Are you tired of your Flat-Coated Retriever puppy leaving “messes” all over the house? What about the biting and chewing? Does your Flat-Coated Retriever drag you down the street when you try and take him/her for a walk? Do you want to teach your new puppy how to sit, stay, or play fetch??This short, simple, no-fluff beginner's training guide can help you with it all! Here Is A Preview of What You'll Learn... Is a Flat-Coated Retriever Right For You? How Much Is Enough Exercise? How To Speak Your Dog’s Language Effective Discipline How to Potty Train Your Flat-Coated Retriever Basic Obedience Training Such As: Sit, Drop, Come, Fetch, Stay, and Wait Leash Training Your Flat-Coated Retriever Puppy Socialization Training How to Stop the Biting and Chewing and Advanced Training Techniques This is a must-have guide for all beginner Flat-Coated Retriever puppy owners and individuals who are thinking of getting a Flat-Coated Retriever puppy. Don’t wait any longer! Scroll up and click the ‘Buy Now’ button to turn your little fluff ball into the perfect puppy!

Maksym Rylsky (1895-1964) is one of the most outstanding Ukrainian poets of the the 20th century and master of the genres of the modern sonnet and the long narrative poem. He was closely associated with the Neoclassicist group of Ukrainian poets, who employed traditional poetic forms with rhyme and meter, wrote in a clear and accessible contemporary idiom, and often referenced Ancient Greek and Roman mythology as well as numerous other authors from world literature in their poetry. Rylsky was also a prolific translator from English, French, German, and Polish as well as a folklore and literary scholar, who worked most of the earlier part of his life as a teacher of philology. He published his first book of poetry at the precocious age of fifteen—On White Islands in 1910. His other early books of poetry include The Edge of the Forest: Idylls (1918), Under Autumn Stars (1918), The Blue Distance (1922), Long Poems (1924), Through a Storm and Snow (1925), Beneath Autumn Stars (1926), Thirteenth Spring (1926), Where Roads Meet (1929), and Echo and Re-echo (1929). Rylsky gained considerable popularity among the Ukrainian reading public for his neo-romantic contemplative musings and intimate lyrical poetry that focused on love, life and nature. While his poetry was completely apolitical, at the end of the Ukrainian cultural renaissance in the 1920s that was crushed by Stalin, Rylsky was sternly rebuked in the state-controlled press for focusing on the personal and not writing in service to the state. In 1931 the Soviet secret police, the NKVD, arrested and publicly humiliated him. He was released in 1932 after he agreed to write in the style of socialist realism and was one of the few prominent Ukrainian writers to survive the Stalinist purges of the 1930s. During the wartime period he wrote two masterful long poems that deviated from socialist realism—“Thirst” (1942) and “Journey to Youth” (1941-4), for which he was again publicly chastised. In 1942 he became Director of the Institute of Fine Arts, Folklore and Ethnography in Kyiv, a post that he held until his death in 1964. The Institute now bears his name. He published some 30 collections of original poetry during his lifetime as well as numerous translations and scholarly works. By 1974 almost five million copies of his works in the original or in translation had appeared in the USSR. In his last two books—In the Shadow of the Lark (1961) and Winter Notes (1964) published during The Thaw, a period of relaxed censorship during the reign of Nikita Khrushchev, Rylsky’s poetic voice returned to the stature of his early poetry. This selected works edition includes poetry from virtually all of Rylsky’s early collections of poetry, with selection primarily based on esthetic principles; the powerful long poem “Thirst,” penned during the darkest days of World War II for Ukraine; and other poems from various periods of his life. Translated by Michael M. Naydan. With a guest introduction by Maria Zubrytska

Some time in the 1970s, Konstantin Alpheyev, a well-known Russian musicologist, finds himself in trouble with the KGB, the Russian secret police, after the death of his girlfriend, for which one of their officers may have been responsible. He has to flee from the city and to go into hiding. He rents an old house located on the bank of a big Russian river, and lives there like a recluse observing nature and working on his new book about Wagner. The house, a part of an old barge, undergoes strange metamorphoses rebuilding itself as a medieval schooner, and Alpheyev begins to identify himself with the Flying?Dutchman. Meanwhile, the police locate his new whereabouts and put him under surveillance. A chain of strange events in the nearby village makes the police officer contact the KGB, and the latter figure out who the new tenant of the old house actually is.?

