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.

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.

Sorsdráma. Szrny, barbár mese. Véres és szexuális talányok. Elnyomott emlékek és gyermekkori borzalmak flkeverése. Hirtelen, képtelen, elre tudott és mégis elháríthatatlan katasztrófa. Babona, vallás és matematika külns fonadékú szvete. A sors irracionális gykereinek ízeit érezzük. Micsoda ellentét forma és tartalom kzt! Ilyen vad, si, nyers, babonás mélyeket éppen csak az emberi tudat és kultúra leglucidasabb mvészete tár fl: annál megrendítbb! A Szophoklész mvészete” – írja Babits Mihály Az európai irodalom trténeté-ben.

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

Vajon van esélye Hanna és Olivér szerelmének?Túlélheti a fiatal lány a végzetesnek hitt balesetet? ?s ha túl is éli, visszaállhat-e az élete a normális kerékvágásba?Mire képes a szerelem, mit bír el a szív? Elfogadni, megbocsátani, elengedni, újrakezdeni. A másik oldalról els? részében megismert szerepl?ké mellett új kapcsolatok alakulását is nyomon k?vethetjük. Együtt sírhatunk és nevethetünk a hétk?znapi h?s?kkel, akikkel végtelen természetességük miatt igazán k?nny? azonosulni. A korábbi k?tethez hasonlóan ezúttal is számtalan komoly téma vet?dik fel, a bonyodalmakkal dúsított, meglep?, néhol megd?bbent? fordulatokban gazdag t?rténet mégis k?nnyed, szórakoztató kikapcsolódást ígér. Papp Csilla legújabb k?nyvében, mely ott kezd?dik, ahol az els? regény véget ér, újra és újra rácsodálkozhatunk a szerelem erejére, mik?zben minden kétséget kizáróan el fogjuk hinni, hogy biztosan nincsenek véletlenek.

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

Materialele reunite in acest volum reprezinta o suma de contributii si studii publicate in ultimii ani. Toate materialele au fost selectate pentru a corespunde titlului stabilit: BATALIA PENTRU BASARABIA. Este explicabil de ce, in atare conditii, preocuparile colectivului de autori s-au concentrat asupra epocii celui de-al Doilea Razboi Mondial, cu predilectie tratand sfartecarea teritoriala a Romaniei Mari in 1940 sau rolul si locul Maresalului Ion Antonescu in reluarea luptei nationale pentru eliberarea Basarabiei de sub dominatia Imperiului Rosu stalinist, dupa 1941. Nu au fost neglijate nici anume fapte si consideratii din rastimpul 1945-1989, cand batalia s-a desfasurat indeosebi pe plan politico-diplomatic, dar si ideologic ori istoriografic.

n iunie 2015 am publicat n revista Permanene” (nr. 6) articolul Vladimir Tismneanu - ieri i azi”, motivat de faptul c Preedintele Comisiei Prezideniale pentru Analiza Dictaturii Comuniste din Romnia a devenit brusc un atacator al celor susinute n Raportul Final al Comisiei pe care a prezidat-o. Pn n prezent nu exist niciun fel de opinie a dlui Tismneanu i nici a celor de la Institutul Elie Wiesel” - MCA referitor la acest punct de vedere.

Ac?iunea informativ? Nichita Smochin? reprezint? rezultatul cercet?rii ?n Arhiva CNSAS.Documentele publicate sub egida Institutului de Istorie ?George Bari?iu“ al Academiei Rom?ne au ca subiect urm?rirea informativ? a lui Nichita Smochin? de c?tre Securitate ?n perioada 1952-1962. Dup? abandonarea Rom?niei ?n sfera de influen?? sovietic?, activitatea academic?, publicistic? ?i umanitar?, desf??urat? ?n perioada interbelic? ?i ?n timpul celui de al Doilea R?zboi Mondial, dar mai ales calitatea de consilier al mare?alului Ion Antonescu, l-au plasat pe cel mai important militant pentru afirmarea spiritului rom?nesc ?n Transnistria ?n fruntea listei du?manilor URSS.FragmentDin nota privind ?nt?lnirea agentului ?Speran?a“ cu Nichita Smochin?: ?n ziua de 17 octombrie 1952, informatorul ?Speran?a“, sub pretextul c? vrea s? primeasc? lec?ii de limba rus? ?n scris, s-a dus la Smochin? Nichita, din str. N. Golescu nr. 14. La intrare ?Speran?a“ a fost ?nt?mpinat? de fiica lui Smochin?, care nu prea vroia s? o primeasc? ?n?untru. Dup? ce a fost primit? ?n?untru, a venit ?i Smochin?, cu care a ?nceput discu?ia. Din discu?ii a rezultat c? Smochin? ?n prezent traduce din limba rus? ?n limba rom?n? diferite c?r?i, pe care le prime?te de la o redac?ie din apropiere de locuin?a sa. A mai rezultat c? el, p?n? ?n anul 1938, a locuit ?n Ia?i, dup? care s-a mutat ?n Bucure?ti. Este v?duv, locuie?te ?mpreun? cu fiica sa, ginerele s?u ?i un nepot. Este o fire ?nchis?, necomunicativ?, ?ns? fa?? de ?Speran?a“ s-a ar?tat foarte binevoitor, mai ales v?z?nd c? ?tie la perfec?ie s? vorbeasc? limba rus?. Toat? conversa?ia a fost dus? ?n limba rus?. Sursa: ?Speran?a“. Valoarea: serioas?. Nota biroului: S-au trasat instruc?iuni informatorului s? se mai duc? la Smochin? ?i s? primeasc? lec?ii ?n scris, iar deocamdat? s? nu deschid? discu?ia despre trecutul s?u, pentru a putea c?p?ta ?ncrederea lui Smochin?, iar la a treia vedere s? deschid? discu?ia. Nota superiorului: ?S? se urm?reasc? ?n continuare ac?iunea lui Smochin?, p?n? vom primi noi dispozi?iuni de la Cabinet. Informatorului s? i se dea bani pentru a pl?ti medita?ia pe care o prime?te de la Smochin? (ss)“.

