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.

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

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

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

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.

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

Na prostorima nekada?nje Jugoslavije u posljednjih sto godina dogodile su se vi?estruke promjene, nastajale su? i nestajale dr?ave i politi?ki sistemi, doga?ali su se brojni ratovi i prevrati, povijest je nemilice mar?irala ulicama razdvajaju?i obitelji i tra?e?i od pojedinca da joj se povinuje ili suprotstavi. O jednoj takvoj povijesti pi?e Igor ?tiks? u svojoj kapitalnoj knjizi Dr?avljanin, gra?anin, stranac, neprijatelj. Nastala kao plod dugogodi?njeg bavljenja temama dr?avljanstva i gra?anstva na doktorskim? i postdoktorskim studijima, niza predavanja i referata te iznimnoga terenskog rada, ova knjiga kao nijedna do sada propituje pravo pojedinca i njegovu ulogu unutar dr?ave. ?tiks iz pojma dr?avljanina i gra?anina razvija i dokazuje tezu o mijenama politi?kih sistema i zajednica te koliko su i kako utjecali na poziciju i ?ivot pojedinca. Odgovara na pitanja ?to uop?e zna?i biti dr?avljanin, biti uklju?en ili pak isklju?en, kako se osje?ati u poziciji gra?anina i ?to se doga?a kada se ona mijenja u onu stranca ili pak neprijatelja. Knjiga Dr?avljanin, gra?anin, stranac, nepri?jatelj povijesna je, kulturolo?ka i sociolo?ka, ali prije svega politi?ka studija koja pokazuje koliko su krhki identiteti, kako se lako stvaraju i grade novi te koliko je pitanje dr?avljanstva i gra?anstva va?no i danas.

Europa, 1900.–1914.: svijet u tra?enju, pulsiraju?e razdoblje kreativ?nosti i suprotnosti. Glavne su teme terorizam, globalizacija, imigranti, konzumerizam, propast moralnih vrijednosti i suparni?tvo velikih sila. Dvadeseto stolje?e nije se rodilo u rovovima kod Somme ili Passchendaela, nego u petnaest vrtoglavih godina koje su prethodile Prvome svjetskom ratu. U kratkom razdoblju novi svjetski poredak proiza?ao je iz tragi?nih suprotnosti staroga. Posljedice industrijske revolucije, na politi?kom i osobnom planu, osje?ale su se u cijelom svijetu: gradovi rastu zbog pristizanja seoskog stanovni?tva koje napu?ta svoje tradicionalne vrijednosti, znanost donosi napredak, ali i izume iz no?nih mora, obrazovanje je milijunima ljudi otvorilo nove mogu?nosti, masovno proizvedeni predmeti promijenili su svakodnevni ?ivot, radnici zahtijevaju udio u politi?koj vlasti, ?ene ?ele promijeniti svoj polo?aj u dru?tvu i prirodu seksualnih odnosa. Od nevjerojatne nade u novo stolje?e koju je utjelovio Svjetski sajam u Parizu 1900. do atentata na austrijskog nadvojvodu u Sarajevu 1914., povjesni?ar Philipp Blom ovo razdoblje istra?uje godinu po godinu. Premijeri i seljaci, anarhisti i glumice, znanstvenici i psihopati susre?u se na pozornici novoga stolje?a u ovom prikazu rasko?noga, nestabilnog doba na rubu katastrofe. Prelijepo napisana i puna vje?to ispri?anih anegdota, knjiga Vrtoglave godine o?ivljava ?udesa, u?ase i strahove ranoga dvadesetog stolje?a.

The Interrelation Between Art Worlds is a part of PhD thesis and it deals with the simultaneous and successive art using the illustrations of Bhagavad Gita, in 18 chapters, where each chapter has two versions. The substance of the author's interest is a transfer of thoughts and feelings from the ancient Indian epic, through visual elements, that is, the visualization of temporal arts. She tried to explain the philosophy of Bhagavad Gita?through composition, color, contrast, third dimension, structure, texture, proportion, rhythm and dynamics, which is particular because in India philosophy equals religion, and vice versa. Described is also the analogy between temporal and spatial arts, such as color (valeur), music (chord). Through the synergy of meaning and radiation on the illustrations, we can achieve experience of "reading the image". ? Tatjana Burzanovi? is a writer, artist, graphics designer, and interior designer, professor at the Faculty of Culture and Tourism, where she teaches Indian culture, and Faculty of Design and Multimedia, at the University of Donja Gorica in Podgorica, Montenegro. She graduated from Academy of Fine Arts in Sarajevo, and acquired her PhD at Faculty of Art and Design at the University of Belgrade. She presented her works in numerous solo and group exhibitions, and took part in several artistic and pedagogical colonies. She received several awards for her book designs. The book The Interrelation Between Art Worlds?was awarded at 11th Book Fair in Podgorica for the best designed art book.

