Classic Shakespearean drama. According to Wikipedia: "Troilus and Cressida is a tragedy by William Shakespeare, believed to have been written in 1602. The play (also described as one of Shakespeare's problem plays) is not a conventional tragedy, since its protagonist (Troilus) does not die. The play ends instead on a very bleak note with the death of the noble Trojan Hector and destruction of the love between Troilus and Cressida. Throughout the play, the tone lurches wildly between bawdy comedy and tragic gloom, and readers and theatre-goers have frequently found it difficult to understand how one is meant to respond to the characters. However, several characteristic elements of the play (the most notable being its constant questioning of intrinsic values such as hierarchy, honor and love) have often been viewed as distinctly "modern"..."

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

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

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

One of Shakespeare's "problem" plays. (Not quite a comedy, not quite a romance). According to Wikipedia: "Measure for Measure is a play by William Shakespeare, believed to have been written in 1603 or 1604. It was originally classified as a comedy, but is now also classified as one of Shakespeare's problem plays. Originally published in the First Folio of 1623, the play's first recorded performance was in 1604. The play deals with the issues of mercy, justice, truth and their relationship to pride and humility: "Some rise by sin, and some by virtue fall"

Paradise Lost (1667), Paradise Regained (1671), Samson Agonistes (1671), and Minor Poems (1645). According to Wikipedia: "John Milton (December 9, 1608 ? November 8, 1674) was an English poet, prose polemicist, and civil servant for the Commonwealth of England. Most famed for his epic poem Paradise Lost, Milton is celebrated as well for his treatise condemning censorship, Areopagitica. Long considered the supreme English poet, Milton experienced a dip in popularity after attacks by T. S. Eliot and F. R. Leavis in the mid 20th century; but with multiple societies and scholarly journals devoted to his study, Milton's reputation remains as strong as ever in the 21st century."

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

Sometimes classified as tragedy, sometimes as comedy, and sometimes as "problem play." According to Wikipedia: "The Life of Timon of Athens is a play by William Shakespeare about the legendary Athenian misanthrope Timon (and probably influenced by the philosopher of the same name, as well), generally regarded as one of his most obscure and difficult works. Originally grouped with the tragedies, it is generally considered such, but some scholars group it with the problem plays."

The classic comedy. According to Wikipedia: "As You Like It is a pastoral comedy by William Shakespeare believed to have been written in 1599 or early 1600 and first published in the folio of 1623. The work was based upon the novel Rosalynde by Thomas Lodge. The play's first performance is uncertain, though a performance at Wilton House in 1603 has been suggested as a possibility. As You Like It follows its heroine Rosalind as she flees persecution in her uncle's court to find safety and eventually love in the Forest of Arden. Historically, critical response has varied, with some critics finding the work of lesser quality than other Shakespearean works and some finding the play a work of great merit. The play features one of Shakespeare's most famous and oft-quoted soliloquies, "All the world's a stage" and the phrase "too much of a good thing." The play remains a favorite among audiences and has been adapted for radio, film, and musical theatre."

The classic comedy. According to Wikipedia: "Much Ado About Nothing is a romantic comedy by William Shakespeare set in Messina, Sicily about a pair of lovers named Claudio and Hero due to be married in a week. To pass the time before their wedding day they conspire with Don Pedro, the prince of Aragon, to trick their friends, Beatrice and Benedick, into confessing their love for one another. The prince's brother Don John, however, jealous of both Don Pedro's power and his affection for Claudio, conspires to sabotage the coming wedding."

According to Wikipedia: "Jonathan Swift (30 November 1667 – 19 October 1745) was an Anglo-Irish satirist, essayist, political pamphleteer (first for the Whigs, then for the Tories), poet and cleric who became Dean of St. Patrick's Cathedral, Dublin. He is remembered for works such as Gulliver's Travels, A Modest Proposal, A Journal to Stella, Drapier's Letters, The Battle of the Books, An Argument Against Abolishing Christianity, and A Tale of a Tub. Swift is probably the foremost prose satirist in the English language, and is less well known for his poetry. Swift originally published all of his works under pseudonyms—such as Lemuel Gulliver, Isaac Bickerstaff, M.B. Drapier—or anonymously. He is also known for being a master of two styles of satire: the Horatian and Juvenalian styles."