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...

Sir Peter Paul Rubens ( 28 June 1577 – 30 May 1640), was a Flemish Baroque painter, and a proponent of an extravagant Baroque style that emphasised movement, colour, and sensuality. He is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe.. Early lifeRubens was born in the German city of Siegen, Westphalia to Jan Rubens and Maria Pypelincks. His father, a Calvinist, and mother fled Antwerp for Cologne in 1568, after increased religious turmoil and persecution of Protestants during the rule of the Spanish Netherlands by the Duke of Alba. Jan Rubens became the legal advisor (and lover) of Anna of Saxony, the second wife of William I of Orange, and settled at her court in Siegen in 1570; their daughter Christine was born in 1571. Following Jan Rubens's imprisonment for the affair, Peter Paul Rubens was born in 1577. The family returned to Cologne the next year. In 1589, two years after his father's death, Rubens moved with his mother Maria Pypelincks to Antwerp, where he was raised as a Catholic. Religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting (he had said "My passion comes from the heavens, not from earthly musings").In Antwerp, Rubens received a humanist education, studying Latin and classical literature. By fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the city's leading painters of the time, the late Mannerist artists Adam van Noort and Otto van Veen. Much of his earliest training involved copying earlier artists' works, such as woodcuts by Hans Holbein the Younger and Marcantonio Raimondi's engravings after Raphael. Rubens completed his education in 1598, at which time he entered the Guild of St. Luke as an independent master. Italy (1600–1608)In 1600, Rubens travelled to Italy. He stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The coloring and compositions of Veronese and Tintoretto had an immediate effect on Rubens's painting, and his later, mature style was profoundly influenced by Titian. With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601. Last decade (1630–1640)The Exchange of Princesses, from the Marie de' Medici Cycle. Louvre, ParisRubens's last decade was spent in and around Antwerp. Major works for foreign patrons still occupied him, such as the ceiling paintings for the Banqueting House at Inigo Jones's Palace of Whitehall, but he also explored more personal artistic directions.In 1630, four years after the death of his first wife, the 53-year-old painter married 16-year-old Hélène Fourment. Hélène inspired the voluptuous figures in many of his paintings from the 1630s, including The Feast of Venus (Kunsthistorisches Museum, Vienna), The Three Graces and The Judgment of Paris (both Prado, Madrid). In the latter painting, which was made for the Spanish court, the artist's young wife was recognized by viewers in the figure of Venus. In an intimate portrait of her, Hélène Fourment in a Fur Wrap, also known as Het Pelsken, Rubens's wife is even partially modelled after classical sculptures of the Venus Pudica, such as the Medici Venus. In 1635, Rubens bought an estate outside of Antwerp, the Steen, where he spent much of his time. Landscapes, such as his Ch?teau de Steen with Hunter (National Gallery, London) and Farmers Returning from the Fields (Pitti Gallery, Florence), reflect the more personal nature of many of his later works. He also drew upon the Netherlandish traditions of Pieter Bruegel the Elder for inspiration in later works like Flemish Kermis (c. 1630; Louvre, Paris).

