab a bag of potting mix, start jotting down supplies on a notepad, and get growing!

The book explains what utilitarianism is, why it is the best theory of ethics, defends it against a wide range of criticisms and misunderstandings. Though heavily criticized both in Mill's lifetime and in the years since, Utilitarianism did a great deal to popularize utilitarian ethics and was 'the most influential philosophical articulation of a liberal humanistic morality that was produced in the nineteenth century.'

There was a time when a man in search of the pleasures of gossip sought the society of ladies. The man knows better now. He goes to the smoking-room of his club.

I am an old woman now, and things are very different to what they were in my youth. Then we, who travelled, travelled in coaches, carrying six inside, and making a two days’ journey out of what people now go over in a couple of hours with a whizz and a flash, and a screaming whistle, enough to deafen one. Then letters came in but three times a week: indeed, in some places in Scotland where I have stayed when I was a girl, the post came in but once a month;—but letters were letters then; and we made great prizes of them, and read them and studied them like books. Now the post comes rattling in twice a day, bringing short jerky notes, some without beginning or end, but just a little sharp sentence, which well-bred folks would think too abrupt to be spoken. Well, well! They may all be improvements,—I dare say they are; but you will never meet with a Lady Ludlow in these days.

The story follows a young Russian landowner named Dimitry Sanin who falls deliriously in love for the first time while visiting the German city of Frankfurt. It is widely held as one Turgenev's greatest novels as well as being highly autobiographical in nature.

The beautiful but innocent Paolina Mansfield almost loses her life when the ship that she is a passenger on is tragically wrecked in a storm off the coast of Italy. All aboard, including her father were lost, except just for herself and her handsome rescuer, Sir Harvey Drake, who is a descendant of the famous Sir Francis Drake himself. Already reduced to the point of penury by her father’s addiction to endless gambling, Paolina now has nothing left in her life and no family or friends to come to her aid. But Sir Harvey, by his own admission a ‘gentleman adventurer’, devises a grand plan for her that would save them both, as he also has many financial problems of own in Endland. As Paolina is so beautiful and captivating, he intends to marry her off to a wealthy suitor in Italy and share the resulting riches with her.? Presented to the highest echelons of Venice Society as his sister, Paolina’s demure beauty instantly bewitches some of Venice’s most illustrious and eligible gentlemen and she is overwhelmed by amorous approaches especially from the sinister and extremely rich Duke of Ferrara. Yet she is deeply unhappy. Because it seems that Paolina is condemned to marry someone she does not and cannot love and she has already lost her heart to her swashbuckling but penniless saviour.

Widowed Mrs. Mansforde and her younger daughter Philomena (or 'Mena' for short) are pleasantly surprised when elder daughter Lais returns unannounced to the family home. They have not seen her for an age, not even at her father's funeral. And the news she brings is not so pleasant as it seems that she too has been widowed, but already has another wealthy and prestigious husband in her sights, the highly respected Duke of Kernthorpe. The Duke, who is much older than Lais, has invited her to bring her mother to meet him, an invitation that Lais does not extend to young Mena, seeing how beautiful she has become. Mrs. Mansforde insists that Mena goes with her and then it is decided that she will pose as her mother's employed companion. Once at the Duke's Castle Mena goes for a walk in the garden and then sees a stallion and rider galloping towards her. The horse is clearly out of control and throws the rider so Mena rushes over to see if he has been hurt. He is a handsome young man and when he looks up at Mena he thinks, because she is so beautiful, that she must be a Greek Goddess. He is then most impressed when Mena calms the stallion down by talking to him in a quiet gentle voice. At the Duke's Castle love is to take each of the three women, Mena, Lais and their mother, by surprise and brings them ultimate happiness in the form of entirely unexpected suitors. And it seems that Fate has brought them together at the magnificent but mysterious Kerne Castle.

