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A Journal to Stella by Jonathan Swift – Delphi Classics (Illustrated)

This eBook features the unabridged text of ?A Journal to Stella by Jonathan Swift - Delphi Classics (Illustrated)? from the bestselling edition of ?The Complete Works of Jonathan Swift?. Having established their name as the leading publisher of classic literature and art, Delphi Classics produce publications that are individually crafted with superior formatting, while introducing many rare texts for the first time in digital print. The Delphi Classics edition of Swift includes original annotations and illustrations relating to the life and works of the author, as well as individual tables of contents, allowing you to navigate eBooks quickly and easily.eBook features:* The complete unabridged text of ?A Journal to Stella by Jonathan Swift - Delphi Classics (Illustrated)?* Beautifully illustrated with images related to Swift?s works* Individual contents table, allowing easy navigation around the eBook* Excellent formatting of the textPlease visit www.delphiclassics.com to learn more about our wide range of titles

Adventures and Letters of Richard Harding Davis

I left Key West on the morning of the 24th in the Dolphin with the idea of trying to get on board the flagship on the strength of Roosevelt's letter. Stenie Bonsal got on just before she sailed, not as a correspondent, but as a magazine-writer for McClure's, who have given him a commission, and because he could act as interpreter. I left the flagship the morning of the day I arrived.

Benjamin Franklin and the First Balloons

"Benjamin Franklin and the First Balloons" by Benjamin Franklin. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten?or yet undiscovered gems?of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

Bohemian Days in Fleet Street

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Cicero: Brutus and Orator

"These translations of the Brutus and Orator were conceived as a sequel to the excellent translation of the De oratore by James May and Jaap Wisse, also published by Oxford University Press (Cicero: On the Ideal Orator, Oxford 2001). The book's raison d'?etre is easily stated. No new, complete, and readily available English versions of the two texts have appeared since the Loeb Classical Library edition was published in 1939, with translations by G. L. Hendrickson and H. M. Hubbell. Though both translations are accurate and still readable (Hendrickson's, in fact, is excellent), the introductions to the two works are brief and insufficient, and the annotation (in the manner of older Loebs) is still less adequate. Furthermore, our understanding of Cicero and the late Roman Republic has changed significantly in the eighty years since the Loeb appeared, and the resources available to students of the Brutus, in particular, are much more ample. I have reason to hope, therefore, that this book will be of some use. There is no need to discuss here the overall plan of the book, which the table of contents makes clear, or the approach taken to the translation and annotation, addressed in Introduction par. 5. The annotation very likely provides more detail than some readers will require, but I thought it best to err on the side of inclusion and leave it to readers to ignore-as readers can be relied on to do-material that does not speak to their needs or interests. I should add two notes. First, because Brutus and Orator are the most important sources for our understanding of Roman "Atticism" (Introduction par. 3), I have included in Appendix A a translation of the third Ciceronian text that bears on that subject, On the Best Kind of Orator (De optimo genere oratorum), a brief fragment that Cicero wrote but abandoned in the interval between the composition of Brutus and Orator in 46 BCE. Second, for the fragmentary remains of orators other than Cicero I have retained references to the fourth edition of Enrica Malcovati's Oratorum Romanorum Fragments (e.g., "ORF4 no. 8 fr. 149"), despite the fact that its successor, Fragments of the Roman Republican Orators (FRRO)-the work of a team led by Catherine Steel-will soon appear. The orators in FRRO will not be numbered and ordered chronologically, as they are in ORF4, but will be organized alphabetically by clan name for ready location, and a set of concordances will facilitate movment back and forth between the two editions",

Cicero: Brutus and Orator

"These translations of the Brutus and Orator were conceived as a sequel to the excellent translation of the De oratore by James May and Jaap Wisse, also published by Oxford University Press (Cicero: On the Ideal Orator, Oxford 2001). The book's raison d'?etre is easily stated. No new, complete, and readily available English versions of the two texts have appeared since the Loeb Classical Library edition was published in 1939, with translations by G. L. Hendrickson and H. M. Hubbell. Though both translations are accurate and still readable (Hendrickson's, in fact, is excellent), the introductions to the two works are brief and insufficient, and the annotation (in the manner of older Loebs) is still less adequate. Furthermore, our understanding of Cicero and the late Roman Republic has changed significantly in the eighty years since the Loeb appeared, and the resources available to students of the Brutus, in particular, are much more ample. I have reason to hope, therefore, that this book will be of some use. There is no need to discuss here the overall plan of the book, which the table of contents makes clear, or the approach taken to the translation and annotation, addressed in Introduction par. 5. The annotation very likely provides more detail than some readers will require, but I thought it best to err on the side of inclusion and leave it to readers to ignore-as readers can be relied on to do-material that does not speak to their needs or interests. I should add two notes. First, because Brutus and Orator are the most important sources for our understanding of Roman "Atticism" (Introduction par. 3), I have included in Appendix A a translation of the third Ciceronian text that bears on that subject, On the Best Kind of Orator (De optimo genere oratorum), a brief fragment that Cicero wrote but abandoned in the interval between the composition of Brutus and Orator in 46 BCE. Second, for the fragmentary remains of orators other than Cicero I have retained references to the fourth edition of Enrica Malcovati's Oratorum Romanorum Fragments (e.g., "ORF4 no. 8 fr. 149"), despite the fact that its successor, Fragments of the Roman Republican Orators (FRRO)-the work of a team led by Catherine Steel-will soon appear. The orators in FRRO will not be numbered and ordered chronologically, as they are in ORF4, but will be organized alphabetically by clan name for ready location, and a set of concordances will facilitate movment back and forth between the two editions",