The classic comedy. According to Wikipedia: "The Comedy of Errors is one of William Shakespeare's earliest plays, believed to have been written between 1589 and 1594. It is his shortest and one of his most farcical, with a major part of the humour coming from slapstick and mistaken identity, in addition to puns and wordplay. The Comedy of Errors (along with The Tempest) is one of only two of Shakespeare's plays to observe the classical unities. It has been adapted for opera, stage, screen and musical theatre. The Comedy of Errors tells the story of two sets of identical twins. Antipholus of Syracuse and his servant, Dromio of Syracuse, arrive in Ephesus, which turns out to be the home of their twin brothers, Antipholus of Ephesus and his servant, Dromio of Ephesus. When the Syracusans encounter the friends and families of their twins, a series of wild mishaps based on mistaken identities lead to wrongful beatings, a near-incestuous seduction, the arrest of Antipholus of Ephesus, and accusations of infidelity, theft, madness, and demonic possession."

The 3-volume Oxford edition, edited by Thomas Hutchinson, and first published in 1914. According to Wikipedia: "Percy Bysshe Shelley (August 4, 1792 – July 8, 1822) was one of the major English Romantic poets and is widely considered to be among the finest lyric poets of the English language. He is perhaps most famous for such anthology pieces as Ozymandias, Ode to the West Wind, To a Skylark, and The Masque of Anarchy. However, his major works were long visionary poems including Alastor, Adonais, The Revolt of Islam, Prometheus Unbound and the unfinished The Triumph of Life."

Exila?i este singura pies? scris? de Joyce, unde ??i face manifest?, prin regulile speciei, predilec?ia pentru m??tile puse fiec?rui personaj. Citit? ca o trecere ?n ordine cronologic? de la Portret al artistului ?n tinere?e la Ulise, piesa con?ine m?rci clare ale obsesiilor scriitorului ?i urme vizibile ale experien?ei omului James Joyce. Rela?iile de dragoste, parentale sau de prietenie sunt cele care dezechilibreaz? personajele, exilul temporar ?n Italia fiind doar o alt? form? a ?nstr?in?rii din Irlanda natal?.

Alessandro di Mariano di Vanni Filipepi, better known as Sandro Botticelli ( 1445 – 1510), was an Italian painter of the Early Renaissance. He belonged to the Florentine school under the patronage of Lorenzo de' Medici, a movement that Giorgio Vasari would characterize less than a hundred years later as a "golden age", a thought, suitably enough, he expressed at the head of his Vita of Botticelli. Botticelli's posthumous reputation suffered until the late 19th century; since then his work has been seen to represent the linear grace of Early Renaissance painting. Among his best known works are The Birth of Venus and Primavera. In 1481, Pope Sixtus IV summoned Botticelli and other prominent Florentine and Umbrian artists to fresco the walls of the Sistine Chapel. The iconological program was the supremacy of the Papacy. Sandro's contribution included the Temptations of Christ, the Punishment of the Rebels and Trial of Moses. He returned to Florence, and "being of a sophistical turn of mind, he there wrote a commentary on a portion of Dante and illustrated the Inferno which he printed, spending much time over it, and this abstention from work led to serious disorders in his living." Thus Vasari characterized the first printed Dante (1481) with Botticelli's decorations; he could not imagine that the new art of printing might occupy an artist. The masterpieces Primavera (c. 1482) and The Birth of Venus (c. 1485) were both seen by Vasari at the villa of Lorenzo di Pierfrancesco de' Medici at Castello in the mid-16th century, and until recently, it was assumed that both works were painted specifically for the villa. Recent scholarship suggests otherwise: the Primavera was painted for Lorenzo's townhouse in Florence, and The Birth of Venus was commissioned by someone else for a different site. By 1499, both had been installed at Castello. In these works, the influence of Gothic realism is tempered by Botticelli's study of the antique. But if the painterly means may be understood, the subjects themselves remain fascinating for their ambiguity. The complex meanings of these paintings continue to receive widespread scholarly attention, mainly focusing on the poetry and philosophy of humanists who were the artist's contemporaries. The works do not illustrate particular texts; rather, each relies upon several texts for its significance. Of their beauty, characterized by Vasari as exemplifying "grace" and by John Ruskin as possessing linear rhythm, there can be no doubt. In the mid-1480s, Botticelli worked on a major fresco cycle with Perugino, Domenico Ghirlandaio and Filippino Lippi, for Lorenzo the Magnificent's villa near Volterra; in addition he painted many frescoes in Florentine churches. In 1491 he served on a committee to decide upon a fa?ade for the Cathedral of Florence.

