How well do you know your 70s Movies? This Quiz book will test even the most avid fan, with questions that span the 70s films of all genres! Test yourself and your friends with this 70s Movies Quiz Book.

How well do you know your 80s Movies? This Quiz book will test even the most avid fan, with questions that span the 80s films of all genres! Test yourself and your friends with this 80s Movies Quiz Book.

A fascinating collection of studies about religion and politics during the later years of the Middle Ages. Includes essays on many topics, including the influence of Henry VIII, the Tower of London, the various English translations and illuminations of the Bible, and the Society of Jesus.

Did you know that you can use a tree stump as a compass? Do you know what makes Maple trees explode? What do the leaves of an oak tree look like? And where is the tallest tree in the world? The answers to all of these questions and more can be found in this excellent quick-read guide to trees. Whether you're a dedicated arborologist or are just interested in this often overlooked yet wonderful area of nature, then this book containing over one hundred fascinating facts is the book for you.

How well do you know your 60s Movies? This Quiz book will test even the most avid fan, with questions that span the 60s films of all genres! Test yourself and your friends with this 60s Movies Quiz Book.

Are you the world's biggest Justin Timberlake fan? Or do you want to know everything there is to know about the SexyBack superstar, actor and ex *NSYNC singer?If so, then this is the book for you! Contained within are 101 amazing facts about everything, from how Justin got started as both a singer and as an actor, his love life, awards he has won and much more. The book is easily organised into sections so you can find the information you want fast and is perfect for all ages!

Did you know that watching scary movies burns more calories than any other genre? Or that three quarters of the women James Bond has slept with have tried to kill him? If you enjoy going to the movies, you will love this book which contains over one hundred amazing facts about your favourite flicks. Organised into sections such as costumes, props, original endings and more, this is the perfect addition for any film fan's bookshelf.

Everything you see, Asimov, is a deception.' This book is a collection of deceptions, of reflections, of fictions, of distractions and distortions. 'Media Unfriendly' features vignettes, short stories, improvisations, meditations and sketches inspired by, but not exclusive, to John Simm, Five Star, Elvis impersonators, cream jeans, androids, Italo disco, Nicole Kidman, media barons, psychosis, local councils, Swedish pop groups and idea material one cannot mention in a family publication. It requires your emotional and financial investment, and your attention span. You could 'Like' if you are a slave to platitudes. Or buy it, if this blurb is not considered too smug to the point that you want to smash the authors face in. With a horse skull.

The A-Z of Atari Jaguar Games: Volume 1 features reviews of three different games for each letter of the alphabet. The games range from the very earliest releases in 1993 to the modern homebrew games of today. This book shows you just how diverse the library of titles is for this highly collectable console and how it doesn't deserve the poor reputation that many people quote.

Are you the world's most dedicated Harmonizer? Do you know more about Fifth Harmony than any other fan? Or do you want to discover some fantastic information about the girls who have taken the world by storm? If so, then this is the book for you! Contained within are more than one hundred amazing facts about everything, from the music to the relationships plus much, much more. The book is easily organised into sections so you can find the information you want fast, and is perfect for all ages. No Harmonizer should be without it!

Are you the ultimate Vampette or Vampion? Do you want to know even more about Brad, James, Connor and Tristan? If so, then this is the book for you! Contained within are 101 amazing facts about everything, from how the boys formed the band to their likes, dislikes and awards they have won plus much, much more. The book is easily organised into sections so you can find the information you want fast and is perfect for all ages.

People love cute and cuddly puppies, but have you ever wondered why so many are abandoned, often within a day of purchase? The answer is because the new owner never realised just how much is actually involved in looking after a young puppy. The aim of this book is to give the prospective owner an honest idea of what is involved in rearing a young puppy into adulthood and to get an idea if the experience is for them.

Poems of an identical imagination

"Romeo and Juliet" is a tragic play written early in the career of William Shakespeare about two teenage "star-cross'd lovers" whose untimely deaths ultimately unite their feuding households. It was among Shakespeare's most popular plays during his lifetime and, along with Hamlet, is one of his most frequently performed plays. Today, the title characters are regarded as archetypal "young lovers"??PROLOGUE:?Two households, both alike in dignity,?In fair Verona, where we lay our scene,?From ancient grudge break to new mutiny,?Where civil blood makes civil hands unclean.?From forth the fatal loins of these two foes?A pair of star-cross'd lovers take their life;?Whole misadventured piteous overthrows?Do with their death bury their parents' strife.?The fearful passage of their death-mark'd love,?And the continuance of their parents' rage,?Which, but their children's end, nought could remove,?Is now the two hours' traffic of our stage;?The which if you with patient ears attend,?What here shall miss, our toil shall strive to mend.

