* Ebook Laughter in Ancient Rome: On Joking, Tickling, and Cracking Up (Sather Classical Lectures), by Mary Beard

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What made the Romans laugh? Was ancient Rome a carnival, filled with practical jokes and hearty chuckles? Or was it a carefully regulated culture in which the uncontrollable excess of laughter was a force to fear—a world of wit, irony, and knowing smiles? How did Romans make sense of laughter? What role did it play in the world of the law courts, the imperial palace, or the spectacles of the arena?

Laughter in Ancient Rome explores one of the most intriguing, but also trickiest, of historical subjects. Drawing on a wide range of Roman writing—from essays on rhetoric to a surviving Roman joke book—Mary Beard tracks down the giggles, smirks, and guffaws of the ancient Romans themselves. From ancient “monkey business” to the role of a chuckle in a culture of tyranny, she explores Roman humor from the hilarious, to the momentous, to the surprising.  But she also reflects on even bigger historical questions. What kind of history of laughter can we possibly tell? Can we ever really “get” the Romans’ jokes?

• Sales Rank: #371156 in Books
• Published on: 2015-09-15
• Original language: English
• Number of items: 1
• Dimensions: 8.90" h x 1.00" w x 5.80" l, .0 pounds
• Binding: Paperback
• 336 pages

Review
"'Laughter in Ancient Rome: On Joking, Tickling, and Cracking Up, ' which has just been published, is an engaging exploration of what made the Romans laugh--bad breath, among other things--but it also explores dimensions of Roman sensibility that have become elusive to us."--Rebecca Mead"New Yorker" (09/01/2014)

"Expect to be engaged by an enthralling book."--Harry Mount"The Spectator" (06/07/2014)

"Superbly acute and unashamedly complex. . . . To our vision of the solemn grandeur that was Rome, she restores a raucous, ghostly laughter."--Iona McLaren"The Telegraph" (07/01/2014)

"Written in Beard's trademark combination of erudition and effortless prose, Laughter in Ancient Rome is a fascinating combination of history, psychology, linguistic exploration and humor. This is scholarly writing at its best."--Pamela Toler"Shelf Awareness for Readers" (07/01/2014)

"You can read hundreds of books on Roman emperors and conquests; this represents a valiant attempt to bring a little understanding of a smaller, but no less important, part of what made Rome run."--Rob Hardy"Columbus Commercial Dispatch" (07/21/2014)

"Rich and provocative."--Roy Gibson"TLS" (08/13/2014)

"Like a great piece of archaeology, 'Laughter in Ancient Rome' allows us to glimpse ourselves in the cracked mirror of a distant culture."--John Domini"Washington Post" (09/17/2014)

"What made the Romans laugh? It's an incredible, almost childlike thought to have. But in this characteristically brilliant book by Mary Beard, this simple thought becomes a mental projection that conjures up the world of Rome as well or better than any book in recent memory."--Jonathon Sturgeon"Flavorwire" (12/03/2014)

'Laughter in Ancient Rome: On Joking, Tickling, and Cracking Up, ' which has just been published, is an engaging exploration of what made the Romans laugh bad breath, among other things but it also explores dimensions of Roman sensibility that have become elusive to us."--Rebecca Mead"New Yorker" (09/01/2014)"

"Few things are more tiresome than seeing a joke analyzed. . . . Beard s book avoids pedantry but also its opposite, the archness that preens itself on 'not taking humor too seriously' and signals inane wordplays with 'pun intended!' More importantly, her treatment makes one look with new eyes . . . even at works she does not herself discuss . . . [a] stimulating book."
--Gregory Hays"New York Review of Books" (07/10/2014)"

"[Beard] makes the Romans come alive and through them, gets readers to ponder that most fundamental and uniquely human facility laughter. The phenomenal Ms. Beard has written another cracking book, one of her best, I think."--Yasmin Alibhai-Brown"The Independent" (05/29/2014)"

"What made the Romans laugh? It s an incredible, almost childlike thought to have. But in this characteristically brilliant book by Mary Beard, this simple thought becomes a mental projection that conjures up the world of Rome as well or better than any book in recent memory."--Jonathon Sturgeon"Flavorwire" (12/03/2014)"

"A fun read . . . accessible yet academic."--Sarah"Norfolk Bookworm" (04/27/2015)

"This is a very sensible, readable, and useful volume. . . . A valuable contribution to scholarship on a difficult topic."--Kristina Milnor"Bryn Mawr" (10/18/2015)

