K?ztudott, hogy a pártállami diktatúra idején minden jobboldali gondolat eredend?en üld?zend?nek számított. De vajon hogyan élték túl a hagyományos politikai felosztás szerint jobboldalinak tekintett személyek és mozgalmak a Rákosi-, majd a Kádár-rendszer üld?ztetéseit? Kik választották az évtizedekre szóló, csendes ?alámerülést”, és kik azok, akik továbbra is aktívan képviselték korábbi eszméiket? ?s vajon a rendelkezésünkre álló dokumentumok alapján meg lehet-e kül?nb?ztetni a jobboldalhoz k?thet? valós társadalmi jelenségeket az állambiztonság konstruált ügyeit?l? Az UNGV?RY KRISZTI?N által szerkesztett tanulmányk?tet a Kádár-rendszer állambiztonsága szempontjából ?jobboldalinak” tekintett hagyomány és gondolkodás, illetve az ezt képvisel? csoportok 1945 és 1990 k?z?tti t?rténetéb?l ad reprezentatív válogatást. Mivel e meglehet?sen széles – a progresszív konzervatív eszmét?l a kisgazdákon át az egyetemi szervezkedésekig és a radikális széls?jobboldali mozgalmakig terjed? – politikai paletta szerepl?i és nézetei a kommunista és államszocialista diktatúra idején egyként ?ellenségesnek” min?sültek, a k?tet tanulmányai mindenekel?tt az állambiztonsági iratok feldolgozására épülnek. Az ?sszeállítás áttekintést nyújt az olvasónak a belügyminisztérium ?jobboldali” ellenségképér?l, részletesen tárgyalja a prominens kisgazda és kereszténydemokrata politikusok sorsát, illetve nyomon k?veti a háború el?tti széls?jobboldalhoz k?thet? mozgalmak utóéletét is. E hiánypótló k?tet kit?n? írásai nem csupán arra világítanak rá, hogy a jobboldali hagyományok hogyan élték túl búvópatakszer?en a háborút k?vet? fél évszázadot, de a ma jobboldalinak tekintett attit?d?ket és mentalitásokat is jobban érthet?vé teszik.

1. The architect should be equipped with knowledge of many branches of study and varied kinds of learning, for it is by his judgement that all work done by the other arts is put to test. This knowledge is the child of practice and theory. Practice is the continuous and regular exercise of employment where manual work is done with any necessary material according to the design of a drawing. Theory, on the other hand, is the ability to demonstrate and explain the productions of dexterity on the principles of proportion. 2. It follows, therefore, that architects who have aimed at acquiring manual skill without scholarship have never been able to reach a position of authority to correspond to their pains, while those who relied only upon theories and scholarship were obviously hunting the shadow, not the substance. But those who have a thorough knowledge of both, like men armed at all points, have the sooner attained their object and carried authority with them. 3. In all matters, but particularly in architecture, there are these two points:—the thing signified, and that which gives it its significance. That which is signified is the subject of which we may be speaking; and that which gives significance is a demonstration on scientific principles. It appears, then, that one who professes himself an architect should be well versed in both directions. He ought, therefore, to be both naturally gifted and amenable to instruction. Neither natural ability without instruction nor instruction without natural ability can make the perfect artist. Let him be educated, skilful with the pencil, instructed in geometry, know much history, have followed the philosophers with attention, understand music, have some knowledge of medicine, know the opinions of the jurists, and be acquainted with astronomy and the theory of the heavens. 4. The reasons for all this are as follows. An architect ought to be an educated man so as to leave a more lasting remembrance in his treatises. Secondly, he must have a knowledge of drawing so that he can readily make sketches to show the appearance of the work which he proposes. Geometry, also, is of much assistance in architecture, and in particular it teaches us the use of the rule and compasses, by which especially we acquire readiness in making plans for buildings in their grounds, and rightly apply the square, the level, and the plummet. By means of optics, again, the light in buildings can be drawn from fixed quarters of the sky. It is true that it is by arithmetic that the total cost of buildings is calculated and measurements are computed, but difficult questions involving symmetry are solved by means of geometrical theories and methods. 5. A wide knowledge of history is requisite because, among the ornamental parts of an architect's design for a work, there are many the underlying idea of whose employment he should be able to explain toGree inquirers. For instance, suppose him to set up the marble statues of women in long robes, called Caryatides, to take the place of columns, with the mutules and coronas placed directly above their heads, he will give the following explanation to his questioners. Caryae, a state in Peloponnesus, sided with the Persian enemies against Greece; later the Greeks, having gloriously won their freedom by victory in the war, made common cause and declared war against the people of Caryae. They took the town, killed the men, abandoned the State to desolation, and carried off their wives into slavery, without permitting them, however, to lay aside the long robes and other marks of their rank as married women, so that they might be obliged not only to march in the triumph but to appear forever after as a type of slavery, burdened with the weight of their shame and so making atonement for their State. Hence, the architects of the time designed for public buildings statues of these women, placed so as to carry a load..

Small arms have developed hugely since the introduction of the machine gun in the 1870s. Magazine-fed rifles, submachine guns, automatic pistols and, later, assault rifles and personal defence weapons have changed the face of infantry warfare, offering a range of weaponry designed for both the specialist and novice. The World’s Greatest Small Arms features 52 weapons from the late 19th century to the present day. The book includes the best-known weapons from throughout the modern era, from the Gatling gun, SMLE rifle and Luger pistol, to the Uzi, FN MAG and the M110 sniper rifle. Great iconic weapons, such as the Colt M1911 pistol, Bren Gun, MP5 submachine gun, and Steyr AUG rifle are featured, as well as timeless classics still in use today: the M2 Browning 50 cal, AK-47 and M16 rifle. Each weapon is illustrated with a colour profile artwork and photographs, along with a description of the weapon’s development and history, key features and a full specifications box. Including more than 200 artworks and photographs, The World’s Greatest Small Arms is a colourful guide for the military historian.

