For many of us DH Lawrence was a schoolboy hero. Who can forget sniggering in class at the mention of Women In Love or Lady Chatterley's Lover? Lawrence was a talented if nomadic writer whose novels were passionately received, suppressed at times and generally at odds with Establishment values. This of course did not deter him. At his death in 1930 at the young age of 44 he was more often thought of as a pornographer but in the ensuing years he has come to be more rightly regarded as one of the most imaginative writers these shores have produced. As well as his novels and of course his poetry - he wrote in excess of 800 of them he was also a very talented playwright. These works have not been given quite the attention they deserve. Here we publish 'The Merry-Go-Round'.

Alfred Tennyson was born on August 6th, 1809, in Somersby, Lincolnshire, the fourth of twelve children. Most of Tennyson's early education was under the direction of his father, although he did spend four unhappy years at a nearby grammar school. He left home in 1827 to join his elder brothers at Trinity College, Cambridge, more to escape his father than a desire for serious academic work. At Trinity he was living for the first time among young men of his own age who knew little of his problems. He was delighted to make new friends; he was handsome, intelligent, humorous, a gifted impersonator and soon at the center of those interested in poetry and conversation. That same year, he and his brother Charles published Poems by Two Brothers. Although the poems in the book were of teenage quality, they attracted the attention of the "e;Apostles,"e; a select undergraduate literary club led by Arthur Hallam. The "e;Apostles"e; provided Tennyson with friendship and confidence. Hallam and Tennyson became the best of friends; they toured Europe together in 1830 and again in 1832. Hallam's sudden death in 1833 greatly affected the young poet. The long elegy In Memoriam and many of Tennyson's other poems are tributes to Hallam. In 1830, Tennyson published Poems, Chiefly Lyrical and in 1832 he published a second volume entitled simply Poems. Some reviewers condemned these books as "e;affected"e; and "e;obscure."e; Tennyson, stung by the reviews, would not publish another book for nine years. In 1836, he became engaged to Emily Sellwood. When he lost his inheritance on a failed investment in 1840, the engagement was cancelled. In 1842, however, Tennyson's Poems [in two volumes] was a tremendous critical and popular success. In 1850, with the publication of In Memoriam, Tennyson's reputation was pre-eminent. He was also selected as Poet Laureate in succession to Wordsworth and, to complete a wonderful year, he married Emily Sellwood. At the age of 41, Tennyson had established himself as the most popular poet of the Victorian era. The money from his poetry [at times exceeding 10,000 pounds per year] allowed him to purchase a home in the country and to write in relative seclusion. His appearance-a large and bearded man, he regularly wore a cloak and a broad brimmed hat-enhanced his notoriety. In 1859, Tennyson published the first poems of Idylls of the Kings, which sold more than 10,000 copies in a fortnight. In 1884, he accepted a peerage, becoming Alfred Lord Tennyson. On October 6th, 1892, an hour or so after midnight, surrounded by his family, he died at Aldworth. It is said that the moonlight was streaming through the window and Tennyson himself was holding open a volume of Shakespeare. He was buried in Westminster Abbey.

John Dryden was born on August 9th, 1631 in the village rectory of Aldwincle near Thrapston in Northamptonshire. As a boy Dryden lived in the nearby village of Titchmarsh, Northamptonshire. In 1644 he was sent to Westminster School as a King's Scholar. Dryden obtained his BA in 1654, graduating top of the list for Trinity College, Cambridge that year. Returning to London during The Protectorate, Dryden now obtained work with Cromwell's Secretary of State, John Thurloe. At Cromwell's funeral on 23 November 1658 Dryden was in the company of the Puritan poets John Milton and Andrew Marvell. The setting was to be a sea change in English history. From Republic to Monarchy and from one set of lauded poets to what would soon become the Age of Dryden. The start began later that year when Dryden published the first of his great poems, Heroic Stanzas (1658), a eulogy on Cromwell's death. With the Restoration of the Monarchy in 1660 Dryden celebrated in verse with Astraea Redux, an authentic royalist panegyric. With the re-opening of the theatres after the Puritan ban, Dryden began to also write plays. His first play, The Wild Gallant, appeared in 1663 but was not successful. From 1668 on he was contracted to produce three plays a year for the King's Company, in which he became a shareholder. During the 1660s and '70s, theatrical writing was his main source of income. In 1667, he published Annus Mirabilis, a lengthy historical poem which described the English defeat of the Dutch naval fleet and the Great Fire of London in 1666. It established him as the pre-eminent poet of his generation, and was crucial in his attaining the posts of Poet Laureate (1668) and then historiographer royal (1670). This was truly the Age of Dryden, he was the foremost English Literary figure in Poetry, Plays, translations and other forms. In 1694 he began work on what would be his most ambitious and defining work as translator, The Works of Virgil (1697), which was published by subscription. It was a national event. John Dryden died on May 12th, 1700, and was initially buried in St. Anne's cemetery in Soho, before being exhumed and reburied in Westminster Abbey ten days later.

