Poetry. According to Wikipedia: "Robert Louis (Balfour) Stevenson (1850 - 1894), was a Scottish novelist, poet, and travel writer, and a leading representative of Neo-romanticism in English literature. He was the man who "seemed to pick the right word up on the point of his pen, like a man playing spillikins", as G. K. Chesterton put it. He was also greatly admired by many authors, including Jorge Luis Borges, Ernest Hemingway, Rudyard Kipling, Vladimir Nabokov, and J. M. Barrie. Most modernist writers dismissed him, however, because he was popular and did not write within their definition of modernism. It is only recently that critics have begun to look beyond Stevenson's popularity and allow him a place in the canon."

Traduit par Fran?ois Pierre Guillaume Guizot (1787 - 1874), historien fran?ais et homme d'?tat. Publié en 1864. Selon Wikipedia: ?La tragédie de Hamlet, prince du Danemark, est une tragédie de William Shakespeare, qui se déroule au royaume du Danemark et qui dramatise la vengeance du prince Hamlet sur son oncle Claudius pour le meurtre du roi Hamlet, le frère de Claude et le père du prince Hamlet, puis succédant au tr?ne et prenant pour épouse Gertrude, la veuve du vieux roi et la mère du prince Hamlet.La pièce dépeint vivement la folie vraie et feinte - de la douleur accablante à la rage bouillonnante - et explore des thèmes de trahison, la vengeance, l'inceste et la corruption morale.

The Shakespeare tragedy, in English with line numbers and translated to German by August Wilhelm von Schlegel. According to Wikipedia: "The ghost of Caesar taunts Brutus about his imminent defeat. (Copperplate engraving by Edward Scriven from a painting by Richard Westall: London, 1802.) The Tragedy of Julius Caesar, also known simply as Julius Caesar, is a tragedy by William Shakespeare, believed to have been written in 1599. It portrays the 44 BC conspiracy against the Roman dictator Julius Caesar, his assassination and the defeat of the conspirators at the Battle of Philippi. It is one of several Roman plays that Shakespeare wrote, based on true events from Roman history, which also include Coriolanus and Antony and Cleopatra."

Comédie de Shakespeare, traduite en fran?ais par Fran?ois Pierre Guillaume Guizot (1787 - 1874), historien fran?ais et homme d'?tat. Publié en 1862. Selon Wikipedia: "La Mégère apprivoisée est une comédie de William Shakespeare, qui aurait été écrite entre 1590 et 1591. La pièce commence par un dispositif d'encadrement, souvent appelé l'Induction, dans lequel un malicieux Nobleman trompe un bricoleur bourré du nom de Sly pour lui faire croire qu'il est lui-même un noble.Le noble a ensuite joué pour la diversion de Sly.Le complot principal dépeint la parade de Petruchio, un gentilhomme de Vérone, et Katherina, la musaraigne obstinée et opini?tre. Initialement, Katherina est une participante involontaire dans la relation, mais Petruchio la tempère avec divers tourments psychologiques - le ?domptage? - jusqu'à ce qu'elle devienne une épouse docile et obéissante.La sous-intrigue présente une compétition entre les prétendants de la s?ur plus désirable de Katherina, Bianca. "

The Shakespeare tragedy, in English, with line numbers, and translated to German. According to Wikipedia: "The Life of Timon of Athens is a play by William Shakespeare about the fortunes of an Athenian named Timon (and probably influenced by the philosopher of the same name, as well), generally regarded as one of his most obscure and difficult works. Originally grouped with the tragedies, it is generally considered such, but some scholars group it with the problem plays."

La pièce d'histoire de Shakespeare, Henry VIII, dans la traduction fran?aise. Selon Wikipédia: "La célèbre histoire de la vie du roi Henry VIII est une pièce d'histoire de William Shakespeare et (prétendument) John Fletcher, basée sur la vie d'Henry VIII d'Angleterre. dans les documents contemporains, le titre Henry VIII n'apparaissait pas avant la publication de la pièce dans le premier folio de 1623. L'évidence stylistique indique que la pièce a été écrite par Shakespeare en collaboration avec son successeur, John Fletcher, ou révisée par lui. de la fin des romans dans sa structure.Il est noté pour avoir plus de directions de scène que l'un des autres jeux de Shakespeare. "

Romance Shakespearienne classique en traduction fran?aise. Selon Wikipedia: "The Tempest est une pièce écrite par William Shakespeare.Beaucoup de chercheurs croient qu'il a été écrit en 1610-11, bien que certains chercheurs ont plaidé pour une date plus t?t. Folio de 1623, de nombreux éditeurs modernes ont depuis ré-étiqueté le jeu. Il n'a pas attiré beaucoup d'attention avant la fermeture des thé?tres en 1642 et après la Restauration, il n'a atteint la popularité que dans des versions adaptées. rétablir le texte shakespearien original au milieu du XIXe siècle, et au XXe siècle, les critiques et les spécialistes ont entrepris une réévaluation significative de la valeur de la pièce, dans la mesure où elle est maintenant considérée comme l'une des plus grandes ?uvres de Shakespeare.