"When all the gods had assembled in conference, Zeus arose among them and addressed them thus" . . . "it is with this line that Plato's story of Atlantis ends; and the words of Zeus remain unknown." -- Francis Bacon, New Atlantis Of all the writings of Plato the Timaeus is the most obscure and repulsive to the modern reader, and has nevertheless had the greatest influence over the ancient and mediaeval world. The obscurity arises in the infancy of physical science, out of the confusion of theological, mathematical, and physiological notions, out of the desire to conceive the whole of nature without any adequate knowledge of the parts, and from a greater perception of similarities which lie on the surface than of differences which are hidden from view. To bring sense under the control of reason; to find some way through the mist or labyrinth of appearances, either the highway of mathematics, or more devious paths suggested by the analogy of man with the world, and of the world with man; to see that all things have a cause and are tending towards an end—this is the spirit of the ancient physical philosopher. He has no notion of trying an experiment and is hardly capable of observing the curiosities of nature which are 'tumbling out at his feet,' or of interpreting even the most obvious of them. He is driven back from the nearer to the more distant, from particulars to generalities, from the earth to the stars. He lifts up his eyes to the heavens and seeks to guide by their motions his erring footsteps. But we neither appreciate the conditions of knowledge to which he was subjected, nor have the ideas which fastened upon his imagination the same hold upon us. For he is hanging between matter and mind; he is under the dominion at the same time both of sense and of abstractions; his impressions are taken almost at random from the outside of nature; he sees the light, but not the objects which are revealed by the light; and he brings into juxtaposition things which to us appear wide as the poles asunder, because he finds nothing between them. He passes abruptly from persons to ideas and numbers, and from ideas and numbers to persons,—from the heavens to man, from astronomy to physiology; he confuses, or rather does not distinguish, subject and object, first and final causes, and is dreaming of geometrical figures lost in a flux of sense. He contrasts the perfect movements of the heavenly bodies with the imperfect representation of them (Rep.), and he does not always require strict accuracy even in applications of number and figure (Rep.). His mind lingers around the forms of mythology, which he uses as symbols or translates into figures of speech. He has no implements of observation, such as the telescope or microscope; the great science of chemistry is a blank to him. It is only by an effort that the modern thinker can breathe the atmosphere of the ancient philosopher, or understand how, under such unequal conditions, he seems in many instances, by a sort of inspiration, to have anticipated the truth. The influence with the Timaeus has exercised upon posterity is due partly to a misunderstanding. In the supposed depths of this dialogue the Neo-Platonists found hidden meanings and connections with the Jewish and Christian Scriptures, and out of them they elicited doctrines quite at variance with the spirit of Plato. Believing that he was inspired by the Holy Ghost, or had received his wisdom from Moses, they seemed to find in his writings the Christian Trinity, the Word, the Church, the creation of the world in a Jewish sense, as they really found the personality of God or of mind..

THE earliest record we have of the employment of an infernal machine at all resembling the torpedo of the present day, was in 1585 at the siege of Antwerp. Here by means of certain small vessels, drifted down the stream, in each of which was placed a magazine of gunpowder, to be fired either by a trigger, or a combination of levers and clockwork, an Italian engineer, Lambelli, succeeded in demolishing a bridge that the enemy had formed over the Scheldt. So successful was this first attempt, and so tremendous was the effect produced on the spectators, by the explosion of one of these torpedoes, that further investigation of this new mode of Naval warfare was at once instituted.But it was not until some two hundred years after that any real progress was effected, though numerous attempts were made during this period, to destroy vessels by means of sub-marine infernal machines.It was owing to the fact, that the condition which is now considered as essential in torpedo warfare, viz., that the charge must be submerged, was then entirely ignored, that so long a standstill occurred in this new art of making war. Captain Bushnell, the Inventor of Torpedoes.—To Captain David Bushnell, of Connecticut, in 1775, is most certainly due the credit of inventing torpedoes, or as he termed them submarine magazines. For he first proved practically that a charge of gunpowder could be fired under water, which is incontestably the essence of submarine warfare. Submarine Boat.—To Captain Bushnell is also due the credit of first devizing a submarine boat for the purpose of conveying his magazines to the bottom of hostile ships and there exploding them.Drifting Torpedoes.—Another plan of his for destroying vessels, was that of connecting two of his infernal machines together by means of a line, and throwing them into the water, allowing the current to carry them across the bows of the attacked ship. Mode of Ignition.—The ignition of his magazines was generally effected by means of clockwork, which, when set in motion, would run for some time before exploding the machines, thus enabling the operators to get clear of the explosion.Captain Bushnell's few attempts to destroy our ships off the American coast in 1776 and 1777, with his submarine boat, and his drifting torpedoes were all attended with failure, a result generally experienced, where new inventions are for the first time subjected to the test of actual service. Robert Fulton.—Robert Fulton, an American, following in his footsteps, some twenty years after, revived the subject of submarine warfare, which during that interval seems to have been entirely forgotten. A resident in France, in 1797, he is found during that year making various experiments on the Seine with a machine which he had constructed, and by which he designed "to impart to carcasses of gunpowder a progressive motion under water, to a certain point, and there explode them."[A] Fulton's Failures.—Though these first essays of his resulted in failure, Fulton thoroughly believed in the efficacy of his schemes, and we find him, during that and succeeding years, vainly importunating the French and Dutch Governments, to grant him aid and support in carrying out experiments with his new inventions, whereby he might perfect them, and thus ensure to whichever government acceded to his views, the total destruction of their enemy's fleets. Bonaparte aids Fulton.—Though holding out such favourable terms, it was not until 1800, when Bonaparte became First Consul, that Fulton's solicitations were successful, and that money was granted him to carry out a series of experiments. In the following year (1801), under Bonaparte's immediate patronage, Fulton carried out various and numerous experiments in the harbour of Brest, principally with a submarine boat devised by him (named the Nautilus), subsequently to his invention of submarine carcasses as a means of approaching a ship and fixing one of his infernal machines beneath her..

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

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

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