Feng Shui Made Simple' is the perfect starting point for anyone interested in this ancient practice. The practice of Feng Shui brings a positive balance of energy to your home and your life.Sabrina Godwin takes you through all of the basics like: An introduction to Feng Shui,Yin and Yang,The Five Elements and what they mean,The Bagua,Feng Shui'ing your bedroom, kitchen, and every other room in your houseIt's all here!Grab your copy today and learn how to?naturally attract wealth,?improve your relationships and your health,?increase creativity and knowledge, and?even advance your career!?? Scroll up and click the 'Buy Now' button to start learning how to bring a positive balance of energy to all aspects of your life!

A lone traveler seeks shelter from an approaching storm in an apparently abandoned house, only to find that it is occupied by a "loathsome old, white-bearded, and ragged man."

Gerek aklara gerek insanlara yazmtm iirlerimi... Bana pis bir ucubeymiim gibi davranan ucubeye... nsan hi ucubeye iir yazar m demeyin! Benimki gerek bir ak hikayesiydi... yle sandm...Küüktüm.... Aldandm... Hani bize hep anlatlan kurbaa prens hikayesi var ya; Ben hep kurbaann prens olacan düünmütüm, ama nereden bilebilirdim prensimin kurbaa kacan... Kurbaamn da yok olacan... Bu kitabm benim gibi kurbaay prens zanneden gen kzlara, incinmi aldatlm tüm kadnlara, terk edilmi aklara ve ak ararken insann nasl ac ektiini, her eyini kaybetmiliini anlamak isteyen ak hrszlarna gelsin... ve tüm iir dostlarna.... Ben küük bir kzdm, ok incindim... Lütfen siz incinmeyin ve sizi kimsenin incitmesine izin vermeyin... UCUBEYE... Bugün tam on iki sene oldu gidiinin ardndan.. Uzun uzun yolunu gzleyiimle, hala bana bunu nasl yapt deyiimle geen on iki sene... On iki senedir hi grmedim seni... Belki yüzünü bile unuttum; zaten sesini hi hatrlamyorum. Karma ksan tanmam bile. Sadece benden aldn ak, güven, huzur, mutluluk duygularn bulmaya alyorum. Yalnzlm iimde gibi büyürken braktn korkularla adm atmaya ekindim her ak araymda... Ve yllarca yazdm sen bilmesen de sana...

Poetry and the Gods is a short story by horror writer and poet H.P. Lovecraft in collaboration with writer Anna Helen Crofts. The story is very different from the vast majority of Lovecraft's other work and collaborations. It does, however, bear similar themes regarding dreams as a doorway to magic realms, and slumbering gods. The narrative follows the dream-voyage of Marcia, a young woman filled with weariness of the mundane world and all its woes. She resolves to ease her troubled soul by reading a magazine of poetry. As she does, a dream-state unfolds in which the Greek god Hermes appears and bears Marcia to the court of Zeus and the Olympians.