Cicero: Brutus and Orator

"These translations of the Brutus and Orator were conceived as a sequel to the excellent translation of the De oratore by James May and Jaap Wisse, also published by Oxford University Press (Cicero: On the Ideal Orator, Oxford 2001). The book's raison d'?etre is easily stated. No new, complete, and readily available English versions of the two texts have appeared since the Loeb Classical Library edition was published in 1939, with translations by G. L. Hendrickson and H. M. Hubbell. Though both translations are accurate and still readable (Hendrickson's, in fact, is excellent), the introductions to the two works are brief and insufficient, and the annotation (in the manner of older Loebs) is still less adequate. Furthermore, our understanding of Cicero and the late Roman Republic has changed significantly in the eighty years since the Loeb appeared, and the resources available to students of the Brutus, in particular, are much more ample. I have reason to hope, therefore, that this book will be of some use. There is no need to discuss here the overall plan of the book, which the table of contents makes clear, or the approach taken to the translation and annotation, addressed in Introduction par. 5. The annotation very likely provides more detail than some readers will require, but I thought it best to err on the side of inclusion and leave it to readers to ignore-as readers can be relied on to do-material that does not speak to their needs or interests. I should add two notes. First, because Brutus and Orator are the most important sources for our understanding of Roman "Atticism" (Introduction par. 3), I have included in Appendix A a translation of the third Ciceronian text that bears on that subject, On the Best Kind of Orator (De optimo genere oratorum), a brief fragment that Cicero wrote but abandoned in the interval between the composition of Brutus and Orator in 46 BCE. Second, for the fragmentary remains of orators other than Cicero I have retained references to the fourth edition of Enrica Malcovati's Oratorum Romanorum Fragments (e.g., "ORF4 no. 8 fr. 149"), despite the fact that its successor, Fragments of the Roman Republican Orators (FRRO)-the work of a team led by Catherine Steel-will soon appear. The orators in FRRO will not be numbered and ordered chronologically, as they are in ORF4, but will be organized alphabetically by clan name for ready location, and a set of concordances will facilitate movment back and forth between the two editions",

Correspondence of Wagner and Liszt. Volume 1: 1841-1853. Cambridge Library Collection. Music

Francis Hueffer (1845-89) was born and studied music in Germany, but moved to London in 1869 to pursue a career as a critic and writer on music. He edited the series 'The Great Musicians' for Novello and Co., was music critic of The Times, wrote libretti for some now-forgotten operas, and was an early advocate and interpreter to the British of Wagner. As well as writing Wagner in his own 'Great Musicians' series (1881), and Richard Wagner and the Music of the Future (1874), he translated the correspondence of Wagner and Liszt. This fascinating two-volume selection, published in 1888, covers the period 1841-61. Hueffer signals in his preface the importance to Wagner of the encouragement of Liszt - an established performer when Wagner was barely known and widely ridiculed, a musical mentor, an enthusiastic critic and eventually a father-in-law.

Correspondence of Wagner and Liszt. Volume 2: 1854-1861. Cambridge Library Collection. Music

Francis Hueffer (1845-89) was born and studied music in Germany, but moved to London in 1869 to pursue a career as a critic and writer on music. He edited the series 'The Great Musicians' for Novello and Co., was music critic of The Times, wrote libretti for some now-forgotten operas, and was an early advocate and interpreter to the British of Wagner. As well as writing Wagner in his own 'Great Musicians' series (1881), and Richard Wagner and the Music of the Future (1874), he translated the correspondence of Wagner and Liszt. This fascinating two-volume selection, published in 1888, covers the period 1841-61. Hueffer signals in his preface the importance to Wagner of the encouragement of Liszt - an established performer when Wagner was barely known and widely ridiculed, a musical mentor, an enthusiastic critic and eventually a father-in-law.