...Art for heart’s sake. The Art for Heart’s sake was written by Reuben Lucius Goldberg (1883-1970). He was an American cartoonist, sculptor, author, engineer, and inventor, was born in San Francisco. Goldberg is best known for a series of popular cartoons he created depicting complex devices that perform simple tasks in indirect way. Rube Goldberg began practicing his art skills at the age of four when he traced illustrations from the humorous book History of the United States. Among his best works are Is There a Doctor in the House? (1929), Rube Goldberg’s Guide to Europe (1954) and I made My Bed (1960). Art for Heart’s sake is about the old man Collis P. Ellsworth who has troubles with his health. Doctor Caswell offers him to take up painting, for a chance. In some time Ellsworth painted an awful picture which was no a work of art at all. To bewilderment of the doctor this painting was not only accepted for the Show at the Lathrop Gallery, but took the First Prize. The old man just explained that he had bought this gallery last month. The idea of this text is everything can be bought for money. Value of art will vanish if everyone foists his god-awful smudge as an eternal work of art. The text is written as a 3rd person narration with dialogues of the personages. This text can be divided into the following parts. The first is doctor’s suggestion to take up art. The second is Swain’s lessons. The third is about the Trees Dressed in White. The forth is the culminating...
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...Analysis. The author of this text is Jerome K. Jerome. He is a popular English writer. The most famous works are Three Men in a Boat, The Idle Thoughts of an Idle Fellow, Novel Notes and Three Men on the Bummel which belong to the end of 19th century and the beginning of 20th century. He is famous for his art of story-telling and his humour which is based on misunderstanding. He is good at revealing the weak sides of human nature. This extract is about three men who decided to cook an Irish stew. They began cooking from peeling the potatoes. They threw another products which they wished to get rid of and mixed all carefully. At the end Montmorency bought fresh caught water-rat. After some discussions these three men decided to try something new and added the rat. Eventually, they were very happy by their cook masterpiece. By this text the author wanted to tell us that it had better to try something new than to be indifferent and do everything as usual. People ought to develop in this case world progress would go ahead. Jerome presents his story as 1st-person narration with descriptive passages. This extract may be divided into the following parts. The first one is a description of Sonning. The second is decision of cooking an Irish stew. The third is Montmorency’s contribution to the dinner. The last one is about great success of Irish stew. This text is written with the cheerful, humorous, emotional and optimistic prevailing mod. The...
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...and some of them present animals as in fables. 809 0202 / مجلة ديالى العدد الرابع و االربعون The idea of having an animal as a sacrificial hero is shown in many of Oscar Wilde’s short stories. He developed this theme as a reaction towards his age which lacked, in his view, moral as well as human values. For this reason, he chooses a bird to be his tragic hero. He epitomizes this idea in such short stories like “The Nightingale and the Rose” and “The Happy Prince”. The heroes in these two short stories are birds: a swallow in “The Happy prince” and a nightingale in “The Nightingale and the Rose”. These creatures are usually known of their delicacy and frailty. But in these stories they function as sacrificial heroes for the sake of others and tolerate horrible conditions of death just to please people. “The Nightingale and the Rose” is one of Wilde’s best...
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...THE SONNETS OF WILLIAM SHAKESPEARE Click here to jump to the Table of Contents COPYRIGHT © 1993 by Adobe Press, Adobe Systems Incorporated. All rights reserved. The actual sonnets of William Shakespeare are public domain. The design and electronic implementation of this book, however, are copyrighted. Reproduction of this electronic work beyond a personal use level, or the display of this work for public consumption or viewing requires prior permission from the publisher. This work is furnished for informational use only and should not be construed as a commitment of any kind by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibilities for any errors or inaccuracies that may appear in this work. The software and typefaces mentioned on this page are furnished under license and may only be used in accordance with the terms of such license. Adobe, the Adobe Press logo, Adobe Acrobat, and Adobe Photoshop are trademarks of Adobe Systems Incorporated which may be registered in certain jurisdictions. This work is electronically mastered in Adobe™ Acrobat™. Text was composed in Minion, 13-point. Illustrations were scanned electronically then manipulated using Adobe Photoshop™. CONTENTS I II III IV Copyright How to Use This Book Introduction Numerical First-line Index Alphabetical First-line Index The Sonnets of William Shakespeare V VI Click any line to jump to that section HOW TO USE THIS BOOK • Click the Bookmarks and Page button...