As in the case of "The Bases of Design," to which this is intended to form a companion volume, the substance of the following chapters on Line and Form originally formed a series of lectures delivered to the students of the Manchester Municipal School of Art. There is no pretension to an exhaustive treatment of a subject it would be difficult enough to exhaust, and it is dealt with in a way intended to bear rather upon the practical work of an art school, and to be suggestive and helpful to those face to face with the current problems of drawing and design. These have been approached from a personal point of view, as the results of conclusions arrived at in the course of a busy working life which has left but few intervals for the elaboration of theories apart from practice, and such as they are, these papers are now offered to the wider circle of students and workers in the arts of design as from one of themselves. They were illustrated largely by means of rough sketching in line before my student audience, as well as by photographs and drawings. The rough diagrams have been re-drawn, and the other illustrations reproduced, so that both line and tone blocks are used, uniformity being sacrificed to fidelity.? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?WALTER CRANE. Outline, one might say, is the Alpha and Omega of Art. It is the earliest mode of expression among primitive peoples, as it is with the individual child, and it has been cultivated for its power of characterization and expression, and as an ultimate test of draughtsmanship, by the most accomplished artists of all time. The old fanciful story of its origin in the work of a lover who traced in charcoal the boundary of the shadow of the head of his sweetheart as cast upon the wall by the sun, and thus obtained the first profile portrait, is probably more true in substance than in fact, but it certainly illustrates the function of outline as the definition of the boundaries of form.Silhouette As children we probably perceive forms in nature defined as flat shapes of colour relieved upon other colours, or flat fields of light on dark, as a white horse is defined upon the green grass of a field, or a black figure upon a background of snow.Definition of BoundariesTo define the boundaries of such forms becomes the main object in early attempts at artistic expression. The attention is caught by the edges—the shape of the silhouette which remains the paramount means of distinction of form when details and secondary characteristics are lost; as the outlines of mountains remain, or are even more clearly seen, when distance subdues the details of their structure, and evening mists throw them into flat planes one behind the other, and leave nothing but the delicate lines of their edges to tell their character. We feel the beauty and simplicity of such effects in nature. We feel that the mind, through the eye resting upon these quiet planes and delicate lines, receives a sense of repose and poetic suggestion which is lost in the bright noontide, with all its wealth of glittering detail, sharp cut in light and shade. There is no doubt that this typical power of outline and the value of simplicity of mass were perceived by the ancients, notably the Ancient Egyptians and the Greeks, who both, in their own ways, in their art show a wonderful power of characterization by means of line and mass, and a delicate sense of the ornamental value and quality of line. Formation of LettersRegarding line—the use of outline from the point of view of its value as a means of definition of form and fact—its power is really only limited by the power of draughtsmanship at the command of the artist. From the archaic potters' primitive figures or the rudimentary attempts of children at human or animal forms up to the most refined outlines of a Greek vase-painter, or say the artist of the Dream of Poliphilus, the difference is one of degree.

Macbeth (full title The Tragedy of Macbeth) is a tragedy written by William Shakespeare, and is considered one of his darkest and most powerful works. Set in Scotland, the play dramatizes the corrosive psychological and political effects produced when evil is chosen as a way to fulfil the ambition for power. The play is believed to have been written between 1599 and 1606, and is most commonly dated 1606. The earliest account of a performance of what was probably Shakespeare's play is the Summer of 1606, when Simon Forman recorded seeing such a play at the Globe Theatre. Macbeth is Shakespeare's shortest tragedy, and tells the story of a brave Scottish general named Macbeth who receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders King Duncan and takes the throne for himself. He is then wracked with guilt and paranoia, and he soon becomes a tyrannical ruler as he is forced to commit more and more murders to protect himself from enmity and suspicion. The bloodbath and consequent civil war swiftly take Macbeth and Lady Macbeth into the realms of arrogance, madness, and death. The play opens amidst thunder and lightning, and the Three Witches decide that their next meeting shall be with Macbeth. In the following scene, a wounded sergeant reports to King Duncan of Scotland that his generals—Macbeth, who is the Thane of Glamis, and Banquo—have just defeated the allied forces of Norway and Ireland, who were led by the traitorous Macdonwald and the Thane of Cawdor. Macbeth, the King's kinsman, is praised for his bravery and fighting prowess.In the following scene, Macbeth and Banquo discuss the weather and their victory. As they wander onto a heath, the Three Witches enter and greet them with prophecies. Though Banquo challenges them first, they address Macbeth, hailing him as "Thane of Glamis," "Thane of Cawdor," and that he shall "be King hereafter." Macbeth appears to be stunned to silence. When Banquo asks of his own fortunes, the witches inform him that he will father a line of kings, though he himself will not be one. While the two men wonder at these pronouncements, the witches vanish, and another thane, Ross, arrives and informs Macbeth of his newly bestowed title: Thane of Cawdor, as the previous Thane of Cawdor shall be put to death for his traitorous activities. The first prophecy is thus fulfilled, and Macbeth immediately begins to harbour ambitions of becoming king.King Duncan welcomes and praises Macbeth and Banquo, and declares that he will spend the night at Macbeth's castle at Inverness; he also names his son Malcolm as his heir. Macbeth sends a message ahead to his wife, Lady Macbeth, telling her about the witches' prophecies. Lady Macbeth suffers none of her husband's uncertainty, and wishes him to murder Duncan in order to obtain kingship. When Macbeth arrives at Inverness, she overrides all of her husband's objections by challenging his manhood, and successfully persuades him to kill the king that very night. He and Lady Macbeth plan to get Duncan's two chamberlains drunk so that they will black out; the next morning they will blame the chamberlains for the murder. They will be defenseless, as they will remember nothing.While Duncan is asleep, Macbeth stabs him, despite his doubts and a number of supernatural portents, including a hallucination of a bloody dagger. He is so shaken that Lady Macbeth has to take charge. In accordance with her plan, she frames Duncan's sleeping servants for the murder by placing bloody daggers on them. Early the next morning, Lennox, a Scottish nobleman, and Macduff, the loyal Thane of Fife, arrive. A porter opens the gate and Macbeth leads them to the king's chamber, where Macduff discovers Duncan's body. ABOUT AUTHOR: William Shakespeare ( 1564 (baptised) – 1616) was an English poet, playwright and actor, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon". His extant works, including some collaborations, consist of about 38 plays, 154 sonnets, two long narrative poems, and a few other verses, the authorship of some of which is uncertain. His plays have been translated into every major living language and are performed more often than those of any other playwright. Shakespeare was born and brought up in Stratford-upon-Avon. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part-owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613 at age 49, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his physic