"Beard has posed excellent questions about Roman laughter . . . Her engaging style of writing draws the reader into the discussion. . . . A must read."--John R. Clarke"American Historical Review" (12/01/2015)

From the Inside Flap
“Laughter in Ancient Rome is a masterwork, simultaneously a sophisticated work of historical and literary scholarship and an unputdownable read. Beard never loses sight of the specificities of Roman culture, yet she encompasses an extraordinary range of ancient and modern theorizing. Her book will appeal to psychologists and anthropologists, as well as to classicists and indeed anyone who has ever thought about the much-debated question of why we laugh.”
—William V. Harris, William R. Shepherd Professor of History at Columbia University, and author of Dreams and Experience in Classical Antiquity

“With a bounty of suggestive and unfailingly intelligent conclusions about the situation of laughter within ancient Roman culture, Beard’s remarkable learning is displayed on every page. Laughter in Ancient Rome is unmistakably a work of scholarship, but it is also an unpretentious and inviting exploration available to anyone who is interested. As a literary attainment, this book is marvelous.”
—Dylan Sailor, Associate Professor of Classics at University of California, Berkeley

About the Author
Mary Beard is Professor of Classics at Cambridge University. Her many books include The Roman Triumph and The Fires of Vesuvius.

Most helpful customer reviews

15 of 16 people found the following review helpful.
Trying to Understand Ancient Laughter
By Rob Hardy
Here’s one that had them laughing in the olden times. “Doctor,” says the patient, “whenever I get up from my sleep, for half an hour, I feel dizzy, and then I’m all right.” And the doctor says, “Get up half an hour later.” This joke worked in ancient Rome 2000 years ago; I hadn’t heard it before, but it reminds me of, “Doctor, it hurts when I do _this_,” and the doctor says, “Then don’t do that.” I bet that second one would have had them rolling in the aisles at the Colosseum, too. But most of the stuff of laughter in _Laughter in Ancient Rome: On Joking, Tickling, and Cracking Up_ (University of California Press) I didn’t find funny, and Mary Beard has good explanations for why what amused the Romans often fails to amuse us. So her book isn’t particularly funny, and that’s not surprising; Beard is able to write with wit and good humor, but she is a serious classicist with scads of books and papers to her name. Even with all her erudition, she has to remind us repeatedly that there is much that we do not understand about Roman society, language, and humor. You can read hundreds of books on Roman emperors and conquests; this represents a valiant attempt to bring a little understanding of a smaller, but no less important, part of what made Rome run.

Roman writers reflected Aristotelian thought about laughter, and Cicero had ideas about humor that showed the sort of split view Romans had of it. Cicero taught that there was little worse than an orator going for a laugh just for the sake of it. The Romans seem to have had a great deal of worry that the one who makes the joke could also be thought the butt of it. The subjects of jokes that made the Romans laugh will often strike us as strange. Suetonius writes of Caligula, “At one of his more lavish banquets he suddenly collapsed into a fit of guffaws. The consuls who were reclining next to him asked him politely why he was laughing. ‘Only at the idea that at one nod from me, both of you could have your throats cut instantly.’” Perhaps they laughed nervously in response; Caligula did find good fun in murdering people. Baldness was an easy instigator for laughter; to joke about blindness was to go too far, but baldness seemed a height of risibility. Julius Caesar’s baldness was a source of jokes, and he knew it, and practiced a form of comb-over, or wore his laurel leaves just so. But when Caesar came triumphantly back in 46 BCE, a ribald song ran, “Romans, lock up your wives. The bald adulterer’s back in town.” Then there was the knee-slapper “about the man from Abdera who saw a runner being crucified and quipped, ‘He’s no longer running, but flying.’” Beard notes that this one, like other jokes, now seems less funny “because of an unbridgeable gap between some of antiquity’s conventions of joking and our own. Crucifixion, for example, does not have a big part in the modern comic repertoire.” Another source of our lack of understanding has to be context, which at this distance we can never fully comprehend. There are those who say, for instance, that the famous mosaic of a chained dog at the house of the tragic poet, with the menacing motto _CAVE CANEM_ was not really a warning, but a joke that the dog was only a picture of a dog. I guess you just had to be there.