Young Lady Lettice Burne is outstandingly beautiful with fair hair like sunshine and a flawless pink-and-white complexion. Yet her father, the Earl of Alderburne, desperate to find a wealthy suitor for her to pay off his mountain of accumulated debts, is resigned to the fact that she is immature and empty-headed and therefore unlikely to make the brilliant marriage that he had envisaged for her. So, when the handsome, dashing and rich Maximus Kirby expresses interest in her hand, the Earl is eager to send her to join him in Singapore. Maximus Kirby has been hugely successful in the Far East in trading and has started many profitable businesses that have brought unexpected prosperity to many poor communities. Lettice cannot possibly go to him in Singapore alone. So her sister Lady Dorinda goes, posing as her companion – albeit reluctantly, knowing that she is assuming her usual guise of ‘ugly sister’ thanks to the disfiguring eczema on her face and body that she has suffered from since childhood. To Dorinda’s delight and astonishment the tropical climate miraculously cures her skin complaint and now everybody can see that she is every bit as beautiful as Lettice, including Maximus Kirby. Once in Singapore Dorinda and Lettice face great dangers which Maximus Kirby and Dorinda have to defeat and Lettice becomes more and more determined that she will not marry Maximus Kirby. And will Lady Dorinda finally find the love and the ‘Magnificent Marriage’ that her disease has always denied her?

Uno de los más apuestos y codiciados solteros de Londres, lord Melsonby se encuentra inesperadamente, atrapado en el problema de la hermosa fugitiva, Perlita Lyford, heredera de una fortuna inmensa, huérfana de madre y pierde por último, ?su progenitor, que la deja al cuidado? de una? prima hermana suya, lady Whitton. Lo que su padre no sabía, es que ella se había casado con sir Gerbold, un hombre mucho más joven que ella, y cuando lady Whitton, se murió… él vio la oportunidad de echar mano a su fortuna y de autoproclamarse su tutor. Es este hombreperverso y cruel, que Perlita huye, que solamente quiere casarse con ella, para quedarse con su dinero. Perlita, desesperada e infeliz con el destino que le esperaba, en uno de sus usuales viajes, consiguió escaparse del faetón y llegar a una modesta posada llamada La Cabeza del Rey y enseguida encuentra a lord Melsonby y le pide ayuda. Ahí, empieza un enredo fascinante, entre él y la misteriosa dama, donde se ven mezclados en una romántica aventura, ?que los conduce desde la resplandeciente sociedad victoriana, hasta una peligrosa intriga en Marruecos. Esta es una más, de las muchas obras magistrales, de la más famosa autora moderna del romanticismo, Barbara Cartland .

Lord Heywood regresa de las Guerras Napoleónicas para descubrir que ha heredado un patrimonio, pero no dinero. Cuando visita la propiedad, encuentra a una bella joven viviendo allí, huyendo de su hogar. Mientras está allí, está decidida a ayudarlo a encontrar un artículo valioso, que no forme parte de la propiedad para vender, ?pero por el camino, también encuentran el amor!? Instintivamente, Lord Heywood la apretó en sus brazos y la atrajo aún más cerca, y al hacerlo, se dio cuenta de que la amaba perdidamente. Cuando Miriam levantó la cara para hacer una pregunta, un rayo de luz hizo que Lord Heywood viera sus ojos asustados, su cara muy pálida y sus labios separados. Ella lo necesitaba. Nuestra heroína había estado viviendo en las habitaciones de su difunta madre y estaba decidida a descubrir quién era y por qué había vivido en una casa vacía.? A ella le gustaba el color turqués de la ropa de la cama y cuando de repente ve a lord Heywood, se queda mirándolo con recelo a su héroe. Estaba atrapada por el amor de su vida.? Una historia de intensa pasión y de incertidumbre, donde el amor al fin, siempre vence…???????????????????????

This eBook features the unabridged text of ‘The Complete Poems by George Eliot - Delphi Classics (Illustrated)’ from the bestselling edition of ‘The Complete Works of George Eliot’. 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 Eliot 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 Complete Poems by George Eliot - Delphi Classics (Illustrated)’ * Beautifully illustrated with images related to Eliot’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

There was a young King who ought to have been the happiest monarch in the world. He was blessed with everything a mortal could desire. His palace might have been designed by the Divine architect Himself, so perfect was it in all its parts; and it stood amidst gardens with its dependent village at its gates, like a dream of feudal beauty in a story of romance. Notwithstanding his good fortune, the King was oppressed with what he conceived to be a great trouble.