We sailed from Peru, (where we had continued for the space of one whole year) for China and Japan, by the South Sea; taking with us victuals for twelve months; and had good winds from the east, though soft and weak, for five months space, and more. But the wind came about, and settled in the west for many days, so as we could make little or no way, and were sometime in purpose to turn back. But then again there arose strong and great winds from the south, with a point east, which carried us up (for all that we could do) towards the north; by which time our victuals failed us, though we had made good spare of them. So that finding ourselves, in the midst of the greatest wilderness of waters in the world, without victuals, we gave ourselves for lost men and prepared for death. Yet we did lift up our hearts and voices to God above, who showeth his wonders in the deep, beseeching him of his mercy, that as in the beginning he discovered the face of the deep, and brought forth dry land, so he would now discover land to us, that we might not perish. And it came to pass that the next day about evening we saw within a kenning before us, towards the north, as it were thick clouds, which did put us in some hope of land; knowing how that part of the South Sea was utterly unknown; and might have islands, or continents, that hitherto were not come to light. Wherefore we bent our course thither, where we saw the appearance of land, all that night; and in the dawning of the next day, we might plainly discern that it was a land; flat to our sight, and full of boscage; which made it show the more dark. And after an hour and a half's sailing, we entered into a good haven, being the port of a fair city; not great indeed, but well built, and that gave a pleasant view from the sea: and we thinking every minute long, till we were on land, came close to the shore, and offered to land. But straightways we saw divers of the people, with bastons in their hands (as it were) forbidding us to land; yet without any cries of fierceness, but only as warning us off, by signs that they made. Whereupon being not a little discomforted, we were advising with ourselves, what we should do. During which time, there made forth to us a small boat, with about eight persons in it; whereof one of them had in his hand a tipstaff of a yellow cane, tipped at both ends with blue, who came aboard our ship, without any show of distrust at all. And when he saw one of our number, present himself somewhat before the rest, he drew forth a little scroll of parchment (somewhat yellower than our parchment, and shining like the leaves of writing tables, but otherwise soft and flexible,) and delivered it to our foremost man. In which scroll were written in ancient Hebrew, and in ancient Greek, and in good Latin of the school, and in Spanish, these words: Land ye not, none of you; and provide to be gone from this coast, within sixteen days, except you have further time given you. Meanwhile, if you want fresh water or victuals, or help for your sick, or that your ship needeth repairs, write down your wants, and you shall have that, which belongeth to mercy. This scroll was signed with a stamp of cherubim: wings, not spread, but hanging downwards; and by them a cross. This being delivered, the officer returned, and left only a servant with us to receive our answer. F. BACON About Author: Francis Bacon, 1561 – 1626), was an English philosopher, statesman, scientist, jurist, orator, essayist, and author. He served both as Attorney General and Lord Chancellor of England. After his death, he remained extremely influential through his works, especially as philosophical advocate and practitioner of the scientific method during the scientific revolution.Bacon has been called the father of empiricism. His works established and popularised inductive methodologies for scientific inquiry, often called the Baconian method, or simply the scientific method. His demand for a planned procedure of investigating all things natural marked a new turn in the rhetorical and theoretical framework for science, much of which still surrounds conceptions of proper methodology today.Bacon was knighted in 1603, and created Baron Verulam in 1618 and Viscount St. Alban in 1621; as he died without heirs, both peerages became extinct upon his death. He famously died of pneumonia, contracted while studying the effects of freezing on the preservation of meat. The succession of James I brought Bacon into greater favour. He was knighted in 1603. In another shrewd move, Bacon wrote his Apologies in defence of his proceedings in the case of Essex, as Essex had favoured James to succeed to the throne. The following year, during the course of the uneventful first parliament session, Bacon married Alice Barnham. In June 1607 he was at last rewarded with the office of solicitor general. The following year, he began working as the Clerkship of the Star Chamber. Despite a generous income, old debts still co