—Estas??—Si, corriendo.? Y corriendo, corriendo, azotando las puertas con sus vuelos de seda, desde el tocador al gabinete y desde el armario al espejo, siempre en el retoque de ultima hora; buscando el alfiler o el abanico que perdian su cabecilla de loca, volviendose desde la calle para cenir a su garganta el collar, haciendome entrar todavia por el panolito de encaje olvidado sobre la silla, saliamos al fin todas las noches con hora y media de retraso, aunque con luz del sol empezara ella la archidificil obra de poner a nivel de la belleza de su cara la delicadeza de su adorno.?Gracias habia que dar si cuando al primer farol, ella, parandose, me preguntaba: "Que tal voy?", no le contestaba yo: "Bien, muy guapa", con absoluto convencimiento; porque capaz era la nina de volverse en ultima instancia al tribunal supremo del espejo, y entonces, ?adios, teatro!..., llegabamos a la salida. Como ocurria muchas veces.? Ella muy de prisa, yo a su lado, un poco detras, no muy cerca, con mezcla del respeto galante del caballero a la dama y del respeto grave del groom a la duquesita. Cuando en la vuelta de una esquina rozaban mi brazo sus cintas, yo le pedia perdon. Mirabala sin querer a la luz de los escaparates, y cuando alguna mujer del pueblo quedabase parada floreandola, yo la decia: "Mira, oyes?", y sonreia ella triunfante como una reina... ? ?AUTOR: Felipe Trigo Sanchez (1864 – 1916) fue medico rural y militar, y posteriormente escritor espanol. Nacido en Villanueva de la Serena, en el seno de una familia de clase media con dificultades economicas por la temprana muerte del padre, Felipe Trigo curso el bachillerato en Badajoz y la carrera de medicina en el Hospital de San Carlos de Madrid. Su experiencia como estudiante forastero en la capital la plasmaria en la novela En la carrera. Tras licenciarse, casado ya con su companera de facultad, Consuelo Seco de Herrera, ejercio como medico titular en los pueblos pacenses de Trujillanos y Valverde de Merida, circunstancia biografica que tambien novelizaria en El medico rural. Hastiado de la vida rural, entro por oposicion en el Cuerpo de Sanidad Militar. Su primer destino fue Sevilla, donde comenzo su actividad periodistica que ya habia intentado en Madrid. De Sevilla paso a Trubia, como medico de la fabrica de armas. Anos despues marcho voluntario a unas Filipinas en plena rebelion. Destinado como medico en Fuerte Victoria, en realidad un destacamento de prisioneros tagalos, estuvo a punto de perder la vida durante una escaramuza. Los sublevados le asestaron no menos de siete machetazos, dejandolo por muerto. Trigo, sin embargo, consiguio huir a campo traves, en espantosas condiciones. Con una mano inutilizada, fue repatriado como mutilado de guerra, con el grado de teniente coronel. La prensa le recibio como ?el heroe de Fuerte Victoria? y llego a ser propuesto para la Cruz Laureada de San Fernando. Rechazando la posibilidad de capitalizar politicamente su celebridad, en 1900 se retiro del Ejercito y fijo su residencia en Merida para dedicarse en exclusiva a la literatura...

In a characteristic for Arnold Bennett humorous style he takes us through ideas and techniques of staying sane and mindful. The book is about an idea which can transform a human mind leading to a more meaningful, mindful life.

The book consists of four volumes containing coming of age novels set in the Midlands of Victorian England. The story follows Edwin Clayhanger as he leaves school, takes over the family business, and falls in love. The second novel Hilda Lessways tells the story from her coming of age, her working experiences as a shorthand clerk and keeper of a lodging house in London and Brighton. These Twain, the third in the Clayhanger series, chronicles the married life of Edwin and Hilda. The fourth book, The Roll-Call, concerns the young life of Clayhanger's stepson, George.

Guaranteed Not to Be Confusing Don't Ever Be Confused by Grammar Again. Take a "bite" out of Grammar with No Mistakes Grammar Bites. It seems as if many dictionaries and books on grammar do their best to confuse people. Words and explanations are defined using grammatical terminology that is difficult to understand; in fact, if you knew that terminology, you probably wouldn't have to look up the words to begin with. We're aiming to get rid of that and explain things in plain English, using language that is easy to understand. Try it out and see for yourself. If you find these books confusing, write to me and get a refund; they're guaranteed.

Un nou gen de proz? literar?? A?a s-ar p?rea, dac? pornim de la separarea ?n con?tient ?i incon?tient a sinelui uman, aprofundat? magistral de marele psihiatru elve?ian C.G. Jung ?n celebra ?i monumentala sa Carte Ro?ie. Dumitru Popescu are o bogat? oper? literar?-fic?ional? ?i nonfic?ional? – inspirat? din yona con?tientului. Baletul fantasmelor ne propune sondarea cu mijloace literare a celeilalte zone a spiritului, cu origini ?i mecanisme ?nc? greu decelabile ?i care deschide o alt? fabuloas? perspectiv? a l?untricului omenesc.

There are, roughly speaking, two distinct types of Scottish Fairy Tales. There are what may be called "Celtic Stories," which were handed down for centuries by word of mouth by professional story-tellers, who went about from clachan to clachan in the "High-lands and Islands," earning a night's shelter by giving a night's entertainment, and which have now been collected and classified for us by Campbell of Isla and others.??These stories, which are also common to the North of Ireland, are wild and fantastic, and very often somewhat monotonous, and their themes are strangely alike. They almost always tell of some hero or heroine who sets out on some dangerous quest, and who is met by giants, generally three in number, who appear one after the other; with whom they hold quaint dialogues, and whom eventually they slay. Most of them are fairly long, and although they have a peculiar fascination of their own, they are quite distinct from the ordinary Fairy Tale.

