Bøger af John Gardiner

Most know the story of Australia's First Fleet. But who were those convicts, sailors, marines and administrators who travelled to Botany Bay in 1787? And who orchestrated this ambitious expedition? In his meticulously researched new book, John Gardiner pulls back the curtain on the world from which the First Fleet emerged. Delving into English newspapers, official reports, and government documents from the era, Gardiner vividly captures the squalor of London's slums, the rotting hulks on the Thames where prisoners languished, and the hardscrabble lives of those who would people New South Wales. We meet real-life figures like Prime Minister William Pitt, Home Secretary Lord Sydney, and the Fleet's commander, Captain Arthur Phillip. And we discover a society rife with corruption, violence, and despair. Before the First Fleet to Australia paints an unflinching portrait of late 18th century England in all its vulgarity and cruelty. Gardiner's fearless account confronts historical truths often glossed over about the First Fleet's origins. Was this ragged band of convicts a collection of pathetic vagabonds or part of a strategically calculated colonial enterprise? Readers can decide for themselves in this absorbing and revelatory narrative history.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ D. Johann Gardiners ... Untersuchung Der Beschaffenheit, Ursache Und Kur Des Podagra's Und Einiger Damit Verbundenen Krankheiten John Gardiner, Christian Friedrich Michaelis Junius, 1792

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

For the marriageable Sir Willoughby Patterne he desires a wife possessed of that triune of perfect starriness, which makes all men astronomers, wealth, health and beauty. Clara Middleton, heroine in The Egoist, has consented against her subsequent better judgement to become the affianced of Sir Willoughby. Fashionable, exceedingly rich, as handsome as a cavalier, a deeper student than his rivals in the universal struggle of winning the affections of young women, our hero's veneer camouflages an egoist in heart and mind. Clara comes to the realization she cannot, will not, marry him, and the nine episodes in the screenplay detail her efforts to extricate herself from the forthcoming marriage without precipitating a social scandal. Sir Willoughby weaves intricate webs to keep her ensnared in his ancestral home, Patterne Hall, and his cunning draws much of the authorial satire. Does Sir Willoughby win the romantic prize?

Imaginatively patterned against a mosaic of failed romances, the eponymous Actor stands watching his lovers walk away, haunted by his inversion of the famous line from "As You Like It": Whoever lov'd who lov'd not at last sight? Characterized by evocative tableaux, Mosaic launches the Actor upon a further romantic adventure involving a theatrical Wedding Planner organizing his brother's wedding. The tableaux shape evolving opportunities for the Actor to discover the breadth of his true affection for the Wedding Planner. In the pantheon of Zen moments for an actor, he discovers the sublimest is the innate gift to watch a stone grow.

Continuing the Open-Ended Novel began with WHAAM!, followed by Exiles, Siren moves the dramatis personae through the years 1974, 1975 and 1976. The arrow of time moves forward, pop culture styles metamorphose, political transformations occur, requiring adjustments from the dramatis personae who are swept along in the slipstream. Set against the flow of time is Quantum Physics and a Zen ethos which create tensions for the dramatis personae, especially visible through all facets of the Pop Culture centered within the novel. Ultimately there is no resolution, only forward momentum, the dramatis personae unable to shape how the subsequent years, 1977, 1978 and 1979 will unfold.

A page of literature, whether poem, play or novel, similarly, an Artist's canvas or fresco, represents a two-dimensional palimpsest impressed with multiple overlaid inspirational sources derived from Time and Tradition, and read/viewed by a three-dimensional human persona. Arabesques presents in its narration, analogically, the proposition that the novel's would-be three-dimensional dramatis personae, are themselves overviewed by their individualised four-dimensional Inner Thinkers, derivative from Descartes' famous statement: Cogito ergo sum (I think, therefore I am).Australia's continental landscape is evoked as a geographical palimpsest lost to evolutionary Time, uniform in an unchanging sameness, transformed only with the coming of the Anglosphere's colonisation, dramatically contrasted with the cultural textures of Classical, Medieval, Renaissance and Baroque creative genius still vibrant in today's Italy. Arabesque's principal protagonist, an eponymous Artist, aged fifty, romantically and socially unattached, a devotee of the highwater mark established by Italian painters and sculptors, finds himself alienated from, and in open conflict with, 2019's Identity Politics and virtue-signalling, determining to visit Rome, Florence and Venice to revivify his creative vision.In today's climate of shifting ambiguity and ambivalence, is it possible to delve one's own incarnational palimpsest, and rediscover in thought, feeling and artistry, the ecstasy of romance?