A budapesti Lánchíd pesti hídf?jénél álló Gresham-palotát mindannyian jól ismerjük – legalábbis kívülr?l. De tudjuk-e, miféle titkokat rejtett egykor az impozáns épület? Szelke László izgalmas és olvasmányos nyomozása, A Gresham a nácik ellen a 19. századtól a második világháborúig kíséri nyomon a mai luxusszálloda fordulatos t?rténetét. A százarcú épület a kezdetekt?l a t?rténelem f?sodrában állt. El?dje, a Nákó-palota magánházként olyan hírességek lakhelye volt, mint a Lánchíd tervein dolgozó Clark ?dám vagy a Széchenyi István életnagyságú portréját fest? Barabás Miklós, a század végén pedig a Gresham életbiztosító társaság székhelyéül szolgált. Miután a 20. század elején szecessziós stílusban újjáépítették, a pezsg? kávéházi élet meghatározó színterévé, haladó értelmiségiek találkahelyévé avanzsált. Ahogy a Horthy-rendszer idején egyre fogyott a leveg?, úgy vált a Gresham-palota az ellenzéki politika, a szellemi ellenállás, a mind rendszerkritikusabb kabarék otthonává ? a második világháború idején pedig a titkos diplomácia és az embermentés megkerülhetetlen k?zpontjává. Náciellenes m?vészek, újságírók, tudósítók, attasék, hírszerz?k, kémelhárítók, kett?s, s?t hármas ügyn?k?k fordultak meg a falai k?zt, és itt m?k?d?tt t?bbek k?zt a liberális párt pesti klubja, illetve a szabadelv? Esti Kurir cím? napilap szerkeszt?sége. A k?nyv lapjain a kor olyan meghatározó figurái t?nnek fel, mint Szent-Gy?rgyi Albert és Herczeg Ferenc, Szekf? Gyula és Raoul Wallenberg, de megismerkedhetünk a budapesti k?nyvhét alapítójával, a bátor emberment? Supka Gézával, a zsidót?rvények kíméletlen kritikusával, Rassay Károllyal vagy a Pódium Kabarét vezet? Békeffi Lászlóval, aki az angol titkosszolgálattal is kapcsolatban állt. Tények és legendák, t?rvénytisztel?k és provokátorok, h?s?k és áldozatok – A Gresham a nácik ellen a t?rténelem legrejtettebb kulisszái m?gé kalauzolja olvasóját. Szelke László 1975-ben született. Egyetemi adjunktus, 2013-ban szerzett doktori fokozatot, jelenleg a piliscsabai M?vel?dési Információs K?zpont és K?nyvtár igazgatója. 19?20. századi magyar és egyetemes t?rténelmet tanít a Pázmány Péter Katolikus Egyetemen.

A Kádár-kori titkosszolgálatok m?k?dése a rendszerváltás óta mind a mai napig a magyar k?zélet egyik meghatározó és kibeszéletlen témájának számít. Az 1962-ben új m?k?dési kereteket kialakító egykori szervezet legismertebb részlege – els?sorban egyes k?zéleti szerepl?k utóbb leleplez?d? ügyn?kmúltja miatt – a bels? elhárítással foglalkozó III/III. Csoportf?n?kség lett. E részleg tényleges tevékenysége ugyanakkor ma is csak t?redékesen ismert, mik?zben továbbra is számtalan félreértés, legenda és mítosz él a III/III-mal kapcsolatban. TABAJDI G?BOR k?tete az elmúlt évek kutatási eredményeinek felhasználásával a pártállami titkosszolgálatok, azon belül is a bels?reakció-elhárítás m?k?désének átfogó krónikáját adja. A k?nyv az események id?rendi tárgyalása során a sok esetben félrevezet? ügyn?kt?rténetek helyett magára a szervezetre helyezi hangsúlyt, így a jól dokumentálható, konkrét esetek kapcsán a bels? elhárítás nagyszabású akciói mellett a III/III-asok mindennapjait befolyásoló egyéb hatásokat is igyekszik bemutatni, a pártutasítások fogadtatásától kezdve a szabadid?s tevékenységeken át egészen az állomány társadalmi helyzetéig. Az egyes szócikkekhez tartozó események arra is rávilágítanak, hogy a ?létez? szocializmus” világában milyen hétk?znapi tevékenységi formák válhattak politikai kérdéssé, és melyek voltak azok, amelyek a hatalom megtorló intézkedéseit kiváltották. A szócikkekkel párhuzamosan futó k?zt?rténeti kronológia és a kor hangulatát megidéz? dokumentumok ugyanakkor eddig kevésbé érzékelt ?sszefüggéseket is megvilágítanak. A Budapest a diktatúrák árnyékában cím? nagy siker? t?rténelmi útikalauz szerz?je új néz?pontból, a III/III szervezeti oldaláról láttatja e sz?k három évtized t?rténéseit, és ennek k?sz?nhet?en az olvasó el?tt oldalról oldalra feltárul a pártállami Magyarország titkos t?rténete. A Kádár-kori titkosszolgálatok m?k?dése a rendszerváltás óta mind a mai napig a magyar k?zélet egyik meghatározó és kibeszéletlen témájának számít. Az 1962-ben új m?k?dési kereteket kialakító egykori szervezet legismertebb részlege – els?sorban egyes k?zéleti szerepl?k utóbb leleplez?d? ügyn?kmúltja miatt – a bels? elhárítással foglalkozó III/III. Csoportf?n?kség lett. E részleg tényleges tevékenysége ugyanakkor ma is csak t?redékesen ismert, mik?zben továbbra is számtalan félreértés, legenda és mítosz él a III/III-mal kapcsolatban. TABAJDI G?BOR k?tete az elmúlt évek kutatási eredményeinek felhasználásával a pártállami titkosszolgálatok, azon belül is a bels?reakció-elhárítás m?k?désének átfogó krónikáját adja. A k?nyv az események id?rendi tárgyalása során a sok esetben félrevezet? ügyn?kt?rténetek helyett magára a szervezetre helyezi hangsúlyt, így a jól dokumentálható, konkrét esetek kapcsán a bels? elhárítás nagyszabású akciói mellett a III/III-asok mindennapjait befolyásoló egyéb hatásokat is igyekszik bemutatni, a pártutasítások fogadtatásától kezdve a szabadid?s tevékenységeken át egészen az állomány társadalmi helyzetéig. Az egyes szócikkekhez tartozó események arra is rávilágítanak, hogy a ?létez? szocializmus” világában milyen hétk?znapi tevékenységi formák válhattak politikai kérdéssé, és melyek voltak azok, amelyek a hatalom megtorló intézkedéseit kiváltották. A szócikkekkel párhuzamosan futó k?zt?rténeti kronológia és a kor hangulatát megidéz? dokumentumok ugyanakkor eddig kevésbé érzékelt ?sszefüggéseket is megvilágítanak. A Budapest a diktatúrák árnyékában cím? nagy siker? t?rténelmi útikalauz szerz?je új néz?pontból, a III/III szervezeti oldaláról láttatja e sz?k három évtized t?rténéseit, és ennek k?sz?nhet?en az olvasó el?tt oldalról oldalra feltárul a pártállami Magyarország titkos t?rténete.

