A Book of Operas: Their Histories, Their Plots, and Their Music
| Publication Language |
English |
|---|---|
| Publication Type |
eBooks |
| Publication License Type |
Open Access |
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A Dictionary of Modern Slang, Cant, and Vulgar Words, Used at the Present Day in the Streets of Lond
This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.
AIDS to Reflection and Confessions of an Inquiring Spirit
READER!-You have been bred in a land abounding with men, able in arts, learning, and knowledges manifold... But there is one art, of which every man should be master, the art of REFLECTION. If you are not a thinking man, to what purpose are you a man at all?-from "The Author's Preface"Here in one compact volume are two important works on religion and spirituality from one the finest poets in the English language. In Aids to Reflection, first published in 1825, and Confessions of an Inquiring Spirit, which appeared in 1840, Coleridge ponders: pain and pleasure, aka "sensibility" prudential aphorisms elements of religious philosophy original sin redemption the divine origin of the Bible and much more.With the included essay on faith and Coleridge's notes on The Book of Common Prayer, this is a concise guide to the philosophical thinking of one of the great names in English literature.English poet and philosopher SAMUEL TAYLOR COLERIDGE (1772-1834) is considered one of the great writers of Romanticism, the late 18th century artistic and intellectual movement. His best known works are The Rime of the Ancient Mariner and Kubla Khan.
Anima Poetae From the Unpublished Notebooks of Samuel Taylor Coleridge
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 was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. 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. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The Backwash of War: The Human Wreckage of the Battlefield as Witnessed by an American Hospital Nurse
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.
The Best of Fragments From France
Bruce Bairnsfather (BB) was the most famous cartoonist of the First World War and his soldier characters Old Bill, Bert and Alf, faced with sardonic good humor everything that the Germans, the mud and their officers could throw at them. However, Bruce (known by some as 'The Man Who Won the War') never received the acclaim that he deserved for the morale boost that his cartoons gave to the troops at the front and to the people back at home. The 50th Anniversary of Bairnsfather's death on 29 September 2009 offered an opportunity to redress the balance, and acknowledging it in combination with raising funds for Help for Heroes (H4H) seemed to be most appropriate. The cartoons reproduced in this collection were originally drawn for The Bystander, a popular weekly magazine, in which they appeared each Tuesday throughout most of the Great War. Their effect on the public was totally unexpected, and so dramatic that Bystander sales soared. The organization, with unerring good judgement, decided it had a winner in Bairnsfather, and published the first 43 of his cartoons in an anthology. It was produced in February 1916, given the name Fragments from France and sold for 1s. On the front cover was a colored print of The Better 'Ole which soon became, and was to remain, the most loved of all Bairnsfather's cartoons. The authors own the original. Sales quickly reached a quarter of a million and a second anthology was published, More Fragments from France. It was described on the title page as 'Vol II' and the price was still 1s. The cartoon on the cover was 'What time do they feed the sea lions'? In this volume The Bystander launched the first of a series of imaginative marketing exercises, similar to modern promotional methods. The full extent of the proliferation of the cartoons on all manner of products, from playing cards to pottery, is described in our Bairnsfather biography. Soon Still More Fragments from France were clamored for, and, with an eye to the future, the booklet was labeled No. 3 on the cover, Vol III on the title page. The success of the Fragments magazines was such that edition followed edition in rapid succession and at least eleven editions were published. The covers retained the same cartoon but were reproduced in different colors, both of board and ink , green, blue, red, grey, fawn and mauve. In America Putnam's issued Nos. I-IV as one volume and parts V and VI separately. Various hard and leather-bound collections were offered for sale by The Bystander, and the drawings were sold separately as prints and "Portfolios" for framing. They were also printed in color as giveaways for Answers magazine. Leafing through these pages, the reader will soon understand their tremendous popularity and success which have withstood the test of time.