Pisagor, ?ifa sanat?n?n en kutsal sanat oldu?unu s?ylemi?tir. ?ifa en kutsal sanatsa, o halde bedenle oldu?u kadar ruhla da ilgilenmelidir; ?ünkü hi?bir varl?k, en ?nemli par?as? hasta oldu?u sürece sa?l?kl? olamaz. ? ? ? ? ? ? ? ?Tyana’l? Apolionius Bu ?nemli ?al??mada, Kuantum ?yile?me, deyince ?unu anl?yoruz, kuantum fizi?i esaslar?na ve Modern bilime g?re iyile?me t?bbi kurallar? ile alternat?ve T?p, yani S?fac?l?k ??retisini birle?tiren bu kitap, ?e?itli hasta vaklar?n? ve Hastal?klara ili?kin vücuttaki ruhsal süredurumlara kuantum mekan???n?n modelleriyle yakla??m sa?layarak, grafiksel detayl? anlat?m?n? kullanarak, okura sa?l?kl? ve net bir yeni ?a??n s?fac? bilgisini kadim ??retileri kuantum mekan??iyle harmanlayarak aktarmaktad?r. Buna g?re, bu ?al??man?n amac?, zihin-beden-ruh bütünlü?ünü sa?lamaya deniyor ve mutlu olman?n tek ?art?n?n, ?al??ma boyunca, bu ü?ünün birli?inden ge?ti?ine inan?l?yor. Buradaki "iyile?me"den kas?t ise, Zihin-Beden-Ruh koordinasyonu kastedilmi?tir, yani tüm bir zihinsel bedensel ve ruhsal ?akra alanlar?n?n tam bir s?fas? konu edilmi?tir.. Hastal?klara kar?? ba????kl?k sisteminin etkileri muhakkak ki, ?a??m?zda art?k yads?namaz bir ger?ektir. Fakat ne var ki, buradaki esas ama?, hastal?klar? iyile?tirmekten ziyade, hasta olmaman?n yollar?n? aramakt?r bu esere g?re. (Daha da do?rusu "sa?l?kl? ol"ma ve “sa?l?kl? kal”ma halini ve süreklili?ini yakalamak ve bu süreklili?i hayat boyu sa?laman?n y?ntemi ara?t?r?l?yor ve analiz ediliyor..) Buradaki "hastal?k" terimi, t?bbi referanstan ?ok; yokluk, yaln?zl?k, i?sizlik, ba?ar?s?zl?k, mutsuzluk, kendini bo?lukta hissetme ve de?ersizlik gibi duygulara refere edilmektedir. Buna g?re, ?nsan sadece t?bbi hasta olmaz, fakir bir insan da hastad?r, yaln?z bir insan da! Kanser nas?l bir hastal?ksa; cimrilik, kabal?k, güvensizlik, korku, endi?e ve nefret de o oranda hastal?kt?r.. Sa?l?kl? bir insan tan?m?n? ??yle yap?yoruz hep genellikle: Kazanc?nda ve kahkahas?nda bolluk-bereket i?inde, ba??ms?z, gü?lü, ili?kilerinde mutlu, sevgiyi her daim ya?ayan ve etraf?ndakilerle payla?an, güven i?inde, sa?l?kl? ve güzel kalabilmek... ??te, bu kitab?n da yegane yaz?lma hedefi ve amac? da bunu sürekli olarak okura kazand?racak bilginin anahtar?n? vermektir. Yani, bir anlamda y?llard?r ki?isel geli?im alan?nda, s?k?a yap?lan yanl?? uygulamalar sonucunda, benzer ?al??malar?n yapt??? bal?k vermeyi ??retmek yerine, okura bal??? nas?l tutaca??n? ??retmeyi hedeflemektedir..

Caragiale a delimitat si impus teritoriul dramaturgiei romanesti cu numai cinci piese patru comedii si o drama scrise pe durata a doar unsprezece ani. Timp de un secol si peste trei decenii cat a trecut pana astazi de la prima lectura publica a Noptii furtunoase cea dintai dintre marile lui piese perimetrul problematic de viziune stilistic si tipologic al teatrului romanesc atat in registrul comediei cat si in cel al dramei fie aceasta ?de idei“ fantastica ori mitologizanta a ramas cel stabilit de Caragiale. Pentru literatura dramatica romaneasca el a avut si are acelasi rol ca in literatura franceza Corneille Racine si Molière laolalta. I-a fixat pentru eternitate probabil tiparele si ?ntinderea specificul si frontierele. MIRCEA IORGULESCU