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...THE FRANKLIN'S PROLOGUE These ancient gentle Bretons, in their days, Of divers high adventures made great lays And rhymed them in their primal Breton tongue, The which lays to their instruments they sung, Or else recited them where joy might be; And one of them have I in memory, Which I shall gladly tell you, as I can. But, sirs, because I am an ignorant man, At my beginning must I first beseech You will excuse me for my vulgar speech; I never studied rhetoric, that's certain; That which I say, it must be bare and plain. I never slept on Mount Parnassus, no, Nor studied Marcus Tullius Cicero. Colours I know not, there's no doubt indeed, Save colours such as grow within the mead, Or such as men achieve with dye or paint. Colours of rhetoric I find but quaint; My spirit doesn't feel the beauty there. But if you wish, my story you shall hear." THE FRANKLIN'S TALE In old Armorica, now Brittany, There was a knight that loved and strove, did he To serve a lady in the highest wise; And many a labour, many a great emprise He wrought for her, or ever she was won. For she was of the fairest under sun, And therewithal come of so high kindred That scarcely could this noble knight, for dread, Tell her his woe, his pain, and his distress. But at the last she, for his worthiness, And specially for his meek obedience, Had so much pity that, in consequence, She secretly was come to his accord To take him for her husband and her...
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...According to the Britannica Encyclopedia, an allusion “is an implied or indirect reference to a person, event, or thing or to a part of another text. Allusion is distinguished from such devices as direct quote and imitation or parody. Most allusions are based on the assumption that there is a body of knowledge that is shared by the author and the reader and that therefore the reader will understand the author’s referent.” "allusion". Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2013. Web. 13 Mar. 2013 <http://www.britannica.com/EBchecked/topic/16658/allusion>. Dark Lady Sonnets 127-154 127 In the old age black was not counted fair, | Or if it were it bore not beauty's name: | But now is black beauty's successive heir, | And beauty slandered with a bastard shame, | For since each hand hath put on nature's power, | Fairing the foul with art's false borrowed face, | Sweet beauty hath no name no holy bower, | But is profaned, if not lives in disgrace. | Therefore my mistress' eyes are raven black, | Her eyes so suited, and they mourners seem, | At such who not born fair no beauty lack, | Slandering creation with a false esteem, | Yet so they mourn becoming of their woe, | That every tongue says beauty should look so. | 128 How oft when thou, my music, music play'st, | Upon that blessed wood whose motion sounds | With thy sweet fingers when thou gently sway'st...
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...To what extent is masculinity associated with evil and violence in Macbeth? Evil is a theme widely explored by Shakespeare in his plays and “Macbeth” is no exception. This play demonstrates violence in relation to evil and evil in turn is a reflection of the desperation and anxieties of the characters in “Macbeth.” The question of whether masculinity is associated with evil and violence is easily answered as the main character in this horrific tragedy is Macbeth himself, who commits a range of heinous crimes from murder to dabbling with witchcraft. However, the extent to which masculinity is related to evil is more obscure. In this essay I am going to show that evil and violence in “Macbeth” is not monopolised by masculine characters. To show this I will be analysing female characters who demonstrate strong evil qualities and personalities such as Lady Macbeth, The Witches and Hecate. I will also discuss Banquo, Macduff and King Duncan because these characters represent chivalry, nobility and honour of human characters, even though they are male. The first character I will be looking at is Macbeth himself. This is because he is the central character and focus of the entire play. From the outset Macbeth is depicted as a fierce war hero: “Till he unseamed him from the nave to the chops, And fixed his head upon our battlements.” (Act 1: Scene 1: Lines 22 – 23) The captain using the...