Beard admits, “The laughter of the past is always likely to frustrate our most determined efforts to systematize and control it. Anyone who - with a straight face - claims to be able to offer a clear account of why or how or when Romans laughed is bound to be oversimplifying.” Even so, she provokes us into thinking that perhaps the Romans invented the joke. “I have become increasingly convinced that the reason we can laugh along with the ancient Romans is because it is from them that - in part at least - we have learned _how_ to laugh and what to laugh _at_.” This is particularly clear in some of the selections she draws from a Roman joke book, the _Philogelos_ (“laughter lover”). The book was the source of a stand-up routine for a modern British comedian a few years ago, and part of the fun was that the audience was laughing at itself for laughing at jokes that were probably old when they were first written down two millennia ago. But the span of time might be a minimal obstruction. Some collections of humor include the story of Enoch Powell, a politician and wit, who replied to a chatty barber’s, “How shall I cut your hair, sir?” with the reply, “In silence.” It’s not Powell’s original joke, but maybe he especially enjoyed that he knew where it came from and those who repeated the story about him did not. He was a classicist himself, and the joke is from _Philogelos_.

11 of 11 people found the following review helpful.
A funny thing happened on my way......
By JGT
Normally, dissecting what makes us laugh is as distant from humor as dissecting a human body is from cuddling. All the parts of a joke can be labelled and parsed, or the nerves can be traced to their endings in the skin, but the result merely indicate a way to look at humor or affection, thus removing you to a point distant from the reality of either state. Normally. But in Mary Beard's book, Laughter in Ancient Rome, the dissection is done with such innate wit and verve that, while we may not slap our knees and guffaw while reading this beautifully written and impeccably researched essay, we are led gently, with affection, toward a greater understanding of what makes those ancestral jokesters our absolute kin.

8 of 8 people found the following review helpful.
An Interesting, but not Humorous, History of Laughter in Rome and Greece
By William Carpenter
Laughter in Ancient Rome: On Joking, Tickling, and Cracking Up (Sather Classical Lectures) by Mary Beard has two parts. The first is a scholarly consideration of what laughter signifies and the difficulties of recovering what it meant in ancient times - with an emphasis on Greek and Latin sources. The second part of the book is a bit more lively with considerations of what the ancient Romans found humorous. She concludes that the Romans invented the joke (more or less) and that we still find some of them funny because their jokes have influenced what Europeans find funny two thousand years later.

Beard is excellent in handling the source material and discussing the many problems of textual analysis and translation. She also demonstrates why it is so difficult to analyze humor or to figure out what people laugh. This is a surprisingly knotty problem that has defeated writers since Aristotle.

Let me conclude with two minor things that I found disappointing. The book includes a few illustrations. Surprisingly, for a book published in 2014, these are grouped together in a few pages between the two main parts of the book and reproduced in rather fuzzy black and white. Is it really so expensive to include a few color illustrations? The book also has many notes, as is appropriate for a serious history book. Many of these notes give the full Greek or Latin text under discussion. Beard is very helpful about translating Greek and Latin quotes in the body of the book; I wish she had also done translations of the passages in the notes.

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>> Free Ebook Little Grey Cells: The Quotable Poirot, by Agatha Christie

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Discover the man behind the moustache in this book of one-liners by the world’s most famous Belgian detective, revealing the wit and wisdom of Hercule Poirot and his creator, Agatha Christie.

‘My name is Hercule Poirot and I am probably the greatest detective in the world.’

The dapper, moustache-twirling little Belgian with the egg-shaped head, curious mannerisms and inordinate respect for his own ‘little grey cells’ solved some of the twentieth century’s most puzzling crimes. But what do we really know about the eccentric genius underneath that fussy façade?

Sometimes funny, often profound, and always revealing, this book of quotes and comments, from more than 50 Poirot novels and short stories, gives an entertaining glimpse of the man behind the moustache, and the wit and wisdom of the Queen of Crime who created him.

Includes an exclusive essay by Agatha Christie from the archives on her love/hate relationship with her most famous creation.

• Sales Rank: #1395880 in eBooks
• Published on: 2015-09-10
• Released on: 2015-09-10
• Format: Kindle eBook

Review
'As usual, the little man has the last word!'-Agatha Christie, 1938

From the Back Cover

"My name is Hercule Poirot and I am probably the greatest detective in the world."

The dapper,moustache-twirling little Belgian with the egg-shaped head, curious mannerisms and inordinate respect for his own ‘little grey cells’ solved some of the twentieth century’s most puzzling crimes. But what do we really know about the eccentric genius underneath that fussy façade?

Sometimes funny, often profound, and always revealing, this book of quotes and comments from more than fifty Poirot novels and short stories  gives an entertaining glimpse of the man behind the moustache, and the wit and wisdom of the Queen of Crime who created him.