John Fletcher was born in December, 1579 in Rye, Sussex. He was baptised on December 20th. As can be imagined details of much of his life and career have not survived and, accordingly, only a very brief indication of his life and works can be given. Young Fletcher appears at the very young age of eleven to have entered Corpus Christi College at Cambridge University in 1591. There are no records that he ever took a degree but there is some small evidence that he was being prepared for a career in the church. However what is clear is that this was soon abandoned as he joined the stream of people who would leave University and decamp to the more bohemian life of commercial theatre in London. The upbringing of the now teenage Fletcher and his seven siblings now passed to his paternal uncle, the poet and minor official Giles Fletcher. Giles, who had the patronage of the Earl of Essex may have been a liability rather than an advantage to the young Fletcher. With Essex involved in the failed rebellion against Elizabeth Giles was also tainted. By 1606 John Fletcher appears to have equipped himself with the talents to become a playwright. Initially this appears to have been for the Children of the Queen's Revels, then performing at the Blackfriars Theatre. Fletcher's early career was marked by one significant failure; The Faithful Shepherdess, his adaptation of Giovanni Battista Guarini's Il Pastor Fido, which was performed by the Blackfriars Children in 1608. By 1609, however, he had found his stride. With his collaborator John Beaumont, he wrote Philaster, which became a hit for the King's Men and began a profitable association between Fletcher and that company. Philaster appears also to have begun a trend for tragicomedy. By the middle of the 1610s, Fletcher's plays had achieved a popularity that rivalled Shakespeare's and cemented the pre-eminence of the King's Men in Jacobean London. After his frequent early collaborator John Beaumont's early death in 1616, Fletcher continued working, both singly and in collaboration, until his own death in 1625. By that time, he had produced, or had been credited with, close to fifty plays.

The Confessions of St Augustine (AD 401) is an autobiography of St Augustine. It consists of thirteen books and essentially outlines his deep regret in living an immoral youth and how he converted to Christianity. The book was also considered to be written as prayers to God.Mermaids Classics, an imprint of Mermaids Publishing brings the very best of old classic literature to a modern era of digital reading by producing high quality books in ebook format. All of the Mermaids Classics epublications are reproductions of classic antique books that were originally published in print format, mostly over a century ago and are now republished in digital format as ebooks. Begin to build your collection of digital books by looking for more literary gems from Mermaids Classics.

A comprehensive look at the life of Marie Antoinette. Wife to King Louis XVI, she was executed by guillotine during the French Revolution. Her life has become a symbol of the rich continuing their ostentatious lifestyle even while their country lives in squalor around them.

The Wind in the Willows by Kenneth Grahame (1859 - 1932) is a childrens novel based on four anthropomorphised animals. The story begins with a Mole who adventures outside of his underground world. The book was first published in 1908 as an un-illustrated (plain text) edition. Mermaids Classics, an imprint of Mermaids Publishing brings the very best of old classic literature to a modern era of digital reading by producing high quality books in ebook format. All of the Mermaids Classics epublications are reproductions of classic antique books that were originally published in print format, mostly over a century ago and are now republished in digital format as ebooks. Begin to build your collection of digital books by looking for more literary gems from Mermaids Classics.

The personal account of an anonymous mid-19th century merchant's experiences incarcerated in various England prisons over 6 years.