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Johann Gardiners Untersuchungen uber Die Natur Thierischer Korper Und uber Die Ursachen Und Heilung Der Krankheiten John Gardiner, Ernst Benjamin Gottlieb Hebenstreit Weidmann u. Reich, 1786

Francis Bacon, Viscount St. Alban (1561-1626), created the most infamous literary mask of all time, even affixing a spurious portrait to the title page of the printed First Folio ... William Shakespeare. The Dedicatees of the First Folio, William and Philip Herbert, Earls of Pembroke and Montgomery, and other kinsmen such as the celebrated Poet, George Herbert, were treasured friends of Bacon, affirmed in surviving documentation. A Midsummer Night's Dream, Love's Labour's Lost and As You Like It, subjects of this Volume of Essays, contain visionary autobiographical matter providing portraiture of Bacon's boyhood, youth and adolescence. Written commentary and observations from Bacon's contemporaries, especially his fellow dramatist, Ben Jonson, proclaim his eminence and genius among all men living through the Elizabethan/Jacobean Age. Bacon spent his late-adolescence (1576-1579) travelling through Continental Europe, and was personally present in Navarre during the attempted reconciliation between the estranged King Henri and Queen Marguerite, which he famously dramatized years later in Love's Labour's Lost. He Sits 'Mongst Men Like A Descended God examines how Bacon interblended autobiographical experiences within a dramatized framework for presentation on a stage.

Embedded in the intellectual and creative milieu of Classical Music as envisioned by a thirty five year old Australian composer preparing to undertake a début recital tour of England, Tableaux parallels the romantic traditions established in Works such as Much Ado About Nothing, Restoration Comedies, the novels of Jane Austen, and the Plays of Oscar Wilde. The eponymous main character is assigned an English Agent for the tour, the working daughter of an Earl, whose best friend is an illustrator for The Spectator, but more importantly is revealed to be the daughter of a Marquis. Tableaux creates vivid romantic arrangements through developing intertwining relationships among the protagonists, against a tapestry woven with social, cultural and political observations on an egalitarian Australian society and hierarchical English aristocratic class structure. Tableaux is a Comedy of Manners for the twenty-first century in which Love is ultimately triumphant.

What is the back-story to Masques? Of medieval origin, the Masque attained its apotheosis as Courtly entertainment during the 16th and 17th Centuries, favoring allegory to flatter or disparage persons of eminence, Kings and Queens. Elaborately conceived and highly stylized in execution, the Masque frequently offered contentious political subtext and commentary under the guise of a festive presentation, a Courtly celebration: Royal personages would often assume a role on stage. Characteristic features of the Masque embodied very skilled and poeticized presentations of music, dancing, acting and singing, all magnificently and creatively framed for the viewing audience upon a stage at Court. Costumes identified allegorical and mythological personages performing within a pastoral ambience, elucidating classical myths, and dramatizing ethical debates and dialogues shaped to argue how contemporary politics ans mores reflected or should reflect those of a Golden Age long past. Masques before you as you turn the pages is a contemporary presentation, and equally stylized after the entertainments described in the above paragraph, dramatizing the characteristics generally identified with the medium. Masques was conceived to be fulsomely filmed, but being written from late 1985 through 1986, the requisite technology was not available at that time. The political landscape in 1985 was changing but the new demographics had not begun to shape themselves: exhaustion with the Cold War was palpable. As mentioned, Masques was designed to be filmed, and its literary stylization allegorizes in words comparison with the famous Impressionist, Fauve and Expressionist painters and their wielding of stunningly original palettes in the realization of their imagery. Colors on the palette and in transference to the canvas (in the case of Masques, words-to-the-page), have no seeming logical juxtaposition of tones, the images are not rationally ordered to what the eye actually sees, but through the miracle of imagination we adjust to manifold correspondences. Masques is a literary visualization of the Triumph of Love.