“Midsummer Night's Dream” is Shakespeare's classic tale of two couples who can't quite pair up to everyone's satisfaction. Demetrius and Lysander love Hermia. ??Hermia loves Lysander but has been promised to Demetrius by her father. Hermia's best friend Helena loves Demetrius, but in his obsession for Hermia Demetrius barely even notices her smitten friend. ??When Hermia and Lysander plan to elope all four find themselves in the forest late at night where the fairy Puck and his lord Oberon wreck havoc on the humans with a love potion that causes the victim to fall in love with the first thing they see upon waking.??- Some Books of Shakespeare:?- Romeo and Juliet (1597)?- Hamlet (1599)?- Macbeth (1606)?- Julius Caesar (1599)?- Othello (1603)?- The Merchant of Venice (1598)?- Much Ado About Nothing (1600)?- King Lear (1606)?- The Taming of the Shrew (1594)?- The Comedy of Errors (1594)

“THE TEMPEST” is Shakespeare's last book. The story Prospero relates is that he is the rightful Duke of Milan and that his younger brother, Antonio, betrayed him, seizing his title and property. Twelve years earlier, Prospero and Miranda were put out to sea in little more than a raft. Miraculously, they both survived and arrived safely on this island, where Prospero learned to control the magic that he now uses to manipulate everyone on the island. Upon his arrival, Prospero rescued a sprite, Ariel, who had been imprisoned by the witch Sycorax. Ariel wishes to be free and his freedom has been promised within two days.??The last inhabitant of the island is the child of Sycorax and the devil: Caliban, whom Prospero has enslaved. Caliban is a natural man, uncivilized and wishing only to have his island returned to him to that he can live alone in peace.??Soon the royal party from the ship is cast ashore and separated into three groups. The king's son, Ferdinand, is brought to Prospero, where he sees Miranda, and the two fall instantly in love. Meanwhile, Alonso, the king of Naples, and the rest of his party have come ashore on another part of the island. Alonso fears that Ferdinand is dead and grieves for the loss of his son. Antonio, Prospero's younger brother, has also been washed ashore with the king's younger brother, Sebastian. ??Antonio easily convinces Sebastian that Sebastian should murder his brother and seize the throne for himself. This plot to murder Alonso is similar to Antonio's plot against his own brother, Prospero, 12 years earlier.??Another part of the royal party — the court jester and the butler — has also come ashore. Trinculo and Stefano each stumble upon Caliban, and each immediately sees a way to make money by exhibiting Caliban as a monster recovered from this uninhabited island. Stefano has come ashore in a wine cask, and soon Caliban, Trinculo, and Stefano are drunk. While drinking, Caliban hatches a plot to murder Prospero and enrolls his two new acquaintances as accomplices. Ariel is listening, however, and reports the plot to Prospero.??Next, Prospero stages a masque to celebrate the young couple's betrothal, with goddesses and nymphs entertaining the couple with singing and dancing. While Ferdinand and Miranda have been celebrating their love, Alonso and the rest of the royal party have been searching for the king's son. Exhausted from the search and with the king despairing of ever seeing his son alive, Prospero has ghosts and an imaginary banquet brought before the king's party. A god-like voice accuses Antonio, Alonso, and Sebastian of their sins, and the banquet vanishes. The men are all frightened, and Alonso, Antonio, and Sebastian run away.??Prospero punishes Caliban, Trinculo, and Stefano with a run through a briar patch and swim in a scummy pond. Having accomplished what he set out to do, Prospero has the king's party brought in. Prospero is clothed as the rightful Duke of Milan, and when the spell has been removed, Alonso rejects all claims to Prospero's dukedom and apologizes for his mistakes. Within moments, Prospero reunites the king with his son, Ferdinand. Alonso is especially pleased to learn of Miranda's existence and that Ferdinand will marry her.?Prospero then turns to his brother, Antonio, who offers no regrets or apology for his perfidy. ??Nevertheless, Prospero promises not to punish Antonio as a traitor. When Caliban is brought in, Caliban tells Prospero that he has learned his lesson. His two co-conspirators, Trinculo and Stefano, will be punished by the king. Soon, the entire party retires to Prospero's cell to celebrate and await their departure home. Only Prospero is left on stage.??In a final speech, Prospero tells the audience that only with their applause will he be able to leave the island with the rest of the party. Prospero leaves the stage to the audience's applause.

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.