A NEW AND FACETIOUS INTRODUCTION TO THE ENGLISH TONGUEBy Percival LeighEmbellished with upwards of forty-five Characteristic IllustrationsBy JOHN LEECH. Fashion requires, and like the rest of her sex, requires because she requires, that before a writer begins the business of his book, he should give an account to the world of his reasons for producing it; and therefore, to avoid singularity, we shall proceed with the statement of our own, excepting only a few private ones, which are neither here nor there. To advance the interests of mankind by promoting the cause of Education; to ameliorate the conversation of the masses; to cultivate Taste, and diffuse Refinement; these are the objects we have in view in submitting a Comic English Grammar to the patronage of a discerning Public. Few persons there are, whose ears are so extremely obtuse, as not to be frequently annoyed at the violations of Grammar by which they are so often assailed. It is really painful to be forced, in walking along the streets, to hear such phrases as, "That 'ere omnibus." "Where've you bin?" "Vot's the odds?" and the like. Very dreadful expressions are also used by cartmen and others in addressing their horses. What can possibly induce a human being to say "Gee woot!" "'Mather way!" or "Woa not to mention the atrocious "Kim aup!" of the barbarous butcher's boy. It is notorious that the above and greater enormities are perpetrated in spite of the number of Grammars already before the world. This fact sufficiently excuses the present addition to the stock; and as serious English Grammars have hitherto failed to effect the desired reformation, we are induced to attempt it by means of a Comic one. With regard to the moral tendency of our labors, we may be here permitted to remark, that they will tend, if successful, to the suppression of evil speaking ; and as the Spartans used to exhibit a tipsy slave to their children with a view to disgust them with drunkenness, and We will not allow a man to give an old woman a dose of rhubarb if he have not acquired at least half a dozen sciences; but we permit a quack to sell as much poison as he pleases. When one man runs away with another's wife, and, being on that account challenged to fight a duel, shoots the aggrieved party through the head, the latter is said to receive satisfaction. We never take a glass of wine at dinner without getting somebody else to do the same, as if we wanted encouragement; and then, before we venture to drink, we bow to each other across the table, preserving all the while a most wonderful gravity. This, however, it may be said, is the natural result of endeavoring to keep one another in countenance. The way in which we imitate foreign manners and customs is very amusing. Savages stick fish-bones through their noses; our fair countrywomen have hoops of metal poked through their ears. The Caribs flatten the forehead; the Chinese compress the foot; and we possess similar contrivances for reducing the figure of a young lady to a resemblance to an hour-glass or a devil-on-two-sticks. There being no other assignable motive for these and the like proceedings, it is reasonable to suppose that they are adopted, as schoolboys say, "for fun." We could go on, were it necessary, adducing facts to an almost unlimited extent; but we consider that enough has now been said in proof of the comic character of the national mind. And in conclusion, if any other than an English or American author can be produced, equal in point of wit, humor, and drollery, to Swift, Sterne, Dickens, or Paulding, we hereby engage to eat him; albeit we have no pretensions to the character of a "helluo librorum." "English Grammar," according to Lindley Murray, "is the art of speaking and writing the English language with propriety." The English language, written and spoken with propriety, is commonly called the King's English.