Now I am alone! Man à la Mode finds the central character self-reflecting upon and self-communing with memories of 40 years of marriage which have suddenly ended in crisis as he travels to and through Greece. Overshadowing him as he evokes the classical world through which he moves are the spirits of the two Great Romantic Poets, Shelley and Holderlin, who dreamed of journeying to Greece. While in Greece the main character encounters a woman who identifies herself as Hygeia, and together they visit the key classical sites: the Acropolis ... Ancient Agora ... Delphi ... Epidaurus ... Delos.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ A Sermon, Preached At The Church Of St. Mary Magdalen, Taunton, On Friday, The 19th. Of April, 1793: ... By The Rev. John Gardiner, ... John Gardiner printed by J. Poole, and sold by him, and E. and S. Hassums, Taunton; by R. Crutwell, Bath; and by J. Stockdale; W. Richardson; and by J. Downes, London, 1793 Religion; Reference; Religion / Reference

Colonnades presents as an existentially thoughtful True Romance style graphic novel (non-visual), à la 2022, with every page (frame) loaded with conflicting temporal-and-spiritual tensions the dramatis personae struggle to resolve.Being-and-Time, Being-and-Nothingness create impactful insights into the central protagonist's self-conscious apprehension of himself as Magnus Storey: why he discovers himself embodied in Australia's racial/cultural/social milieux. He occupies Time composing, illustrating in meditative thought, his own graphic True Romance, a dramatization for the stage, titled: Who Is My Playwright? Both the novel (Colonnades), and the internal dramatization within (Who Is My Playwright?), blend in a Comedy of Manners. They underscore Storey's meditation, how it eventuates that each embodied human persona's existential self-conscious being is pre-scripted through the infallibility of the Law of Conservation of Energy. Existence is themed with powerful tensions through each one's cumulative, habituated inclinations concentrated through Time.The novel's time-frame is focussed within a single month, January 2022, wherein Storey's existential romance unfolds against his immersion within an intense Australian summer: sun, sea, and sand co-join as emblematic to his sensibility of that spiritualised wall the First Zen Patriarch, Bodhidharma, famously contemplated, continuing the Buddha's spiritual transmission mind-to-mind in succession through millennia.

Spacetime is a three-dimensional toolbox, or, existential toybox, employed by the dramatis personae in Metopes to analogically gather understanding of the Incarnational Palimpsest: Earth being a Theatre, itself a thought-experiment, all humanity being on-stage here unfolding a specific Destiny, so much however pre-determined by that palimpsest. Beginning with WHAAM! (1968 - 1970), followed in succession by, Exiles (1971 - 1973), Siren (1974 - 1976), Trash (1977 - 1979), and Friezes (1980 - 1982), Metopes continues the journey of the dramatis personae through 1983 - 1985, each year a cloud of probabilities determined by the palimpsests of the previous years.Essentially, Time's palimpsest cannot be wholly erased, but is successively over-written, allied to Quantum Physics' imponderable Truth, that past-present-future are simultaneous, a phenomenon resistant to humanity's three-dimensional perception this cannot be. Highly stylised on the page, Metopes exhibits the visual image determined by Classical Greek Architects/Sculptors: being a rectangular, decorative frieze bound by spatial triglyphs. Quick-cutting paragraphs on-the-page evoke this, as they do cine-frames, creating a tapestry-effect, a succession of stand-alone metopes in prose, suggestive of the Inner Thinker's view of its embodiments through Time.Time is unstoppable, referred to in Metopes as a long, lonely highway, materialising a startling array of imagery enveloping the dramatis personae.

He Sits 'Mongst Men Like A Descended God (Volume Two) essays three First Folio Plays attributed by Academia to Shakespeare, Cymbeline, Hamlet and King Henry VIII. Francis Bacon, in an astonishing letter written to Count Gondomar, Ambassador from the Court of Spain, dated June 6, 1621, wrote: Now that at once my age, my fortunes, and my genius, to which I have hitherto done but scanty justice, call me from the stage of active life, I shall devote myself to letters, instruct the actors on it and serve posterity. The letters refer of course to the composition and revision of Plays for publication as the famous First Folio of 1623. John Heminges and Henry Condell are the two actors Bacon instructed to have the Folio printed with a masked cover, carrying the name, Shakespeare, and a fictitious image purporting to be a portrait of the latter. While Bacon chose Cymbeline as the Play with which to close the First Folio, it is Hamlet which fulsomely captures the flight of his genius in conveying his most personal and emotional responses to the life-tapestry the Fates had created for him. King Henry VIII is special as it is a valedictory remembrance of his maternal Grandfather, Grandmother, and the birth of his Mother, subsequently Queen Elizabeth I. There are sacred places for pilgrimage in England above all others, St. Albans, Gray's Inn and Cambridge University, for there has been no Englishman greater than Francis Bacon as so many of his contemporaries and near-contemporaries testified in print.

Continuing the series with Volume Four of He Sits 'Mongst Men Like A Descended God, Othello, this Essay details vivid correlations between existential facts known from Sir Francis Bacon's Life, his multifarious associations, socially, culturally, politically, and artistically, and his dramatization within the named Play. Of especial significance is the historical timing of the Play's composition with his life-events, notably, marriage to Alice Barnham, and subsequent Fall from the Lord Chancellorship of England.