The playwright J. M. Synge was a key figure in the Irish Literary Revival and was one of the co-founders of the Abbey Theatre. Today he is best known for his controversial play ‘The Playboy of the Western World’, which caused riots in Dublin during its opening run. Synge's writings are chiefly concerned with the world of the Roman Catholic peasants of rural Ireland and with what he saw as the essential paganism of their world view. He was a poetic dramatist of great power, whose modern plays are celebrated for their sophisticated craftsmanship. For the first time in digital publishing, this eBook presents Synge’s complete works, with numerous illustrations, rare texts, informative introductions and the usual Delphi bonus material. (Version 1) * Beautifully illustrated with images relating to Synge’s life and works* Concise introductions to the plays* All 6 plays, with individual contents tables* Images of how the books were first published, giving your eReader a taste of the original texts* Excellent formatting of the texts* Rare poetry available in no other collection* Includes Synge’s prose, featuring many essays and reviews– available in no other collection* Features two biographies, including Yeats’ seminal work ‘Synge and the Ireland of His Time’ – discover Synge’s literary life* Scholarly ordering of texts into chronological order and literary genres Please visit www.delphiclassics.com to browse through our range of exciting titles CONTENTS: The PlaysIn the Shadow of the GlenRiders to the SeaThe Well of the SaintsThe Playboy of the Western WorldThe Tinker’s WeddingDeirdre of the Sorrows The Poetry CollectionsCollected Poems The ProseThe Aran IslandsIn Wicklow and West KerryMiscellaneous Essays and Reviews The BiographiesSynge and the Ireland of His Time by W. B. YeatsBrief Biography of John Millington Synge by William Kirkpatrick Magee Please visit www.delphiclassics.com to browse through our range of exciting titles or to purchase this eBook as a Parts Edition of individual eBooks

THE history, the features, and the most famous examples of European architecture, during a period extending from the rise of the Gothic, or pointed, style in the twelfth century to the general depression which overtook the Renaissance style at the close of the eighteenth, form the subject of this little volume. I have endeavoured to adopt as free and simple a mode of treatment as is compatible with the accurate statement of at least the outlines of so very technical a subject. Though it is to be hoped that many professional students of architecture will find this hand-book serviceable to them in their elementary studies, it has been my principal endeavour to adapt it to the requirements of those who are preparing for the professional pursuit of the sister arts, and of that large and happily increasing number of students who pursue the fine arts as a necessary part of a complete liberal education, and who know that a solid and comprehensive acquaintance with art, especially if joined to some skill in the use of the pencil, the brush, the modelling tool, or the etching needle, will open sources of pleasure and interest of the most refined description. The broad facts of all art history; the principles which underlie each of the fine arts; and the most precious or most noteworthy examples of each, ought to be familiar to every art student, whatever special branch he may follow. Beyond these limits I have not attempted to carry this account of Gothic and Renaissance architecture; within them I have endeavoured to make the work as complete as the space at my disposal permitted. THE architecture generally known as Gothic, but often described as Christian Pointed, prevailed throughout Europe to the exclusion of every rival for upwards of three centuries; and it is to be met with, more or less, during two others. Speaking broadly, it may be said that its origin took place in the twelfth century, that the thirteenth was the period of its development, the fourteenth that of its perfection, and the fifteenth that of its decline; while many examples of its employment occur in the sixteenth. In the following chapters the principal changes in the features of buildings which occurred during the progress of the style in England will be described. Subsequently, the manner in which the different stages of development were reached in different countries will be given; for architecture passed through very nearly the same phases in all European nations, though not quite simultaneously. It must be understood that through the whole Gothic period, growth or at least change was going on; the transitions from one stage to another were only periods of more rapid change than usual. The whole process may be illustrated by the progress of a language. If, for instance, we compare round-arched architecture in the eleventh century to the Anglo-Saxon form of speech of the time of Alfred the Great, and the architecture of the twelfth century to the English of Chaucer, that of the thirteenth will correspond to the richer language of Shakespeare, that of the fourteenth to the highly polished language of Addison and Pope, and that of the fifteenth to the English of our own day. We can thus obtain an apt parallel to the gradual change and growth which went on in architecture; and we shall find that the oneness of the language in the former case, and of the architecture in the latter, was maintained throughout. For an account of the Christian round-arched architecture which preceded Gothic, the reader is referred to the companion volume in this series. Here it will be only necessary briefly to review the circumstances which went before the appearance of the pointed styles.