In issuing this second treatise on Crayon Portraiture, Liquid Water Colors and French Crystals, for the use of photographers and amateur artists, I do so with the hope and assurance that all the requirements in the way of instruction for making crayon portraits on photographic enlargements and for finishing photographs in color will be fully met. To these I have added complete instructions for free-hand crayons. This book embodies the results of a studio experience of twenty-four years spent in practical work, in teaching, and in overcoming the everyday difficulties encountered, not alone in my own work, but in that of my pupils as well. Hence the book has been prepared with special reference to the needs of the student. It presents a brief course of precepts, and requires on the part of the pupil only perseverance in order that he may achieve excellence. The mechanical principles are few, and have been laid down in a few words; and, as nearly all students have felt, in the earlier period of their art work, the necessity of some general rules to guide them in the composition and arrangement of color, I have given, without entering into any profound discussion of the subject, a few of its practical precepts, which, it is hoped, will prove helpful. While this book does not treat of art in a very broad way, yet I am convinced that those who follow its teachings will, through the work they accomplish, be soon led to a higher appreciation of art. Although this kind of work does not create, yet who will say that it will not have accomplished much if it shall prove to be the first step that shall lead some student to devote his or her life to the sacred calling of art? It has been said that artists rarely, if ever, write on art, because they have the impression that the public is too ill-informed to understand them—that is, to understand their ordinarily somewhat technical method of expression. If, therefore, in the following pages I may sometimes seem to take more space and time for an explanation than appears necessary, I hope the student will overlook it, as I seek to be thoroughly understood. My hope with reference to this work is that it may prove of actual value to the earnest student in helping him reach the excellence which is the common aim of all true artists. ? ?J. A. Barhydt. About Author: To many who know nothing about the art of crayon portraiture, the mastery of it not only seems very difficult, but almost unattainable. In fact, any work of art of whatever description, which in its execution is beyond the knowledge or comprehension of the spectator, is to him a thing of almost supernatural character. Of course, this is more decided when the subject portrayed carries our thoughts beyond the realms of visible things. But the making of crayon portraits is not within the reach alone of the trained artist who follows it as a profession. I claim that any one who can learn to write can learn to draw, and that any one who can learn to draw can learn to make crayon portraits. Making them over a photograph, that is, an enlargement, is a comparatively simple matter, as it does not require as much knowledge of drawing as do free-hand crayons. But you must not suppose that, because the photographic enlargement gives you the drawing in line and an indistinct impression of the form in light and shade, you are not required to draw at all in making a crayon portrait over such an enlargement. Some knowledge of drawing is necessary, though not a perfect knowledge. Many people err in supposing that only the exceptionally skilled can produce the human features in life-like form upon the crayon paper. While recognizing great differences in natural aptitude for drawing in different persons, just as those who use the pen differ widely in their skill, some being able to write with almost mechanical perfection of form, I still hold that any one who is able to draw at all can succeed in producing creditable crayons.. J. A. Barhydt.

E tündérjátékról úgy tartják, egy f?úri esküv? alkalmából íródott. Err?l szól maga a darab is, a szerelemr?l, a házasságról, a szenvedélyr?l, az akadályok legy?zésér?l. A Szentivánéj egyetlen hatalmas nászéjszaka. Puck, a csúfondáros apród, aki miatt kit?r a háborúság a tündérkirály és tündérkirályn? k?z?tt, minden kerget?z?, egymást ?z? szerelmesnek jelképe lehet, akik szüntelen váltakozásban gerjednek egyért s taszítják el a másikat. Mintha a való életben is Puck gonosz varázslatára fordulna meg minden, majd jótékony varázslatára az éj végére valahogy mégis ?sszerendez?djék. Tündéri álomvilág cívódással, féltéssel, ellenállhatatlan vágyakkal.