Includes an exclusive essay by Agatha Christie on her love/hate relationship with her most famous creation.

About the Author

Agatha Christie is the most widely published author of all time, outsold only by the Bible and Shakespeare. Her books have sold more than a billion copies in English and another billion in a hundred foreign languages. She died in 1976.

Most helpful customer reviews

4 of 4 people found the following review helpful.
"My name is Hercule Poirot, and I am probably the greatest detective in the world"
By c'est la vie
This is a lovely little book for Poirot fans. It has an interesting insight into the creation of Poirot and Agatha Christie's ambivalent relationship with him.

I think it's great that although AC hated being "yoked to him for life" she eventually developed an affection for him, albeit reluctantly!

It is a short, delightful read with quintessential Poirot quotes from various novels. The layout and presentation is good, though do note the Kindle version displays on a double page.

The selection have been grouped according to themes for example those where he offers an opinion on himself ("One must have consideration for those less gifted than oneself"), on food and drink (""Mon Dieu! It is that in this country you treat the affairs gastronomic with a criminal indifference"), and on human nature ("Stupidity - it is the sin that is never forgiven and always punished").

Other themes include women, the English, symmetry and order, romance, life and death, detective work, the criminal mind, truth and lies, and Hastings.

Some of the quotes are funny, some are poignant, and some are profound, but all give the reader a fab insight/reminder about what makes Poirot such an amazing character.

A highly recommended short read!

0 of 0 people found the following review helpful.
Great little book
By Judith C. Goldie
Interesting little book filled with detail. This was a gift and the recipient was very pleased.

0 of 0 people found the following review helpful.
Five Stars
By Amazon Customer
Wonderful book!!!!!!

See all 5 customer reviews...

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> PDF Ebook The Rural Muse: Poems (Classic Reprint), by John Clare

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Excerpt from The Rural Muse: Poems

It is necessary that I should say something respecting the following Poems. They are selected from a great many, written at different times and under very different feelings; and if I do not crave the reader's indulgence for them, I shall be heartily satisfied of his good opinion, if he gives me the same encouragement as he has done with the others I have published; for if I wished to have it thought that I was careless of censure, or heedless of praise, I should contradict my feelings.

About the Publisher

Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com

This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

• Sales Rank: #8616943 in Books
• Published on: 2015-09-27
• Original language: English
• Number of items: 1
• Dimensions: 9.02" h x .41" w x 5.98" l, .58 pounds
• Binding: Paperback
• 192 pages

About the Author
John Clare and Ali Zarbafi are psychotherapists working in Wales and London. They have worked together since 1998 in various dreaming matrixes in England, France and Wales, and are currently working with social dreams in the community of Hay-on-Wye.

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0 of 0 people found the following review helpful.
A regularized edition of an important collection
By tepi
John Clare. The Rural Muse: Poems (1835). Kessinger Publishing, 2007. Paperback 175 pages. ISBN 0548704244.

The present book is a facsimile reprint of the original edition of 'The Rural Muse' of 1835 and I have given it 5 stars for its historic importance. But what we need to understand is that the poems as printed here are not the poems as they left Clare's hand.

From a much larger manuscript of 391 poems, 'The Midsummer Cushion', for which he hadn't been able to find enough subscribers, Clare, in 1834, sent a selection of 130 of its poems to his friend Mrs Eliza Emmerson in London. As anyone who has read anything about Clare knows, he paid very little attention to grammar, spelling, or punctuation, and to ready his raw text for 'polite' readers of the time it required considerable tidying-up. To be publishable at all the text had to be brought into line with the taste, prejudices, and expectations of an early 19th century audience.

Mrs Emmerson, therefore, and with the best of intentions, dutifully tidied up Clare's raw text and it was her revised version, with many of her own emendations and with her heavy punctuation, that appeared in 1835 as 'The Rural Muse.'

Unfortunately, Clare is not improved by regularization. It's true that when regularized, Clare's text becomes smoother and easier to read. His raw text, on the other hand, does slow us down and is at times difficult to read because it can present us with alternative readings depending upon where we decide to pause. But this is what makes it so interesting. Rather than being merely passive readers we become active and, in a sense, co-creators of the poem. And the very roughness of the raw text has a special flavor which is lost when the text is regularized and Clare is made to look and sound like everyone else.

Happily, an unregularized modern edition of The Rural Muse: Poems edited by R.K.R. Thornton was published in the UK by the Carcanet Press, Mid Northumberland Arts Group, in 1982. Those who would like an unregularized edition of 'The Midsummer Cushion' are referred to: The Midsummer Cushion (Fyfield Books) which was published by Carcanet Press in 1990.