"Where ocean bathes earth's footstool these sea-bowersBedeck its solid wavelets: wise was heWho blended shore with deep, with seaweed flowers,And Naiads' rivulets with Nereids' sea." Strictly speaking the peninsula on which the city stands is of the form of a trapezium. It juts out into the sea, beating back as it were the fierce waves of the Bosphorus, and forcing them to turn aside from their straight course and widen into the Sea of Marmora, which the ancients called the Propontis, narrowing again as it forces its way between the near banks of the Hellespont, which rise abrupt and arid from the European side, and slope gently away in Asia to the foot of Mount Ida. Northwards there is the little bay of the Golden Horn, an arm as it were of the Bosphorus, into which run the streams which the Turks call the Sweet Waters of Europe. The mouth of the harbour is no more than five hundred yards across. The Greeks of the Empire spanned it by a chain, supported here and there on wooden piles, fragments of which still remain in the Armoury that was once the church of S. Irene. Within is safe anchorage in one of the finest harbours of the world. South of the Golden Horn, on the narrow tongue of land—narrow it seems as seen from the hills of the northern shore—is the city of Constantine and his successors in empire, seated, like the old Rome, on seven hills, and surrounded on three sides by sea, on the fourth by the still splendid, though shattered, medi?val walls. Northwards are the two towns, now linked together, of Pera and Galata, that look back only to the trading settlements of the Middle Ages.The single spot united, as Gibbon puts it, the prospects of beauty, of safety, and of wealth: and in a masterly description that great historian has collected the features which made the position, "formed by Nature for the centre and capital of a great monarchy," attractive to the first colonists, and evident to Constantine as the centre where he could best combine and command the power of the Eastern half of his mighty Empire. Byzantium Before Constantine.It is impossible to approach Constantinople without seeing the beauty and the wonder of its site. Whether you pass rapidly down the Bosphorus, between banks crowned with towers and houses and mosques, that stretch away hither and thither to distant hills, now bleak, now crowned with dark cypress groves; or up from the Sea of Marmora, watching the dome of S. Sophia that glitters above the closely packed houses, till you turn the point which brings you to the Golden Horn, crowded with shipping and bright with the flags of many nations; or even if you come overland by the sandy wastes along the shore, looking across the deep blue of the sea to the islands and the snow-crowned mountains of Asia, till you break through the crumbling wall within sight of the Golden Gate, and find yourself at a step deep in the relics of the middle ages; you cannot fail to wonder at the splendour of the view which meets your eyes. Sea, sunlight, the quaint houses that stand close upon the water's edge, the white palaces, the crowded quays, and the crowning glory of the Eastern domes and the medi?val walls—these are the elements that combine to impress, and the impression is never lost. Often as you may see again the approach to the imperial city, its splendour and dignity and the exquisite beauty of colour and light will exert their old charm, and as you put foot in the New Rome you will feel all the glamour of the days that are gone by.