This compelling autobiography details the true life story of one woman's fight for survival. It details the depth of resilience that some extraordinary individuals can display when facing their own mortality. Fight for your dream epitomises Elaine's life story and personal struggle with breast cancer, OCD and depression. It is an inspirational, honest and often humourous account of how one Alpaca and one Llama gave Elaine a lifeline to hang onto and formed the catalyst to change her life forever. From government office worker, to award winning Alpaca breeder, businesswoman and self made millionairess this is Elaine's true life story. This amazing read gives a heart warming and moving account into her incredible journey to success.

Cartea pe care joac? de la ?nceput D. ?epeneag este aceea a (neo)avangardei. A fost firesc ?i miraculos s? o ?nceap? la Bucure?ti, ?ntr-un moment de straniu, nea?teptat ?i viclean experiment politic ?liberal“-na?ional-comunist, c?nd literatura rom?n? ren??tea, ?n felurite chipuri, din cenu?? realist-socialist?. La Paris, ?n ianuarie 1971, descoperea o lume artistic? diferit?, dar cu dificult??i diferite ?i deloc ?ncur?j?toare. Exemplele lui Tzara, Isou, Ionesco, inimitabile, r?m?n, la o analiz? lucida a ?anselor, doar consolatoare. Nu-i u?or s? convingi o lume pentru care ?nnoirile at?t de frecvente au fost confiscate de tradi?ie. Parisul, Fran?a, limba lui Jarry s-au dezobi?nuit temeinic s? mai a?tepte scandaluri estetice de import. Produc?ia artistic? intern? e suficient?, chiar excedentar?. Sunt timpuri f?r? glorie, grele, pentru avangardi?tii parizieni. (Marian Victor Buciu)

Unul dintre volumele de v?rf ale scriitorului german, ?n traducerea romancierului Nicolae Breban.

Gina Sebastian este o foarte autentic prozatoare. Chiar rnile, dezamgirile, nemplinirile au lsat urme ce dau sensibilitii care se exprim n scrisul ei, nota lor particular, tonul lor, parfumul lor“.Nicolae BalotUn scriitor profesionist de prim mn… O construcie de carte extraordinar, nemaintlnita n carile altor scriitori“.Alex tefnescuEste o carte de meditaii, meditaii asupra unor teme i asupra unor personaliti. Rareori n lumea noastr, n sensul de lumea contemporan, mai poi gsi un spirit att de echilibrat i cu o asemenea scar de valori morale i culturale“.Ana Blandiana

n paginile acestei cri, am redat situaia general din Paradisul Vestului“ i a exilatului romn venit aici, vzut n dublu avantaj de persoana particular i jurnalist. Majoritatea celor venii n perioada tranziiei romne“, dar i o buna parte din ceilali au fost i sunt buni aici – cu preponderen n Germania – la muncile de jos“ (…) Romnia nu e cunoscut n Occident dect ca zona srciei, a copiilor orfani, a hoilor i a corupiei“!

Astfel de dic?ionare care s? te edifice asupra autorului, a operelor ?i a personajelor principale ale acestora n-au mai ap?rut p?n? acum la noi (desigur, ?n ce prive?te literatura universal?). Aici g?se?ti nu numai cuno?tin?ele necesare la orele rezervate lecturii obligatorii sau suplimentare din literatura universal?, ci ?i suficiente informa?ii care s? te incite la noi ?aventuri“ ale lecturii ?i, firesc, la l?rgirea universului intelectual.