These two books give us the texts of the poems as they are found in Clare's own manuscripts and minus the well-meant tampering of his contemporary editors. The raw texts do present a few minor difficulties at first, but these are soon overcome and readers will find that Clare's own versions provide a much more interesting reading experience than do those of his editors.

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@ Ebook Free The Sacred Wood: Essays on Poetry and Criticism (Classic Reprint), by T. S. Eliot

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Excerpt from The Sacred Wood: Essays on Poetry and Criticism

To anyone who is at all capable of experiencing the pleasure of justice, it is gratifying to be able to make amends to a writer whom one has vaguely depreciated for some years. The faults and foibles of Matthew Arnold are no less evident to me now than twelve years ago, after my first admiration for him; but I hope that now, on re-reading some of his prose with more care, I can better appreciate his position. And what makes Arnold seem all the more remarkable is, that if he were our exact contemporary, he would find all his labour to perform again. A moderate number of persons have engaged in what is called "critical" writing, but no conclusion is any more solidly established than it was in 1865.

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This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

• Sales Rank: #8472361 in Books
• Published on: 2015-09-27
• Original language: English
• Number of items: 1
• Dimensions: 9.02" h x .38" w x 5.98" l, .54 pounds
• Binding: Paperback
• 176 pages

Review
Book of critical essays by T.S. Eliot, published in 1920. In it, Eliot discusses several of the issues of modernist writings of the period. The best-known essay of the collection, "Tradition and the Individual Talent," puts forth Eliot's theory of a literary tradition that comprises the whole of European literature from Homer to the present and of the relationship of the individual poet to that tradition. Another notable essay is "Hamlet and His Problems," in which Eliot expresses his theory of the OBJECTIVE CORRELATIVE, a phrase he adapted from either George Santayana or Washington Allston. -- The Merriam-Webster Encyclopedia of Literature

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3 of 3 people found the following review helpful.
Good edition of The Sacred Woods
By Thorn Cathedral
Firstly, if you want an e book, do not buy this one. When I bought this book, I didn't know that the The Sacred Wood is out of copyright and that you can find it free on the internet. Project Gutenberg or bartleby.com will have one.
This is the book in which "Tradition and the Original Talent", Eliot's most famous essay is found. Also, Hamlet and his Problems, in which the poet proposes the "objective correlative" approach to poetry and literature is there.
There are no pages in the books, just the "loc". The interface between table of content and the essay is excellent however, and it did save me some time.
I wouldn't consider this book the best one you could buy, but it is not bad either.

But really, do not buy this book - get it for free.

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? Get Free Ebook Well Read, Well Fed; A Year of Great Reads and Simple Dishes for Book Groups, by Marcia F. Brown

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Well Read, Well Fed celebrates the monthly book club gatherings that are as much about sharing food, wine, and catching up, as the books read. It embraces both a love of good books and good food, and the pleasure of sharing them with like-minded friends. A go-to kitchen staple for book club hosts with recipes that are simple to prepare, this book features inspiring lists of book titles and authors for book clubs to explore. The twelve chapters, one for each month of the year, contain informal essays about books and reading, recommendation lists and a short food essay with recipes for simple, healthful main dishes and light accompaniments. Most dishes conform to vegetarian diets with some seafood recipes as well as options for meat-eaters. This is the perfect book to insure that your book club is a relaxed yet stimulating get together for both the host and the participants.

• Sales Rank: #1319897 in Books
• Published on: 2015-09-18
• Original language: English
• Number of items: 1
• Dimensions: 7.60" h x .70" w x 5.30" l, .0 pounds
• Binding: Hardcover
• 160 pages

About the Author
Marcia F. Brown is the author of four poetry collections, including When We Invented Water (Moon Pie Press 2014) and What On Earth (Moon Pie Press 2010). As Poet Laureate for the City of Portland, Maine (2013-2015) she edited the anthology, Port City Poems, Contemporary Poets Celebrate Portland, Maine (Maine Poetry Central 2013) which was a finalist for the 2014 Maine Literary Awards, and launched the Words Matter Visiting Poet's Series presenting acclaimed poet Tony Hoagland at Portland's Hannaford Hall in April 2015. Her work is widely published in literary journals and anthologies, including Garrison Keillor's Good Poems, American Places (Penguin Books 2011). She resides in Cape Elizabeth, Maine with her husband.