Leonardo's views of aesthetic are all important in his philosophy of life and art. The worker's thoughts on his craft are always of interest. They are doubly so when there is in them no trace of literary self-consciousness to blemish their expression. He recorded these thoughts at the instant of their birth, for a constant habit of observation and analysis had early developed with him into a second nature. His ideas were penned in the same fragmentary way as they presented themselves to his mind, perhaps with no intention of publishing them to the world. But his ideal of art depended intimately, none the less, on the system he had thrown out seemingly in so haphazard a manner. The long obscurity of the Dark Ages lifted over Italy, awakening to a national though a divided consciousness. Already two distinct tendencies were apparent. The practical and rational, on the one hand, was soon to be outwardly reflected in the burgher-life of Florence and the Lombard cities, while at Rome it had even then created the civil organization of the curia. The novella was its literary triumph. In art it expressed itself simply, directly and with vigour. Opposed to this was the other great undercurrent in Italian life, mystical, religious and speculative, which had run through the nation from the earliest times, and received fresh volume from mediaeval Christianity, encouraging ecstatic mysticism to drive to frenzy the population of its mountain cities. Umbrian painting is inspired by it, and the glowing words of Jacopone da Todi expressed in poetry the same religious fervour which the life of Florence and Perugia bore witness to in action. Italy developed out of the relation and conflict of these two forces the rational with the mystical. Their later union in the greater men was to form the art temperament of the Renaissance. The practical side gave it the firm foundation of rationalism and reality on which it rested; the mystical guided its endeavour to picture the unreal in terms of ideal beauty.The first offspring of this union was Leonardo. Since the decay of ancient art no painter had been able to fully express the human form, for imperfect mastery of technique still proved the barrier. Leonardo was the first completely to disengage his personality from its constraint, and make line express thought as none before him could do. Nor was this his only triumph, but rather the foundation on which further achievement rested. Remarkable as a thinker alone, he preferred to enlist thought in the service of art, and make art the handmaid of beauty. Leonardo saw the world not as it is, but as he himself was. He viewed it through the atmosphere of beauty which filled his mind, and tinged its shadows with the mystery of his nature. From his earliest years, the elements of greatness were present in Leonardo. But the maturity of his genius came unaffected from without. He barely noticed the great forces of the age which in life he encountered. After the first promise of his boyhood in the Tuscan hills, his youth at Florence had been spent under Verrocchio as a master, in company with those whose names were later to brighten the pages of Italian art. At one time he contemplated entering the service of an Oriental prince. Instead, he entered that of Caesar Borgia, as military engineer, and the greatest painter of the age became inspector of a despot's strongholds. But his restless nature did not leave him long at this. Returning to Florence he competed with Michelangelo; yet the service of even his native city could not retain him. His fame had attracted the attention of a new patron of the arts, prince of the state which had conquered his first master. In this his last venture, he forsook Italy, only to die three years later at Amboise, in the castle of the French king.

Hogyan váltak a lovak az emberiség kiszolgálóivá?A lovak évezredek óta jelen vannak az emberek életében: hatalmas erejüket és engedelmességüket kihasználva dolgoznak, küzdenek, hódítanak.De hogyan lehetséges, hogy a 60-65 millió éve a F?ld?n él? állatokat végül az ember igába hajthatta? Ez a regény err?l is szól, fantasztikus, mesés elemekkel telet?zdelve. Kül?n?s mozzanat a t?rténetben a lovak találkozása az emberekkel, akik a F?ldész nev?, egy a F?ldh?z hasonló élhet? bolygóról érkeztek, és egyedül ezekben csodás állatokban találták meg azt az akarater?t és intelligenciát, ami alkalmassá teszi ?ket majd a f?ldi emberi társadalmak kialakítására.Fuli Sándor kalandos regénye az életigenlésr?l felhívja fiatal olvasói figyelmét a minden nehézséggel való bátor szembenézés fontosságára.

Н?л Фер?юсон зауважу?: ?Ще на початку XV стол?ття сама лише думка про те, що наступн? п’ять стол?ть Зах?д буде дом?нувати над рештою св?ту, здалася б дуже дивною. А вт?м, це сталося?. ? нин? могутн?сть Заходу вража? нав?ть найбагатшу уяву... То чому ж так трапилося? Чому ?вропа, що на 1500-й р?к поступалася Сходу за багатьма показниками — економ?чними, технолог?чними, демограф?чними, — зум?ла р?зко рвонути уперед ? досягти безперечного св?тового панування? Як? складов? усп?ху зах?дно? цив?л?зац??? Саме ц? дражлив? питання украй см?ливо, часом нав?ть зухвало, а проте надзвичайно захопливо висв?тлю? Н?л Фер?юсон.