Idu?i ?enskom stranom hrvatske knji?evnosti Lidija Duji? sla?e koncizan i zanimljiv pregled izabranog segmenta doma?e knji?evne povijesti. Ocrtava sociolo?ke krokije hrvatskih knji?evnica, iznosi kratke karakterizacije, uzgred problematiziraju?i ?enski geto didakti?ke i dje?je knji?evnosti. Analiziraju?i i ponovno vrednuju?i neka djela, prihva?ena pod etiketom ??enskog pisma“, autorica dovodi u pitanje mnoga op?a mjesta, ne ?tite?i se krinkom autoriteta znanstvene objektivnosti – pi?u?i u prvom licu. Knjiga se temelji na njezinoj doktorskoj disertaciji, ali je pisana popularno te je namijenjena ?iroj publici.

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

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

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

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

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

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

The classic Shakespearean romance, with line numbers. According to Wikipedia: "Cymbeline is a play by William Shakespeare, based on legends concerning the early Celtic British King Cunobelinus. Although listed as a tragedy in the First Folio, modern critics often classify Cymbeline as a romance. Like Othello, Measure for Measure, and The Winter's Tale, it deals with the themes of innocence and jealousy. While the precise date of composition remains unknown, the play was certainly produced as early as 1611."

The classic tragedy. According to Wikipedia: "Macbeth is a tragedy by William Shakespeare about a regicide and its aftermath. It is Shakespeare's shortest tragedy, and is believed to have been written some time between 1603 and 1606 with 1607 being the very latest possible date. The earliest account of a performance of what was likely Shakespeare's play is April 1611, when Simon Forman recorded seeing such a play at the Globe Theatre. It was first published in the Folio of 1623, possibly from a prompt book for a specific performance. Shakespeare's principal sources for the tragedy are the accounts of Kings Duff and Duncan in Holinshed's Chronicles (1587), a history of England, Scotland and Ireland familiar to Shakespeare and his contemporaries."

Die Waise Diona lebt gezwungenerma?en bei ihrem Onkel, Sir Hereward Grantley, und dessen Sohn Simon. Als Erinnerung an ihren Vater ist ihr nur der Dalmatiner Sirius geblieben, den sie innig liebt. Als er get?tet werden soll, l?uft Diona weg und findet bei dem Marquis von Irchester eine Anstellung. Doch durch eine seltsame Wette droht sie ihre neue Heimat zu verlieren. Wird es ihr gelingen, ihren Hund zu beschützen?

Still in mourning after the death of her father, Colonel Wallace, in a battle in India, the beautiful young Vina Wallace is astonished to receive news that not only had her heroic father saved the Maharajah of Kulhapur’s life, but also that the Maharajah has died and left jewels worth a small fortune to her dead father. And now, as her father’s only child, the jewels are hers. Vina is being looked after by her uncle and aunt and her aunt has grand ideas of shining in higher Society and being invited to parties at ancestral homes and by Queen Victoria to Windsor Castle. Unknown to Vina the news of her newly acquired fortune reaches the ears of the Duke of Quarington and his penniless brother Lord Edgar, who is desperate to find a way to repay his vast debts as the Duke is refusing to bail him out yet again. Fearing Vina will fall victim to fortune-hunters, her aunt and uncle plan to offer her hand in marriage to the dissolute Lord Edgar – an admirable solution to both families’ problems. The trouble is that Vina has vowed never to marry unless for love. Worse still she overhears the cynical Lord Edgar planning to marry Vina for her money and then to resume his life of debauchery and womanising! Is there no escape for Vina from a life without love?