Nici avangardi?tii cei mai radicali n-au putut ignora total tradi?ia, de?i, la modul teoretic, au pretins c? au aruncat-o la co?ul de gunoi. Un Urmuz a valorificat absurdul care nu lipse?te din folclor, dar nici din Caragiale. ?Constructivi?tii” au sim?it tenta?ia s?-l asimileze pe Br?ncu?i la avangard? etc. Iat? ?ns? c? postmoderni?tii au ajuns la ??n?elepciunea” c? lumea contemporan? ?ncepe doar cu d?n?ii. Am auzit voci spun?nd c? Liviu Rebreanu este at?t de ??nvechit”, ?nc?t nu mai are ce c?uta ?n programele de ?nv???m?nt. Nu mai vorbim de Eminescu. Acesta n-ar fi dec?t un scriitor ?istoricizat”, interesant, cel mult, prin c?teva poeme cu tent? parodic-textualist?, cum sus?ine un eminent istoric literar, care consider? c? locul ?n ?canonul literar” rom?nesc trebuie cedat postmodernistului Mircea C?rt?rescu, cu detronarea ?poetului na?ional”, sintagm? complet ?dep??it?”. Captatio benevolentiae din conferin?a Aurei Crhisti ?ncepe cu o astfel de provocare: ?M-am ?ntrebat nu o dat?, pe ?ntinderea ultimilor ani, ce s-ar ?nt?mpla dac?, ?ntr-o bun? zi, ne-am pomeni fa?? ?n fa?? cu Mihai (sau Mihail, cum ?i spunea Nichita St?nescu) Eminescu, cu Lucian Blaga sau Nicolae Iorga, cu George C?linescu sau Liviu Rebreanu, cu Titu Maiorescu sau cu una dintre marile doamne ale literaturii rom?ne, Hortensia Papadat-Bengescu? S-ar sim?i acas?? Aici, printre noi, scriitorii rom?ni… Aceste ?ntreb?ri ar st?rni, f?r? ?ndoial?, ironiile sau comentariile sarcastice ale multor postmoderni?ti, textuali?ti, dou?mii?ti sau post-post-moderni?ti, care ?i-au ?ntocmit, ?ntr-o grab? suspect?, precipitat?, o ?nou? tabl? de valori acceptate?, fiindc? no?iunea de cultur? e... ?suspect? din punct de vedere politic!? Desigur, ace?ti mari scriitori nu s-ar mai sim?i acas?, ci abandona?i, cu patria lor cu tot, ?n numele alteia, obscur?, fudul?, ?n vulgaritatea ei, hibrid? din punct de vedere nu numai cultural, a?a cum o prevedea, alarmat, Mircea Eliade ?n celebra lui conferin?? din 1953, Destinul culturii rom?ne?ti. (Theodor Codreanu)

Su historia es diferente a la de las otras personas exitosas en la historia. Su ética laboral es conocida, pero a la vez diferente. ?Qué hay en él que lo hace un súper triunfador? ?Qué lo hace conducir intensamente hacia sus objetivos? ?Por qué puede convertir una idea en un éxito sorprendente? Léelo, y descúbrelo. La necesidad de comprender a los que triunfan más allá de nuestra propia imaginación es inherente a todos nosotros. El deseo innato es impulsado por nuestra profunda y subyacente necesidad de encontrar mejores formas para lograr nuestros objetivos, comprender nuestros sue?os y elevarnos hasta lograr nuestros desafíos.?Este libro trata sobre los eventos subyacentes de Jeff Bezos y las formas en que influyeron en su vida, además de conocer la forma en que respondió y los usó para su beneficio. El libro no pretende conocer las fibras que componen el contenido de su corazón; ningún hombre puede saberlo. Pero lo que hace es encadenar múltiples eventos y ver las sombras que proyecta.Todo eso es descrito para que usted pueda encontrar los elementos que podrían ser su semilla, logro y grandeza. La historia de Bezos traza el camino desde que fue joven, observa sus acciones y logros, y descifra la existencia de su mayor logro, Amazon, de una manera que refleja su carácter, intelecto y educación.

Deniz fenerinin ki gibidir: Ayd?n?n da ?????. Birisi gemileri, di?eri insanlar? ayd?nlat?r. Onlar?n sayesinde: Gemiler ve toplumlar yollar?n? bulabilirler."Batmaktan" kurtulup ayakta kalabilirler. Yeter ki: I??klar? söndürülmesin. Hiçbir fener, hiçbir ko?ulda; bir geminin tonaj?n? ve band?ras?n? sormaz. Gerçek bir ayd?n da öyle: Ayd?nl???n?n bilgisini sunarken; insanlar?n hiçbirine, ne ?rk?n? ve cinsiyetini ne de inanç tercihini sormaz. Ayd?n dedi?in; ayn? zamanda gerçekçidir. Gördü?ü: Hiçbir kötü rüyay? da hayra yormaz!...Her ikisi de; ?ss?z ve sessiz geceler boyu çal??arak; ayd?nlatmaya çabalar karanl?klar?. Ayd?nlar da fenerler gibidirler: Ortakt?r yaln?zl?klar?!..Özetle:"Ben de;Küçük bir "burunda"Küçük bir deniz feneriyim,Hümanizmin ise; sad?k bir neferiyim.I????m? hep çakar?m, Her durumda.Ya?am benim kutsal?m:Ya?ayan her canl? benim umurumda.Fenerler, kimseleri aramazlar;Arayanlar, mutlaka onlar? bulurlar:Ço?u kez de zor durumda.Ben her daim i?ime bakar,Sürekli ?????m? çakar?m.Hiç y?lmam; bunu hep yapar?m!...FELSEFE ???RLER? tüm bu duygular? ifade etmek için, yeni bir ?iir türü olarak yaz?ld?..