Trash weaves the familiar dramatis personae from the author's earlier sequence of novels, WHAAM!, Exiles & Siren, into the tapestry of years, 1977, 1978, and 1979. The celebrated and irresistible image and momentum of Physics' Arrow of Time penetrating the fabric of three-dimensional spacetime sets up powerful resonances, politically, metaphysically and romantically, the author condenses in his paragraphic style to suggest the stillness of film-frames. The powerful Japanese Zen motif, the Enso, O, intensifies as a symbolic toolbox the dramatis personae utilize to help focus the meaning of being-and-existence within the darkening cloud of probabilities enshrouding the events manifesting on the World Stage through 1977 - 1979. WHAAM! prophetically begins the cycle of novels in January, 1968, with the climactic event from the war in 'Nam, of the Viet Cong takeover of the US Embassy in Saigon, and Trash concludes with the mirroring event of the Iranian invasion of the US Embassy in Tehran, and holding of personnel as hostages. Unresolved, the Iranian crisis and the cloud of probabilities associated with the emergence of the 1980s, the dynamics engendered in the passage of the Arrow of Time, await the dramatis personae as this cycle of novels continues.

Is it conceivable to imagine the author of Timon of Athens, Macbeth, and King Lear simply composed those peerless expressions of the tragedies within the human condition as mere entertainments for the "groundlings" in an Jacobean theatre? So powerful and heart-rending are these Plays they can only have been correlated experiences embedded in the author's life. This Volume of Essays continues to explicate with documented proof, coupled with Inductive Reasoning, that the Plays are the creations of Francis Bacon in response to the multifarious life-events in which he was directly involved. Through the medium of these staged dramas he committed to tell his story to futurity, a belief in which he repeatedly confirms his optimism through many of the works imprinted with his name. Literary Academia has fabricated, and continues to do so, a Legend under the name of William Shakespeare, generating an endless stream of unsubstantiated assertions which must be challenged and countermanded. There is a seated sculpture of Francis Bacon at Trinity College, Cambridge University, which proclaims: He Sits 'Mongst Men Like A Descended God.

1984! George Orwell's bleak vision portrayed in his famous novel titled 1984, and the world he envisioned therein, is dissolved through the power of comedy. Portraits lays down an imaginative mosaic of the time demonstrating through the creative imagination of the dramatis personae the human spirit remains triumphant. Pathways to romantic enlightenment for the romantic couples, their cross-play and tensions, evolve through meditations-in-form: Architecture, Music, Physics, Dance and the Photograph. Portraits is a meditation through comedy on the timeless experience of men and women falling in love, drawing parallels with the comedic creations of previous eras, referencing the spirit of Much Ado About Nothing and George Meredith's famous opening lines from his novel The Egoist in particular. Portraits is staged and photographed on the page and the Comic Muse invoked by George Meredith overshadows the reader. Portraits Volume Two begins with the tapestry of winter, the season shadowing the psyches of the dramatis personae. Spring arrives and transformations begin, metamorphosing into the full blaze of summer: relationships become as vividly realized as the natural world does with sunlight. Comedy attains a fresh luminosity and tensions are released, with romance proven to be the most effective and sustainable antidote against the infection of an existential world.

1984! George Orwell's bleak vision portrayed in his famous novel titled 1984, and the world he envisioned therein, is dissolved through the power of comedy. Portraits lays down an imaginative mosaic of the time demonstrating through the creative imagination of the dramatis personae the human spirit remains triumphant. Pathways to romantic enlightenment for the romantic couples, their cross-play and tensions, evolve through meditations-in-form: Architecture, Music, Physics, Dance and the Photograph. Portraits is a meditation through comedy on the timeless experience of men and women falling in love, drawing parallels with the comedic creations of previous eras, referencing the spirit of Much Ado About Nothing and George Meredith's famous opening lines from his novel The Egoist in particular. Portraits Volume One opens against an autumnal tapestry luminous with transformations changing the lives of the dramatis personae. The compelling imagery of their inner meditations is contrasted with the vividly realized natural world in which they are physically, emotionally, intellectually and spiritually immersed. Comedy is the leaven building and finally releasing tensions, whether in politics or romance, and proves to be the most effective and sustainable antidote against the infection of existential despair. Portraits is staged and photographed on the page and the Comic Muse invoked by George Meredith overshadows the reader.