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7 of 7 people found the following review helpful.
A great gift for yourself and others.
By Betty Duck
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## Fee Download Spanish and Portuguese Romances of Chivalry: The Revival of the Romance, of Chivalry in the Spanish, Peninsula, and Its Extension, and Infl

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Excerpt from Spanish and Portuguese Romances of Chivalry: The Revival of the Romance, of Chivalry in the Spanish, Peninsula, and Its Extension, and Influence Abroad

The following chapters represent, in an extended form, a course of six lectures on Spanish and Portuguese romances of chivalry delivered as the Norman MacColl lectures in the University of Cambridge during the Spring of 1917. Their chief object is to provide a comprehensive review of a remarkable popular literary movement which began in the Spanish Peninsula about the turn of the fifteenth century, spread over western Europe, including our own country, and having flourished and exercised a considerable influence for a time, died out so completely as to be well-nigh forgotten nowadays except by students. Various aspects of the movement, and a number of the problems connected with it, have been treated by different writers in modern times; their results have been taken into account, occasionally with corrections, in the following pages, and some new material has been contributed, especially in the later chapters.

The early editions of these romances of chivalry, which are in most cases the only existing editions, are extremely rare; but the writer has had facilities for studying or examining the romances, either in Spanish libraries, or in the still richer collections, public or private, in England. The following sketch - the first to relate in connected form the fortunes of these romances in the various countries they invaded - is offered as some return for the advantages enjoyed.

About the Publisher

Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com

This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

• Sales Rank: #9264855 in Books
• Published on: 2015-09-27
• Original language: English
• Number of items: 1
• Dimensions: 9.02" h x .72" w x 5.98" l, 1.03 pounds
• Binding: Paperback
• 348 pages

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0 of 0 people found the following review helpful.
imprescindible
By ivan guerra
Escrito hace casi un siglo, el estudio de Thomas es un texto seminal que explica el desarrollo del género de los libros de caballerías españoles y portugueses del siglo XVI. Aunque hace un recuento amplio de toda la historia de este género, básicamente el libro aborda el ciclo de los Amadises y los Palmerines desde sus inicios medievales hasta sus continuaciones fuera de España o Portugal. Quizá mucho de lo que Thomas expone ha sido revisado por la crítica, a la luz de nuevos hallazgos, sin embargo, el texto no carece de utilidad y es citado una y otra vez hasta nuestros días. La riqueza de información que contiene sobre los origenes del Amadís, por ejemplo, así como la forma en que los continuadores italianos jugaron con la tradición, me parece de lo más rescatable del texto. Así mismo, es interesantísimo cómo incluye las relaciones entre el libro de caballerías y los romances y el teatro del siglo XVI-XVII.
La re-edición de Cornell (aquí anunciada) es divertida porque siendo una versión digitalizada, de repente sorprende encontrar marginalia de otros lectores a través del siglo XX. Uno puede saber que este libro antes de ser digitalizado fue prestado en fecha tan reciente como el 28 de Mayo de 2005.

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This food in literature edition of "Alice's Adventures in Wonderland" celebrates the book's 150th anniversary by celebrating the food in Alice.

Inside you'll find:

*A biography of Lewis Carroll
*A look at the role that food plays in the Alice books as well as the role that it played in the Victorian Era
*26 illustrations by Arthur Rackham, one of the leading illustrators of the "Golden Age of Illustration"
*10 recipes for book clubs to try
*An interactive table of contents
*A complete bibliography that lists all the research behind the food in literature edition

"Alice's Adventures in Wonderland" counts as one of the most popular pieces of children's literature of all time. It's a tumble down the rabbit hole that will leave you breathless with heady delight. Come join Alice as she makes friends with the Mad Hatter and the White Rabbit, matches wits with the Cheshire Cat, and manages to keep her head -- literally -- with the Queen of Hearts.

This book is ideal for:

*Foodies
*Alice in Wonderland fans
*History lovers
*Book clubs
*Young adults

• Sales Rank: #815270 in eBooks
• Published on: 2015-09-05
• Released on: 2015-09-05
• Format: Kindle eBook

Most helpful customer reviews

4 of 4 people found the following review helpful.
Five Stars
By Gordon Mannor
Although I am now an old man I still enjoy Alice in Wonderland

2 of 2 people found the following review helpful.
Nicely Done! (Including the recipes)
By Don Kidwell
Wasn't exactly sure what to expect but I was pleasantly surprised! Illustrations provided by Arthur Rackham were top notch as always and recipes provided were a lot of fun including Honey Citrus Fruit Kababs, Ham and Brie Sandwiches w/ Raspberry Preserves and Preserved Ginger Scones among others. What more can I add to this excellent story by Lewis Carroll but the words "Well Done"!