To my thinking, all modern English books on the Devil and his works are unsatisfactory. They all run in the same groove, give the same cases of witchcraft, and, moreover, not one of them is illustrated. I have endeavoured to remedy this by localizing my facts, and by reproducing all the engravings I could find suitable to my purpose. I have also tried to give a succinct account of demonology and witchcraft in England and America, by adducing authorities not usually given, and by a painstaking research into old cases, carefully taking everything from original sources, and bringing to light very many cases never before republished. For the benefit of students, I have given—as an Appendix—a list of the books consulted in the preparation of this work, which, however, the student must remember is not an exhaustive bibliography on the subject, but only applies to this book, whose raison d’être is its localization. The frontispiece is supposed to be the only specimen of Satanic caligraphy in existence, and is[Pg vi] taken from the ‘Introductio in Chaldaicam Linguam,’ etc., by Albonesi (Pavia, 1532). The author says that by the conjuration of Ludovico Spoletano the Devil was called up, and adjured to write a legible and clear answer to a question asked him. Some invisible power took the pen, which seemed suspended in the air, and rapidly wrote what is facsimiled. The writing was given to Albonesi (who, however, confesses that no one can decipher it), and his chief printer reproduced it very accurately. I am told by experts that in some of the characters may be found a trace of Amharic, a language spoken in its purity in the province of Amhara (Ethiopia), and which, according to a legend, was the primeval language spoken in Eden. JOHN ASHTON. CHAPTER IUniversal Belief in the Personality of the Devil, as portrayed by the British Artist—Arguments in Favour of his Personality—Ballad—‘Terrible and Seasonable Warning to Young Men.’ The belief in a good and evil influence has existed from the earliest ages, in every nation having a religion. The Egyptians had their Typho, the Assyrians their Ti-a-mat (the Serpent), the Hebrews their Beelzebub, or Prince of Flies,[1] and the Scandinavians their Loki. And many religions teach that the evil influence has a stronger hold upon mankind than the good influence—so great, indeed, as to nullify it in a large degree. Christianity especially teaches this: ‘Enter ye by the narrow gate; for wide is the gate, and broad is the way, that leadeth to destruction, and many be they that enter in thereby. For narrow is the gate, and straitened the way, that leadeth unto life, and few be they that find it.’ This doctrine of the great power of the Devil, or evil influence over man, is preached from every pulpit, under every form of Christianity, throughout the world; and although at the present time it is only confined to the greater moral power of the Devil over man, at an earlier period it was an article of belief that he was able to exercise a greater physical power. This was coincident with a belief in his personality; and it is only in modern times that that personality takes an alluring form. In the olden days the Devil was always depicted as ugly and repulsive as the artist could represent him, and yet he could have learned a great deal from the modern Chinese and Japanese. The ‘great God Pan,’ although he was dead, was resuscitated in order to furnish a type for ‘the Prince of Darkness’; and, accordingly, he was portrayed with horns, tail and cloven feet, making him an animal, according to a mot attributed to Cuvier, ‘graminivorous, and decidedly ruminant’; while, to complete his classical ensemble, he was invested with the forked sceptre of Pluto, only supplemented with another tine.

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.

This story belongs to the year 1837, and was regarded by the generations of that and a succeeding time as the most miraculous of all the recorded deliverances from death at sea. It may be told thus: Mr. Montagu Vanderholt sat at breakfast with his daughter Violet one morning in September. Vanderholt's house was one of a fine terrace close to Hyde Park. He was a rich man, a retired Cape merchant, and his life had been as chequered as Trelawney's, with nothing of romance and nothing of imagination in it. He was the son of honest parents, of Dutch extraction, and had run away to sea when about twelve years old. Nothing under the serious heavens was harsher, more charged with misery, suffering, dirt, and wretchedness, than seafaring in the days when young Vanderholt, with an idiot's cunning, fled to it from his father's comfortable little home. He got a ship, was three years absent, and on his return found both his father and mother dead. He went again to sea, and, fortunately for him, was shipwrecked in the neighbourhood of Simon's Bay. The survivors made their way to Cape Town, and presently young Vanderholt got a job, and afterwards a position. He then became a master, until, after some eight or ten years of heroic perseverance, attended by much good luck, behold Mr. Vanderholt full-blown into a colonial merchant prince. How much he was worth when he made up his mind to settle in England, after the death of his wife, and when he had disposed of his affairs so as to leave himself as free a man as ever he had been when he was a common Jack Swab, really signifies nothing. It is certain he had plenty, and plenty is enough, even for a merchant prince of Dutch extraction. Besides Violet, he had two sons, who will not make an appearance on this little brief stage. They are dismissed, therefore, with this brief reference—that both were in the army, and both, at the time of this tale, in India. Violet was Vanderholt's only daughter, and he loved her exceedingly. She was not beautiful, but she was fair to see, with a pretty figure, and an arch, gay smile. You saw the Dutch blood in her eyes, as you saw it in her father's, whose orbs of vision, indeed, were ridiculously small—scarcely visible in their bed of socket and lash. An English mother had come to Violet's help in this matter. Taking her from top to toe, with her surprising quantity of brown hair, soft complexion, good mouth, teeth, and figure, Violet Vanderholt was undoubtedly a fine girl. THE LAST ENTRY "OPINIONS OF THE PRESS ON THE LAST ENTRY": '"The Last Entry" is a rattling good salt-water yarn, told in the author's usual breezy, exhilarating style.'-”Daily Mail. 'In this new novel Mr. Russell has cleverly thrown its events into the year 1837, and there are one or two ingenious passages which add to the Diamond Jubilee interest which that date suggests.... "The Last Entry" is as certain of general popularity as any of Mr. Russell's former tales of the marvels of the sea.'-”Glasgow Herald. 'We do not think it possible for anyone to dip into this novel without desiring to finish it, and it adds another to the long list of successes of our best sea author.'-”Librarian. 'In addition to mutiny and murder, "The Last Entry" contains many of those good things which have made Mr. Russell's pages a joy to so many lovers of the sea during the last twenty years.... "The Last Entry" is a welcome addition to Mr. Clark Russell's library.'-”Speaker. 'The writer is as realistic and picturesque as usual in his vivid descriptions of the stagnant life on board the homeward-bound Indiaman.'-”Times. 'It is full of pleasant vigour.... As is always the case in Mr. Clark Russell's books, the elements are treated with the pen of an artist.'-”Standard. 'We expected plenty of go, of fresh and vigorous description of sea-faring life, coupled with a story which would not be wanting in interest. All this we have here.'”-Tablet.