Forgotten in 2020 is the devastating moral/amoral/immoral portraiture of the Roman scene lavishly drawn by the remarkable Poet, Juvenal, who lived c. AD 55 - 140, writing during the reigns of Trajan and Hadrian. Adaptations, the novel, set in 2020, finds many echoes/parallels from that Classical Period, the outstanding transformation and advancement in cultured civilisation, haunted by debauched moral and ethical behaviour excused by the vox populi. Juvenal's intelligence was outraged by what he was witnessing and experiencing, the apathy and self-indulgence of the autocratic Roman leadership sowing the seeds for an irreversible moral decay soon to infect and advance the bringing down of the Empire itself. Adaptations addresses itself to a comparable moral emergency today, following fifteen-centuries of struggle to achieve an unimaginable level of advancement, socially, technologically, educationally, financially and economically, only to discover that the Roman debaucheries so flagrantly portraited by Juvenal, have assumed an anti-spiritual revival, utilising a carnival-like atmosphere where anything-goes. Tensions are rife today, and communicatively, the novel's traditional Battle of the Sexes theme has transitioned into unsavoury variations Juvenal too identified in Classical Rome, with humour being repressively sucked out of the narrative form. The Roman Empire succumbed to the infiltration of Barbarian Races, militarily, antithetical to the Classical Spirit, the civilising colonisation of space which opened up the World itself to humanity's greater understanding thwarted: the brutal precipitation of a centuries-long Dark Age, a retreat into recidivism, because the vox populi succumbed through weakness to the amoral allurements of the aggressive minorities, has been swept aside today as if it were an aberration concocted by Historians. Adaptations, the novel, is itself a literary palimpsest where can be read how humanity has cycled back to repeat the tragedies of knowable History, concentrated within the experiential consciousness of the central character, who, like Juvenal, has been Cancelled.

Beginning with the novel, WHAAM!, and the years, 1968 - 1970, fictional dramatis personae commence a journey through unstoppable time against the woven tapestry of unfolding political, cultural and social milieux, moving onward through Exiles (1971 - 1973), Siren (1974 - 1976), and Trash (1977 - 1979). The literary style is representative of the film-frame, each paragraph (quick-cutting decoupage) evoking a cinematic experience packed with concentrated imagery, visual and aural.Friezes continues the momentum of time as a penetrative arrow gathering up the cloud of probabilities which darkened the earlier sequence of novels, taking the dramatis personae through the years, 1980 - 1982, elucidating the mystery within cause-and-effect.Humanity are dramatis personae on-stage in the World's Theatre, actors backdropped by time's film-frames progressing moment-by-moment, wrestling with the meaning of being-and-existence, struggling to manifest a personal political, romantic and metaphysical identity. A frieze is a still-life, not free-standing, in-the-round, but inextricably bound to a larger plane, a fixture in a frame of spacetime.Friezes continues with the presentation of the powerful Japanese motif, the Enso (O), itself a two-dimensional image but viewed by the dramatis personae from a three-dimensional perspective. If two-dimensional images form analogous and symbolic toolboxes for our three-dimensional consciousness, surely it follows a human persona too is a toolbox, a thought-experiment for each four-dimensional Inner Thinker. Friezes explores this penetrative resonance, drawing upon the mirroring analogues of sculpture, painting and cinema in particular, to establish human incarnation as a complex but understandable palimpsest.

Cast in a prose style fluid as the frames of a movie, this novel explores and projects onto the screen of the page remembered glories from the Greek Myths, embodied in dramatis personae living in the late-twentieth century. The Spirit of Antiquity has not vanished, its cadences echo on, and the dramatis personae of Myths surrender to the musicality of its genius. Thought, feeling and memory infuse the blazing landscapes in which the novel is set, rich with allusion and emotional impressionism, with resurrections of hope in the power of the human imagination to overcome the shadows of nihilism ever threatening to close in upon the world. All is illusion, the world rendered a vast movie set in these modern times, and the vision of the Myths being realised by the dramatis personae before the camera blends with their off-screen existence: reel life and real life are seamlessly blurred. Come to the two-dimensional page of this novel as you would a movie screen and allow the light of your own imagination play over the imagery, absorb the poetry, music and visual splendour of the evocations forming there, and be transfigured as the dramatis personae are. Myths, the novel, delivers a glimpse into an eternally refreshing universal vision of a view of the world embodied every morning as the sun crests the horizon, for here is a rhythmic power manifest in the poet Shelley's famous lines concluding Prometheus Unbound ... to hope till Hope creates From its own wreck the thing it contemplates

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.

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.

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.

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.