William Shakespeare egyik legnagyobb m?ve a Macbeth, a hatalomvágytól megszállott gyenge ember drámája. Macbethnek egyszer azt j?vend?lik, hogy király lesz. Felesége ?szt?nzésére és segítségével, hogy beteljesedjék a jóslat, álmában meg?lik a náluk vendégesked? királyt. Tettüket a leitatott ?r?kre fogják, akiknek nincs is idejük tiltakozásra a hamis vád ellen, mert Macbeth sz?rny? ?felindultságában” meg?li ?ket. A hatalmat, a rangot azonban nem tudják élvezni…

A magyar turanizmus jellegzetesen magyar és teljességgel elhallgatott eszmeáramlat: akik benne voltak, igyekeztek még a nyomait is eltüntetni. Pedig a magyar k?zvéleményt a 19. század eleje óta izgatta a magyarság keleti eredete és nyugati mintak?vetése k?zti ellentmondás. Vissza kell-e fordulnunk keletre? Létrej?het-e a ?turáni népek” ?sszefogása? Van-e a magyaroknak küldetésük Keleten? Vagy éppen Nyugaton? Száz évvel ezel?tt magyar expedíciók rótták Anatólia, a Balkán és Dél-Oroszország útjait, a magyar kormány hatalmas ?sszegeket áldozott, hogy keleti ?szt?ndíjasokat hozzon Magyarországra, magyar üzletemberek próbáltak piacot találni a K?zel-Keleten, és a turanizmus divatjának k?sz?nhet? az els? külf?ldi magyar intézet megnyitása is. A két világháború k?z?tt az eszmeáramlat számos befolyásos értelmiségit kísértett meg, majd 1945 után elhallgattatták. Ennek ellenére túlélte az államszocializmus éveit, és újra teret nyert a rendszerváltozás után. Ez a k?nyv nemcsak a turanizmus, hanem a Keletr?l való gondolkodás és politikai konzekvenciáinak t?rténete is. Izgalmas, másfél évszázados utazás Tibett?l Argentínáig, Tartutól Isztambulig. Felbukkan benne a turáni egyistenhív? rádióm?szerész, a feministából lett vércsoportkutató f?ldbirtokosleány, a monoklis múzeumalapító, aki egyszerre találta ki a világbékét és a l?vészárokásó gépet, néhány pénzhamisító, illetve a mérn?k, aki megállapította a magyar–maori rokonságot. Turanista emlékek k?z?tt élünk – csak nem tudunk róluk. Ablonczy Balázs (1974) t?rténész, az ELTE BTK oktatója és az MTA BTK T?rténettudományi Intézetének tudományos f?munkatársa. Doktori címét 2004-ben szerezte, tanított és kutatott Londonban, Párizsban, Berlinben és az Egyesült ?llamokbeli Bloomingtonban. 2011 és 2015 k?z?tt a Párizsi Magyar Intézet igazgatója volt. Jelenleg az MTA Lendület-pályázatán támogatott Trianon 100 kutatócsoport vezet?je, Budapesten él.

Kádár János és a nevével fémjelzett korszak megítélése napjainkig élesen megosztja a magyar k?zvéleményt. Ennek egyik ered?je az a hatvanas évek elején meghirdetett ?sz?vetségi politika”, amely egy újfajta kiegyezés reményében együttm?k?d?k, ?társutasok” megnyerésével igyekezett alkut k?tni a magyar társadalommal. Az ennek érdekében hozott politikai, gazdasági intézkedések a t?rténeti elemzések révén mára jól ismertek. Kádár hatalomtechnikai t?rekvéseinek mélyebb rétegei, személyes dimenziói azonban részben még ma is feltáratlanok. Kik voltak azok, akikkel a pártállami vezet?k a megújuló hatalomgyakorlási mód jegyében párbeszédet kezdtek? Milyen korábbi mintákat hasznosított az MSZMP ?sz?vetségi politikájának” kialakítása során? Milyen út vezetett addig, amíg az 1956-os forradalom leverése után ?t évvel elhangozhatott a kádárizmus jelszava, a bibliai mondást kifordító ?aki nincs ellenünk, az velünk van” mottó? TABAJDI G?BOR legújabb k?tete a ?kádárizmus” hatalomtechnikai módszereinek kialakulását mutatja be, és azt a hatalom birtokosai, a magyar kommunisták, illetve Kádár János politikája fel?l értelmezi. ?tfogó elemzéséhez a r?vid és hosszú távú, kül-, illetve belpolitikai folyamatok bemutatása mellett eddig nem publikált titkosszolgálati dokumentumokat is felhasznál.

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