In writing upon any matter of experience, such as art, the possibilities of misunderstanding are enormous, and one shudders to think of the things that may be put down to one's credit, owing to such misunderstandings. It is like writing about the taste of sugar, you are only likely to be understood by those who have already experienced the flavour; by those who have not, the wildest interpretation will be put upon your words. The written word is necessarily confined to the things of the understanding because only the understanding has written language; whereas art deals with ideas of a different mental texture, which words can only vaguely suggest. However, there are a large number of people who, although they cannot viibe said to have experienced in a full sense any works of art, have undoubtedly the impelling desire which a little direction may lead on to a fuller appreciation. And it is to such that books on art are useful. So that although this book is primarily addressed to working students, it is hoped that it may be of interest to that increasing number of people who, tired with the rush and struggle of modern existence, seek refreshment in artistic things. To many such in this country modern art is still a closed book; its point of view is so different from that of the art they have been brought up with, that they refuse to have anything to do with it. Whereas, if they only took the trouble to find out something of the point of view of the modern artist, they would discover new beauties they little suspected. If anybody looks at a picture by Claude Monet from the point of view of a Raphael, he will see nothing but a meaningless jargon of wild paint-strokes. And if anybody looks at a Raphael from the point of view of a Claude Monet, he will, no doubt, only see hard, tinny figures in a setting devoid of any of the lovely atmosphere that always envelops form seen in nature. So wide apart are some of the points of view in painting. In the treatment of form these differences in point of view make for enormous variety in the work. Works showing much ingenuity and ability, but no artistic brains; pictures that are little more than school studies, exercises in the representation of carefully or carelessly arranged objects, but cold to any artistic intention. At this time particularly some principles, and a clear intellectual understanding of what it is you are trying to do, are needed. We have no set traditions to guide us. The times when the student accepted the style and traditions of his master and blindly followed them until he found himself, are gone. Such conditions belonged to an age when intercommunication was difficult, and when the artistic horizon was restricted to a single town or province. Science has altered all that, and we may regret the loss of local colour and singleness of aim this growth of art in separate compartments produced; but it is unlikely that such conditions will occur again. Quick means of transit and cheap methods of reproduction have brought the art of the whole world to our doors. Where formerly the artistic food at the disposal of the student was restricted to the few pictures in his vicinity and some prints of others, now there is scarcely a picture of note in the world that is not known to the average student, either from personal inspection at our museums and loan exhibitions, or from excellent photographic reproductions. Not only European art, but the art of the East, China and Japan, is part of the formative influence by which he is surrounded; not to mention the modern science of light and colour that has had such an influence on technique. It is no wonder that a period of artistic indigestion is upon us. Hence the student has need ixof sound principles and a clear understanding of the science of his art, if he would select from this mass of material those things which answer to his own inner need for artistic expression.

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...

What is the magic of pastoral Greece? What is it that gives to you a sensation of being gently released from the cares of life and the boredom of modern civilization, with its often unmeaning complications, its unnecessary luxuries, its noisy self-satisfactions? This is not the tremendous, the spectacular release of the desert, an almost savage tearing away of bonds. Nothing in the Greece I saw is savage; scarcely anything is spectacular. But, oh, the bright simplicity of the life and the country along the way to Marathon! It was like an early world. One looked, and longed to live in those happy woods like the Turkish Gipsies. Could life offer anything better? The pines are small, exquisitely shaped, with foliage that looks almost as if it had been deftly arranged by a consummate artist. They curl over the slopes with a lightness almost of foam cresting a wave. Their color is quite lovely. The ancient Egyptians had a love color: well, the little pine-trees of Greece are the color of happiness. You smile involuntarily when you see them. And when, descending among them, you are greeted by the shining of the brilliant-blue sea, which stretches along the edge of the plain of Marathon, you know radiance purged of fierceness.? The road winds down among the pines till, at right angles to it, appears another road, or rough track just wide enough for a carriage. This leads to a large mound which bars the way. Upon this mound a habitation was perched. It was raised high above the ground upon a sort of tripod of poles. It had yellow walls of wheat, and a roof and floor of brushwood and maize. A ladder gave access to it, and from it there was a wide outlook over the whole crescent-shaped plain of Marathon. This dwelling belonged to a guardian of the vineyards, and the mound is the tomb of those who died in the great battle. PICTURESQUE DALMATIA ? Chapter I: PICTURESQUE DALMATIA IN AND NEAR ATHENS ? Chapter II: IN AND NEAR ATHENS THE ENVIRONS OF ATHENS ? Chapter III: THE ENVIRONS OF ATHENS DELPHI AND OLYMPIA ? Chapter IV: DELPHI AND OLYMPIA IN CONSTANTINOPLE ? Chapter V: IN CONSTANTINOPLE STAMBOUL, THE CITY OF MOSQUES ? Chapter VI: STAMBOUL, THE CITY OF MOSQUE

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