2 of 2 people found the following review helpful.
Alice - What really happened
By Classic Nancy
Always wanted to read the book - it was short but fun.

See all 13 customer reviews...

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Excerpt from Wood Preservation in the United States

Sir: I have the honor to transmit herewith a manuscript entitled "Wood Preservation in the United States," by W. F. Sherfesee, in charge of Wood Preservation, and to recommend its publication as Bulletin 78 of the Forest Service. The four plates and three diagrams are necessary for its proper illustration.

About the Publisher

Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com

This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

• Published on: 2015-09-27
• Original language: English
• Number of items: 1
• Dimensions: 9.02" h x .9" w x 5.98" l, .15 pounds
• Binding: Paperback
• 42 pages

Most helpful customer reviews

0 of 0 people found the following review helpful.
Good book
By Strawberry
I purchased this book because it was written by my Great Uncle but was suprised and delighted at the information that it contained. It is a book that is very useful even today and recommend it to all.

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@ Download Ebook Macbeth: Illustrated Platinum Edition (Classic Bestselling Fiction Books), by William Shakespeare, Read Monkey

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How is this book unique?

15 Illustrations are included

Short Biography is also included

Original & Unabridged Edition

Tablet and e-reader formatted

Best fiction books of all time

One of the best books to read

Classic historical fiction books

Bestselling William Shakespeare book

Macbeth (full title The Tragedy of Macbeth) is a tragedy written by William Shakespeare, and is considered one of his darkest and most powerful works. Set in Scotland, the play illustrates the damaging physical and psychological effects of political ambition on those who seek power for its own sake.

The play is believed to have been written between 1599 and 1606, and is most commonly dated 1606. The earliest account of a performance of what was probably Shakespeare's play is the Summer of 1606, when Simon Forman recorded seeing such a play at the Globe Theatre. It was first published in the Folio of 1623, possibly from a prompt book. It was most likely written during the reign of James I, who had been James VI of Scotland before he succeeded to the English throne in 1603. James was a patron of Shakespeare's acting company, and of all the plays Shakespeare wrote during James's reign, Macbeth most clearly reflects the playwright's relationship with the sovereign.

Macbeth is Shakespeare's shortest tragedy, and tells the story of a brave Scottish general named Macbeth who receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders King Duncan and takes the throne for himself. He is then wracked with guilt and paranoia, and he soon becomes a tyrannical ruler as he is forced to commit more and more murders to protect himself from enmity and suspicion. The bloodbath and consequent civil war swiftly take Macbeth and Lady Macbeth into the realms of arrogance, madness, and death.

Shakespeare's source for the tragedy is the account of Macbeth, King of Scotland, Macduff, and Duncan in Holinshed's Chronicles (1587), a history of England, Scotland, and Ireland familiar to Shakespeare and his contemporaries, although the events in the play differ extensively from the history of the real Macbeth. In recent scholarship, the events of the tragedy are usually associated more closely with the execution of Henry Garnett for complicity in the Gunpowder Plot of 1605.

In the backstage world of theatre, some believe that the play is cursed, and will not mention its title aloud, referring to it instead as "the Scottish play". Over the course of many centuries, the play has attracted some of the most renowned actors to the roles of Macbeth and Lady Macbeth. It has been adapted to film, television, opera, novels, comic books, and other media.

• Sales Rank: #950133 in eBooks
• Published on: 2015-09-26
• Released on: 2015-09-26
• Format: Kindle eBook

Amazon.com Review
A lush, cautionary tale of a life of vileness and deception or a loving portrait of the aesthetic impulse run rampant? Why not both? After Basil Hallward paints a beautiful, young man's portrait, his subject's frivolous wish that the picture change and he remain the same comes true. Dorian Gray's picture grows aged and corrupt while he continues to appear fresh and innocent. After he kills a young woman, "as surely as if I had cut her little throat with a knife," Dorian Gray is surprised to find no difference in his vision or surroundings. "The roses are not less lovely for all that. The birds sing just as happily in my garden."