The Odyssey (Greek:Odysseia) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. It is believed to have been composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia. The poem mainly centers on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres or Proci, who compete for Penelope's hand in marriage. It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter. Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and serfs, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage. The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in Antiquity to Cinaethon of Sparta, but in one source was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). ABOUT AUTHOR: Homeros, In the Western classical tradition, Homer (Ancient Greek: Homeros) is the author of the Iliad and the Odyssey, and is revered as the greatest of ancient Greek epic poets. These epics lie at the beginning of the Western canon of literature, and have had an enormous influence on the history of literature. When he lived is unknown. Herodotus estimates that Homer lived 400 years before his own time, which would place him at around 850 BC, while other ancient sources claim that he lived much nearer to the supposed time of the Trojan War, in the early 12th century BC. Most modern researchers place Homer in the 7th or 8th centuries BC. The formative influence of the Homeric epics in shaping Greek culture was widely recognized, and Homer was described as the teacher of Greece. Homer's works, which are about fifty percent speeches, provided models in persuasive speaking and writing that were emulated throughout the ancient and medieval Greek worlds. Fragments of Homer account for nearly half of all identifiable Greek literary papyrus finds. PeriodFor modern scholars "the date of Homer" refers not to an individual, but to the period when the epics were created. The consensus is that "the Iliad and the Odyssey date from around the 8th century BC, the Iliad being composed before the Odyssey, perhaps by some decades," i.e. earlier than Hesiod, the Iliad being the oldest work of Western literature. Over the past few decades, some scholars have argued for a 7th-century BC date. Oliver Taplin believes that the conclusion of modern researchers is that Homer dates to between 750 to 650 BC. Some of those who argue that the Homeric poems developed gradually over a long period of time give an even later date for the composition of the poems; according to Gregory Nagy for example, they only became fixed texts in the 6th century BC. The question of the historicity of Homer the individual is known as the "Homeric question"; there is no reliable biographical information handed down from classical antiquity. The poems are generally seen as the culmination of many generations of oral story-telling, in a tradition with a well-developed formulaic system of poetic composition. Some scholars, such as Martin West, claim that "Homer" is "not the name of a historical poet, but a fictitious or constructed name."

Art, with its finite means, cannot hope to record the infinite variety and com-plexity of Nature, and so contents itself with a partial statement, addressing this to the imagination for the full and perfect meaning. This inadequation, and the artificial ad-justments which it involves, are tolerated by right of what is known as artistic convention; and as each art has its own particular limitations, so each has its own particular conventions. Sculpture reproduces the forms of Nature, but discards the color without any shock to our ideas of verity; Painting gives us the color, but not the third dimension, and we are satisfied; and Architecture ispurely conventional, since it does not even aim at the imitation of natural form. The Conventions of Line Drawing,Of the kindred arts which group themselves under the head of Painting, none is based on such broad conventions as that with which we are immediately concerned—the art of Pen Drawing. In this medium, Nature's variety of color, when not positively ignored, is suggested by means of sharp black lines, of varying thickness, placed more or less closely together upon white paper; while natural form depends primarily for its representation upon arbitrary boundary lines. There is, of course, no authority in Na-ture for a positive outline: we see objects only by the difference in color of the other objects behind and around them. The technical capacity of the pen and ink medium, however, does not provide a value corresponding to every natural one, so that a broad interpretation has to be adopted which eliminates the less positive values; and, that form may not likewise be sacrificed, the outline becomes necessary, that light objects may stand relieved against light. This outline is the most characteristic, as it is the most indispensable, of the conventions of line drawing. To seek to abolish it only involves a resort to expedients no less artificial, and the results of all such attempts, dependent as they necessarily are upon elaboration of color, and a general indirectness of method, lack some of the best characteristics of pen drawing. More frequently, however, an elaborate color-scheme is merely a straining at the technical limitations of the pen in an effort to render the greatest possible number of values. It may be worth while to inquire whether excellence in pen drawing consists in thus dispensing with its recognized conventions, or in otherwise taxing the technical re-sources of the instrument. This involves the question of Style,—of what characteristic pen methods are,—a question which we will briefly consider...

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O carte pasionant i minuios documentat.“ – Le Figaro Littéraire Dac exist o dinastie care s ntrupeze Europa, aceea este Casa de Habsburg“, scrie Jean des Cars n debutul acestei cavalcade pasionante prin istoria zbuciumat a Europei. Destinul prodigios al Habsburgilor ncepe, n cheie minor, n secolul al XI-lea, ntr-o fortrea situat n cantonul elveian Aargau, prinde aripi n 1273, odat cu alegerea, cu totul neateptat, a contelui Rudolf de Habsburg ca mprat al Sfntului Imperiu German, i i ncheie epopeea monarhic la Schnbrunn, pe 11 noiembrie 1918, cnd Carol al IV-lea semneaz actul de renunare la coroana imperial a Austriei. Vreme de apte secole, Habsburgii au dominat o mare parte a Europei, a Orientului Apropiat i a Americii de Sud. Cuceritorul Carol Quintul, reformatoarea Maria Tereza, Franz Joseph i legendara sa soie Sisi, Zita, suverana datoriei, sunt doar cteva dintre figurile emblematice ale acestei familii excepionale, care a marcat istoria. Nendoielnic, dispariia lor semnaleaz prbuirea unei lumi, dar numele lor rmne venic sinonim cu nflorirea artelor, grandoarea politic i identitatea european. Pentru alctuirea acestui volum incitant, n care faptul istoric documentat se ntlnete fericit cu excursul jurnalistic profesionist i bine calibrat, dar i cu o anecdotic ncnttoare, Jean des Cars, talentat raconteur i recunoscut cronicar al marilor monarhii europene, a consultat arhive, a vizitat toate locurile-reper ale dinastiei, a realizat interviuri i a cules mrturiile inedite ale mprtesei Zita i ale arhiducelui Otto de Habsburg. Istoria este plin de maiesti individuale, ns Habsburgii ntruchipeaz maiestatea dinastic. [...] A ajunge s nu mai constitui doar o familie, s nu mai reprezini doar o ar, ci un agregat de naiuni, a stpni jumtate din Europa i o mare parte din America, a purta o coroan mai grea chiar dect coroana Imperiului Britanic, dar a te plimba, n acelai timp, prin Prater, cu o umbrel sub bra, iat un spectacol pe care omenirea nul va mai vedea vreodat.“ – Paul Morand n 1919, prbuirea imperiilor i, apoi, o redivizare geografic arbitrar elimin de la conducere familii vechi i puternice, cum ar fi Romanovii, Hohenzollernii i Habsburgii. Dup veacuri de prestigiu i influen, vechile case domnitoare sunt terse de pe hart, asasinate sau surghiunite. Dar, n timp ce familiile imperiale din Rusia i din Germania au fost nevoite, ulterior, s se mulumeasc, dup caz, cu nostalgii discrete, compromisuri regretabile sau reabilitri tardive, Habsburgii au luptat mpotriva anihilrii progresive la care erau supui, ripostnd chiar fa de ostracizarea care le era impus. Nu fr eforturi sau adversiti umilitoare, ei au reuit s triasc, s i refac imaginea, s existe din nou, s impun respect fa de numele lor nainte de anii ’40 i s redobndeasc un loc att n memoria vechii Europe, ct i n noua construcie european, ceea ce este un lucru excepional.“ – Jean des Cars