THE NATURE OF YOGA?In this first discourse we shall concern ourselves with the gaining of a general idea of the subject of Yoga, seeking its place in nature, its own character, its object in human evolution.??THE MEANING OF THE UNIVERSE:?Let us, first of all, ask ourselves, looking at the world around us, what it is that the history of the world signifies. When we read history, what does the history tell us? It seems to be a moving panorama of people and events, but it is really only a dance of shadows; the people are shadows, not realities, the kings and statesmen, the ministers and armies; and the events the battles and revolutions, the rises and falls of states ??are the most shad-owlike dance of all. Even if the historian tries to go deeper, if he deals with economic conditions, with social organisations, with the study of the tendencies of the currents of thought, even then he is in the midst of shadows, the illusory shadows cast by unseen realities. This world is full of forms that are illusory, and the values are all wrong, the proportions are out of focus. The things which a man of the world thinks valuable, a spiritual man must cast aside as worthless. ??The diamonds of the world, with their glare and glitter in the rays of the outside sun, are mere fragments of broken glass to the man of knowledge. The crown of the king, the sceptre of the emperor, the triumph of earthly power, are less than nothing to the man who has had one glimpse of the majesty of the Self. ??What is, then, real? What is truly valuable? Our answer will be very different from the answer given by the man of the world.??"The universe exists for the sake of the Self." Not for what the outer world can give, not for control over the objects of desire, not for the sake even of beauty or pleasure, does the Great Architect plan and build His worlds. He has filled them with objects, beautiful and pleasure-giving. The great arch of the sky above, the mountains with snow-clad peaks, the valleys soft with verdure and fragrant with blossoms, the oceans with their vast depths, their surface now calm as a lake, now tossing in fury, they all exist, not for the objects themselves, but for their value to the Self. Not for themselves because they are anything in themselves but that the purpose of the Self may be served, and His manifestations made possible.

Tr?ind de azi pe m?ine ?ntr-un Bucure?ti plin de tenta?ii, dar consumator de resurse, studentul la Drept Mihnea B?iatu nu ?i-a dat examenele, iar ob?inerea licen?ei ?ncepe s? semene cu un vis imposibil. A ?nv??at ?ns? cum s? c??tige ?ncrederea cet??enilor s?raci cu duhul – ?i nu e pu?in lucru. Plasat ?ntr-un decor suburban, cu personaje caragialiene, Mihnea B?iatu se ?nscrie ?ns?, f?r? doar ?i poate, ?n tipologia eroilor lui Gib I. Mih?escu, urm?ri?i de idealul femeii absolute. Expert ?n practicile ?amorului democrat“ ?i ?n escrocarea cu sistem – erotic? ?i financiar? – a propriet?reselor de mahala, eternul student d? nas ?n nas pe culoarele universit??ii cu femeia perfect?, care-l scruteaz? ?i ea, cu acela?i interes, prin lentila unui lornion de aur…

Mare poet clasic, Co?buc ?i-a asigurat locul printre marii creatori: Eminescu, Creang?, Caragiale, Slavici, prin con?inutul na?ional al operei sale, prin cultivarea ?i frecventarea clasicilor, prin puritatea expresiei ?i claritatea stilului, prin promovarea idealului de frumuse?e echilibrat?, ?n general prin ?nnoirea limbii poetice. Co?buc este – unanim recunoscut – un mare clasic al versului rom?nesc. Poet al naturii ?i al omului de la ?ar?, al exuberan?ei juvenile, al iubirii, al revoltei ?i luptei, al b?rb??iei, Co?buc ?nscrie una din cele mai pre?ioase experien?e ale literelor rom?ne?ti, ?ntr-un moment de r?scruce, c?nd, prin scrierile unei pletore de pseudoeminescieni, se crease ?n poezia noastr? o stare deprimant?, maladiv?, din care se p?rea c? nu exist? perspective de ie?ire spre un liman s?n?tos. ?n acest climat de mal de siecle, de Wetschmerz r?sare nea?teptat de viguros ?i nou George Co?buc, redres?nd poezia rom?neasc?, aduc?nd noi orizonturi, noi sensuri, noi valori artistice.