It is not the purpose of this work to write a treatise on instrumentation or to prepare a pedagogical analysis of orchestration only, but rather to trace the evolu-tion of the orchestra and of orchestration in connection with the history of music proper. Special emphasis will be laid upon what may be termed the IMPELLING FORCES to which the development of orchestration is due. This necessitates a considerable repetition of familiar facts that do not lend themselves to further original treatment. The restatement of such facts, however, would seem to form an indispensable background for the main theme, which is thereby exposed with all its attending phases of logical evolution. In addition to extended studies of orchestral scores themselves, the standard works of Berlioz, Geva?rt, Riemann, Parry, and others have, as a matter of course, been referred to. The subject under discussion has already been admirably handled by Lavoix in his voluminous work entitled "Histoire de L'Instrumentation," but it was unquestionably done through French glasses, and the scores of not one German romanticist are submitted to careful analysis beyond those of Weber and Wagner. "Parsifal" had not been produced at the time when Lavoix's book went to press, nor had such representative composers as Brahms, Saint-Sa?ns, Tschaikowsky, Dvorak then won their full meed of recognition. It is obvious, therefore, that the orchestration especially of the nineteenth century offers a fertile field for further profitable research. Again, the present writer is not aware of the existence of any comprehensive work in the English language upon the history of the orchestra and of orchestration. Throughout these pages the achievements of the more prominent composers are set forth in such manner as to indicate not only the distinctive features of their orchestration but of their general creative ability as well. In each case, the general style of composition and its significance as a contribution to musical literature are first enlarged upon. This is followed by an examination of the differentiated treatment of the strings, the wood, the brass, presented in logical sequence. A final analysis is then made of the individual method of orchestration as a whole, together with its relative value in the evolution of orchestration. In the Appendix to this book will be found a few musical illustrations selected from representative orchestral scores. LOUIS ADOLPHE COERNE. Cambridge, Massachusetts, U.S.A.April 30, 1905.