Дарону Аджемо?лу ? Джеймсу Роб?нсону вдалося, здавалося б, неможливе — в?дпов?сти на питання, яке до них безрезультатно вивчали стол?ттями: чому одн? кра?ни багат?, а ?нш? — б?дн?????рунтуючись на п’ятнадцятир?чних досл?дженнях у галузях ?стор??, пол?толог?? та економ?ки, автори легко ? доступно пояснюють, чому економ?чний усп?х держав не залежить в?д культури, кл?мату чи географ?чного положення.??Аджемо?лу та Роб?нсон переконан?: кра?ни стали найусп?шн?шими через те, що ?хн? громадяни повалили владну ел?ту ? створили сусп?льства, де головною ц?нн?стю стали р?вн? економ?чн? та пол?тичн? права кожного. На ?хню думку, саме свобода робить св?т багатшим.??Книга ?Чому нац?? занепадають? — сво?р?дний пос?бник, який допоможе краще зрозум?ти причини, що сприяють процв?танню держав та ?хньому занепаду.

In June 1863, General Robert E. Lee and the 75,000-strong Army of Northern Virginia launched a second invasion of the North, crossing into Maryland and Pennsylvania to try to win a decisive victory over Federal forces. On July 1, Lee’s army encountered Major General Meade’s 90,000 strong Army of the Potamac at the small town of Gettysburg. After some initial success in dispersing the Federal advance guard, Lee launched attack after attack against the main army, but everywhere the Union line held. On July 3, Lee ordered a final assault of 12,500 Confederates at the center of the Union line on Cemetery Ridge, known as Pickett’s Charge. The charge was repulsed with huge loss of life, bringing the battle to an end. Today, Gettysburg is recognized as the turning point in the Civil War and one of the iconic battles of the great struggle between North and South. Lee’s gamble didn’t pay off, leaving the Army of Northern Virginia fatally weakened and unable to continue its invasion of the North. Gettysburg is divided into five chapters, outlining the campaign, the fighting on July 1, July 2, and July 3, as well as a chapter dealing with the aftermath; an extended appendices provides biographical background of the main Federal and Confederate leaders who fought in the battle. Through letters, journal entries, and official reports, the book includes numerous first-hand accounts from those who survived. Color maps show the battle as it unfolded over three days of fighting in places that have a place in Civil War legend: Seminary Ridge, Little Round Top, Cemetery Hill, Devil’s Den, the Wheat Field, Culp’s Hill, the Peach Orchard. Including more than 200 archival photographs, illustrations, paintings, and maps, Gettysburg is a colorful, accessible guide to the great battle that marked the turning point in the Civil War.

A collection of three enchanting plays adapted from popular fairy tales and suitable for family audiences:?Tin Soldier (adapted from The Steadfast Tin Soldier by Hans Christian Andersen), A Tasty Tale (Hansel and Gretel), Hood in the Wood (Little Red Riding Hood). Acclaimed playwright Noel Greig, has recreated these well-known tales for the stage with wit and imagination. All three plays have been performed throughout the UK by Tangere Arts, winning a? Time Out Critics' Choice Award . Teachers, youth theatres and amateur groups working with young performers will use this collection time and again for productions, drama classes and workshops - whether for one performer or many. Suitable for children aged 7+ The simple form and language of the plays belie their theatrical and psychological sophistication. Tin Soldier ' a powerful poetic drama, an epic fable for our times.' **** ?Independent A Tasty Tale (Hansel and Gretel) ' Delicious moments... fashioned into a rhyming feast.' ****?Time Out Hood in the Wood (Little Red Riding Hood) ' a first-rate piece of storytelling that will make children squeal with terrified delight and parents shiver with recognition. ' **** ?Guardian