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...passage of their death-mark'd love, And the continuance of their parents' rage, Which, but their children's end, nought could remove, Is now the two hours' traffic of our stage; The which if you with patient ears attend, What here shall miss, our toil shall strive to mend. SCENE I. Verona. A public place. Enter SAMPSON and GREGORY, of the house of Capulet, armed with swords and bucklers SAMPSON Gregory, o' my word, we'll not carry coals. GREGORY No, for then we should be colliers. SAMPSON I mean, an we be in choler, we'll draw. GREGORY Ay, while you live, draw your neck out o' the collar. SAMPSON I strike quickly, being moved. GREGORY But thou art not quickly moved to strike. SAMPSON A dog of the house of Montague moves me. GREGORY To move is to stir; and to be valiant is to stand: therefore, if thou art moved, thou runn'st away. SAMPSON A dog of that house shall move me to stand: I will take the wall of any man or maid of Montague's. GREGORY That shows thee a weak slave; for the weakest goes to the wall. SAMPSON True; and therefore women, being the weaker vessels, are ever thrust to the wall: therefore I will push Montague's men from the wall, and thrust his maids to the wall. GREGORY The quarrel is between our masters and us their men. SAMPSON 'Tis all one, I will show myself a tyrant: when I have fought with the men, I will be cruel with the maids, and cut off their heads....
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...The Tragical History of Doctor Faustus by Christopher Marlowe From the Quarto of 1604 Edited by Rev. Alexander Dyce THE TRAGICALL HISTORY OF D. FAUSTUS. AS IT HATH BENE ACTED BY THE RIGHT HONORABLE THE EARLE OF NOTTINGHAM HIS SERUANTS. WRITTEN BY CH. MARL. 2 In reprinting this edition, I have here and there amended the text by means of the later 4tos,--1616, 1624, 1631.—Of 4to 1663, which contains various comparatively modern alterations and additions, I have made no use. DRAMATIS PERSONAE. THE POPE. CARDINAL OF LORRAIN. THE EMPEROR OF GERMANY. DUKE OF VANHOLT. FAUSTUS. VALDES, ] friends to FAUSTUS. CORNELIUS, ] WAGNER, servant to FAUSTUS. Clown. ROBIN. RALPH. Vintner. Horse-courser. A Knight. An Old Man. Scholars, Friars, and Attendants. DUCHESS OF VANHOLT LUCIFER. BELZEBUB. MEPHISTOPHILIS. Good Angel. Evil Angel. The Seven Deadly Sins. Devils. Spirits in the shapes of ALEXANDER THE GREAT, of his Paramour and of HELEN. Chorus. Dr. Faustus Christopher Marlowe 3 Enter CHORUS. CHORUS. NOT MARCHING Mars did mate the Carthaginians; NOW in fields of Thrasymene, Where Nor sporting in the dalliance of love, In courts of kings where state is overturn’d; Nor in the pomp of proud audacious deeds, Intends our Muse to vaunt her heavenly verse: Only this, gentlemen,--we must perform The form of Faustus’ fortunes, good or bad: To patient judgments we appeal our plaud, And speak for Faustus in his infancy. Now is he born, his parents base of stock, In Germany...
