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.

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.

Pointless conversations: a selection of daft, ridiculous and utterly pointless meanderings from the mind of Scott Tierney. If you've ever wanted to know the answers to why Superman is a coward; why Spiderman should technically be deformed; and if Superdog caused the death of Krypton, then these bite-sized comics will reveal all. The discussions may be insane, and most of what is said is rambling, but despite this, you may find yourself agreeing with most of what is said. It's a fair point: where does Spiderman store all that web?

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.

The A-Z of PC Engine ＆ TurboGrafx: Volume 1 features reviews of three different games for each letter of the alphabet. The games range from the very earliest releases in 1987 to the modern homebrew games of today. This book shows you just how diverse the library of titles is for the PC Engine and TurboGrafx and how they became so popular with retro gaming collectors.

In the 1930s, British film producers and critics championed the idea of 'quality' pictures - thoughtful, intelligent films that would project a particular and positive view of Britain. The result was to drive a wedge between 'national' cinema (which reflected middle-class values) and 'popular' cinema (which reflected the working-class values of the majority of cinema audiences). 'Popular' became a term of abuse, particularly directed at comedies, whose roots often lay in music-hall. A very different image of Britain emerges from these comedies, as this insightful analysis of two Will Hay films - Oh Mr Porter (1937) and Ask a Policeman (1939) reveals.

Are you a fan of King of Pop Michael Jackson? Do you know everything there is to know about the world's greatest ever superstar? Then this is the book for you! In this easy-to-digest eBook are 101 facts about your favourite singer - do you know all of them?Test yourself and your friends with these handily-packaged facts easily organised into categories for maximum enjoyment. Sections include his upbringing, his music, and his tragic death. This is a perfect bite-sized eBook for any fan of the world-famous icon.

Are you the world's most knowledgeable Brat? Or do you want to find out everything there is to know about one of the world's freshest female singers? If so, then this is the book for you! Contained within are over one hundred facts about Cher Lloyd, from her loves and hates to her relationships and secret marriage 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!

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.

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.

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.

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.

"Where ocean bathes earth's footstool these sea-bowersBedeck its solid wavelets: wise was heWho blended shore with deep, with seaweed flowers,And Naiads' rivulets with Nereids' sea." Strictly speaking the peninsula on which the city stands is of the form of a trapezium. It juts out into the sea, beating back as it were the fierce waves of the Bosphorus, and forcing them to turn aside from their straight course and widen into the Sea of Marmora, which the ancients called the Propontis, narrowing again as it forces its way between the near banks of the Hellespont, which rise abrupt and arid from the European side, and slope gently away in Asia to the foot of Mount Ida. Northwards there is the little bay of the Golden Horn, an arm as it were of the Bosphorus, into which run the streams which the Turks call the Sweet Waters of Europe. The mouth of the harbour is no more than five hundred yards across. The Greeks of the Empire spanned it by a chain, supported here and there on wooden piles, fragments of which still remain in the Armoury that was once the church of S. Irene. Within is safe anchorage in one of the finest harbours of the world. South of the Golden Horn, on the narrow tongue of land—narrow it seems as seen from the hills of the northern shore—is the city of Constantine and his successors in empire, seated, like the old Rome, on seven hills, and surrounded on three sides by sea, on the fourth by the still splendid, though shattered, medi?val walls. Northwards are the two towns, now linked together, of Pera and Galata, that look back only to the trading settlements of the Middle Ages.The single spot united, as Gibbon puts it, the prospects of beauty, of safety, and of wealth: and in a masterly description that great historian has collected the features which made the position, "formed by Nature for the centre and capital of a great monarchy," attractive to the first colonists, and evident to Constantine as the centre where he could best combine and command the power of the Eastern half of his mighty Empire. Byzantium Before Constantine.It is impossible to approach Constantinople without seeing the beauty and the wonder of its site. Whether you pass rapidly down the Bosphorus, between banks crowned with towers and houses and mosques, that stretch away hither and thither to distant hills, now bleak, now crowned with dark cypress groves; or up from the Sea of Marmora, watching the dome of S. Sophia that glitters above the closely packed houses, till you turn the point which brings you to the Golden Horn, crowded with shipping and bright with the flags of many nations; or even if you come overland by the sandy wastes along the shore, looking across the deep blue of the sea to the islands and the snow-crowned mountains of Asia, till you break through the crumbling wall within sight of the Golden Gate, and find yourself at a step deep in the relics of the middle ages; you cannot fail to wonder at the splendour of the view which meets your eyes. Sea, sunlight, the quaint houses that stand close upon the water's edge, the white palaces, the crowded quays, and the crowning glory of the Eastern domes and the medi?val walls—these are the elements that combine to impress, and the impression is never lost. Often as you may see again the approach to the imperial city, its splendour and dignity and the exquisite beauty of colour and light will exert their old charm, and as you put foot in the New Rome you will feel all the glamour of the days that are gone by.

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.

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