Pove?tile lui Creang? sunt delectabile deopotriv? pentru copii ?i pentru adul?i. ?ns? numai cei din urm? le pot gusta pe deplin savoarea. Creanga pare a nu-?i fi b?tut capul s? inventeze pove?ti: avea de?tul material la ?ndem?n? ca s? mai fie nevoie de a?a ceva. C?t datoreaz? el crea?iei folclorice anonime ?i c?t ?i este aceasta tributar? dup? publicarea pove?tilor ?i absorb?ia – sau re?ntoarcerea – acestora ?n circuitul oralit??ii e o chestiune ce poate interesa mig?loase cercet?ri erudite. Farmecul pove?tilor lui Creang? nu st? ?n inven?ie – cel mult, aici ?i-a spus cuv?ntul selec?ia f?cut? de scriitor dintr-un inventar disponibil at?t de bogat. Ceea ce atrage ?i cucere?te, ?n primul r?nd, e ?punerea ?n scen?“ – nemaivorbind de darul rostirii plastice, suculen?e, at?t de mult comentat ?i analizat.LIVIU PAPADIMA

Her ?ey ?evresiyle etkile?imsel bütünlükte anlaml? olmaktad?r. Soral?m yine de; Bütünü par?alar?ndan fazlas? yapan nedenler nelerdir? Evrende neyin ifadesiyiz? Canl?l?k, bilin?, ruh, duygular art?k anla??labilir midir? Canl?l?k h?z farklar?ndan m? olu?maktad?r? H?zl? bile?enimiz olan elektri?in; canl?l???n ve bilincimizin olu?umunda nas?l bir etken olmaktad?r? Bizleri olu?turanlardan beden, duygular, bilin?, ruh diye tan?mlad?klar?m?z aras?nda ba?lant?lar nas?l kurulmaktad?r? Sorular?, günümüzde enerjiler aras? ba?lant?, etkile?im nas?l kurulmaktad?r? Sorusu gibi oldu?u, yani her?ey gibi onlar?nda enerji oldu?u anla??lm??t?r. Ruh olarak tan?mlad?k, zihin-beden aras?nda ba?lant?y? kurmaya, duygular? anlamaya ?al??t?k. Bilincin, alg?n?n tüm bunlarla nas?l bir ili?kisi olabilece?ini sorgulad?k. Genelde ?yle oluyor ya, bütünün ?nce par?alar?n? anlamaya, par?alara ay?r?p anlamaya ?al??man?n sorunlar?n?n izlerini sürüp bütünle olan etkile?imini g?rmeye y?neliyoruz. Zaman?n i?inde zaman ge?irmemize ra?men bilincimizle, canl?l???m?zla nas?l ba?lant?l? oldu?unu g?rmezden geldik. Günümüz dünyas?n?n ula?t??? bilgi, ya?amsal deneyimlerin kaydedilip aktar?lmas?, izledi?imiz filmlerden tutun da, deneyimlerimizin h?zl? etkile?imiyle zaman aral?klar?n? orduk. S?n?r sistemimize benzeyen internet a?lar? olu?turduk. ?nsanl?k olarak yapay zekalar geli?tirdik. Hücre ile beden benzeri; canl?yla tüm canl?l???n, ekosistemin, varl???n etkile?im ?rüntüsü oldu?unu, etkile?imsel ?rüntüde anlam? oldu?unu ??rendik. Belki de olu?turdu?umuz yeni anlamlar gelecekte olu?acaklar?n par?alar?d?r. De?i?im devam ediyor. G?rünen o ki, canl?lar bu evrenin en ileri evrensel enerji alanlar?d?r. Soral?m kendimize; Evrende canl?l?ktan daha anlaml? bir ?ey var m?d?r? Dünya bilinci ?a?lard?r. Biriktirdi?i bilgi ve deneyimlerini, olu?umun ba?lang?c?ndan itibaren nesiller boyu aktarm??, ekosistemiyle bir bütün olarak evrilmi?tir. Ula?t??? bilin? halini ?evresiyle etkile?imsel d?ngü i?inde hep yeniden ?ekillendirmi?tir. D?nü?ümsel etkile?imin hi?bir zaman?n?n ayn? olmay??? temel evrensel durumun etkisiyle de zamanda evrilmi? ve günümüz dünyas?n?n paradigmas?na ula?m??t?r. Evrimsel ?rüntüye paralel geli?en teknolojik entegrasyonla bilgi, zamanda ?ok yo?un etkile?ebilmi?tir. Dünya üzerinde artan s?n?r hücresi say?s? yani artan canl? say?s?n?n olumlu bir yan? ise, bilginin etkile?imini art?rm?? olmas?d?r. Platon’un idealar dünyas?nda var olan?n kendi ba??na var olamayaca??n?, var olan?n ?ncül bir mükemmeli olmal? dü?üncesiyle hareket etti?i g?rülüyor. Bu dü?ünceye bi ele?tiriyle ba?lay?p daha sonra ele?tiriyide ele?tirelim. Diyelim ki bu dü?ünceye evrimin, zaman?n itiraz? var. Buna b?yle devam edersek ba?lang?? i?inde, uzaylar i?inde ba?layan evrenler olsa bile bugünki mant?k yine en ba?a d?nmemizi s?ylüyor. Yani ilk nas?l olu?tu? Bu olu?um ?ncesi uzay diyeyim en mükemmel saf hali olan B?R nas?l olu?tu. 1’de ise hi?bir ?zellik olmamal? yani nas?l olurda idea’lar oradan kaynaklan?r. Demek ki varl?k olu?umu bi süre?, evrim olur gibi. Sondan ba?a d?nsekte bi süre?, ba?tan ba?lam?? olsakta bi süre?. Bu ifadeler B?R d?ngüsü i?inde do?ru olabilir. ?dealar nereden geldi ?ünki sonu? olarak idealar B?R de olmamal? ?ünkü B?R farkl?l?k bar?nd?rm?yor. Asl?nda her ?eyi B?R kapsar, o kaynak potansiyeller alan?d?r. Haliyle her ?eyle ayn? alandad?r. Bi nevi potansiyeller alan?yla varl?k ayn? ?eydir, benzerdir. O halde Platon’un idealar kuram?n?n kayna?? ve kendisi bu evrendedir, bu evrendir. Günümüz bilim dünyas?nda ?oklu evrenler dü?üncesi olduk?a yayg?nd?r. O halde evrenlerin oldu?u daha dev uzaysal kaynaklar, alanlar olmal?d?r. ??te B?R belkide bizimde i?inde evrildi?imiz vede k?smen farkl?la?t???m?z her ?eyin kayna??, alan?d?r. Evren büyük tabii ancak büyüklük hep yan?lt?c? olmaya devam etmi?tir. Belkide hiper bir uzay hatta uzaylar alan?nda olabiliriz. Belki ama e?er do?ru b? dü?ünce ?ekliyse bu ilk soruyu yinede de?i?tirmiyor. ?lk ba?lang?? diye bir ?ey var m??