Non abbiate paura! Nu v? fie team?!Cuvintele rostite de papa Ioan Paul al II-lea ?n octombrie 1978, la inaugurarea pontificatului s?u, aveau s? trezeasc? ?n sufletele polonezilor ?i ale tuturor celor oprima?i de comunism dorin?a de a fi liberi ?i curajul de a lupta pentru libertate. ?n urm?torii ani, papa a devenit cel mai puternic simbol al luptei anticomuniste. Uniunea Sovietic? ?l considera pe Ioan Paul al II-lea (?i, implicit, Biserica Catolic?) o amenin?are la adresa stabilit??ii ?n Europa de Est ?i inamicul num?rul unu al statului. Deloc surprinz?tor, KGB-ul a pus la punct o re?ea impresionant? de spioni ?i agen?i dubli ?i chiar a ?ncercat s?-l asasineze pe pap?.Paradoxal ?ns?, cu c?t erau mai persecuta?i pentru credin?a lor, cu at?t oamenii erau dispu?i s?-?i ri?te via?a pentru libertate. Dovezile lor de curaj sunt impresionante, a?a cum impresionante sunt, dar ?n sens negativ, cazurile preo?ilor care ?i-au tr?dat biserica, trec?nd de partea celui mai mare du?man al acesteia, regimul comunist.Jurnalist ?i ofi?er ?n rezerv? al serviciului de informa?ii al Armatei SUA, John Koehler prezint? cititorilor documente ?i transcrieri ale unor stenograme necunoscute p?n? acum, realiz?nd o cronic? f?r? precedent a R?zboiului Rece dus de URSS ?mpotriva Bisericii Catolice ?i contribuind, astfel, decisiv la cunoa?terea istoriei secolului XX.

Cine-ar fi crezut c? lumea afacerilor poate fi at?t de fascinant? ?i plin? de dramatism? 350 de milioane de dolari investite ?ntr-un model de automobil plin de imperfec?iuni, f?r? s? fie g?sit m?car un responsabil pentru acest e?ec; ascensiunea spectaculoas? a unei mici companii produc?toare de h?rtie fotografic? p?n? la actualul gigant Xerox, ?nceput? de o m?n? de oameni care ?i-au riscat chiar ?i averea personal? pentru o inova?ie revolu?ionar?; b?t?lia titanic? dus? de Rezerva Federal? a Statelor Unite pentru ap?rarea lirei sterline de atacurile speculatorilor; sunt doar c?teva dintre exemplele ce arat? c?, ?n lumea afacerilor ?i a Wall Streetului, oamenii pot da dovad? fie de geniu, spirit de cooperare ?i ?n?elepciune, fie de ?nc?p???nare ?i lips? de ra?iune, indiferent de miza aflat? ?n joc. Un avertisment c? istoria se poate oric?nd repeta.

Toate popoarele sunt preocupate de identitatea lor, dar la rom?ni aceast? chestiune a ?mbr?cat forme speciale. Rom?nii, locuitori p?n? ?n epoca modern? ?n dou? principate autonome supuse Por?ii Otomane ?i r?vnite de mul?i al?i vecini, dar tr?itori ?i ?n vaste provincii ocupate de unguri, de austrieci, de ru?i ?i de turci, pierdu?i ?n mijlocul at?tor str?ini rapace, s-au ?ntrebat, parc? mai mult dec?t al?ii, de unde vin ?i cine sunt ei. P?n? la urm? ?ns?, toate popoarele mici, lovite de soart? ?i l?sate la cheremul celor mari, au asemenea preocup?ri, transformate uneori ?n adev?rate obsesii. (Ioan-Aurel Pop)

Imaginea Romaniei prin turism, targuri si expozitii universale, in perioada interbelica, este titlul unei noi carti extrem de interesante, adresata atat specialistilor cat si publicului larg. Lucrarea elaborata de dr. Claudiu-Alexandru Vitanos reprezinta bilantul unor eforturi sistematice ale autorului de cercetare a modului in care a fost elaborata politica nationala privind dezvoltarea turismului si, totodata, politica de promovare a Romaniei prin intermediul targurilor si expozitiilor universale de-a lungul deceniilor interbelice.