As Hallward tries to make sense of his creation, his epigram-happy friend Lord Henry Wotton encourages Dorian in his sensual quest with any number of Wildean paradoxes, including the delightful "When we are happy we are always good, but when we are good we are not always happy." But despite its many languorous pleasures, The Picture of Dorian Gray is an imperfect work. Compared to the two (voyeuristic) older men, Dorian is a bore, and his search for ever new sensations far less fun than the novel's drawing-room discussions. Even more oddly, the moral message of the novel contradicts many of Wilde's supposed aims, not least "no artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style." Nonetheless, the glamour boy gets his just deserts. And Wilde, defending Dorian Gray, had it both ways: "All excess, as well as all renunciation, brings its own punishment."

From Publishers Weekly
Starred Review. First published in 1890 in Lippincott's Monthly Magazine and the following year in novel form, The Picture of Dorian Gray categorically changed Victorian Britain and the landscape of literature. An ostentatious, self-confessed aesthete, known for his wit and intellect, Wilde not only had to endure his prose being labeled "poisonous" and "vulgar," but also suffer its use as evidence in the ensuing trial, resulting in his eventual imprisonment for crimes of "gross indecency." Frankel's introduction provides a deft preliminary analysis of the novel itself—exploring etymology and extensive editorial alterations (both accidental and deliberate)—and offers valuable insight into the socio-cultural juxtaposition of aristocratic Victorian society and the London underworld. The original typescript provides the unique opportunity to examine what was considered acceptable in both the US and UK at the time. Intriguing annotations allude to Wilde's influences and enterprising range of reference, incorporating art, poetry, literature, Greek mythology, philosophy, and fashion (certain to inspire further reading; an appendix is provided). Comparisons are drawn between Dorian Gray and Wilde's other literary output, as well as to the work of Walter Pater. Numerous illustrations subtly compliment Frankelÿs inferences. A fine contextualization of a major work of fiction profoundly interpreted, ultimately riveting. (Mar.)

From School Library Journal
Grade 10 Up-"The Whole Story" format provides illustrations and annotations to the classic text. Ross's lively and sophisticated cartoons add interest, and historical information helps readers place the novel in proper context and gives insight into its characters. The problem with this attractive, glossy layout, however, is that the text and the quotes pulled from it are not always on the same page. Further, some illustrations and notations visually cut into the narrative and may distract readers. For example, a drawing appears on the first page along with the passage, "In the centre of the room, clamped to an upright easel, stood the full-length portrait of a young man of extraordinary personal beauty," but that quote does not appear until the second page of the story. Useful as a supplement to the original novel, but not a replacement for it.
Karen Hoth, Marathon Middle/High School, FL
Copyright 2001 Reed Business Information, Inc.

Most helpful customer reviews

65 of 67 people found the following review helpful.
No need to avoid Shakespeare anymore
By David E. Levine
I consider myself to be a reasonably literate individual but, I have always avoided Shakespeare since I cannot make sense of the text. But now, I have fianally read Macbeth because, with "No Fear Shakespeare," each left hand page is written in the original whereas the right hand page is a plain English translation. So now I know, that when a porter says "it makes him stand to and not stand to," he is not referring about someone standing up on his feet. Instead, it means that alcoholic drinks make a man have an erection but then, lose the erection. How true is that and how cool is it to be able to understand that? Seriously, Macbeth is a great tale of ambition, deception and conscience. Thanks to this innovative book, I was able to read the original, then, after reading each page, I referred to the translation so I could understand. It was fun to read lines in the original, try to work out what I thought it meant and then check whether I was right. I recommend this as a way finally read and appreciate Macbeth.

55 of 57 people found the following review helpful.
Suits our needs
By A Customer
I won't even attempt to critique Shakespeare's work, as some have done here. I'm not reviewing MacBeth, but this particular version of it. As a homeschooling Mom with three highschool students, the only way we could get through Shakespeare's works is by having a copy of Shakespeare Made Easy on hand. As it is, we completed 5 plays this year - all done orally, with each of us taking several parts. While I think it's important that my kids read Shakespeare in it's original format (and they did), I had the Shakespeare Made Easy translation handy so that I could give simple, concise explanations whenever they just didn't "get it". I recommend these books for that purpose - not for the watered down versions of these classics, but to make them understandable to the average student who might otherwise find Shakespeare's works boring and a waste of time (as many students do).

45 of 46 people found the following review helpful.
Best Yet!
By D. Durkee
I've been playing this in a regular senior English class. Many of the students are finally understanding the play. The actors in this cd do a wonderful job interpreting their lines. The Scottish accents are well done. Sound effects make it vivid. It's the best production I've found to date.

See all 650 customer reviews...

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