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...PROLOGUE GILGAMESH KING IN URUK I WILL proclaim to the world the deeds of Gilgamesh. This was the man to whom all things were known; this was the king who knew the countries of the world. He was wise, he saw mysteries and knew secret things, he brought us a tale of the days before the flood. He went on a long journey, was weary, worn-out with labour, returning he rested, he engraved on a stone the whole story. When the gods created Gilgamesh they gave him a perfect body. Shamash the glorious sun endowed him with beauty, Adad the god of the storm endowed him with courage, the great gods made his beauty perfect, surpassing all others, terrifying like a great wild bull. Two thirds they made him god and one third man. In Uruk he built walls, a great rampart, and the temple of blessed Eanna for the god of the firmament Anu, and for Ishtar the goddess of love. Look at it still today: the outer wall where the cornice runs, it shines with the brilliance of copper; and the inner wall, it has no equal. Touch the threshold, it is ancient. Approach Eanna the dwelling of Ishtar, our lady of love and war, the like of which no latter-day king, no man alive can equal. Climb upon the wall of Uruk; walk along it, I say; regard the foundation terrace and examine the. masonry: is it not burnt brick and good? The seven sages laid the foundations THE COMING OF ENKIDU GILGAMESH went abroad in the world, but he met with none who could withstand his arms till be came to Uruk. But the men...
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...The Merchant of Venice ACT I SCENE I. Venice. A street. Enter ANTONIO, SALARINO, and SALANIO ANTONIO In sooth, I know not why I am so sad: It wearies me; you say it wearies you; But how I caught it, found it, or came by it, What stuff 'tis made of, whereof it is born, I am to learn; And such a want-wit sadness makes of me, That I have much ado to know myself. SALARINO Your mind is tossing on the ocean; There, where your argosies with portly sail, Like signiors and rich burghers on the flood, Or, as it were, the pageants of the sea, Do overpeer the petty traffickers, That curtsy to them, do them reverence, As they fly by them with their woven wings. SALANIO Believe me, sir, had I such venture forth, The better part of my affections would Be with my hopes abroad. I should be still Plucking the grass, to know where sits the wind, Peering in maps for ports and piers and roads; And every object that might make me fear Misfortune to my ventures, out of doubt Would make me sad. SALARINO My wind cooling my broth Would blow me to an ague, when I thought What harm a wind too great at sea might do. I should not see the sandy hour-glass run, But I should think of shallows and of flats, And see my wealthy Andrew dock'd in sand, Vailing her high-top lower than her ribs To kiss her burial. Should I go to church And see the holy edifice of stone, And not bethink me straight of dangerous rocks, Which touching but my gentle vessel's side, Would scatter...
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...&KDXFHU 7URLOXVDQG&UHVVLGD (Troilus and Criseyde) 7UDQVODWHGE\$6.OLQH ã Copyright 2001 A. S. Kline, All Rights Reserved This work may be freely reproduced, stored and transmitted, electronically or otherwise, for any NON-COMMERCIAL purpose. Contents Book I Book II Book III Book IV Book V Troilus’s Love Love Returned The Consummation The Separation The Betrayal Book I 1. Troilus’s double sorrow for to tell, he that was son of Priam King of Troy, and how, in loving, his adventures fell from grief to good, and after out of joy, my purpose is, before I make envoy. Tisiphone, do you help me, so I might pen these sad lines, that weep now as I write. 2. I call on you, goddess who does torment, you cruel Fury, sorrowing ever in pain: help me, who am the sorrowful instrument who (as I can) help lovers to complain. Since it is fitting, and truth I maintain, for a dreary mate a woeful soul to grace, and for a sorrowful tale a sorry face. 3. For I, who the God of Love’s servants serve, not daring to Love, in my inadequateness, pray for success, though death I might deserve, so far am I from his help in darkness. But nevertheless, if this should bring gladness to any lover, and his cause avail, Love take my thanks, and mine be the travail. 4. But you, lovers that bathe in gladness, if any drop of pity is in you, remember all your past heaviness that you have felt, and how others knew the same adversity: and think how...