Cel mai vechi dintre cltorii romantici, Grigore Alexandrescu, n paginile consacrate vizitei sale la mnstirile olteneti (1842), ne ofer… destul de puin. Impresiile sale privesc mai degrab tradiiile istorice ale locurilor pe care le viziteaz sau unele particulariti ale ornduirii lor actuale. Cadrul natural este abia indicat. Cnd ajunge la Cozia, o simpl nsemnare topografic i este de ajuns… n faa Mnstirii Dintr-un Lemn descrierea este ceva mai bogat, dar fr elemente sensibile propriu-zise. Autorul descrie o configuraie, nu un peisagiu… Petera de la Polovraci l impresioneaz mai mult, dar spiritul de observaie rmne, chiar n faa acestui spectacol, inferior fanteziei constructive, creia i se pare a vedea, n grupul stalactitelor, siluete de copii sau de fantasmagorice fiine combinate din oameni i fiare, dac nu simple chipuri slbatice "c doi tlhari, care, cu armele gata, ateapt s atace un trector". Abia, ultima pagin a Memorialului jertfete esteticii timpului, zugrvind un motiv tipic-rasarirea lunii deasupra unei pduri… Pagina merit a fi reinut. Este acea prin care natura, ca obiect al descrierii literare, intr n operele prozatorilor romni, sub forma magiei lunare. Scriitorul nelege ce poate fi dulceag sau convenional n zugrvirea strlucirii nentinate a lunii i de aceea ntregete tabloul sau din contraste punnd alturi de lumin selenar, rspndit pe ziduri, pe stnci i poteci, masa ntunecat a pdurii rmase n umbr. Rsrirea lunii la Tismana rmne oricum o excepie n paginile de proz ale lui Grigore Alexandrescu.“Tudor Vianu, Arta prozatorilor romni, Chiinu, Casa de editura Litera, 1997, p. 69-70.