Klassische Shakespeare-Romantik in deutscher ?bersetzung. Nach Wikipedia: "The Tempest ist ein Stück von William Shakespeare geschrieben. Viele Forscher glauben, dass es in 1610-11 geschrieben wurde, obwohl einige Wissenschaftler für ein früheres Datum argumentiert haben." Folio 1623, haben viele moderne Redakteure Seit dem Umbau der Theater im Jahr 1642 und nach der Restauration, wurde es nur in angepassten Versionen beliebt.Restore den ursprünglichen Shakespeare-Text in der Mitte der Im neunzehnten Jahrhundert und im zwanzigsten Jahrhundert unternahmen Kritiker und Gelehrte eine bedeutende Neubewertung des Wertes des Stückes, da es jetzt als eines der gr??ten Werke Shakespeares gilt."

Klassische Shakespeare-Romantik auf Englisch mit Zeilennummern und in deutscher ?bersetzung. Laut Wikipedia: "The Tempest ist ein Stück von William Shakespeare geschrieben. Viele Gelehrte glauben, dass es in 1610-11 geschrieben wurde, obwohl einige Forscher für eine frühere Datierung argumentiert haben. W?hrend als Kom?die aufgelistet, als es ursprünglich in der ersten ver?ffentlicht wurde Folio von 1623, viele moderne Redakteure haben seitdem das Spiel als eine Romanze bezeichnet, die vor der Schlie?ung der Theater im Jahre 1642 keine nennenswerte Aufmerksamkeit auf sich zog und nach der Restauration nur in adaptierten Versionen Popularit?t erlangte den originalen Shakespeare-Text in der Mitte des 19. Jahrhunderts wieder einzuführen, und im 20. Jahrhundert haben Kritiker und Gelehrte eine signifikante Neubewertung des Spielwerts vorgenommen, in dem Ma?e, als es jetzt als eines von Shakespeares gr??ten Werken gilt. "

Cartea pe care o ?ine?i ?n m?n? este periculoas?. Incomod?, scor?oas?, incendiar? fiind, ?n mod cert, va deranja unele personaje, nelipsite de importan??, din arena politicii rom?ne?ti, care confund? adeseori politica cu diletantismul, tr?d?nd interesele sus?inute cu at?ta patos ?n campaniile electorale. ?n mod sigur, Nu tr?da?i, v? rog! va alarma edilii capitalei ce se ?ntrec ?n a distruge ?micul Paris“ de pe vremuri. Aceast? carte, a?adar, va deranja nu pu?in? lume prin scenele din via?a social-politic? post-decembrist?, cu at?t mai mult, cu c?t umorul ?fichiuitor nu-i este str?in nici pe departe autorului. Nici deta?area…

Vreau s? cred c? drumul lui Eugenio Barba este cel ?n care ?nt?lne?te copacul de care at?rn? pe creanga cea mai de sus un m?r de aur ?i f?r? s? ?i pese de cei din jurul lui, de privirile lor arogante sau sc?nteind a dispre?, se ca??r? ?n copac, ?n plin? lumin? de zi, ?i culege m?rul. M?rul norocos al destinului. Curaj, perseveren??, credin?? de nezdruncinat ?n vocea l?untrului care mereu ?i ?opte?te drumul pe care s?-l urmeze, c?ci este drumul lui.Eugenio Barba, vizionar, reformator, artist, dramaturg-regizor, maestru, scriitor, ?n dramaturgia sa, ?n cuvintele sale imortalizate ?n reflec?ii asupra sensului ?i condi?iei artei teatrului ?i a artistului, ?n cercet?rile de natur? artistic? ?i ?tiin?ific?, ?n laboratorul de teatru, sesiunile ?colii Interna?ionale de Antropologie Teatral? forjeaz? un act artistic unificator prin coprezen?e ale contrariilor, ?ntrup?ri ale simultaneit??ilor, combin?ri temporale ?i spa?iale, dintre trecut ?i viitor, dintre Est ?i Vest, declan??nd ?o revolu?ie copernician? f?r? de care ?tiin?a teatrului de la sf?r?itul secolului XX ar fi incomprehensibil?“. (Diana Cozma)

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.

Haydn

Musical Memories

Titus Andronicus, with line numbers

A Book of Operas

The Standard Operas

The Complete Works of John Greenleaf Whittier

Piano Tuning

Chapters of Opera

According to Wikipedia: "The Imaginary Invalid (French: Le malade imaginaire) is a 1673 three-act comédie-ballet by the French playwright Molière with dance sequences and musical interludes by Marc-Antoine Charpentier. It was originally choreographed by Pierre Beauchamp. Molière had fallen out with the powerful court composer Jean-Baptiste Lully, with whom he had pioneered the comédie-ballet form a decade earlier, and had opted for the collaboration with Charpentier, Lully's rival and arguably a more gifted composer. Le malade imaginaire would turn out to be his last work. He collapsed during his fourth performance as Argan on 17 February and died soon after. Beyond the obvious irony, given the play's title, it is possible that Molière was poisoned by Lully, or at the jilted collaborator's instigation."