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...THE ART OF PERFORMANCE A CRITICAL ANTHOLOGY edited by GREGORY BATTCOCK AND ROBERT NICKAS /ubu editions 2010 The Art of Performance A Critical Anthology 1984 Edited By: Gregory Battcock and Robert Nickas /ubueditions ubu.com/ubu This UbuWeb Edition edited by Lucia della Paolera 2010 2 The original edition was published by E.P. DUTTON, INC. NEW YORK For G. B. Copyright @ 1984 by the Estate of Gregory Battcock and Robert Nickas All rights reserved. Printed in the U.S.A. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system now known or to be invented, without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper or broadcast. Published in the United States by E. P. Dutton, Inc., 2 Park Avenue, New York, N.Y. 10016 Library of Congress Catalog Card Number: 79-53323 ISBN: 0-525-48039-0 Published simultaneously in Canada by Fitzhenry & Whiteside Limited, Toronto 10 9 8 7 6 5 4 3 2 1 First Edition Vito Acconci: "Notebook: On Activity and Performance." Reprinted from Art and Artists 6, no. 2 (May l97l), pp. 68-69, by permission of Art and Artists and the author. Russell Baker: "Observer: Seated One Day At the Cello." Reprinted from The New York Times, May 14, 1967, p. lOE, by permission of The New York Times...
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...© Sri Aurobindo Ashram Trust 1997 Published by Sri Aurobindo Ashram Publication Department Printed at Sri Aurobindo Ashram Press, Pondicherry PRINTED IN INDIA VOLUME 19 THE COMPLETE WORKS OF SRI AUROBINDO Publisher’s Note The first series of Essays on the Gita appeared in the monthly review Arya between August 1916 and July 1918. It was revised by Sri Aurobindo and published as a book in 1922. The second series appeared in the Arya between August 1918 and July 1920. In 1928 Sri Aurobindo brought out an extensively revised edition in book form. For the present edition, the text has been thoroughly checked against all previous editions and against the manuscripts of the revised Arya. CONTENTS FIRST SERIES I Our Demand and Need from the Gita II 3 12 20 29 39 47 57 68 81 94 105 114 124 The Divine Teacher III The Human Disciple IV The Core of the Teaching V Kurukshetra VI Man and the Battle of Life VII The Creed of the Aryan Fighter VIII Sankhya and Yoga IX Sankhya, Yoga and Vedanta X The Yoga of the Intelligent Will XI Works and Sacrifice XII The Significance of Sacrifice XIII The Lord of the Sacrifice CONTENTS XIV The Principle of Divine Works XV 134 145 158 168 177 188 200 212 224 234 247 The Possibility and Purpose of Avatarhood XVI The Process of Avatarhood XVII The Divine Birth and Divine Works XVIII The Divine Worker XIX Equality XX Equality and Knowledge XXI The Determinism of Nature XXII Beyond the Modes of Nature XXIII Nirvana and Works in the...
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...19 Essays on the Gita VOLUME 19 THE COMPLETE WORKS OF SRI AUROBINDO © Sri Aurobindo Ashram Trust 1997 Published by Sri Aurobindo Ashram Publication Department Printed at Sri Aurobindo Ashram Press, Pondicherry PRINTED IN INDIA Essays on the Gita Publisher’s Note The first series of Essays on the Gita appeared in the monthly review Arya between August 1916 and July 1918. It was revised by Sri Aurobindo and published as a book in 1922. The second series appeared in the Arya between August 1918 and July 1920. In 1928 Sri Aurobindo brought out an extensively revised edition in book form. For the present edition, the text has been thoroughly checked against all previous editions and against the manuscripts of the revised Arya. CONTENTS FIRST SERIES I Our Demand and Need from the Gita 3 II The Divine Teacher 12 III The Human Disciple 20 IV The Core of the Teaching 29 V Kurukshetra 39 VI Man and the Battle of Life 47 VII The Creed of the Aryan Fighter 57 VIII Sankhya and Yoga 68 IX Sankhya, Yoga and Vedanta 81 X The Yoga of the Intelligent Will 94 XI Works and Sacrifice 105 XII The Significance of Sacrifice 114 XIII The Lord of the Sacrifice 124 CONTENTS XIV The Principle of Divine Works 134 XV The Possibility and Purpose of Avatarhood 145 XVI The Process of Avatarhood 158 XVII The Divine Birth and Divine...
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