Bu kitapta Türkiye Cumhuriyeti'nin Atatürk'ten sonra gelen en ba?ar?l? lideri Recep Tayyip Erdo?an'?n siyasi hayat? ve ?zellikle icraat?n ba??nda oldu?u Ba?bakanl?k d?nemi yer almaktad?r. Ba?bakanl?k d?neminde ya?anan siyasi ve gündemi olu?turan olaylar kronolojik olarak s?ralanm??t?r. Bu eserde "Ba?ar?l? bir siyaset?i nas?l olunur?" sorusunun cevab?, 13 y?ll?k Ba?bakanl?k yapt??? g?revinde nas?l ba?ar?l? oldu?unun yan?t?, Recep Tayyip Erdo?an'?n hayat?ndan kesitler ve Recep Tayyip Erdo?an'?n farkl? konulardaki de?erlendirmeleri ve g?rü?leri vard?r. Ayr?ca Recep Tayyip Erdo?an'?n karakteri, ald??? ?düller ve yabanc?lar?n g?zünden Recep Tayyip Erdo?an hakk?nda yorumlar yer almaktad?r. "Yeni Türkiye" olarak tan?mlad??? Recep Tayyip Erdo?an'?n Türkiye'sinden bizim almam?z gereken dersler de elbette vard?r...Recep Tayyip Erdo?an, 26 ?ubat 1954'te ?stanbul'un Kas?mpa?a semtinde ailesinin ü?üncü ?ocu?u olarak do?du. Ahmet Erdo?an'?n Tenzile Erdo?an'la olan ikinci evlili?inden bir erkek ?ocu?u, Recep Tayyip dünyaya geldi. Babas?n?n, bir ?nceki evlili?inden iki ?ocu?u daha vard?. Recep Tayyip Erdo?an'?n biri k?z d?rt karde?i vard?. Deniz Hatlar?'nda k?y? kaptan? olarak ?al??an "Reis Kaptan" lakapl? baba Ahmet Erdo?an, o?luna babas?n?n ad? olan Tayyip ad?n? koydu. Eski takvime g?re Recep ay?nda do?an bebe?e Recep ad? da verildi. Recep Tayyip Erdo?an'?n ailesi, Recep Tayyip Erdo?an 13 ya??ndayken Rize'nin eski ad?yla Potamya yeni ad?yla Güneysu il?esinden, yokluk ve i?sizlik nedeniyle ?stanbul'un Kas?mpa?a semtine g?? etti. Recep Tayyip Erdo?an'?n babas? Sahil Güvenlik Te?kilat?nda g?revli oldu?u i?in ?ocuklu?u Rize'de ge?ti. Babas?, o d?nemin “?irket-i Hayriye”si günümüzün Denizyollar?'nda kaptanl?k yapt? ve ve k?y? kaptanl???ndan emekli oldu. Recep Tayyip Erdo?an, o günleri anlat?rken babas?n?n ?stanbul'un varo?lar?nda ko?turdu?unu belirterek, gelecekte nas?l bir ya?am olmas? gerekti?ini ?u s?zlerle ifade ediyordu:“O ?ilelerin i?erisinden geldik. Onlar da oralarda b?yle merdiven altlar?nda odalarda ya?ad?lar. Bunlar? bana a?layarak anlat?rd? rahmetli babam. Biz oralardan geldik. Ama oralarda kalamay?z. Gelecek ku?aklar?m?za da biz oralar? ?rnek olarak veririz ama ‘Orada kal.’ diyemeyiz. Bunlar? ya?ad???m?za g?re gelecek ku?aklara biz ?ok daha farkl? bir Türkiye b?rakmak zorunday?z. O yavrular?m?z ?ok daha farkl? yeti?mek durumunda. E?er ben o?lumu, torunumu bilimde, sanatta her alanda ?ok daha ileri g?türebiliyorsam kendimi ?ok daha ba?ar?l? bir baba ve dede olarak g?rebilirim. E?er g?türemiyorsam o zaman ba?ar?s?z?m, olaya b?yle bakaca??z. Onun i?in bizim bir günümüz di?erine e?it olmamal?. Dün bugünden geri kalmal?. Yar?n bugünden ?ok daha ileri olmal?. Mevlana diyor ya ’Dün dünde kald? canca??z?m yeni bir ?eyler yapmak, s?ylemek laz?m.’ … ??te biz bunu ba?armak durumunday?z.”

Cartea se adreseaz? elevilor, studen?ilor, precum ?i publicului larg de cititori, monografia ?n cauz? – semnat? de marele c?rturar Ion Iano?i, membru al Academiei Rom?ne – constituind una dintre lucr?rile de v?rf despre uria?ul romancier de la Iasnaia Poliana.

Parodicul nu este doar unul dintre modurile comice; el este rezultatul variatelor ncercri pe care literatura le face spre a se rennoi prin autonegare. Asumndu-i acest rol, literatura parodic are luciditatea de a-i etala mecanismul auto-producerii, analizndu-i exagerrile, dar i constitutivele convenii. Aceast ntoarcere spre literaritatea literaturii pe care mizeaz orice demers parodic este camuflat prin aparena orientare spre diferii autori, texte sau stiluri. Orice parodist este, simultan, explorator prin textele altora, dar i autorul ce-i analizeaz lucid teritoriul propriului text. Una dintre aceste dou dimensiuni poate fi dominant ntr-o parodie, oscilaiile fiind generate att de parodist, ct i de contextul estetic cruia acesta i aparine. Dac, n mod normal, principiile critice urmeaz dezvoltrii formelor literare, discursul parodic este un discurs critic contient deghizat n form literar sau un discurs literar cu finalitate critic. Vorbim de parodia studiat estetic i nu de parodia ca simpl deformare, comis din ignoran.“ O fenomenologie a parodicului din Evul Mediu, epoc modern i postmodern, aceast carte ofer i analiza parodicului n operele unor scriitori ca Urmuz, Caragiale, Crtrescu .a.